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Two-piece swimwear This article is about the bathing suit. For the island group, see Bikini Atoll (/wiki/Bikini_Atoll) . For other uses, see Bikini (disambiguation) (/wiki/Bikini_(disambiguation)) . Mexican actress Dolores del Río (/wiki/Dolores_del_R%C3%ADo) posing in a publicity photograph for the film In Caliente (/wiki/In_Caliente) (1935). Del Río was a pioneer in wearing a two piece swimsuit. [1] (#cite_note-1) A woman (/wiki/Woman) wearing a black bikini at a beach in 2009 A bikini is a two-piece swimsuit (/wiki/Swimsuit) primarily worn by girls and women that features one piece on top that covers the breasts (/wiki/Breast) , and a second piece on the bottom: the front covering the pelvis (/wiki/Pelvis) but usually exposing the navel (/wiki/Navel) , and the back generally covering the intergluteal cleft (/wiki/Intergluteal_cleft) and some or all of the buttocks (/wiki/Buttocks) . The size of the top and bottom can vary, from bikinis that offer full coverage of the breasts, pelvis, and buttocks, to more revealing designs with a thong (/wiki/Thong) or G-string (/wiki/G-string) bottom that covers only the mons pubis (/wiki/Mons_pubis) , but exposes the buttocks, and a top that covers only the areolae (/wiki/Areola) . Bikini bottoms covering about half the buttocks may be described as "Brazilian-cut". The modern bikini swimsuit was introduced by French clothing designer Louis Réard (/wiki/Louis_R%C3%A9ard) in July 1946, and was named after the Bikini Atoll (/wiki/Bikini_Atoll) , where the first public test of a nuclear bomb (/wiki/Nuclear_bomb) had taken place four days before. [2] (#cite_note-weisgall-2) Due to its revealing design, the bikini was once considered controversial, facing opposition from a number of groups and being accepted only very slowly by the general public. In many countries, the design was banned from beaches and other public places: in 1949, France banned the bikini from being worn on its coastlines; Germany banned the bikini from public swimming pools until the 1970s, and some communist groups condemned the bikini as a "capitalist decadence". [3] (#cite_note-Alac-3) The bikini also faced criticism from some feminists, who reviled it as a garment designed to suit men's tastes, and not those of women. Despite this backlash, however, the bikini still sold well throughout the mid to late 20th century. The bikini gained increased exposure and acceptance as film stars (/wiki/Film_star) like Brigitte Bardot (/wiki/Brigitte_Bardot) , Raquel Welch (/wiki/Raquel_Welch) , and Ursula Andress (/wiki/Ursula_Andress) wore it and were photographed on public beaches and seen in film. [3] (#cite_note-Alac-3) The minimalist bikini design became common in most Western countries by the mid-1960s as both swimwear (/wiki/Swimwear) and underwear (/wiki/Underwear) . By the late 20th century, it was widely used as sportswear (/wiki/Sportswear_(activewear)) in beach volleyball (/wiki/Beach_volleyball) and bodybuilding (/wiki/Bodybuilding) . There are a number of modern stylistic variations (/wiki/Bikini_variant) of the design used for marketing purposes and as industry classifications, including monokini (/wiki/Monokini) , microkini (/wiki/Microkini) , tankini (/wiki/Tankini) , trikini (/wiki/Trikini) , pubikini (/wiki/Pubikini) , skirtini (/wiki/Skirtini) , thong (/wiki/Thong) , and g-string (/wiki/G-string) . A man's single piece brief swimsuit (/wiki/Swim_briefs) may also be called a bikini or "bikini brief", particularly if it has slimmer sides. [4] (#cite_note-Bikini-4) Similarly, a variety of men's and women's underwear types are described as bikini underwear. The bikini has gradually gained wide acceptance in Western society (/wiki/Western_world) . By the early 2000s, bikinis had become a US$811 million business annually, and boosted spin off services such as bikini waxing (/wiki/Bikini_waxing) and sun tanning (/wiki/Sun_tanning) . [5] (#cite_note-AgeL-5) Etymology and terminology [ edit ] While the two-piece swimsuit as a design existed in classical antiquity (/wiki/Classical_antiquity) , [6] (#cite_note-Agrawala-6) the modern design first attracted public notice in Paris on July 5, 1946. [7] (#cite_note-BBCW-7) Operation Crossroads (/wiki/Operation_Crossroads) was a nuclear test series at the Bikini Atoll (/wiki/Bikini_Atoll) , and the inspiration for the naming of two French swimsuit designs at the time, including the bikini. In May 1946, Parisian fashion designer Jacques Heim (/wiki/Jacques_Heim) released a two-piece swimsuit design that he named the Atome ('Atom') and advertised as "the smallest swimsuit in the world". [8] (#cite_note-8) Like swimsuits of the era, it covered the wearer's belly button, and it failed to attract much attention. French automotive engineer Louis Réard (/wiki/Louis_R%C3%A9ard) introduced a design he named the "Bikini", adopting the name from the Bikini Atoll (/wiki/Bikini_Atoll) in the Pacific Ocean, [9] (#cite_note-HistC-9) [10] (#cite_note-Guardian-10) which was the colonial name the Germans gave to the atoll, borrowed from the Marshallese (/wiki/Marshallese_language) name for the island, Pikinni . [11] (#cite_note-11) Four days earlier, the United States had initiated its first peacetime nuclear weapons (/wiki/Nuclear_weapon_design) test (/wiki/Nuclear_testing) at Bikini Atoll (/wiki/Nuclear_testing_at_Bikini_Atoll) as part of Operation Crossroads (/wiki/Operation_Crossroads) . Unlike the prior Trinity test (/wiki/Trinity_test) , or most subsequent nuclear test series, the United States allowed both international observers and the global press to observe Crossroads, creating an intense international interest in the new weapon and its testing. Réard never explained why he chose the name "Bikini" for the swimsuit. [2] (#cite_note-weisgall-2) Various motivations have been attributed to his choosing of the name, including the idea that he hoped it would create "explosive commercial and cultural reaction" similar to the explosion at Bikini Atoll, [12] (#cite_note-12) [13] (#cite_note-13) that it was meant to be associated with the "exotic allure of the tropical Pacific", from the "comparison of the effects of a scantily clad woman to the atomic bomb," [2] (#cite_note-weisgall-2) and the idea that Reard's design had out-done Heim's design and "split the atome ". [14] (#cite_note-14) Réard's advertising slogan was that the Bikini was "smaller than the smallest bathing suit in the world." [2] (#cite_note-weisgall-2) The swimsuit's name was typically capitalized for several years after its coining. [2] (#cite_note-weisgall-2) It has been frequently cited as a major example of a "psychological link between atomic destruction and sexuality" in popular culture, which includes the stenciling of Rita Hayworth (/wiki/Rita_Hayworth) onto one of the bombs detonated at Crossroads, [2] (#cite_note-weisgall-2) [15] (#cite_note-15) and its persistence in language has been argued as having "trivialized and downplayed the reality of nuclear testing," given the contamination done by especially later US thermonuclear tests at Bikini (/wiki/Nuclear_testing_at_Bikini_Atoll) and other Marshallese (/wiki/Marshall_Islands) atolls. [16] (#cite_note-16) By making an analogy with words like bilingual and bilateral containing the Latin prefix " bi- (/wiki/Bi-) " (meaning "two" in Latin), the word bikini was first back-derived (/wiki/Back-derivation) as consisting of two parts, [ bi + kini ] by Rudi Gernreich (/wiki/Rudi_Gernreich) , who introduced the monokini (/wiki/Monokini) in 1964. [17] (#cite_note-17) [18] (#cite_note-18) Later swimsuit designs like the tankini (/wiki/Tankini) and trikini (/wiki/Trikini) further cemented this derivation. [19] (#cite_note-19) Over time the " –kini family" (as dubbed by author William Safire (/wiki/William_Safire) [20] (#cite_note-20) ), including the " –ini sisters" (as dubbed by designer Anne Cole [21] (#cite_note-21) ), expanded into a variety of swimwear including the monokini (also known as a numokini or unikini), seekini, tankini (/wiki/Tankini) , camikini, hikini (also hipkini), minikini, face-kini (/wiki/Face-kini) , burkini (/wiki/Burkini) , and microkini (/wiki/Microkini) . [22] (#cite_note-barryJ-22) The Language Report (/wiki/Language_Report) , compiled by lexicographer Susie Dent (/wiki/Susie_Dent) and published by the Oxford University Press (/wiki/Oxford_University_Press) (OUP) in 2003, considers lexicographic inventions like bandeaukini and camkini, two variants of the tankini, important to observe. [23] (#cite_note-23) Although "bikini" was originally a registered trademark of Réard, it has since become genericized (/wiki/Generic_trademark) . [24] (#cite_note-24) Variations of the term are used to describe stylistic variations (/wiki/Bikini_variant) for promotional purposes and industry classifications, including monokini, microkini (/wiki/Microkini) , tankini (/wiki/Tankini) , trikini (/wiki/Trikini) , pubikini (/wiki/Pubikini) , bandeaukini (/wiki/Bandeaukini) and skirtini (/wiki/Skirtini) . A man's brief swimsuit (/wiki/Swim_briefs) may also be referred to as a bikini. [4] (#cite_note-Bikini-4) Similarly, a variety of men's and women's underwear types are described as bikini underwear. History [ edit ] Main article: History of the bikini (/wiki/History_of_the_bikini) See also: Bikini in popular culture (/wiki/Bikini_in_popular_culture) In antiquity [ edit ] The ancient Roman Villa Romana del Casale (/wiki/Villa_Romana_del_Casale) (286–305 AD) in Sicily (/wiki/Sicily) has one of the earliest known bikini images. According to archaeologist James Mellaart (/wiki/James_Mellaart) , a mural from the Chalcolithic (/wiki/Chalcolithic) era (around 5600 BC) in Çatalhöyük (/wiki/%C3%87atalh%C3%B6y%C3%BCk) , Anatolia (/wiki/Anatolia) depicts a mother goddess astride two leopards wearing a costume somewhat like a bikini. [6] (#cite_note-Agrawala-6) [25] (#cite_note-25) The two-piece swimsuit can be traced back to the Greco-Roman world (/wiki/Greco-Roman_world) , where bikini-like garments worn by women athletes are depicted on urns (/wiki/Urns) and paintings dating back to 1400 BC. [26] (#cite_note-26) In Coronation of the Winner, a mosaic (/wiki/Mosaic) in the floor of a Roman villa (/wiki/Roman_villa) in Sicily (/wiki/Sicily) that dates from the Diocletian period (/wiki/Diocletianic_Persecution) (286–305 AD), young women participate in weightlifting, discus throwing, and running ball games dressed in bikini-like garments (technically bandeaukinis in modern lexicon). [7] (#cite_note-BBCW-7) [27] (#cite_note-VilCas-27) The mosaic, found in the Sicilian (/wiki/Sicily) Villa Romana del Casale (/wiki/Villa_Romana_del_Casale) , features ten maidens who have been anachronistically dubbed the " Bikini Girls (/wiki/Villa_Romana_del_Casale#Athletic_competition) ". [28] (#cite_note-Guttmann_1991_38-28) [29] (#cite_note-Villa_Romana_del_Casale-29) Other Roman (/wiki/Roman_Empire) archaeological finds depict the goddess Venus (/wiki/Venus_(mythology)) in a similar garment. In Pompeii (/wiki/Pompeii) , depictions of Venus wearing a bikini were discovered in the Casa della Venere, [30] (#cite_note-30) [31] (#cite_note-31) [32] (#cite_note-32) in the tablinum (/wiki/Tablinum) of the House of Julia Felix (/wiki/House_of_Julia_Felix) , [33] (#cite_note-33) and in an atrium (/wiki/Atrium_(architecture)) garden of Via Dell'Abbondanza (/wiki/House_of_Loreius_Tiburtinus) . [34] (#cite_note-34) Precursors in the West [ edit ] Evolution Loose chemises (/wiki/Chemise) from the 1900s Annette Kellermann (/wiki/Annette_Kellermann) started the form-fitting swimwear trend, 1909 Actress Jane Wyman (/wiki/Jane_Wyman) in beachwear that bares legs and midriff, 1935 Swimming or bathing outdoors was discouraged in the Christian West (/wiki/Christian_West) , so there was little demand or need for swimming or bathing costumes until the 18th century. The bathing gown of the 18th century was a loose ankle-length full-sleeve chemise (/wiki/Chemise) -type gown made of wool or flannel that retained coverage and modesty. [35] (#cite_note-claud-35) In 1907, Australian swimmer and performer Annette Kellermann (/wiki/Annette_Kellermann) was arrested on a Boston (/wiki/Boston) beach for wearing form-fitting sleeveless one-piece knitted swimming tights that covered her from neck to toe, a costume she adopted from England, [35] (#cite_note-claud-35) although it became accepted swimsuit attire for women in parts of Europe by 1910. [36] (#cite_note-36) In 1913, designer Carl Jantzen (/wiki/Carl_Jantzen) made the first functional two-piece swimwear. Inspired by the introduction of females into Olympic swimming he designed a close-fitting costume with shorts for the bottom and short sleeves for the top. [37] (#cite_note-heritage-37) During the 1920s and 1930s, people began to shift from "taking in the water" to "taking in the sun", at bathhouses and spas, and swimsuit designs shifted from functional considerations to incorporate more decorative features. Rayon (/wiki/Rayon) was used in the 1920s in the manufacture of tight-fitting swimsuits, [38] (#cite_note-sydelle-38) but durability issues, especially when wet, proved problematic. [39] (#cite_note-Kadolph-39) Jersey (/wiki/Jersey_(fabric)) and silk (/wiki/Silk) were also sometimes used. [40] (#cite_note-40) By the 1930s, manufacturers had lowered necklines in the back, removed sleeves, and tightened the sides. With the development of new clothing materials, particularly latex (/wiki/Latex) and nylon (/wiki/Nylon) , swimsuits gradually began hugging the body through the 1930s, with shoulder straps that could be lowered for tanning. [41] (#cite_note-41) Women's swimwear of the 1930s and 1940s incorporated increasing degrees of midriff exposure (/wiki/Midriff_exposure) . The 1932 Hollywood film Three on a Match featured a midriff-baring two-piece bathing suit. Actress Dolores del Río (/wiki/Dolores_del_R%C3%ADo) was the first major star to wear a two-piece women's bathing suit onscreen in Flying Down to Rio (/wiki/Flying_Down_to_Rio) (1933). [42] (#cite_note-42) Teen magazines of late 1940s and 1950s featured similar designs of midriff-baring suits and tops. However, midriff fashion was stated as only for beaches and informal events and considered indecent to be worn in public. [43] (#cite_note-girl-43) Hollywood endorsed the new glamor in films like 1949's Neptune's Daughter (/wiki/Neptune%27s_Daughter_(1949_film)) in which Esther Williams (/wiki/Esther_Williams) wore provocatively named costumes such as "Double Entendre" and "Honey Child". [44] (#cite_note-notting-44) Wartime production during World War II required vast amounts of cotton, silk, nylon, wool, leather, and rubber. In 1942, the United States War Production Board (/wiki/War_Production_Board) issued Regulation L-85, cutting the use of natural fibers in clothing [45] (#cite_note-45) and mandating a 10% reduction in the amount of fabric in women's beachwear. [46] (#cite_note-history-46) To comply with the regulations, swimsuit manufacturers removed skirt panels and other attachments, [9] (#cite_note-HistC-9) while increasing production of the two-piece swimsuit with bare midriffs. [47] (#cite_note-fashionencyc-47) At the same time, demand for all swimwear declined as there was not much interest in going to the beach, especially in Europe. [9] (#cite_note-HistC-9) Modern bikini [ edit ] Micheline Bernardini (/wiki/Micheline_Bernardini) on 5 July 1946 at the Piscine Molitor (/wiki/Piscine_Molitor) modeling Réard's bikini, which was small enough to fit into the 5 by 5 by 5 centimetres (2.0 by 2.0 by 2.0 in) box she is holding. In the summer of 1946, Western Europeans enjoyed their first war-free summer in many years. French designers sought to deliver fashions that matched the liberated mood of the people. [46] (#cite_note-history-46) Fabric was still in short supply, [48] (#cite_note-Gunn-48) and in an endeavor to resurrect swimwear sales, two French designers – Jacques Heim (/wiki/Jacques_Heim) and Louis Réard (/wiki/Louis_R%C3%A9ard) – almost simultaneously launched new two-piece swimsuit designs in 1946. [49] (#cite_note-49) [50] (#cite_note-50) Heim launched a two-piece swimsuit design in Paris that he called the atome , after the smallest known particle of matter. He announced that it was the "world's smallest bathing suit." [46] (#cite_note-history-46) [51] (#cite_note-51) Although briefer than the two-piece swimsuits of the 1930s, the bottom of Heim's new two-piece beach costume still covered the wearer's navel. [48] (#cite_note-Gunn-48) [52] (#cite_note-52) [53] (#cite_note-53) [54] (#cite_note-54) Soon after, Louis Réard created a competing two-piece swimsuit design, which he called the bikini . [55] (#cite_note-TimA-55) He noticed that women at the beach rolled up the edges of their swimsuit bottoms and tops to improve their tan. [56] (#cite_note-femmes-56) On 5 July, Réard introduced his design at a swimsuit review held at a popular Paris public pool, Piscine Molitor (/wiki/Piscine_Molitor) , four days after the first test of a US nuclear weapon at the Bikini Atoll (/wiki/Bikini_Atoll) . The newspapers were full of news about it and Réard hoped for the same with his design. [57] (#cite_note-navy-57) [58] (#cite_note-58) Réard's bikini undercut Heim's atome in its brevity. His design consisted of two side-by-side triangles of fabric forming a bra, and two front-and-back triangular pieces of fabric covering the mons pubis (/wiki/Mons_pubis) and the buttocks (/wiki/Buttocks) , respectively, connected by string. When he was unable to find a fashion model willing to showcase his revealing design, [59] (#cite_note-59) Réard hired Micheline Bernardini (/wiki/Micheline_Bernardini) , an 18-year old nude dancer (/wiki/Striptease) from the Casino de Paris (/wiki/Casino_de_Paris) . [60] (#cite_note-60) He announced that his swimsuit, was "smaller than the world's smallest bathing suit". [61] (#cite_note-Guard-61) [62] (#cite_note-Lil-62) Réard said that "like the [atom] bomb, the bikini is small and devastating". [63] (#cite_note-The_Very_First_Bikini-63) Fashion writer Diana Vreeland (/wiki/Diana_Vreeland) described the bikini as the "atom bomb of fashion". [63] (#cite_note-The_Very_First_Bikini-63) Bernardini received 50,000 fan letters, many of them from men. [9] (#cite_note-HistC-9) [37] (#cite_note-heritage-37) Photographs of Bernardini and articles about the event were widely carried by the press. The International Herald Tribune (/wiki/International_Herald_Tribune) alone ran nine stories on the event. [64] (#cite_note-64) French newspaper Le Figaro (/wiki/Le_Figaro) wrote, "People were craving the simple pleasures of the sea and the sun. For women, wearing a bikini signaled a kind of second liberation. There was really nothing sexual about this. It was instead a celebration of freedom and a return to the joys in life." [37] (#cite_note-heritage-37) Heim's atome was more in keeping with the sense of propriety of the 1940s, but Réard's design won the public's attention. [48] (#cite_note-Gunn-48) Although Heim's design was the first worn on the beach and initially sold more swimsuits, it was Réard's description of the two-piece swimsuit as a bikini that stuck. [7] (#cite_note-BBCW-7) [65] (#cite_note-65) As competing designs emerged, he declared in advertisements that a swimsuit could not be a genuine bikini "unless it could be pulled through a wedding ring." [9] (#cite_note-HistC-9) Modern bikinis were first made of cotton (/wiki/Cotton) and jersey (/wiki/Jersey_(fabric)) . [66] (#cite_note-66) Social resistance [ edit ] As subsequent history would show, the bikini was more than a skimpy garment. It was a state of mind. Lena Lenček [67] (#cite_note-Lena_Lenček_page_100-67) A bikini contest in 2009, featuring popular modern designs such as triangle tops and thong-style bottoms Despite the garment's initial success in France, women worldwide continued to wear traditional one-piece swimsuits. When his sales stalled, Réard went back to designing and selling orthodox knickers. [68] (#cite_note-timesonline-68) In 1950, American swimsuit mogul Fred Cole, [37] (#cite_note-heritage-37) owner of mass market swimwear firm Cole of California, told Time (/wiki/Time_(magazine)) that he had "little but scorn for France's famed Bikinis." [69] (#cite_note-69) Réard himself would later describe it as a "two-piece bathing suit which reveals everything about a girl except for her mother's maiden name." [70] (#cite_note-70) Fashion magazine Modern Girl Magazine in 1957 stated that "it is hardly necessary to waste words over the so-called bikini since it is inconceivable that any girl with tact and decency would ever wear such a thing". [7] (#cite_note-BBCW-7) [37] (#cite_note-heritage-37) In 1951, Eric Morley (/wiki/Eric_Morley) organized the Festival Bikini Contest , a beauty contest and swimwear advertising opportunity at that year's Festival of Britain (/wiki/Festival_of_Britain) . The press, welcoming the spectacle, referred to it as Miss World , [71] (#cite_note-71) [72] (#cite_note-72) a name Morley registered as a trademark. [73] (#cite_note-Keith_Lovegrove_1967-73) The winner was Kiki Håkansson (/wiki/Kiki_H%C3%A5kansson) of Sweden, who was crowned in a bikini. After the crowning, Håkansson was condemned by Pope Pius XII (/wiki/Pope_Pius_XII) , [3] (#cite_note-Alac-3) [74] (#cite_note-magnanti-74) [75] (#cite_note-75) while Spain and Ireland threatened to withdraw from the pageant. [76] (#cite_note-76) In 1952, bikinis were banned from the pageant and replaced by evening gowns (/wiki/Evening_gown) . [77] (#cite_note-77) [78] (#cite_note-78) As a result of the controversy, the bikini was explicitly banned from many other beauty pageants (/wiki/Beauty_pageant) worldwide. [79] (#cite_note-telegraph-79) [80] (#cite_note-80) Although some regarded the bikini and beauty contests as bringing freedom to women, they were opposed by some feminists (/wiki/Feminist) [3] (#cite_note-Alac-3) [81] (#cite_note-81) as well as religious and cultural groups who objected to the degree of exposure of the female body. Paula Stafford (/wiki/Paula_Stafford) was an Australian fashion designer credited with introducing the bikini to Australia; [82] (#cite_note-hicks-82) [83] (#cite_note-stolz-83) in a famous incident in 1952, model Ann Ferguson was asked to leave a beach in Surfers Paradise (/wiki/Surfers_Paradise,_Queensland) because her Paula Stafford bikini was too revealing. [84] (#cite_note-bikinicops-84) [85] (#cite_note-campbell-85) The bikini was banned in Australia, on the French Atlantic coastline, in Spain, in Italy, [3] (#cite_note-Alac-3) and in Portugal, and was prohibited or discouraged in a number of US states. [86] (#cite_note-timehistory-86) [87] (#cite_note-87) The United States Motion Picture Production Code (/wiki/United_States_Motion_Picture_Production_Code_of_1930) , also known as the Hays Code, enforced from 1934, allowed two-piece gowns but prohibited the display of navels in Hollywood films. [88] (#cite_note-88) The National Legion of Decency (/wiki/National_Legion_of_Decency) , a Roman Catholic body overseeing American media content, also pressured Hollywood and foreign film producers to keep bikinis from being featured in Hollywood movies. [89] (#cite_note-89) As late as 1959 one of the United States' largest swimsuit designers, Anne Cole of the Anne Cole (/wiki/Anne_Cole) brand, [90] (#cite_note-90) [91] (#cite_note-HUGHES-91) said, "It's nothing more than a G-string. It's at the razor's edge of decency." [92] (#cite_note-WOJSI-92) The Hays Code was abandoned by the mid-1960s, and with it the prohibition of female navel exposure, as well as other restrictions. [93] (#cite_note-93) The influence of the National Legion of Decency also waned by the 1960s. [94] (#cite_note-94) Rise to popularity [ edit ] Evolution Mimi Kok (/wiki/Mimi_Kok) , Netherlands, 1951 Dalida (/wiki/Dalida) , Italy, 1968 Graciela Alfano (/wiki/Graciela_Alfano) , Argentina, 1972 Increasingly common glamour shots (/wiki/Glamour_photography) of popular actresses and models on either side of the Atlantic played a large part in bringing the bikini into the mainstream. [95] (#cite_note-MMOA-95) During the 1950s, Hollywood stars such as Ava Gardner (/wiki/Ava_Gardner) , Rita Hayworth (/wiki/Rita_Hayworth) , Lana Turner (/wiki/Lana_Turner) , [96] (#cite_note-turner-96) [97] (#cite_note-firstB-97) Elizabeth Taylor (/wiki/Elizabeth_Taylor) , [97] (#cite_note-firstB-97) Tina Louise (/wiki/Tina_Louise) , [97] (#cite_note-firstB-97) Marilyn Monroe (/wiki/Marilyn_Monroe) , [97] (#cite_note-firstB-97) Esther Williams (/wiki/Esther_Williams) , and Betty Grable (/wiki/Betty_Grable) [98] (#cite_note-menkes-98) took advantage of the risqué publicity associated with the bikini by posing for photographs wearing them— pin-ups (/wiki/Pin-up_girl) of Hayworth and Williams in costume were especially widely distributed in the United States. [37] (#cite_note-heritage-37) In 1950, Elvira Pagã (/wiki/Elvira_Pag%C3%A3) walked at the Rio Carnival (/wiki/Rio_Carnival) , Brazil in a golden bikini, starting the bikini tradition of the carnival. [99] (#cite_note-rio-99) In Europe, 17-year-old Brigitte Bardot (/wiki/Brigitte_Bardot) wore scanty bikinis (by contemporary standards) in the French film Manina, la fille sans voiles ("Manina, the girl unveiled"). The promotion for the film, released in France in March 1953, drew more attention to Bardot's bikinis than to the film itself. By the time the film was released in the United States in 1958, it was re-titled Manina, the Girl in the Bikini (/wiki/Manina,_the_Girl_in_the_Bikini) . Bardot was also photographed wearing a bikini on the beach during the 1957 Cannes Film Festival (/wiki/Cannes_Film_Festival) . Working with her husband and agent Roger Vadim (/wiki/Roger_Vadim) , she garnered significant attention with photographs of her wearing a bikini on every beach in the south of France. [100] (#cite_note-100) Similar photographs were taken of Anita Ekberg (/wiki/Anita_Ekberg) and Sophia Loren (/wiki/Sophia_Loren) , among others. According to The Guardian , Bardot's photographs in particular turned Saint-Tropez (/wiki/Saint-Tropez) into the beachwear capital of the world, [61] (#cite_note-Guard-61) with Bardot identified as the original Cannes bathing beauty. [101] (#cite_note-101) Bardot's photography helped to enhance the public profile of the festival, and Cannes in turn played a crucial role in her career. [102] (#cite_note-a-102) A Samba dancer (/wiki/Samba_(Brazilian_dance)) in a bikini at the Rio Carnival (/wiki/Rio_Carnival) , 2009. The bikini tradition of Rio Carnival started in 1950. [99] (#cite_note-rio-99) [103] (#cite_note-103) Indonesian actress Nurnaningsih (/wiki/Nurnaningsih) , 1955 Brian Hyland (/wiki/Brian_Hyland) 's novelty-song hit " Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini (/wiki/Itsy_Bitsy_Teenie_Weenie_Yellow_Polka_Dot_Bikini) " became a Billboard (/wiki/Billboard_(magazine)) No. 1 hit during the summer of 1960: the song tells a story about a young girl who is too shy to wear her new bikini on the beach, thinking it too risqué. [104] (#cite_note-104) Playboy (/wiki/Playboy) first featured a bikini on its cover in 1962; the Sports Illustrated Swimsuit Issue (/wiki/Sports_Illustrated_Swimsuit_Issue) debut two years later featured Babette March (/wiki/Babette_March) in a white bikini on the cover. [105] (#cite_note-105) This has been credited with making the bikini a legitimate piece of clothing. [106] (#cite_note-106) Ursula Andress (/wiki/Ursula_Andress) , appearing as Honey Ryder (/wiki/Honey_Ryder) in the 1962 British James Bond (/wiki/James_Bond) film, Dr. No (/wiki/Dr._No_(film)) , wore a white bikini (/wiki/White_bikini_of_Ursula_Andress) , which became known as the " Dr. No bikini (/wiki/White_bikini_of_Ursula_Andress) ". It became one of the most famous bikinis of all time and an iconic moment in cinematic and fashion history. [107] (#cite_note-Telegraph-107) [108] (#cite_note-Bensimon2006-108) [109] (#cite_note-Lindner2009-109) Andress said that she owed her career to that white bikini, remarking, "This bikini made me into a success. As a result of starring in Dr. No as the first Bond girl (/wiki/Bond_girl) , I was given the freedom to take my pick of future roles and to become financially independent." [107] (#cite_note-Telegraph-107) [110] (#cite_note-Weekes2007-110) The bikini finally caught on, and in 1963, the movie Beach Party (/wiki/Beach_Party) , starring Annette Funicello (/wiki/Annette_Funicello) and Frankie Avalon (/wiki/Frankie_Avalon) , led a wave of films that made the bikini a pop-culture symbol, though Funicello was barred from wearing Réard's bikini unlike the other young females in the films. In 1965, a woman told Time (/wiki/Time_(magazine)) that it was "almost square" not to wear a bikini; the magazine wrote two years later that "65% of the young set had already gone over". [96] (#cite_note-turner-96) Raquel Welch (/wiki/Raquel_Welch) 's fur bikini (/wiki/Fur_bikini_of_Raquel_Welch) in One Million Years B.C. (/wiki/One_Million_Years_B.C.) (1966) gave the world the most iconic bikini shot of all time and the poster image became an iconic moment in cinema history. [111] (#cite_note-111) Her deer skin bikini in One Million Years B.C. (/wiki/One_Million_Years_B.C.) , advertised as "mankind's first bikini", [112] (#cite_note-Filmfacts-112) (1966) was later described as a "definitive look of the 1960s". [113] (#cite_note-Mansour2005-113) Her role wearing the leather bikini made Welch a fashion icon [7] (#cite_note-BBCW-7) and the photo of her in the bikini became a best-selling pinup poster. [113] (#cite_note-Mansour2005-113) Stretch nylon (/wiki/Nylon) bikini briefs and bras complemented the adolescent boutique fashions of the 1960s, allowing those to be minimal. [114] (#cite_note-114) DuPont (/wiki/DuPont) introduced lycra (/wiki/Lycra) (DuPont's name for spandex (/wiki/Spandex) ) in the same decade. [38] (#cite_note-sydelle-38) Spandex expanded the range of novelty fabrics available to designers which meant suits could be made to fit like a second skin without heavy linings. [115] (#cite_note-115) "The advent of Lycra allowed more women to wear a bikini," wrote Kelly Killoren Bensimon (/wiki/Kelly_Killoren_Bensimon) , a former model and author of The Bikini Book , "It didn't sag, it didn't bag, and it concealed and revealed. It wasn't so much like lingerie anymore." [116] (#cite_note-sfgate-116) Increased reliance on stretch fabric led to simplified construction. [95] (#cite_note-MMOA-95) This fabric allowed designers to create the string bikini (/wiki/String_bikini) , and allowed Rudi Gernreich to create the topless monokini. [117] (#cite_note-SFC-117) Alternative swimwear fabrics such as velvet (/wiki/Velvet) , leather (/wiki/Leather) , and crocheted (/wiki/Crochet) squares surfaced in the early '70s. [95] (#cite_note-MMOA-95) Mass acceptance [ edit ] A woman wearing a modern bikini in a casual outdoor setting; this neon green swimsuit features a triangle top and thong bottoms Réard's company folded in 1988, [118] (#cite_note-SFGate-118) four years after his death. [119] (#cite_note-independent-119) Meanwhile, the bikini had become the most popular beachwear around the globe. According to French fashion historian Olivier Saillard, this was due to "the power of women, and not the power of fashion". [7] (#cite_note-BBCW-7) By 1988 the bikini made up nearly 20% of swimsuit sales, more than any other model in the US, [92] (#cite_note-WOJSI-92) though one-piece suits made a comeback during the 1980s and early 1990s. [119] (#cite_note-independent-119) In 1997, Miss Maryland Jamie Fox became the first contestant in 50 years to compete in a two-piece swimsuit at the Miss America Pageant (/wiki/Miss_America_Pageant) . [120] (#cite_note-120) Actresses in action films (/wiki/Action_film) like Blue Crush (/wiki/Blue_Crush) (2002) and Charlie's Angels: Full Throttle (/wiki/Charlie%27s_Angels:_Full_Throttle) (2003) made the two-piece "the millennial equivalent of the power suit (/wiki/Power_dressing) ", according to Gina Bellafonte of The New York Times (/wiki/The_New_York_Times) . [37] (#cite_note-heritage-37) Women in bikinis at the Hietaniemi Beach (/wiki/Hietaniemi_Beach) in Helsinki (/wiki/Helsinki) , Finland (/wiki/Finland) , in 2014 According to Beth Dincuff Charleston, research associate at the Costume Institute of the Metropolitan Museum of Art, "The bikini represents a social leap involving body consciousness, moral concerns, and sexual attitudes." [37] (#cite_note-heritage-37) By the early 2000s, bikinis had become a $811 million business annually, according to the NPD Group (/wiki/NPD_Group) , a consumer and retail information company, [117] (#cite_note-SFC-117) and had boosted spin-off services like bikini waxing (/wiki/Bikini_wax) and the sun tanning industries. [5] (#cite_note-AgeL-5) The first bikini museum (/wiki/Museum) in the world is being built in Bad Rappenau (/wiki/Bad_Rappenau) in Germany. [121] (#cite_note-121) The development of swimwear (/wiki/Swimwear) from 1880 to the present is presented on 2,000 square metres of exhibition space. [122] (#cite_note-122) By 2017, the global swimwear market was valued at US$18,5 billion with a compound annual growth rate (/wiki/Compound_annual_growth_rate) of 6.2%. [123] (#cite_note-123) Part of the increased consumption of bikinis and swimwears can be attributed to influencers (/wiki/Internet_celebrity) who promote and endorse various brands around the year. [124] (#cite_note-124) Soccer player and best selling author Mo Isom (/wiki/Mo_Isom) describes it as, "We're flooded with Instagram (/wiki/Instagram) bikini pics." [125] (#cite_note-125) It was estimated in 2016 that in 2019 the USA would be the largest swimwear market (US$10 billion), followed by Europe (US$5 billion), Asia–Pacific (/wiki/Asia%E2%80%93Pacific) (US$4 billion) and Middle East and Africa (about 1 billion). [126] (#cite_note-126) Evolution of bikinis 1970s 1980s 1990s 2000s 2010s 2020s Outside the Western world [ edit ] Topmodel Africa contestant in Harare (/wiki/Harare) Indian model wearing bikini with saree (/wiki/Saree) The 1967 Bollywood (/wiki/Bollywood) film An Evening in Paris (/wiki/An_Evening_in_Paris) is mostly remembered because it featured actress Sharmila Tagore (/wiki/Sharmila_Tagore) as the first Indian actress to wear a bikini on film. [127] (#cite_note-127) [128] (#cite_note-128) She also posed in a bikini for the glossy Filmfare (/wiki/Filmfare) magazine. [129] (#cite_note-129) [130] (#cite_note-130) The costume shocked a conservative Indian audience, [131] (#cite_note-131) but it also set in motion a trend carried forward by Zeenat Aman (/wiki/Zeenat_Aman) in Heera Panna (/wiki/Heera_Panna) (1973) and Qurbani (/wiki/Qurbani_(1980_film)) (1980), [132] (#cite_note-avi-132) Dimple Kapadia (/wiki/Dimple_Kapadia) in Bobby (/wiki/Bobby_(1973_film)) (1973), [132] (#cite_note-avi-132) and Parveen Babi (/wiki/Parveen_Babi) in Yeh Nazdeekiyan (/wiki/Yeh_Nazdeekiyan) (1982). [132] (#cite_note-avi-132) [133] (#cite_note-133) Indonesian actress Nurnaningsih (/wiki/Nurnaningsih) 's bikini clad photos were widely distributed in early 1950s, though she was banned in Kalimantan (/wiki/Kalimantan) . [134] (#cite_note-134) [135] (#cite_note-135) [136] (#cite_note-136) Indian women generally wear bikinis when they vacation abroad or in Goa (/wiki/Goa) without the family. But, despite the conservative ideas prevalent in India, bikinis also become more popular in summer when women, from Bollywood (/wiki/Bollywood) stars to the middle class, take up swimming, often in a public space. [137] (#cite_note-HTBikini-137) [138] (#cite_note-138) A lot of tankinis (/wiki/Tankini) , shorts and single-piece swimsuits (/wiki/Maillot) are sold in the summer, [137] (#cite_note-HTBikini-137) along with real bikinis and bandeaukinis (/wiki/Bandeaukini) . [139] (#cite_note-ShoDhar-139) The maximum sales for bikinis happen in the winter, the honeymoon season. [137] (#cite_note-HTBikini-137) For more coverage, designers Shivan Bhatiya (/w/index.php?title=Shivan_Bhatiya&action=edit&redlink=1) and Narresh Kukreja (/w/index.php?title=Narresh_Kukreja&action=edit&redlink=1) invented the bikini- saree (/wiki/Saree) popularised by TV anchor Mandira Bedi (/wiki/Mandira_Bedi) . [139] (#cite_note-ShoDhar-139) By the end of the first decade of the 21st century, the Chinese bikini industry became a serious international threat for the Brazilian bikini industry. [140] (#cite_note-140) Huludao (/wiki/Huludao) , Liaoning (/wiki/Liaoning) , China set the world record for the largest bikini parade in 2012, with 1,085 participants and a photo shoot involving 3,090 women. [141] (#cite_note-141) [142] (#cite_note-142) " Beijing (/wiki/Beijing) Bikini" refers to the Chinese urban practice of men rolling up their shirts to expose their midriff to cool off in public in the summer. [143] (#cite_note-143) In Japan, wearing a bikini is common on the beach and at baths or pools. But, according to a 2013 study, 94% women are not body confident enough to wear a bikini in public without resorting to sarongs (/wiki/Sarong) , zip-up sweatshirts (/wiki/Sweatshirt) , T-shirts, or shorts. [144] (#cite_note-144) Japanese women also often wear a " facekini (/wiki/Facekini) " to protect their face from sunburns (/wiki/Sunburn) . [145] (#cite_note-145) In most parts of the Middle East (/wiki/Middle_East) , bikinis are either banned or are highly controversial. On March 18, 1973, when Lebanese (/wiki/Lebanon) magazine Ash-Shabaka printed a bikini-clad woman on the cover, they had to make a second version with only the face of the model. [146] (#cite_note-146) In 2011, when Huda Naccache (/wiki/Huda_Naccache) ( Miss Earth (/wiki/Miss_Earth) 2011) posed for the cover of Lilac (based in Israel (/wiki/Israel) ), she became the first bikini-clad Arab model on the cover of an Arabic magazine. [147] (#cite_note-147) [148] (#cite_note-148) [149] (#cite_note-149) Lebanese-Australian (/wiki/Lebanese-Australian) fashion designer Aheda Zanetti (/wiki/Aheda_Zanetti) created the " burkini (/wiki/Burkini) " as a modest option to the bikini, which has become very popular among Muslims. [150] (#cite_note-150) [ failed verification ] Rehab Shaaban, an Egyptian designer, tried an even more abaya (/wiki/Abaya) -like design, but her design was banned due to safety reasons. [151] (#cite_note-151) Variants [ edit ] Main article: Bikini variants (/wiki/Bikini_variants) See also: Maillot (/wiki/Maillot) and Thong (/wiki/Thong) While the name "bikini" was at first applied only to beachwear that revealed the wearer's navel, today the fashion industry considers any two-piece swimsuit a bikini. [152] (#cite_note-patton-152) Modern bikini fashions are characterized by a simple, brief design: two triangles of fabric that form a bra and cover the woman's breasts (/wiki/Breast) and a third that forms a panty cut below the navel that covers the groin (/wiki/Groin) and the intergluteal cleft (/wiki/Intergluteal_cleft) . [95] (#cite_note-MMOA-95) Bikinis can and have been made out of almost every possible clothing material, and the fabrics and other materials used to make bikinis are an essential element of their design. [153] (#cite_note-materials-153) Modern bikinis were first made of cotton and jersey, but in the 1960s, Lycra became the common material. Alternative swimwear fabrics such as velvet, leather, and crocheted (/wiki/Crochet_bikini) squares surfaced in the early 1970s. [95] (#cite_note-MMOA-95) In a single fashion show in 1985, there were two-piece suits with cropped tank tops (/wiki/Crop_top) instead of the usual skimpy bandeaux, suits that resembled bikinis from the front and one-pieces from the back, suspender straps (/wiki/Suspenders) , ruffles (/wiki/Ruffle_(sewing)) , and deep navel-baring cutouts. [154] (#cite_note-154) Metal and stone jewelry pieces are now often used to dress up look and style according to tastes. To meet the fast pace of demands, some manufacturers now offer made-to-order bikinis ready in as few as seven minutes. [155] (#cite_note-155) The world's most expensive bikini was designed in February 2006 by Susan Rosen; containing 150 carats (30 g) of diamond, it was valued at £20 million. [156] (#cite_note-YorkS-156) Major styles [ edit ] There is a range of distinct bikini styles available — string/tie-side bikinis (/wiki/String_bikini) , monokinis (/wiki/Monokini) (topless or top and bottom connected), trikinis (three pieces instead of two), tankinis (/wiki/Tankini) ( tank top (/wiki/Sleeveless_shirt) , bikini bottom), camikinis ( camisole top (/wiki/Camisole) , bikini bottom), bandeaukinis ( bandeau (/wiki/Bandeau) top, bikini bottom), skirtinis (bikini top, skirt bottom), microkinis, sling bikinis (/wiki/Sling_swimsuit) (or suspender bikinis), thong (/wiki/Thong) and g-string (/wiki/G-string) bikinis, and teardrop bikinis. [22] (#cite_note-barryJ-22) Variant Image Year Description Bandeaukini (/wiki/Bandeaukini) — A bandeaukini (alternatively called a bandini ) [157] (#cite_note-157) is a bandeau (/wiki/Bandeau) top (no straps going over the shoulders) worn with any bikini bottom. [158] (#cite_note-homan-158) [159] (#cite_note-159) It is the oldest form of bikini, with one of the earliest examples found in Sicilian (/wiki/Sicily) Villa Romana del Casale (/wiki/Villa_Romana_del_Casale) (dubbed the " Bikini Girls (/wiki/Villa_Romana_del_Casale#Athletic_competition) "), dating back to the 4th century AD. [28] (#cite_note-Guttmann_1991_38-28) [29] (#cite_note-Villa_Romana_del_Casale-29) [160] (#cite_note-160) [161] (#cite_note-161) Reintroduced, its appeal grew fast among young women, [162] (#cite_note-162) with bandeau tops edging into the sales of the classic tankini. [163] (#cite_note-163) Microkini (/wiki/Microkini) 1995 A microkini , also known as a micro bikini , is an exceptionally meager bikini. [ citation needed ] The designs for both women and men typically use only enough fabric to cover the genitals (/wiki/Genitals) and, for women, the nipples. Some variations of the microkini use adhesive or wire to hold the fabric in place over the genitals. Microkinis keep the wearer just within legal limits of decency and fill a niche between nudism (/wiki/Nudism) and conservative swimwear. They are often accepted in Western cultures, including in Europe and the United States; however, they are considered inappropriate in more conservative nations and/or in family settings. [164] (#cite_note-164) Monokini (/wiki/Monokini) 1964 A monokini (also called topless swimsuit , unikini or numokini ) is a women's one-piece garment equivalent to the lower half of a bikini. [165] (#cite_note-165) The design was originally conceived by Rudi Gernreich (/wiki/Rudi_Gernreich) in 1964. [166] (#cite_note-166) An extreme version of the monokini, the thong-style pubikini (which exposed the pubic (/wiki/Pubic) region), was also designed by Gernreich in 1985. [167] (#cite_note-167) [168] (#cite_note-168) Today, monokinis usually refer to swimsuits in which the top and bottom are connected but provide coverage of the breasts as to be accepted in most western cultures. Skirtini (/wiki/Skirtini) — The skirtini , which features a bikini top and a small, skirted bottom, is also an innovation for bikini-style clothes with more coverage. [169] (#cite_note-169) Two-piece swimsuits with skirt panels were popular in the US before the government ordered a 10% reduction in fabric used in woman's swimwear in 1943 as wartime rationing. [46] (#cite_note-history-46) In 2011, The Daily Telegraph (/wiki/The_Daily_Telegraph) identified the skirted bikini as one of the top 10 swimwear designs of that season. [170] (#cite_note-170) Sling bikini (/wiki/Sling_bikini) — The sling bikini (also known as sling-kini , onepiecekini or sling swimsuit ) is an unbroken suit, technically one-piece, which resembles a bikini bottom with the side straps extending upwards to cover the breasts and go over the shoulders, or encircling the neck while a second set of straps pass around the midriff (also known as pretzel bikini or pretzel swimsuit ). [171] (#cite_note-JenPa-171) Sling swimsuits emerged in the early 1990s, and were introduced into the mainstream in 1994. [172] (#cite_note-172) [173] (#cite_note-173) When designed for or worn by a man, it is called a mankini , popularized by Sacha Baron Cohen (/wiki/Sacha_Baron_Cohen) in the film Borat (/wiki/Borat) . [174] (#cite_note-174) [175] (#cite_note-175) String bikini (/wiki/String_bikini) 1974 A string bikini (or a tie-side bikini ) gets its name from its design that consists of two triangular shaped pieces connected at the groin (/wiki/Groin) but not at the sides, where a thin "string" wraps around the waist tied together to connect the two parts. The structure of the side tie bottom leaves the hips bare. [176] (#cite_note-176) The first formal presentation of string bikini was done by fashion model Brandi Perret-DuJon, for the opening of Le Petite Centre, a shopping area in the French Quarter of the New Orleans, Louisiana (/wiki/New_Orleans,_Louisiana) in 1974. String bikinis are one of the most popular variations of bikini. [177] (#cite_note-177) Tankini (/wiki/Tankini) 1998 The tankini is a swimsuit combining a tank top (/wiki/Tank_top_(shirt)) and a bikini bottom. [158] (#cite_note-homan-158) [178] (#cite_note-Alisha-178) [179] (#cite_note-179) Tankinis can be made of spandex (/wiki/Spandex) -and-cotton or Lycra (/wiki/Lycra) -and-nylon. [180] (#cite_note-180) Designer Anne Cole (/wiki/Anne_Cole) , the US swimwear mogul, was the originator of this style in 1998. [158] (#cite_note-homan-158) [181] (#cite_note-181) A variation is named camkini , with spaghetti straps (/wiki/Spaghetti_strap) instead of tank-shaped straps over a bikini bottom. [182] (#cite_note-182) Trikini (/wiki/Trikini) 1967 The trikini appeared briefly in 1967, defined as "a handkerchief and two small saucers." [183] (#cite_note-saf-183) It reappeared in the 1990s as a bikini bottom with a stringed halter of two triangular pieces covering the breasts, [184] (#cite_note-184) and in the 2000s as a costume of three separate pieces. [185] (#cite_note-185) The trikini top comes essentially in two separate parts. [186] (#cite_note-186) The name of this woman's bathing suit is formed from the word "bikini", replacing "bi-", meaning "two", with "tri-", meaning "three". [187] (#cite_note-187) In a variation the three pieces are sold as part of one continuous garment. [188] (#cite_note-188) In sport [ edit ] Bikinis have become a major component of marketing various women's sports (/wiki/Women%27s_sports) . [189] (#cite_note-Kilborn-189) It is an official uniform for beach volleyball (/wiki/Beach_volleyball) and is widely worn in athletics (/wiki/Sport_of_athletics) and other sports. Sports bikinis have gained popularity since the 1990s. [190] (#cite_note-190) However, the trend has raised significant criticism in recent years among people who view it as an attempt to sell sex. [189] (#cite_note-Kilborn-189) Female swimmers do not commonly wear bikinis in competitive swimming. [191] (#cite_note-191) [192] (#cite_note-192) The International Swimming Federation (FINA) voted to prohibit female swimmers from racing in bikinis in its meeting at Rome in 1960. [193] (#cite_note-193) Beach volleyball [ edit ] US women's beach volleyball (/wiki/Beach_volleyball) team has cited several advantages to bikini uniforms, such as comfort while playing on sand during hot weather. [194] (#cite_note-194) Photo shows US beach volleyball players Jennifer Fopma (/wiki/Jennifer_Fopma) and Brooke Sweat (/wiki/Brooke_Sweat) in their uniforms. In 1994, the bikini became the official uniform of women's Olympic beach volleyball (/wiki/Beach_volleyball_at_the_Summer_Olympics#Women's_beach_volleyball) . [195] (#cite_note-cover-up-195) In 1999, the International Volleyball Federation (/wiki/F%C3%A9d%C3%A9ration_Internationale_de_Volleyball) (FIVB) standardized beach volleyball uniforms, with the bikini becoming the required uniform for women. [196] (#cite_note-196) That regulation bottom is called a "bun-hugger", [197] (#cite_note-patr-197) and players names are often written on the back of the bottom. [197] (#cite_note-patr-197) The uniform made its Olympic debut at Bondi Beach (/wiki/Bondi_Beach) , Sydney (/wiki/Sydney) during the 2000 Summer Olympics (/wiki/2000_Summer_Olympics) amid some criticism. [198] (#cite_note-stan-198) It was the fifth largest television audience of all the sports at the 2000 Games. Much of the interest was because of the sex appeal of bikini-clad players along with their athletic ability. [199] (#cite_note-199) Bikini-clad dancers and cheerleaders entertain the audience during match breaks in many beach volleyball tournaments, including the Olympics. [197] (#cite_note-patr-197) [200] (#cite_note-200) Even indoor volleyball (/wiki/Volleyball) costumes followed suit to become smaller and tighter. [197] (#cite_note-patr-197) However, the FIVB's mandating of the bikini ran into problems. Some sports officials consider it exploitative and impractical in colder weather. [195] (#cite_note-cover-up-195) It also drew the ire of some athletes. [201] (#cite_note-201) At the 2006 Asian Games (/wiki/2006_Asian_Games) at Doha, Qatar, only one Muslim country – Iraq – fielded a team in the beach volleyball competition because of concerns that the uniform was inappropriate. They refused to wear bikinis. [202] (#cite_note-202) The weather during the evening games in 2012 London Olympics (/wiki/2012_Summer_Olympics) was so cold that the players sometimes had to wear shirts and leggings. [203] (#cite_note-203) Earlier in 2012, FIVB had announced it would allow shorts (maximum length 3 cm (1.2 in) above the knee) and sleeved tops at the games. Richard Baker, the federation spokesperson, said that "many of these countries have religious and cultural requirements so the uniform needed to be more flexible". [204] (#cite_note-204) The bikini remains preferred by most players [205] (#cite_note-mcpeak_uniform-205) and corporate sponsors. [197] (#cite_note-patr-197) US women's team has cited several advantages of bikini uniforms, such as comfort while playing on sand during hot weather. [206] (#cite_note-ijr-206) Competitors Natalie Cook (/wiki/Natalie_Cook) [207] (#cite_note-207) and Holly McPeak (/wiki/Holly_McPeak) [205] (#cite_note-mcpeak_uniform-205) support the bikini as a practical uniform for a sport played on sand during the heat of summer. Olympic gold medal winner Kerry Walsh (/wiki/Kerry_Walsh) said, "I love our uniforms." According to fellow gold medalist Misty May-Treanor (/wiki/Misty_May-Treanor) and Walsh it does not restrict movement. [197] (#cite_note-patr-197) One feminist viewpoint sees the bikini uniform as objectification of women athletes. [198] (#cite_note-stan-198) US beach volleyball player Gabrielle Reece (/wiki/Gabrielle_Reece) described the bikini bottoms as uncomfortable with constant "yanking and fiddling." [197] (#cite_note-patr-197) [208] (#cite_note-blues-208) Many female beach volleyball players have sustained injuries by over-training the abdominal muscles (/wiki/Abdominal_muscles) while many others have gone through augmentation mammoplasty (/wiki/Augmentation_mammoplasty) to look appealing in their uniforms. [198] (#cite_note-stan-198) Australian competitor Nicole Sanderson (/wiki/Nicole_Sanderson) said about match break entertainment that "it's kind of disrespectful to the female players. I'm sure the male spectators love it, but I find it a little bit offensive." [209] (#cite_note-209) Sports journalism expert Kimberly Bissell conducted a study on the camera angles used during the 2004 Summer Olympics (/wiki/2004_Summer_Olympics) beach volleyball games. Bissell found that 20% of the camera angles were focused on the women's chests, and 17% on their buttocks. Bissell theorized that the appearance of the players draws fans attention more than their actual athleticism. [210] (#cite_note-210) [211] (#cite_note-211) Sports commentator Jeanne Moos (/wiki/Jeanne_Moos) commented, "Beach volleyball has now joined go-go girl dancing as perhaps the only two professions where a bikini is the required uniform." [197] (#cite_note-patr-197) [208] (#cite_note-blues-208) [212] (#cite_note-212) British Olympian Denise Johns (/wiki/Denise_Johns) argues that the regulation uniform is intended to be "sexy" and to attract attention. [213] (#cite_note-213) Rubén Acosta, president of the FIVB, says that it makes the game more appealing to spectators. [198] (#cite_note-stan-198) Bodybuilding [ edit ] Bikini is the uniform for both male and female bodybuilders (/wiki/Bodybuilding) . From the 1950s to mid-1970s, men's bodybuilding (/wiki/Bodybuilding) contest formats were often supplemented with women's beauty contests or bikini shows. The winners earned titles like Miss Body Beautiful, Miss Physical Fitness and Miss Americana, and also presented trophies to the winners of the men's contest. [214] (#cite_note-lowe-214) In the 1980s, the Ms Olympia competition started in the US and in the UK the NABBA (National Amateur Body Building Association) renamed Miss Bikini International to Ms Universe. In 1986, the Ms Universe competition was divided into two sections – "physique" (for a more muscular physique) and "figure" (traditional feminine presentation in high heels). [215] (#cite_note-grogan-215) In November 2010 the IFBBF (International Federation of BodyBuilding & Fitness) introduced a women's bikini contest for women who do not wish to build their muscles to figure competition levels. [216] (#cite_note-216) Costumes are regulation "posing trunks" (bikini briefs) for both men and women. [217] (#cite_note-217) Female bodybuilders (/wiki/Female_bodybuilder) in America are prohibited from wearing thongs or T-back swimsuits in contests filmed for television, though they are allowed to do so by certain fitness organizations in closed events. [214] (#cite_note-lowe-214) For men, the dress code specifies "swim trunks only (no shorts, cut-off pants, or Speedos)." Other sports [ edit ] Women in athletics (/wiki/Sport_of_athletics) often wear bikinis of similar size as those worn in beach volleyball (/wiki/Beach_volleyball) . Amy Acuff (/wiki/Amy_Acuff) , a US high-jumper, wore a black leather bikini instead of a track suit at the 2000 Summer Olympics (/wiki/2000_Summer_Olympics) . [218] (#cite_note-218) Runner Florence Griffith-Joyner (/wiki/Florence_Griffith-Joyner) mixed bikini bottoms with one-legged tights (/wiki/Tights) at the 1988 Summer Olympics (/wiki/1988_Summer_Olympics) , earning her more attention than her record-breaking performance in the women's 200 meters event. [219] (#cite_note-219) In the 2007 South Pacific Games (/wiki/South_Pacific_Games) , the rules were adjusted to allow players to wear less revealing shorts and cropped sports tops instead of bikinis. [220] (#cite_note-220) At the 2006 Asian Games (/wiki/2006_Asian_Games) , organizers banned bikini-bottoms for female athletes and asked them to wear long shorts. [221] (#cite_note-221) String bikinis and other revealing clothes are common in surfing (/wiki/Surfing) , though most surfing bikinis are more robust with more coverage than sunning bikinis. [222] (#cite_note-222) [223] (#cite_note-223) Surfing Magazine (/wiki/Surfing_Magazine) printed a pictorial of Kymberly Herrin (/wiki/Kymberly_Herrin) , Playboy Playmate (/wiki/Playboy_Playmate) March 1981, surfing in a revealing bikini, and eventually started an annual bikini issue. [224] (#cite_note-224) The Association of Surfing Professionals (/wiki/Association_of_Surfing_Professionals) often pairs female surf meets with bikini contests (/wiki/Bikini_contests) , an issue that divides the female pro-surfing community into two parts. [225] (#cite_note-225) It has often been more profitable to win the bikini contest than the female surfing event. [226] (#cite_note-226) In 2021, the Norway women's national beach handball team (/wiki/Norway_women%27s_national_beach_handball_team) was fined €1500 for being improperly dressed after the women wore bike shorts (/wiki/Cycling_shorts) instead of bikini bottoms at a European championship match in Bulgaria. [227] (#cite_note-227) Critics derided the fine and the underlying rule. Norway's minister for culture and sport Abid Raja (/wiki/Abid_Raja) described the fine as being "completely ridiculous". Former tennis champion Billie Jean King (/wiki/Billie_Jean_King) supported the team tweeting "The sexualisation of women athletes must stop". [228] (#cite_note-228) [229] (#cite_note-229) Although the Norwegian Handball Federation (/wiki/Norwegian_Handball_Federation) announced they would pay the fines, pop singer Pink (/wiki/Pink_(singer)) offered to pay for them. [230] (#cite_note-230) Later, in November 2021, the International Handball Federation (/wiki/International_Handball_Federation) changed their dress rules to allow female players to wear some kinds of shorts, specifying "Female athletes must wear short tight pants with a close fit". [231] (#cite_note-231) Body ideals [ edit ] See also: Body image (/wiki/Body_image) and Bikini contest (/wiki/Bikini_contest) Six-time Sports Illustrated Swimsuit Issue (/wiki/Sports_Illustrated_Swimsuit_Issue) cover model Elle Macpherson (/wiki/Elle_Macpherson) , [5] (#cite_note-AgeL-5) nicknamed "The Body" by Time (/wiki/Time_Magazine) , [232] (#cite_note-kugelmacpherson-232) epitomized the bikini body ideal ( but note this is not an image of Elle McPherson, but seems to be a photo of one of her lingerie products ) [233] (#cite_note-233) [234] (#cite_note-234) In 1950, American swimsuit mogul Fred Cole, owner of Cole of California, told Time (/wiki/Time_(magazine)) that bikinis were designed for "diminutive Gallic women", as because "French girls have short legs... swimsuits have to be hiked up at the sides to make their legs look longer." [37] (#cite_note-heritage-37) In 1961, The New York Times (/wiki/The_New_York_Times) reported the opinion that the bikini is permissible for people who are not "too fat or too thin". [235] (#cite_note-235) In the 1960s etiquette writer Emily Post (/wiki/Emily_Post) decreed that "[A bikini] is for perfect figures only, and for the very young." [236] (#cite_note-Slate-236) In The Bikini Book by Kelly Killoren Bensimon (/wiki/Kelly_Killoren_Bensimon) , swimwear designer Norma Kamali (/wiki/Norma_Kamali) says, "Anyone with a tummy" should not wear a bikini. [236] (#cite_note-Slate-236) Since then, a number of bikini designers including Malia Mills have encouraged women of all ages and body types to take up the style. [237] (#cite_note-237) The 1970s saw the rise of the lean ideal (/wiki/The_Thin_Ideal) of female body and figures like Cheryl Tiegs (/wiki/Cheryl_Tiegs) . Her figure remained in vogue in the 21st century. [238] (#cite_note-238) The fitness boom of the 1980s led to one of the biggest leaps in the evolution of the bikini. According to Mills, "The leg line became superhigh, the front was superlow, and the straps were superthin." [239] (#cite_note-239) Women's magazines used terms like "Bikini Belly", [240] (#cite_note-240) and workout programs were launched to develop a "bikini-worthy body". [241] (#cite_note-241) The tiny "fitness-bikinis" made of lycra (/wiki/Lycra) were launched to cater to this hardbodied ideal. [242] (#cite_note-242) Movies like Blue Crush (/wiki/Blue_Crush) and TV reality shows (/wiki/Reality_show) like Surf Girls (/wiki/Surf_Girls) merged the concepts of bikini models and athletes together, further accentuating the toned body ideal. [243] (#cite_note-GCulture-243) Motivated by yearly Spring Break (/wiki/Spring_Break) festivities that mark the start of the bikini season in North America, [244] (#cite_note-244) many women diet in an attempt to achieve the ideal bikini body; some take this to extremes including self-starvation, leading to eating disorders (/wiki/Eating_disorders) . [243] (#cite_note-GCulture-243) In 1993, Suzy Menkes (/wiki/Suzy_Menkes) , then Fashion Editor of the International Herald Tribune (/wiki/International_Herald_Tribune) , suggested that women had begun to "revolt" against the "body ideal" and bikini "exposure." She wrote, "Significantly, on the beaches as on the streets, some of the youngest and prettiest women (who were once the only ones who dared to bare) seem to have decided that exposure is over." [98] (#cite_note-menkes-98) Nevertheless, professional beach volleyball player Gabrielle Reece (/wiki/Gabrielle_Reece) , who competes in a bikini, claims that "confidence" alone can make a bikini sexy. [236] (#cite_note-Slate-236) One survey commissioned by Diet Chef, a UK home delivery service, reported by The Today Show (/wiki/Today_(U.S._TV_program)) and ridiculed by More (/wiki/More_(magazine)) magazine, showed that women should stop wearing bikinis by the age of 47. [245] (#cite_note-245) [246] (#cite_note-246) Bikini underwear [ edit ] See also: Briefs § Design (/wiki/Briefs#Design) , and Underwear as outerwear (/wiki/Underwear_as_outerwear) Certain types of underwear are described as bikini underwear and are designed for men and women. For women, bikini or bikini-style underwear is underwear that is similar in size and form to a regular bikini. It can refer to virtually any undergarment that provides less coverage to the midriff (/wiki/Midriff) than lingerie (/wiki/Lingerie) , panties (/wiki/Panties) or knickers, [247] (#cite_note-247) especially suited to clothing such as crop tops (/wiki/Crop_top) . For men, bikini briefs (/wiki/Briefs#Design) are underpants (/wiki/Underpants) that resemble women's bikini bottoms, being smaller and more revealing than men's classic briefs (/wiki/Briefs) . Men's bikini briefs can be low- or high-side that are usually lower than the true waist, often at hips, and usually have no access pouch or flap, nor leg bands at tops of thighs. [248] (#cite_note-248) String bikini briefs have front and rear sections that meet in the crotch but not at the waistband, with no fabric on the side of the legs. [249] (#cite_note-249) Swimwear and underwear have similar design considerations, both being form-fitting garments (/wiki/Form-fitting_garment) . The main difference is that, unlike underwear, swimwear is open to public view. [250] (#cite_note-250) The swimsuit was, and is, following underwear styles, [251] (#cite_note-251) and at about the same time that attitudes towards the bikini began to change, underwear underwent a redesign towards a minimal, unboned design that emphasized comfort first. [252] (#cite_note-252) History [ edit ] Women's underwear 1927 2013 As the swimsuit was evolving, underwear also started to change. Between 1900 and 1940, swimsuit lengths followed the changes in underwear designs. [253] (#cite_note-253) In the 1920s women started discarding the corset, while the Cadole company of Paris started developing something they called the "breast girdle". [254] (#cite_note-napol-254) During the Great Depression, panties and bras became softly constructed and were made of various elasticized yarns making underwear fit like a second skin. By the 1930s underwear styles for both women and men were influenced by the new brief models of swimwear from Europe. Although the waistband was still above the navel, the leg openings of the panty brief were cut in an arc to rise from the crotch to the hip joint. The brief served as a template for most variations of panties for the rest of the century. [255] (#cite_note-ddhills-255) Warner standardized the concept of Cup size (/wiki/Cup_size) in 1935. The first underwire bra was developed in 1938. [254] (#cite_note-napol-254) Beginning in the late thirties, skants, a type of skanty men's briefs, were introduced, featuring very high-cut leg openings and a lower rise to the waistband. [255] (#cite_note-ddhills-255) Howard Hughes (/wiki/Howard_Hughes) designed a push-up bra to be worn by Jane Russell (/wiki/Jane_Russell) in The Outlaw (/wiki/The_Outlaw) in 1943, although Russell stated in interviews that she never wore the 'contraption'. In 1950 Maidenform (/wiki/Maidenform) introduced the first official bust enhancing bra. [254] (#cite_note-napol-254) By the 1960s, the bikini swimsuit influenced panty styles and coincided with the cut of the new lower rise jeans and pants. [255] (#cite_note-ddhills-255) In the seventies, with the emergence of skintight jeans, thong versions of the panty became mainstream, since the open, stringed back eliminated any tell-tale panty lines across the rear and hips. By the 1980s the design of the French-cut panty pushed the waistband back up to the natural waistline and the rise of the leg openings was nearly as high (French Cut panties come up to the waist, has a high cut leg, and usually are full in the rear [256] (#cite_note-256) ). As with the bra and other type of lingerie, manufacturers of the last quarter of the century marketed panty styles that were designed primarily for their sexual allure. [255] (#cite_note-ddhills-255) From this decade sexualization and eroticization of the male body was on the rise. The male body was celebrated through advertising campaigns for brands such as Calvin Klein (/wiki/Calvin_Klein) , particularly by photographers Bruce Weber (/wiki/Bruce_Weber_(photographer)) and Herb Ritts (/wiki/Herb_Ritts) . [257] (#cite_note-schmidt-257) Male bodies and men's undergarments were commodified and packaged for mass consumption, and swimwear and sportswear were influenced by sports photography and fitness. [257] (#cite_note-schmidt-257) Over time, swimwear evolved from weighty wool to high-tech skin-tight garments (/wiki/Skin-tight_garment) , eventually cross-breeding with sportswear, underwear and exercise wear, resulting in the interchangeable fashions of the 1990s. [258] (#cite_note-258) Men's bikini [ edit ] Men's bikini Mankini The term men's bikini is sometimes used to describe swim briefs (/wiki/Swim_briefs) . Men's bikinis can have high or low side panels, and string sides or tie sides. Most lack a button or flap front. Unlike swim briefs, bikinis are not designed for drag reduction and generally lack a visible waistband. Suits less than 1.5 inches wide at the hips are less common for sporting purposes and are most often worn for recreation, fashion, and sun tanning (/wiki/Sun_tanning) . The posing brief standard to bodybuilding (/wiki/Bodybuilding) competitions is an example of this style. Male punk rock (/wiki/Punk_rock) musicians have performed on the stage wearing bikini briefs. [259] (#cite_note-259) The 2000 Bollywood (/wiki/Bollywood) film Hera Pheri (/wiki/Hera_Pheri_(2000_film)) shows men sunbathing in bikinis, who were mistakenly believed to be women from a distance. [260] (#cite_note-260) Male bikini tops also exist and are often used as visual gags (/wiki/Visual_gag) . [261] (#cite_note-261) A mankini is a type of sling swimsuit (/wiki/Sling_swimsuit) worn by men. The term is inspired by the word bikini. [262] (#cite_note-262) It was popularized by English comedian Sacha Baron Cohen (/wiki/Sacha_Baron_Cohen) when he donned one for comic effect in the film Borat (/wiki/Borat) . [263] (#cite_note-263) Bikini waxing [ edit ] Main article: Bikini waxing (/wiki/Bikini_waxing) Bikini waxing styles [a] (#cite_note-272) American waxing (also: triangle, regular) French waxing (also: Mohican, landing strip) Brazilian waxing (also: Hollywood, full monty) Bikini waxing is the epilation (/wiki/Hair_removal) of pubic hair (/wiki/Pubic_hair) beyond the bikini line by use of waxing (/wiki/Waxing) . The bikini line delineates the part of a woman's pubic area to be covered by the bottom part of a bikini, which means any pubic hair visible beyond the boundaries of a swimsuit. [272] (#cite_note-Embod1-273) Visible pubic hair is widely culturally disapproved, considered to be embarrassing (/wiki/Embarrassment) , and often removed. [272] (#cite_note-Embod1-273) As popularity of bikinis grew, the acceptability of pubic hair diminished. [273] (#cite_note-Han-274) But, with certain styles of women's swimwear, pubic hair may become visible around the crotch (/wiki/Crotch) area of a swimsuit (/wiki/Swimsuit) . [272] (#cite_note-Embod1-273) With the reduction in the size of swimsuits, especially since the advent of the bikini after 1945, the practice of bikini waxing has also become popular. [272] (#cite_note-Embod1-273) The Brazilian style which became popular with the rise of thong bottoms. [274] (#cite_note-heinz-275) Depending on the style of bikini-bottom and the amount of skin visible outside the bikini, [274] (#cite_note-heinz-275) pubic hair may be styled into several styles: [264] (#cite_note-milady-264) [265] (#cite_note-essort-265) [266] (#cite_note-BrBi-266) American waxing (removal of pubic hair from the sides, top of the thighs, and under the navel), French waxing (leaving only a vertical strip in front), or Brazilian waxing (removal of all hair in the pelvic area, particularly suitable for thong (/wiki/Thong) bottoms). [275] (#cite_note-276) Bikini tan [ edit ] Tan lines created by the wearing of a bikini See also: Sun tanning (/wiki/Sun_tanning) and Tan line (/wiki/Tan_line) The tan lines created by the wearing of a bikini while tanning are known as a bikini tan. These tan lines separate pale breasts, crotch, and buttocks from otherwise tanned skin. [276] (#cite_note-nyt-277) Prominent bikini tan lines were popular in the 1990s, [277] (#cite_note-278) and a spa in Brazil started offering perfect bikini tan lines using masking tapes (/wiki/Masking_tape) in 2016. [278] (#cite_note-279) As bikini-style swimsuits leave most of the body exposed to potentially dangerous UV (/wiki/Ultraviolet) radiation, overexposure can cause sunburn (/wiki/Sunburn) , skin cancer (/wiki/Skin_cancer) , as well as other acute and chronic health effects (/wiki/Health_effects_of_sun_exposure) on the skin, eyes, and immune system (/wiki/Immune_system) . [279] (#cite_note-280) As a result, medical organizations recommend that bikini wearers protect themselves from UV radiation by using broad-spectrum sunscreen (/wiki/Sunscreen) , which has been shown to protect against sunburn, skin cancer, [280] (#cite_note-281) wrinkling and sagging skin. [281] (#cite_note-282) A 1969 innovation of tan-through swimwear uses fabric which is perforated with thousands of micro holes that are nearly invisible to the naked eye, but which let enough sunlight through to produce a line-free tan. [276] (#cite_note-nyt-277) [282] (#cite_note-283) See also [ edit ] Fashion portal (/wiki/Portal:Fashion) Cultural views on the navel (/wiki/Cultural_views_on_the_navel) Bikini in popular culture (/wiki/Bikini_in_popular_culture) References [ edit ] ^ (#cite_ref-1) López, Alberto (August 3, 2017). "Dolores del Río, la primera actriz hispanoamericana que conquistó Hollywood" (https://elpais.com/cultura/2017/08/03/actualidad/1501752181_821825.html) . El País (in Spanish) . Retrieved March 5, 2022 . ^ Jump up to: a b c d e f Weisgall, Jonathan M. (1994). Operation Crossroads: The atomic tests at Bikini Atoll . Naval Institute Press. pp. 263–264. ^ Jump up to: a b c d e Alac, Patrik (2012). Bikini Story (first ed.). Parkstone International. p. 52. ISBN (/wiki/ISBN_(identifier)) 978-1-78042-951-9 . ^ Jump up to: a b "Bikini" (http://www.merriam-webster.com/dictionary/bikini) . Merriam-Webster (/wiki/Merriam-Webster) . February 13, 2014. ^ Jump up to: a b c Edwards, Lorna (June 3, 2006). "You've still got it, babe" (https://www.theage.com.au/lifestyle/fashion/youve-still-got-it-babe-20060603-ge2g1g.html) . The Age . Archived (https://web.archive.org/web/20160306024943/http://www.theage.com.au/articles/2006/06/02/1148956539436.html?page=fullpage) from the original on March 6, 2016 . Retrieved April 14, 2023 . ^ Jump up to: a b Agrawala, P.K. (1983). Goddesses in Ancient India (first ed.). Atlantic Highlands, N.J.: Humanities Press. p. 12. ISBN (/wiki/ISBN_(identifier)) 978-0-391-02960-6 . ^ Jump up to: a b c d e f Westcott, Kathryn (July 5, 2006). "The bikini: Not a brief affair" (http://news.bbc.co.uk/2/hi/in_depth/5130460.stm) . BBC . Archived (https://web.archive.org/web/20080721185042/http://news.bbc.co.uk/2/hi/in_depth/5130460.stm) from the original on July 21, 2008 . Retrieved April 14, 2023 . ^ (#cite_ref-8) Cole, Thomas G. II. "(The) Bikini: EmBodying the Bomb" (https://web.archive.org/web/20110901063358/http://www.genders.org/g53/g53_cole.html) . Genders Journal. Archived from the original (http://www.genders.org/g53/g53_cole.html) on September 1, 2011. ^ Jump up to: a b c d e "Bikini Introduced" (http://www.history.com/this-day-in-history/bikini-introduced) . A&E Television Networks (/wiki/A%26E_Television_Networks) . Retrieved September 17, 2008 . ^ (#cite_ref-Guardian_10-0) Cocozza, Paula (June 10, 2006). "A little piece of history" (https://www.theguardian.com/travel/2006/jun/10/sttropez.filminspiredtravel.france.culturaltrips) . The Guardian . UK. Archived (https://web.archive.org/web/20080927104351/http://www.guardian.co.uk/travel/2006/jun/10/sttropez.filminspiredtravel.france.culturaltrips?gusrc=rss&feed=travel) from the original on September 27, 2008 . Retrieved September 17, 2008 . ^ (#cite_ref-11) "Marshallese-English Dictionary – Place Name Index" (http://www.trussel2.com/MOD/LocP.htm#Pikinni) . www.trussel2.com . Retrieved July 23, 2016 . ^ (#cite_ref-12) "The History of the Bikini" (http://content.time.com/time/photogallery/0,29307,1908353_1905440,00.html) . Time . July 3, 2009 . Retrieved August 20, 2013 . ^ (#cite_ref-13) "Tiny Swimsuit That Rocked the World: A History of the Bikini" (https://web.archive.org/web/20120808002739/http://www.randomhistory.com/1-50/002bikini.html) . Randomhistory.com. May 1, 2007. Archived from the original (http://www.randomhistory.com/1-50/002bikini.html) on August 8, 2012 . Retrieved December 3, 2011 . ^ (#cite_ref-14) Acton, Johnny (2006). Origin of everyday things . think. p. 34. ^ (#cite_ref-15) Geerhart, Bill (August 19, 2013). "Atomic Goddess Revisited" (https://conelrad.blogspot.com/2013/08/atomic-goddess-revisited-rita-hayworths.html) . CONELRAD Adjacent. ^ (#cite_ref-16) Brown, Steve (April 2013). "Archaeology of brutal encounter: Heritage and bomb testing on Bikini Atoll, Republic of the Marshall Islands". Archaeology in Oceania . 48 (1): 26–39. doi (/wiki/Doi_(identifier)) : 10.1002/arco.5000 (https://doi.org/10.1002%2Farco.5000) . ^ (#cite_ref-17) Gold, David L. (2009). Studies in Etymology and Etiology . Universidad de Alicante. pp. 100–101. ISBN (/wiki/ISBN_(identifier)) 978-84-7908-517-9 . ^ (#cite_ref-18) Alac, Patrik (2012). Bikini Story . Parkstone International. p. 68. ISBN (/wiki/ISBN_(identifier)) 978-1-78042-951-9 . ^ (#cite_ref-19) Gurmit Singh; Ishtla Singh (2013). The History of English . Routledge. pp. 13–14. ISBN (/wiki/ISBN_(identifier)) 978-1-4441-1924-4 . ^ (#cite_ref-20) Safire, William (2004). No Uncertain Terms: More Writing from the Popular "On Language" Column in The New York Times Magazine (First Simon & Schuster ed.). New York: Simon & Schuster. ISBN (/wiki/ISBN_(identifier)) 978-0-7432-4955-3 . OCLC (/wiki/OCLC_(identifier)) 893687501 (https://www.worldcat.org/oclc/893687501) . ^ (#cite_ref-21) Donnally, Trish (May 18, 1999). " (https://www.sfgate.com/entertainment/article/Inis-Are-In-Bikini-s-little-sisters-have-2930316.php) "Inis" Are In / Bikini's little sisters have their moment in the sun" (https://www.sfgate.com/entertainment/article/Inis-Are-In-Bikini-s-little-sisters-have-2930316.php) . SFGATE . Retrieved April 14, 2023 . ^ Jump up to: a b Blake, Barry J. (2007). Playing with words : humour in the English language . London: Equinox Publishing. p. 59. ISBN (/wiki/ISBN_(identifier)) 978-1-84553-577-3 . OCLC (/wiki/OCLC_(identifier)) 608111359 (https://www.worldcat.org/oclc/608111359) . ^ (#cite_ref-23) " The Language Report: The ultimate record of what we're saying and how we're saying it (http://www.articlearchives.com/humanities-social-science/language-languages/644034-1.html) Archived (https://web.archive.org/web/20151005073022/http://www.articlearchives.com/humanities-social-science/language-languages/644034-1.html) October 5, 2015, at the Wayback Machine (/wiki/Wayback_Machine) ", Science News (from Article Archive ), August 7, 2004 ^ (#cite_ref-24) Shontell, Alyson (September 17, 2010). "15 Words You Had No Idea Used To Be Brand Names | Bikini" (http://www.businessinsider.com/15-words-you-had-no-idea-used-to-be-brand-names-2010-9?IR=T#bikini-2) . Business Insider (/wiki/Business_Insider) . Retrieved May 8, 2016 . ^ (#cite_ref-25) Lucy Goodison (/wiki/Lucy_Goodison) and Christine E. Morris (/wiki/Christine_E._Morris) , Ancient Goddesses: The Myths and the Evidence , page 46, University of Wisconsin Press, 1998, ISBN (/wiki/ISBN_(identifier)) 978-0-299-16320-4 (/wiki/Special:BookSources/978-0-299-16320-4) ^ (#cite_ref-26) James, Peter J.; Thorpe, I. J.; Thorpe, Nick (1994). Ancient Inventions . Ballantine Books. p. 279 (https://archive.org/details/ancientinvention00jame/page/279) . ISBN (/wiki/ISBN_(identifier)) 978-0-345-40102-1 . ^ (#cite_ref-VilCas_27-0) "Villa Romana del Casale" (http://www.valdinoto.com/english/villa_romana_del_casale.htm) . Val di Noto . Retrieved August 29, 2013 . ^ Jump up to: a b Guttmann, Allen (1991). Women's Sports: A History . Columbia University Press. p. 38 (https://archive.org/details/womenssports00alle/page/38) . ISBN (/wiki/ISBN_(identifier)) 978-0-231-06957-1 . ^ Jump up to: a b "Villa Romana del Casale" (https://web.archive.org/web/20081223110444/http://www.worldheritagesite.org/sites/villaromanadelcasale.html) . World Heritage Sites. Archived from the original (http://www.worldheritagesite.org/sites/villaromanadelcasale.html) on December 23, 2008 . Retrieved March 7, 2015 . ^ (#cite_ref-30) "Pompeian Households: Image Gallery" (https://web.archive.org/web/20160205075357/http://www.stoa.org/gallery/allison) . The Stoa Consortium, Center for Hellenic Studies, Harvard University. Archived from the original (http://www.stoa.org/gallery/allison) on February 5, 2016 . Retrieved March 7, 2015 . ^ (#cite_ref-31) "Stoa Image Gallery" (https://web.archive.org/web/20151015205200/http://www.stoa.org/gallery/albums.php) . The Stoa Consortium, Center for Hellenic Studies, Harvard University. Archived from the original (http://www.stoa.org/gallery/albums.php) on October 15, 2015 . Retrieved March 7, 2015 . ^ (#cite_ref-32) Penelope M. Allison. 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Chirls, " Americans head for the water – in, on and under (https://web.archive.org/web/20121023042306/http://www.highbeam.com/doc/1G1-7827637.html) ", Daily News Record , July 31, 1989 ^ Jump up to: a b Claudia Mitchell and Jacqueline Reid-Walsh, Girl Culture: An Encyclopedia (https://books.google.com/books?id=9PRoPX3DIwgC&q=Jacques+Heim+bikini+july&pg=PA182) (Vol. 1), page 183, Greenwood Publishing Group, 2007, ISBN (/wiki/ISBN_(identifier)) 978-0-313-08444-7 (/wiki/Special:BookSources/978-0-313-08444-7) ^ (#cite_ref-244) Jacklyn Zeman, Jackie Zeman's Beauty on the Go , page 70, Simon & Schuster, 1986, ISBN (/wiki/ISBN_(identifier)) 978-0-671-54326-6 (/wiki/Special:BookSources/978-0-671-54326-6) ^ (#cite_ref-245) "Stop wearing bikinis after 47? Survey finds age a factor in fashion" (https://web.archive.org/web/20131102114023/http://discuss.today.com/_news/2011/05/13/6636106-stop-wearing-bikinis-after-47-survey-finds-age-a-factor-in-fashion) . Today.com. May 13, 2011. Archived from the original (http://discuss.today.com/_news/2011/05/13/6636106-stop-wearing-bikinis-after-47-survey-finds-age-a-factor-in-fashion) on November 2, 2013 . Retrieved August 15, 2013 . ^ (#cite_ref-246) Lesley Kennedy, " Are You Too Old to Rock a Bikini? (http://www.more.com/fashion-age-limit-survey) Archived (https://web.archive.org/web/20140222195121/http://www.more.com/fashion-age-limit-survey) February 22, 2014, at the Wayback Machine (/wiki/Wayback_Machine) ", More , March 13, 2011 ^ (#cite_ref-247) Alison J. Carter, Underwear: The Fashion History , page 111, Batsford, 1992, ISBN (/wiki/ISBN_(identifier)) 978-0-7134-6222-7 (/wiki/Special:BookSources/978-0-7134-6222-7) ^ (#cite_ref-248) Shaun Cole, The Story of Men's Underwear (https://books.google.com/books?id=EEEmuePeDX4C&q=bikini+underwear&pg=PA90) , pages 90–93, Parkstone International, 2012, ISBN (/wiki/ISBN_(identifier)) 978-1-78042-882-6 (/wiki/Special:BookSources/978-1-78042-882-6) ^ (#cite_ref-249) "The History of Underwear" (https://web.archive.org/web/20130818070455/http://boxerbriefs.com/history_of_underwear.htm) . Boxerbriefs.com. Archived from the original (http://www.boxerbriefs.com/history_of_underwear.htm) on August 18, 2013 . Retrieved August 15, 2013 . ^ (#cite_ref-250) Jennifer Craik, The Face of Fashion: Cultural Studies in Fashion , page 133, Routledge, 1993, ISBN (/wiki/ISBN_(identifier)) 978-1-134-94056-1 (/wiki/Special:BookSources/978-1-134-94056-1) ^ (#cite_ref-251) Christine Schmid, The Swimsuit: Fashion from Poolside to Catwalk , page 6, A&C Black, 2013, ISBN (/wiki/ISBN_(identifier)) 978-0-85785-124-6 (/wiki/Special:BookSources/978-0-85785-124-6) ^ (#cite_ref-252) Dan Parker, The Bathing Suit: Christian Liberty Or Secular Idolatry , page 170, Xulon Press, 2003, ISBN (/wiki/ISBN_(identifier)) 978-1-59160-753-3 (/wiki/Special:BookSources/978-1-59160-753-3) ^ (#cite_ref-253) Muriel Barbier, Shazia Boucher, The Story of Lingerie , page 139, Parkstone International, 2012, ISBN (/wiki/ISBN_(identifier)) 978-1-78042-970-0 (/wiki/Special:BookSources/978-1-78042-970-0) ^ Jump up to: a b c Anthony Napoleon, Awakening Beauty , page 130, Virtualbookworm Publishing, 2003, ISBN (/wiki/ISBN_(identifier)) 978-1-58939-378-3 (/wiki/Special:BookSources/978-1-58939-378-3) ^ Jump up to: a b c d Daniel Delis Hill, As Seen in Vogue: A Century of American Fashion in Advertising , page 158, Texas Tech University Press, 2007, ISBN (/wiki/ISBN_(identifier)) 978-0-89672-616-1 (/wiki/Special:BookSources/978-0-89672-616-1) ^ (#cite_ref-256) Lisa Cole, Lingerie, the Foundation of a Woman's Life , page 45, Choice Publications, 2005, ISBN (/wiki/ISBN_(identifier)) 978-0-9711803-4-5 (/wiki/Special:BookSources/978-0-9711803-4-5) ^ Jump up to: a b Christine Schmidt, The Swimsuit: Fashion from Poolside to Catwalk , page 19, Bloomsbury Academic, 2012, ISBN (/wiki/ISBN_(identifier)) 0-85785-123-3 (/wiki/Special:BookSources/0-85785-123-3) ^ (#cite_ref-258) Christine Schmid, The Swimsuit: Fashion from Poolside to Catwalk , page 102, A&C Black, 2013, ISBN (/wiki/ISBN_(identifier)) 978-0-85785-124-6 (/wiki/Special:BookSources/978-0-85785-124-6) ^ (#cite_ref-259) A. W. Richard Sipe, A Secret World , page 25, Psychology Press, 1990, ISBN (/wiki/ISBN_(identifier)) 0-87630-585-0 (/wiki/Special:BookSources/0-87630-585-0) ^ (#cite_ref-260) Ruth Vanita, Queering India , page 207, Routledge, 2002, ISBN (/wiki/ISBN_(identifier)) 0-415-92950-4 (/wiki/Special:BookSources/0-415-92950-4) ^ (#cite_ref-261) Sarah Karnasiewicz, Here she comes, "Mr. Saugus High School" (http://www.salon.com/mwt/broadsheet/2006/01/19/mr_saugus/) Archived (https://web.archive.org/web/20090203201013/http://www.salon.com/mwt/broadsheet/2006/01/19/mr_saugus/) February 3, 2009, at the Wayback Machine (/wiki/Wayback_Machine) , Salon ^ (#cite_ref-262) Leslie Dunton-Downer, The English is Coming!: How One Language is Sweeping the World (https://books.google.com/books?id=NBK6FoHLgcEC&q=mankini+bikini&pg=PT44) , Simon & Schuster, 2010, ISBN (/wiki/ISBN_(identifier)) 978-1-4391-7672-6 (/wiki/Special:BookSources/978-1-4391-7672-6) ^ (#cite_ref-263) Staff Reporter, " Blackpool Council considers 'mankini' outfit ban (https://www.bbc.com/news/uk-england-lancashire-29704452) ", BBC, November 21, 2014 ^ Jump up to: a b Helen Bickmore; Milady's Hair Removal Techniques: A Comprehensive Manual ; Thomson Delmar Learning; 2003; ISBN (/wiki/ISBN_(identifier)) 1-4018-1555-3 (/wiki/Special:BookSources/1-4018-1555-3) ^ Jump up to: a b "Different Types of Bikini Wax and Application Techniques" (https://web.archive.org/web/20131225003346/http://www.essortment.com/different-types-bikini-wax-application-techniques-59434.html) . Essortment. Archived from the original (http://www.essortment.com/different-types-bikini-wax-application-techniques-59434.html) on December 25, 2013 . Retrieved May 9, 2013 . ^ Jump up to: a b "Brazilian bikini wax" (https://web.archive.org/web/20121117052055/http://www.brazilian-bikinis.org/brazilianbikiniwax.html) . Brazilian Bikinis. Archived from the original (http://www.brazilian-bikinis.org/brazilianbikiniwax.html) on November 17, 2012 . Retrieved May 9, 2013 . ^ (#cite_ref-landingstrip_267-0) Grey, Maggie (June 30, 2012). "Basic Pubic Hairstyles" (http://www.landingstrip.org/basic-pubic-hairstyles/) . The Landing Strip . Retrieved June 13, 2014 . ^ (#cite_ref-SalE_268-0) Salinger, Eve (2005). The Complete Idiot's Guide to Pleasing Your Woman . New York: Alpha Books/Penguin Group. p. 196. ISBN (/wiki/ISBN_(identifier)) 978-1-59257-464-3 . ^ (#cite_ref-Boston_269-0) Boston Women's Health Book Collective, The (2005). Our Bodies, Ourselves: A New Edition for a New Era (35th anniversary ed.). New York: Touchstone/Simon & Schuster. p. 4 (https://archive.org/details/ourbodiesoursel00bost/page/4) . ISBN (/wiki/ISBN_(identifier)) 978-0-7432-5611-7 . ^ (#cite_ref-270) Hiscock, Jane; Frances Lovett (2004). Beauty Therapy (2nd ed.). Oxford, UK: Heinemann Educational Publishers. p. 325. ISBN (/wiki/ISBN_(identifier)) 978-0-435-45102-8 . Retrieved May 9, 2013 . ^ (#cite_ref-271) Latour, Stephanie (2002). Erotic Review's Bedside Companion: An ABC of Delightful Depravity . Anova Books. p. 25. ISBN (/wiki/ISBN_(identifier)) 978-1-84411-002-5 . Retrieved May 9, 2013 . Salons offer a choice of waxing styles for women, including the widely renowned Brazilian or Mohican for those concerned not to reveal a single stray pube in the inciest, winciest beachwear, while The Hollywood denotes the full monty. ^ Jump up to: a b c d Heinz Tschachler, Maureen Devine, Michael Draxlbauer; The EmBodyment of American Culture ; pp 61–62; LIT Verlag, Berlin-Hamburg-Münster; 2003; ISBN (/wiki/ISBN_(identifier)) 3-8258-6762-5 (/wiki/Special:BookSources/3-8258-6762-5) . ^ (#cite_ref-Han_274-0) David L. Hanlon, Geoffrey Miles White, Voyaging Through the Contemporary Pacific , page 99, Rowman & Littlefield, 2000, ISBN (/wiki/ISBN_(identifier)) 0742500454 (/wiki/Special:BookSources/0742500454) ^ Jump up to: a b Heinz Tschachler, Maureen Devine and Michael Draxlbauer (ed.), The EmBodyment of American Culture , page 62, LIT Verlag Münster, 2003, ISBN (/wiki/ISBN_(identifier)) 978-3-8258-6762-1 (/wiki/Special:BookSources/978-3-8258-6762-1) ^ (#cite_ref-276) Milady, Milady Standard Cosmetology 2012 (https://books.google.com/books?id=_DKKtUx5uo4C&q=%22bikini+waxing%22+evolution&pg=PA688) , page 22, Cengage Learning, 2011, ISBN (/wiki/ISBN_(identifier)) 1439059306 (/wiki/Special:BookSources/1439059306) ^ Jump up to: a b Taylor, Angela (October 17, 1969). "Tan-Through Fabric Lets Sun Shine In" (https://www.nytimes.com/1969/10/17/archives/tanthrough-fabric-lets-sun-shine-in.html) . The New York Times (/wiki/The_New_York_Times) . p. 55 . Retrieved November 30, 2014 . ^ (#cite_ref-278) Stephanie Mitchell, " Tan lines belong in the 90s with boob tubes and flared jeans (https://www.stuff.co.nz/taranaki-daily-news/opinion/109806464/tan-lines-belong-in-the-90s-with-boob-tubes-and-flared-jeans) ", Stuff , January 17, 2019 ^ (#cite_ref-279) Talia Lakritz, " Women in Brazil are using masking tape to get the perfect tan lines (https://www.insider.com/masking-tape-bikinis-brazil-perfect-tan-line-2016-11) ", Insider , November 29, 2016 ^ (#cite_ref-280) "Health effects of UV radiation" (https://web.archive.org/web/20031127035028/http://www.who.int/uv/health/en/) . WHO. Archived from the original (https://www.who.int/uv/health/en/) on November 27, 2003 . Retrieved March 7, 2015 . ^ (#cite_ref-281) Kanavy HE; Gerstenblith MR (December 2011). "Ultraviolet radiation and melanoma". Semin Cutan Med Surg . 30 (4): 222–228. doi (/wiki/Doi_(identifier)) : 10.1016/j.sder.2011.08.003 (https://doi.org/10.1016%2Fj.sder.2011.08.003) . PMID (/wiki/PMID_(identifier)) 22123420 (https://pubmed.ncbi.nlm.nih.gov/22123420) . ^ (#cite_ref-282) M.C.B. Hughes; G.M. Williams; P. Baker; A.C. Green (June 4, 2013). "Sunscreen and Prevention of Skin Aging" (http://annals.org/article.aspx?articleid=1691732) . Annals of Internal Medicine . 158 (11): 781–790. doi (/wiki/Doi_(identifier)) : 10.7326/0003-4819-158-11-201306040-00002 (https://doi.org/10.7326%2F0003-4819-158-11-201306040-00002) . PMID (/wiki/PMID_(identifier)) 23732711 (https://pubmed.ncbi.nlm.nih.gov/23732711) . S2CID (/wiki/S2CID_(identifier)) 12250745 (https://api.semanticscholar.org/CorpusID:12250745) . ^ (#cite_ref-283) "Scorecard: No nudes is good news" (https://web.archive.org/web/20131012014005/http://sportsillustrated.cnn.com/vault/article/magazine/MAG1082764/3/) . Sports Illustrated (/wiki/Sports_Illustrated) . September 1, 1969. Archived from the original (http://sportsillustrated.cnn.com/vault/article/magazine/MAG1082764/3/) on October 12, 2013 . Retrieved April 15, 2015 . ^ (#cite_ref-272) Sources: [264] (#cite_note-milady-264) [265] (#cite_note-essort-265) [266] (#cite_note-BrBi-266) [267] (#cite_note-landingstrip-267) [268] (#cite_note-SalE-268) [269] (#cite_note-Boston-269) [270] (#cite_note-270) [271] (#cite_note-271) External links [ edit ] Look up bikini (https://en.wiktionary.org/wiki/Special:Search/bikini) in Wiktionary, the free dictionary. Wikimedia Commons has media related to Bikini . 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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=Bikini&oldid=1235063886 (https://en.wikipedia.org/w/index.php?title=Bikini&oldid=1235063886) " Categories (/wiki/Help:Category) : Bikinis (/wiki/Category:Bikinis) 1940s fashion (/wiki/Category:1940s_fashion) 1990s fashion (/wiki/Category:1990s_fashion) 2000s fashion (/wiki/Category:2000s_fashion) 2010s fashion (/wiki/Category:2010s_fashion) 1946 clothing (/wiki/Category:1946_clothing) 1940s neologisms (/wiki/Category:1940s_neologisms) Bikini Atoll (/wiki/Category:Bikini_Atoll) Women's clothing (/wiki/Category:Women%27s_clothing) Hidden categories: CS1 Spanish-language sources (es) (/wiki/Category:CS1_Spanish-language_sources_(es)) Webarchive template wayback links (/wiki/Category:Webarchive_template_wayback_links) CS1 French-language sources (fr) (/wiki/Category:CS1_French-language_sources_(fr)) CS1 German-language sources (de) (/wiki/Category:CS1_German-language_sources_(de)) All articles with dead external links (/wiki/Category:All_articles_with_dead_external_links) Articles with dead external links from July 2020 (/wiki/Category:Articles_with_dead_external_links_from_July_2020) Articles with permanently dead external links (/wiki/Category:Articles_with_permanently_dead_external_links) Articles with dead external links from September 2023 (/wiki/Category:Articles_with_dead_external_links_from_September_2023) Articles with short description (/wiki/Category:Articles_with_short_description) Short description is different from Wikidata (/wiki/Category:Short_description_is_different_from_Wikidata) Good articles (/wiki/Category:Good_articles) Use mdy dates from August 2023 (/wiki/Category:Use_mdy_dates_from_August_2023) Articles containing French-language text (/wiki/Category:Articles_containing_French-language_text) Articles containing Marshallese-language text (/wiki/Category:Articles_containing_Marshallese-language_text) Pages using multiple image with auto scaled images (/wiki/Category:Pages_using_multiple_image_with_auto_scaled_images) All articles with failed verification (/wiki/Category:All_articles_with_failed_verification) Articles with failed verification from June 2024 (/wiki/Category:Articles_with_failed_verification_from_June_2024) All articles with unsourced statements (/wiki/Category:All_articles_with_unsourced_statements) Articles with unsourced statements from June 2023 (/wiki/Category:Articles_with_unsourced_statements_from_June_2023) Commons link from Wikidata (/wiki/Category:Commons_link_from_Wikidata) Articles with GND identifiers (/wiki/Category:Articles_with_GND_identifiers) |
Practice of dressing like a different gender Irving Berlin (/wiki/Irving_Berlin) 's "This Is the Army, Mr. Jones", performed by cross-dressed U.S. Army soldiers (1942) [1] (#cite_note-Winkler-2016-1) Cross-dressing History of cross-dressing (/wiki/History_of_cross-dressing) In wartime (/wiki/Wartime_cross-dressers) History of drag (/wiki/History_of_drag) Rebecca Riots (/wiki/Rebecca_Riots) Casa Susanna (/wiki/Casa_Susanna) Pantomime dame (/wiki/Pantomime_dame) Principal boy (/wiki/Principal_boy) Travesti (theatre) (/wiki/Travesti_(theatre)) Travesti (gender identity) (/wiki/Travesti_(gender_identity)) Key elements Passing (/wiki/Passing_(gender)) Transvestism (/wiki/Transvestism) Modern drag (/wiki/Drag_(entertainment)) culture Ball culture (/wiki/Ball_culture) Drag king (/wiki/Drag_king) Drag pageantry (/wiki/Drag_pageantry) Drag queen (/wiki/Drag_queen) Female queen (drag) (/wiki/Female_queen_(drag)) Sexual practices Femdom (/wiki/Dominatrix) Feminization 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(/wiki/Queer_heterosexuality) LGBT (/wiki/LGBT) Sex (/wiki/Sex) Sex–gender distinction (/wiki/Sex%E2%80%93gender_distinction) Sexual orientation (/wiki/Sexual_orientation) Social construction of gender (/wiki/Social_construction_of_gender) Transgender portal (/wiki/Portal:Transgender) LGBT portal (/wiki/Portal:LGBT) Category (/wiki/Category:Transgender) v t e Cross-dressing is the act of wearing clothes traditionally or stereotypically associated with a different gender (/wiki/Gender) . [2] (#cite_note-2) From as early as pre-modern history, cross-dressing has been practiced in order to disguise, comfort, entertain, and express oneself. [3] (#cite_note-3) Socialization (/wiki/Socialization) establishes social norms among the people of a particular society. With regard to the social aspects of clothing (/wiki/Social_aspects_of_clothing) , such standards may reflect guidelines relating to the style, color, or type of clothing that individuals are expected to wear. Such expectations may be delineated according to gender roles (/wiki/Gender_roles) . Cross-dressing involves dressing contrary to the prevailing standards (or in some cases, laws) for a person of their gender in their own society. [4] (#cite_note-4) The term "cross-dressing" refers to an action or a behavior, without attributing or implying any specific causes or motives for that behavior. Cross-dressing is not synonymous with being transgender (/wiki/Transgender) . Terminology [ edit ] The phenomenon of cross-dressing is seen throughout recorded history, being referred to as far back as the Hebrew Bible (/wiki/Hebrew_Bible) . [5] (#cite_note-aggrawal_2009_16_3-5) The terms used to describe it have changed throughout history; the Anglo-Saxon (/wiki/Anglo-Saxon) -rooted term "cross-dresser" is viewed more favorably than the Latin (/wiki/Latin) -origin term " transvestite (/wiki/Transvestite) " in some circles, where it has come to be seen as outdated and derogatory. [6] (#cite_note-Vaccaro-6) [7] (#cite_note-Capuzza-7) [8] (#cite_note-Zastrow-8) Its first mention originated in Magnus Hirschfeld's Die Transvestiten (/wiki/Die_Transvestiten) ( The Transvestites ) in 1910, originally associating cross-dressing with non-heterosexual behavior or derivations of sexual intent. Its connotations largely changed in the 20th century as its use was more frequently associated with sexual excitement, otherwise known as transvestic disorder. [9] (#cite_note-9) This term was historically used to diagnose psychiatric disorders (e.g. transvestic fetishism (/wiki/Transvestic_fetishism) ), but the former (cross-dressing) was coined by the transgender (/wiki/Transgender) community. [6] (#cite_note-Vaccaro-6) [10] (#cite_note-Gerstner-10) The Oxford English Dictionary (/wiki/Oxford_English_Dictionary) gives 1911 as the earliest citation of the term "cross-dressing", by Edward Carpenter (/wiki/Edward_Carpenter) : "Cross-dressing must be taken as a general indication of, and a cognate phenomenon to, homosexuality". In 1928, Havelock Ellis (/wiki/Havelock_Ellis) used the two terms "cross-dressing" and "transvestism" interchangeably. The earliest citations for "cross-dress" and "cross-dresser" are 1966 and 1976, respectively. [11] (#cite_note-11) En femme and en homme [ edit ] The term en femme [ɑ̃ (/wiki/Help:IPA/French) fam] (/wiki/Help:IPA/French) is a lexical borrowing (/wiki/Lexical_borrowing) of a French phrase. It is used in the transgender and crossdressing community to describe the act of wearing feminine clothing or expressing a stereotypically feminine personality. The term is borrowed from the modern French (/wiki/French_language) phrase en femme [12] (#cite_note-12) [13] (#cite_note-13) meaning "as a woman." Most crossdressers also use a female (/wiki/Female) name whilst en femme ; that is their "femme name". In the cross-dressing community the persona a man adopts when he dresses as a woman is known as his " femme (/wiki/Femme) self". [14] (#cite_note-14) Between 1987 and 1991, JoAnn Roberts and CDS published a magazine called "En Femme" that was "for the transvestite, transsexual, crossdresser, and female impersonator (/wiki/Drag_queen) ." [15] (#cite_note-15) En homme [ɑ̃nɔm] (/wiki/Help:IPA/French) is a similar anglicized (/wiki/Anglicized) adaptation of a French phrase, used to describe the act of wearing masculine clothing or expressing a stereotypically masculine personality. [16] (#cite_note-16) The term is derived from the modern colloquial French phrase en tant qu'homme meaning "as a man" and the anglicized adaptation en homme literally translates as "in man". Most crossdressers also use a masculine name whilst en homme . History [ edit ] Frances Benjamin Johnston (/wiki/Frances_Benjamin_Johnston) (right) poses with two cross-dressing friends; the "lady" is identified by Johnston as the illustrator Mills Thompson c. 1890 . Main article: History of cross-dressing (/wiki/History_of_cross-dressing) See also: Trousers as women's clothing (/wiki/Trousers_as_women%27s_clothing) Non-Western history [ edit ] Lady Murasaki's (/wiki/Lady_Murasaki) classical novel The Tale of Genji (/wiki/The_Tale_of_Genji) from 1008 demonstrates the transgression between masculine and feminine beauty with characters that have no clear gender differentiability. Cross-dressing has been practiced throughout much of recorded history, in many societies, and for many reasons. Examples exist in Greek (/wiki/Greek_mythology) , Norse (/wiki/Norse_mythology) , and Hindu mythology (/wiki/Hindu_mythology) . Cross-dressing can be found in theater and religion, such as kabuki (/wiki/Kabuki) , Noh (/wiki/Noh) , and Korean shamanism (/wiki/Korean_shamanism) , as well as in folklore, literature, and music. For instance, in examining kabuki culture during Japan's edo period, cross-dressing was not only used for theater purposes but also because current societal trends: cross-dressing and the switching of genders was a familiar concept to the Japanese at the time which allowed them to interchange characters's genders easily and incorporate geisha fashion (/wiki/Geisha) into men's wear. [17] (#cite_note-17) This was especially common in the story-telling of ancient stories such as the character Benten from Benten Kozō (/wiki/Benten_Koz%C5%8D) . He was a thief in the play cross-dressing as a woman. Cross-dressing was also exhibited in Japanese Noh for similar reasons. Societal standards at the time broke boundaries between gender. For example, ancient Japanese portraits of aristocrats have no clear differentiation in characteristics between male and female beauty. Thus, in Noh performance, the cross-dressing of actors was common; especially given the ease of disguising biological sex with the use of masks and heavy robes. [18] (#cite_note-18) In a non-entertainment context, cross-dressing is also exhibited in Korean shamanism for religious purposes. Specifically, this is displayed in chaesu-gut, a shamanistic rite gut in which a shaman offers a sacrifice to the spirits to intermediate in the fortunes of the intended humans for the gut. Here, cross-dressing serves many purposes. Firstly, the shaman (typically a woman) would cross-dress as both male and female spirits can occupy her. This allows her to represent the opposite sex and become a cross-sex icon in 75% of the time of the ritual. This also allows her to become a sexually liminal being. It is clear that in entertainment, literature, art, and religion, different civilizations have utilized cross-dressing for many different purposes. [19] (#cite_note-19) [20] (#cite_note-20) Western history [ edit ] Male performers putting on female costumes prior to a theatre performance. The figure on the left is wearing a mask and a second mask is lying on the ground between them. The masks represent a female character and they have a kerchief around the hair on the mask. Their costumes also include female clothing such as high boots and a chiton. Ceramic Athenian Pelike. Phiale Painter. Ancient Greek. Around 430 BCE. Museum of Fine Arts, Boston In the British and European context, theatrical troupes (" playing companies (/wiki/Playing_company) ") were all-male, with the female parts undertaken by boy players (/wiki/Boy_player) . The Rebecca Riots (/wiki/Rebecca_Riots) took place between 1839 and 1843 in West (/wiki/West_Wales) and Mid Wales (/wiki/Mid_Wales) . [21] (#cite_note-Welsh_Academy-21) They were a series of protests (/wiki/Protest) undertaken by local farmers and agricultural workers in response to unfair taxation. The rioters, often men dressed as women, took their actions against toll-gates (/wiki/Toll-gate) , as they were tangible representations of high taxes and tolls. The riots ceased prior to 1844 due to several factors, including increased troop levels, a desire by the protestors to avoid violence and the appearance of criminal groups using the guise of the biblical character Rebecca (/wiki/Rebecca) for their own purposes. [22] (#cite_note-22) In 1844 an Act of Parliament to consolidate and amend the laws relating to turnpike trusts (/wiki/Turnpike_trust) in Wales (/wiki/Wales) was passed. A variety of historical figures are known to have cross-dressed to varying degrees. Many women found they had to disguise themselves as men in order to participate in the wider world. For example, it is postulated that Margaret King (/wiki/Margaret_King) cross-dressed in the early 19th century to attend medical school, as universities at that time accepted only male students. A century later, Vita Sackville-West (/wiki/Vita_Sackville-West) dressed as a young soldier in order to "walk out" with her girlfriend Violet Keppel (/wiki/Violet_Keppel) , to avoid the street harassment that two women would have faced. The prohibition on women wearing male garb, once strictly applied, still has echoes today in some Western societies which require girls and women to wear skirts, for example as part of school uniform (/wiki/School_uniform) or office dress codes (/wiki/Dress_code) . [23] (#cite_note-23) In some countries, even in casual settings, women are still prohibited from wearing traditionally male clothing. [ citation needed ] Legal issues [ edit ] In many countries, cross-dressing was illegal under laws that identified it as indecent or immoral. Many such laws were challenged in the late 1900s giving people the right to freedom of gender expression with regard to their clothing. [24] (#cite_note-24) For instance, from 1840 forward, United States saw state and city laws forbidding people from appearing in public while dressed in clothes not commonly associated with their assigned sex. The goal of this wave of policies was to create a tool that would enforce a normative gender narrative, targeting multiple gender identities across the gender spectrum. With the progression of time, styles, and societal trends, it became even more difficult to draw the line between what was cross-dressing or not. Only recently have these laws changed. As recently as 2011, it was still possible for a man to get arrested for "impersonating a woman" — a vestige of the 19th century laws. [25] (#cite_note-pbs.org-25) Even with this, legal issues surrounding cross-dressing perpetuated all throughout the mid 20th century. During this time period, police would often reference laws that did not exist or laws that have been repealed in order to target the LGBTQ+ community. [26] (#cite_note-26) This extends beyond the United States: There still remains 13 UN member States that explicitly criminalize transgender individuals, and there exist even more countries that use a great deal of diverse laws to target them. The third edition of the Trans Legal Mapping Report, done by the International Lesbian, Gay, Bisexual, Trans, and Intersex Association (/wiki/International_Lesbian,_Gay,_Bisexual,_Trans_and_Intersex_Association) found that an especially common method to target these individuals is through cross-dressing regulations. [27] (#cite_note-27) For instance, only in 2014 did an appeal court in Malaysia finally overturn a state law prohibiting Muslim men from cross-dressing as women. [25] (#cite_note-pbs.org-25) In the Australian state of Tasmania, cross-dressing in public was made a criminal offence in 1935, and this law was only repealed in 2000. [28] (#cite_note-28) [29] (#cite_note-29) Nepal (/wiki/Nepal) decriminalized cross-dressing in 2007. [30] (#cite_note-30) Varieties [ edit ] There are many different kinds of cross-dressing and many different reasons why an individual might engage in cross-dressing behavior. [31] (#cite_note-eucwqo-31) Some people cross-dress as a matter of comfort or style, a personal preference for clothing associated with the opposite gender. Some people cross-dress to shock others or challenge social norms (/wiki/Norm_(sociology)) ; others will limit their cross-dressing to underwear, so that it is not apparent. Some people attempt to pass as a member of the opposite gender in order to gain access to places or resources they would not otherwise be able to reach. Theater and performance [ edit ] Single-sex theatrical troupes often have some performers who cross-dress to play roles written for members of the opposite sex ( travesti (/wiki/Travesti_(theatre)) and trouser roles (/wiki/Trouser_role) ). Cross-dressing, particularly the depiction of males wearing dresses, was historically used for comic effect onstage and on-screen. Boy player (/wiki/Boy_player) refers to children who performed in Medieval (/wiki/Medieval_theatre) and English Renaissance (/wiki/English_Renaissance_theatre) playing companies (/wiki/Playing_companies) . Some boy players worked for the adult companies and performed the female roles as women did not perform on the English stage in this period. Others worked for children's companies in which all roles, not just the female ones, were played by boys. [32] (#cite_note-Chambers-1923-32) (pp 1–76) [33] (#cite_note-Halliday-1964-33) In an effort to clamp down on kabuki (/wiki/Kabuki) 's popularity, women's kabuki, known as onna-kabuki , was banned in 1629 in Japan for being too erotic. [34] (#cite_note-An_Outline_History_of_the_Japanese_Drama-34) Following this ban, young boys began performing in wakashū (/wiki/Wakash%C5%AB) -kabuki , which was also soon banned. [34] (#cite_note-An_Outline_History_of_the_Japanese_Drama-34) Thus adult men play female roles in kabuki. Dan (/wiki/Dan_role) is the general name for female roles in Chinese opera (/wiki/Chinese_opera) , often referring to leading roles. They may be played by male or female actors. In the early years of Peking opera (/wiki/Peking_opera) , all dan roles were played by men, but this practice is no longer common in any Chinese opera genre. Women have often been excluded from Noh (/wiki/Noh#Women_in_Noh) , and men often play female characters in it. [35] (#cite_note-Nohauto-35) Drag (/wiki/Drag_(clothing)) is a special form of performance art (/wiki/Performance_art) based on the act of cross-dressing. A drag queen (/wiki/Drag_queen) is usually a male-assigned (/wiki/Sex_assignment) person who performs as an exaggeratedly feminine character, in heightened costuming sometimes consisting of a showy dress, high-heeled shoes, obvious make-up, and wig (/wiki/Wig_(hair)) . A drag queen may imitate famous female film or pop-music stars. A faux queen (/wiki/Faux_queen) is a female-assigned person employing the same techniques. A drag king (/wiki/Drag_king) is a counterpart of the drag queen – a female-assigned person who adopts a masculine persona in performance or imitates a male film or pop-music star. Some female-assigned people undergoing Gender-affirming surgery (/wiki/Gender-affirming_surgery) also self-identify as 'drag kings'. Drag queens (/wiki/Drag_queen) Lady Bunny (/wiki/Lady_Bunny) (left) and Sherry Vine (/wiki/Sherry_Vine) (right) in 2008. Drag is a form of cross-dressing as performance art (/wiki/Performance_art) . The modern activity of battle reenactments (/wiki/Battle_reenactment) has raised the question of women passing as male soldiers. In 1989, Lauren Burgess dressed as a male soldier in a U.S. National Park Service (/wiki/U.S._National_Park_Service) reenactment of the Battle of Antietam (/wiki/Battle_of_Antietam) , and was ejected after she was discovered to be a woman. Burgess sued the Park Service for sexual discrimination (/wiki/Sexual_discrimination) . [36] (#cite_note-36) The case spurred spirited debate among Civil War buffs. In 1993, a federal judge ruled in Burgess's favor. [37] (#cite_note-37) "Wigging" refers to the practice of male stunt doubles (/wiki/Stunt_double) taking the place of an actress, parallel to " paint downs (/wiki/Blackface) ", where white stunt doubles are made up to resemble black actors. [38] (#cite_note-38) Female stunt doubles have begun to protest this norm of "historical sexism", saying that it restricts their already limited job possibilities. [39] (#cite_note-39) [40] (#cite_note-40) British pantomime, television and comedy [ edit ] Comedian Dan Leno (/wiki/Dan_Leno) as Widow Twankey (/wiki/Widow_Twankey) in the 1896 pantomime (/wiki/Pantomime) Aladdin at Theatre Royal, Drury Lane (/wiki/Theatre_Royal,_Drury_Lane) , London Cross-dressing is a traditional popular trope in British comedy (/wiki/British_comedy) . [41] (#cite_note-41) The pantomime dame (/wiki/Pantomime_dame) in British pantomime (/wiki/Pantomime) dates from the 19th century, which is part of the theatrical tradition of female characters portrayed by male actors in drag. Widow Twankey (/wiki/Widow_Twankey) (Aladdin's mother) is a popular pantomime dame: in 2004 Ian McKellen (/wiki/Ian_McKellen) played the role. The Monty Python (/wiki/Monty_Python) comedy troupe donned frocks and makeup, playing female roles while speaking in falsetto (/wiki/Falsetto) . [42] (#cite_note-42) Character comics such as Benny Hill (/wiki/Benny_Hill) and Dick Emery (/wiki/Dick_Emery) drew upon several female identities. In the BBC's long-running sketch show The Dick Emery Show (/wiki/The_Dick_Emery_Show) (broadcast from 1963 to 1981), Emery played Mandy, a busty peroxide blonde whose catchphrase, "Ooh, you are awful ... but I like you!", was given in response to a seemingly innocent remark made by her interviewer, but perceived by her as ribald double entendre. [43] (#cite_note-43) The popular tradition of cross dressing in British comedy extended to the 1984 music video for Queen (/wiki/Queen_(band)) 's " I Want to Break Free (/wiki/I_Want_to_Break_Free) " where the band parody several female characters from the soap opera Coronation Street (/wiki/Coronation_Street) . [44] (#cite_note-44) Sexual fetishes [ edit ] A transvestic fetishist wearing latex clothes A transvestic fetishist (/wiki/Transvestic_fetishism) is a person who cross-dresses as part of a sexual fetish (/wiki/Sexual_fetish) . According to the fourth edition of Diagnostic and Statistical Manual of Mental Disorders (/wiki/Diagnostic_and_Statistical_Manual_of_Mental_Disorders) , this fetishism was limited to heterosexual (/wiki/Heterosexual) men; however, DSM-5 does not have this restriction, and opens it to women and men, regardless of their sexual orientation (/wiki/Sexual_orientation) . [45] (#cite_note-45) Sometimes either member of a heterosexual couple will cross-dress in order to arouse the other. For example, the male might wear skirts or lingerie and/or the female will wear boxers or other male clothing. (See also forced feminization (/wiki/Forced_feminization) ) Passing [ edit ] Main article: Passing (gender) (/wiki/Passing_(gender)) Some people who cross-dress may endeavor to project a complete impression of belonging to another gender, including mannerisms, speech (/wiki/Speech_communication) patterns, and emulation of sexual characteristics (/wiki/Sex-determination_system) . This is referred to as passing or "trying to pass", depending how successful the person is. An observer who sees through the cross-dresser's attempt to pass is said to have "read" or "clocked" them. There are videos, books, and magazines on how a man may look more like a woman. [46] (#cite_note-46) Others may choose to take a mixed approach, adopting some feminine traits and some masculine traits in their appearance. For instance, a man might wear both a dress and a beard. This is sometimes known as " genderfuck (/wiki/Gender_bender) ". In a broader context, cross-dressing may also refer to other actions undertaken to pass as a particular sex, such as packing (/wiki/Packing_(phallus)) (accentuating the male crotch bulge) or, the opposite, tucking (/wiki/Tucking) (concealing the male crotch bulge). [47] (#cite_note-47) Gender disguise [ edit ] Gender disguise has been used by women and girls to pass (/wiki/Passing_(gender)) as male, and by men and boys to pass as female. Gender disguise has also been used as a plot device (/wiki/Plot_device) in storytelling, particularly in narrative ballads (/wiki/Ballads) , [48] (#cite_note-child106-48) and is a recurring motif in literature, theater, and film. Historically, some women have cross-dressed to take up male-dominated or male-exclusive professions, such as military service. Conversely, some men have cross-dressed to escape from mandatory military service [a] (#cite_note-49) or as a disguise to assist in political or social protest, as men in Wales did in the Rebecca Riots (/wiki/Rebecca_Riots) and when conducting Ceffyl Pren (/wiki/Ceffyl_Pren) as a form of mob justice. [ citation needed ] Depiction of Welsh labourers dressed in women's clothing within the Rebecca Riots, Illustrated London News 1843 Sports [ edit ] Conversation surrounding exclusion and gender inequality in sports (/wiki/Women%27s_rights_in_sports) has been around for decades. Some women have dressed as men to enter male sports, or registered in male sports using an alias. Roberta "Bobbi" Gibb [ edit ] Roberta "Bobbi" Gibb (/wiki/Bobbi_Gibb) is the first woman to have competed in the Boston Marathon (/wiki/Boston_Marathon) . In 1966 Bobbi Gibb wrote a letter to the Boston Athletic Association (/wiki/Boston_Athletic_Association) asking to participate in the race happening that year. When Gibb received her letter back in the mail she was faced with the news that her entry to the race was denied due to her gender. Rather than just accept her fate, Gibb did not take no for an answer and decided to run the marathon anyways—however, she would do it hidden as a man. On the day of the race Gibb showed up in an oversized sweatshirt, her brother's shorts, and men's running shoes. Gibb hid in the bushes until the race started and then joined in with the crowd. Eventually her fellow runners figured out Gibb's real gender but stated that they would make sure that she finished the race. Gibb ended up finishing her first Boston Marathon in 3 hours, 27 minutes and 40 seconds. [49] (#cite_note-50) She crossed the finish line with blistered, bleeding feet from the men's running shoes she was wearing. [50] (#cite_note-51) Gibb's act of defiance influenced other women marathon runners of the time like Katherine Switzer (/wiki/Katherine_Switzer) , who also registered under an alias to be able to run the race in 1967. It would not be until 1972 until there was an official women's race within the Boston Marathon. [ citation needed ] Sam Kerr [ edit ] Sam Kerr (/wiki/Sam_Kerr) is a forward for the Australian Women's Soccer Team (/wiki/Australia_women%27s_national_soccer_team) and Chelsea FC (/wiki/Chelsea_F.C._Women) in the FA Women's Super League (/wiki/FA_Women%27s_Super_League) . Kerr has been regarded as one of the best forward players in the sport and has been one of the most highly paid players in women's soccer as well. While Kerr now shares the world state with other great women soccer players, as a young child she shared the field with young boys. Kerr grew up in a suburb of Perth (/wiki/Perth) where there was little to no access to young girls soccer teams in the direct area. Not having a girls team to play on did not bother Kerr though, she simply played on a youth boys team where all of her teammates just assumed she was also a boy. Kerr states in her book My Journey to the World Cup that she continued to hide her gender because she did not want to be treated any differently. In her book Kerr also revealed that when one of her teammates found out that she was, in fact a girl, he cried. While Kerr's act of hiding her gender was initially an accident, it is still an example of how women (and in the case a young girl) can create opportunities for themselves by looking or acting as a man. [51] (#cite_note-52) War [ edit ] One of the most common instances of gender disguise is in the instance of war/militaristic situations. From Joan of Arc in the 15th century to Mulan (/wiki/Mulan_(Disney_character)) from the animated Disney (/wiki/The_Walt_Disney_Company) Mulan to young girls in World War II (/wiki/World_War_II) , there have been many different people of many different sexes (/wiki/Sex) that disguise themselves as men in order to be able to fight in wars. [ citation needed ] Joan of Arc [ edit ] Born c. 1412 , [52] (#cite_note-53) St Joan of Arc (/wiki/Joan_of_Arc) or the Maid of Orleans is one of the oldest examples of gender disguise. At 13, after receiving a revelation that she was supposed to lead the French to victory over the English in the 100 years war (/wiki/Hundred_Years%27_War) , [53] (#cite_note-54) Joan donned the clothing (/wiki/Cross-dressing,_gender_identity,_and_sexuality_of_Joan_of_Arc) of a male soldier in the French army (/wiki/French_Army) . Joan was able to convince King Charles the VIII to allow her to take the lead of some of the French armies in order to help him get his crown back. Ultimately, Joan of Arc was successful in claiming victory over the English but was captured in 1430 and found guilty of heresy (/wiki/Heresy) , leading to her execution in 1431 (/wiki/1431) .The impact of her actions was seen even after Joan's death in 1431. During the suffragette movement, Joan of Arc was used as an inspiration for the movement, particularly in Britain (/wiki/Great_Britain) where many used her actions as fuel for their fight for political reform (/wiki/Political_reform) . [54] (#cite_note-55) Deborah Sampson [ edit ] Born in 1760 in Plympton, Massachusetts (/wiki/Plympton,_Massachusetts) , [55] (#cite_note-56) Deborah Sampson (/wiki/Deborah_Sampson) was the first female soldier in the US Army (/wiki/United_States_Army) . [56] (#cite_note-57) The only woman in the Revolution (/wiki/American_Revolution) to receive a full military pension (/wiki/Pension) , at age 18 Deborah took the name “Robert Shirtleff” and enlisted in union forces (/wiki/Union_(American_Civil_War)) . In her capacity as a soldier, she was very successful, being named captain (/wiki/Captain) and leading an infantry in the capture of 15 enemy soldiers among other things. [57] (#cite_note-58) One and a half years into service, her true sex (/wiki/Sex) was revealed when she had to receive medical care. Following an honorable discharge (/wiki/Military_discharge) , Deborah petitioned congress for her full pay that was withheld on the grounds of being an “invalid soldier” and eventually received it. [58] (#cite_note-59) She died in 1827 at age 66. [59] (#cite_note-60) Even after her death, Deborah Sampson continues to be a "hero of the American Revolution (/wiki/American_Revolutionary_War) ". [60] (#cite_note-61) In 2019, a diary (/wiki/Diary) from corporal Abner Weston shares about Deborah Sampson's previously unknown first attempt to enlist in the Continental Army (/wiki/Continental_Army) . [61] (#cite_note-62) These women are just a few among many who have disguised themselves as men in order to be able to fight in many different wars. Others who have used gender disguise for this purpose include Kit Kavanaugh/Christian Davies (/wiki/Christian_Davies) , Hannah Snell (/wiki/Hannah_Snell) , Sarah Emma Edmonds (/wiki/Sarah_Emma_Edmonds) , Frances Clayton (/wiki/Frances_Clayton) , Dorothy Lawrence (/wiki/Dorothy_Lawrence) , Zoya Smirnow (/wiki/Zoya_Smirnow) , and Brita Olofsdotter (/wiki/Brita_Olofsdotter) . [62] (#cite_note-:3-63) [63] (#cite_note-64) Journalism and culture [ edit ] In some instances, women in journalism deem is necessary to wear the identity of a man in order to gather information that is only accessible from the male point of view. In other cases, people cross-dress to navigate certain cultures and/or specific circumstances that involve strict gender norms and expectations. [62] (#cite_note-:3-63) [64] (#cite_note-65) Norah Vincent [ edit ] Norah Vincent (/wiki/Norah_Vincent) , author of the book Self-Made Man: One Woman's Journey Into Manhood and Back Again (/wiki/Self-Made_Man_(book)) , used gender disguise in order to go undercover as a man to penetrate men's social circles and experience life as a man. In 2003, Vincent put her life on pause to adopt a new masculine identity as Ned Vincent. [65] (#cite_note-66) She worked with a makeup artist and vocal coach in order to convincingly play the role of a biological man. She wore an undersized sports bra, a stuffed jock strap, and size 11½ shoes to deceive those around her. In her book, Vincent makes discoveries about socialization, romance, sex, and stress as a man that leads her to conclude that, “[Men] have different problems than women have, but they don't have it better.” [66] (#cite_note-67) However, Vincent developed controversial opinions about sex and gender, claiming that transgender people are not legitimate until they undergo hormone therapy and surgical intervention. After writing Self-Made Man, Vincent became a victim of depression; she died by medically assisted suicide in 2022. [67] (#cite_note-68) Bacha posh [ edit ] Bacha posh (/wiki/Bacha_posh) , an Afghani tradition, involves the crossdressing of young Afghan girls by their families so that they present to the public as boys. Families engage in bacha posh so that their daughters may avoid the oppression that women face under Afghanistan (/wiki/Afghanistan) 's deeply patriarchal (/wiki/Patriarchy) society. Other reasons for having a bacha posh daughter include economic pressure, as girls and women are generally prohibited from work in contemporary Afghanistan, [68] (#cite_note-69) [69] (#cite_note-:02-70) and social pressure, as families with boys tend to be more well regarded in Afghan society. [70] (#cite_note-71) [69] (#cite_note-:02-70) While there is no law that prohibits bacha posh (/wiki/Bacha_posh) , girls are expected to revert to traditional gender norms upon reaching puberty (/wiki/Puberty) . [71] (#cite_note-72) [72] (#cite_note-73) [73] (#cite_note-:1-74) According to Thomas Barfield, an anthropology professor at Boston University (/wiki/Boston_University) , bacha posh is "one of the most under-investigated" topics in the realm of gender studies, making difficult to determine exactly how common the practice is in Afghan society. [73] (#cite_note-:1-74) However, some prominent female figures in Afghan society have admitted to being bacha posh (/wiki/Bacha_posh) in their youth. A more famous example of this is Afghan parliament member Azita Rafaat. Rafaat claims that bacha posh (/wiki/Bacha_posh) was a positive experience that built her self-confidence in Afghanistan's heavily patriarchal society and gave her a more well rounded understanding of women's issues in Afghanistan. [69] (#cite_note-:02-70) Fashion [ edit ] Some male crossdressers seek a more subtle feminine image. The actual determination of cross-dressing is largely socially constructed (/wiki/Social_constructionism) . [74] (#cite_note-75) For example, in Western society, trousers have long been adopted for usage by women, and it is no longer regarded as cross-dressing. [75] (#cite_note-76) In cultures where men have traditionally worn skirt-like garments (/wiki/Men%27s_skirts) such as the kilt (/wiki/Kilt) or sarong (/wiki/Sarong) , these are not seen as women's clothing, and wearing them is not seen as cross-dressing for men. In many parts of the world, it remains socially disapproved for men to wear clothes traditionally associated with women. [76] (#cite_note-77) Cosplaying (/wiki/Cosplaying) may also involve cross-dressing, for some females may wish to dress as a male, and vice versa (see crossplay (/wiki/Crossplay_(cosplay)) ). Females may choose to chest bind while cosplaying a male character. [77] (#cite_note-78) While creating a more feminine figure, male cross-dressers will may utilize breast forms (/wiki/Breast_forms) or breast plates to give the appearance of breasts. [78] (#cite_note-:4-79) [79] (#cite_note-80) Some male cross-dressers may also cinch their waists or use padding to create a profile that appears more stereotypically feminine. [78] (#cite_note-:4-79) [80] (#cite_note-81) A crossdresser wearing breastforms While most male cross-dressers utilize clothing associated with modern women, some are involved in subcultures that involve dressing as little girls [81] (#cite_note-Bent-82) [82] (#cite_note-Bennett-83) or in vintage clothing (/wiki/Vintage_clothing) . Some such men have written that they enjoy dressing as femininely as possible, so they wear frilly dresses with lace and ribbons, bridal gowns (/wiki/Bridal_gown) complete with veils, as well as multiple petticoats (/wiki/Petticoat) , corsets (/wiki/Corset) , girdles (/wiki/Girdle) and/or garter belts (/wiki/Garter_belt) with nylon stockings (/wiki/Nylon_stockings) . The term underdressing is used by male cross-dressers to describe wearing female undergarments such as panties under their male clothes. The famous low-budget film-maker Edward D. Wood Jr. (/wiki/Edward_D._Wood_Jr.) (who also went out in public dressed in drag as "Shirley", his female alter ego [83] (#cite_note-84) ) said he often wore women's underwear under his military uniform as a Marine during World War II (/wiki/World_War_II) . [84] (#cite_note-85) Female masking is a form of cross-dressing in which men wear masks that present them as female. [85] (#cite_note-86) Some drag kings (/wiki/Drag_king) may use binders or chest plates to give the impression of a more stereotypically male physique, but others forego this. [86] (#cite_note-87) They may also paste or draw on fake facial hair. [87] (#cite_note-88) Drag kings and assigned female at birth (/wiki/Assigned_female) cosplayers may use socks or a phallic prosthetic for packing to create the appearance of a male bulge. [88] (#cite_note-89) Social issues [ edit ] A Morning Frolic, or the Transmutation of the Sexes ( c. 1780 , artist unknown) depicts a man and a woman exchanging items of clothing in a parody of the satirical drawings of John Collet (/wiki/John_Collett_(artist)) , which were considered to be vulgar at the time. Cross-dressers may begin wearing clothing associated with the opposite sex in childhood, using the clothes of a sibling, parent, or friend. Some parents have said they allowed their children to cross-dress and, in many cases, the child stopped when they became older. The same pattern often continues into adulthood, where there may be confrontations with a spouse, partner, family member or friend. Married cross-dressers can experience considerable anxiety and guilt if their spouse objects to their behavior. Sometimes because of guilt or other reasons cross-dressers dispose of all their clothing, a practice called "purging", only to start collecting the other gender's clothing again. [31] (#cite_note-eucwqo-31) Festivals [ edit ] Celebrations of cross-dressing occur in widespread cultures. The Abissa (/wiki/Abissa) festival in Côte d'Ivoire, [89] (#cite_note-90) Ofudamaki (/w/index.php?title=Ofudamaki&action=edit&redlink=1) in Japan, [90] (#cite_note-91) and Kottankulangara Festival (/wiki/Kottankulangara_Festival) in India [91] (#cite_note-92) are all examples of this. Analysis [ edit ] Advocacy for social change has done much to relax the constrictions of gender roles on men and women, but they are still subject to prejudice from some people. [92] (#cite_note-93) [93] (#cite_note-94) [94] (#cite_note-95) It is noticeable that as being transgender becomes more socially accepted as a normal human condition, the prejudices against cross-dressing are changing quite quickly, just as the similar prejudices against homosexuals have changed rapidly in recent decades. [95] (#cite_note-96) The reason it is so hard to have statistics for female cross-dressers is that the line where cross-dressing stops and cross-dressing begins [ clarification needed ] has become blurred, whereas the same line for men is as well defined as ever. This is one of the many issues being addressed by third wave feminism as well as the modern-day masculist (/wiki/Masculism) movement. The general culture [ clarification needed ] has very mixed views about cross-dressing. A woman who wears her husband's shirt to bed is considered attractive, while a man who wears his wife's nightgown to bed may be considered transgressive. Marlene Dietrich (/wiki/Marlene_Dietrich) in a tuxedo was considered very erotic; Jack Lemmon (/wiki/Jack_Lemmon) in a dress was considered ridiculous. [96] (#cite_note-97) All this may result from an overall gender role rigidity for males; that is, because of the prevalent gender dynamic throughout the world, men frequently encounter discrimination when deviating from masculine gender norms, particularly violations of heteronormativity (/wiki/Heteronormativity) . [97] (#cite_note-98) A man's adoption of feminine clothing is often considered a going down in the gendered social order whereas a woman's adoption of what are traditionally men's clothing (at least in the English-speaking world) has less of an impact because women have been traditionally subordinate to men, unable to affect serious change through style of dress. Thus when a male cross-dresser puts on his clothes, he transforms into the quasi-female and thereby becomes an embodiment of the conflicted gender dynamic. Following the work of Judith Butler (/wiki/Judith_Butler) , gender proceeds along through ritualized performances, but in male cross-dressing it becomes a performative "breaking" of the masculine and a "subversive repetition" of the feminine. [98] (#cite_note-Butler-99) [ non-primary source needed ] Psychoanalysts today do not regard cross-dressing by itself as a psychological problem, unless it interferes with a person's life. "For instance," said Joseph Merlino, senior editor of Freud at 150: 21st Century Essays on a Man of Genius , "[suppose that]...I'm a cross-dresser and I don't want to keep it confined to my circle of friends, or my party circle, and I want to take that to my wife and I don't understand why she doesn't accept it, or I take it to my office and I don't understand why they don't accept it, then it's become a problem because it's interfering with my relationships and environment." [99] (#cite_note-100) Cross-dressing in the 21st century [ edit ] Fashion trends [ edit ] Camp fashion (/wiki/Camp_(style)) made an appearance during the 2019 Met Gala (/wiki/Met_Gala) which had the theme of "Camp: Notes on Fashion." A themed exhibit of the same name (/wiki/Camp:_Notes_on_Fashion) was later displayed at the Met Fifth Avenue (/wiki/The_Met_Fifth_Avenue) . Cross-dressing today is much more common and normalized thanks to trends such as camp (/wiki/Camp_(style)) fashion and androgynous (/wiki/Androgynous) fashion. These trends have long histories but have recently been popularized thanks to major designers, fashion media, and celebrities today. Camp is a style of fashion that has had a long history extending all the way back to the Victorian era to the modern era. During the Victorian era (/wiki/Victorian_era) up until the mid-20th century, it was defined as an exaggerated and flamboyant style of dressing. [100] (#cite_note-:0-101) This was typically associated with ideas of effeminacy (/wiki/Effeminacy) , de-masculization, and homosexuality. [101] (#cite_note-102) As the trend entered the 20th century, it also developed an association with a lack of conduct, creating the connotation that those who engaged in Camp are unrefined, improper, distasteful, and, essentially, undignified. Though this was its former understanding, Camp has now developed a new role in the fashion industry. It is considered a fashion style that has "failed seriousness" and has instead become a fun way of self-expression. Thanks to its integration with high fashion and extravagance, Camp is now seen as a high art form of absurdity: including loud, vibrant, bold, fun, and empty frivolity. [100] (#cite_note-:0-101) Drag icon RuPaul (/wiki/RuPaul) speaking at RuPaul's DragCon (/wiki/RuPaul%27s_DragCon_LA) in Los Angeles in 2019. Camp is often used in drag culture as a method of exaggerating or inversing traditional conceptions of what it means to be feminine. In actuality, the QTPOC community has had a large impact on Camp. This is exhibited by ballroom culture (/wiki/Ballroom_culture) , camp/glamour queens, Black '70s funk, Caribbean Carnival costumes, Blaxploitation movies, "pimp/player fashion", and more. This notion has also been materialized by camp icons such as Josephine Baker (/wiki/Josephine_Baker) and RuPaul (/wiki/RuPaul) . [100] (#cite_note-:0-101) Androgynous fashion is described as neither masculine nor feminine rather it is the embodiment of a gender inclusive and sexually neutral fashion of expression. The general understanding of androgynous fashion is mixing both masculine and feminine pieces with the goal of producing a look that has no visual differentiations between one gender or another. This look is achieved by masking the general body so that one cannot identify the biological sex of an individual given the silhouette of the clothing pieces: Therefore, many androgynous looks include looser, baggier clothing that can conceal curves in the female body or using more "feminine" fabrics and prints for men. Musician Harry Styles (/wiki/Harry_Styles) wearing a shimmery pussy-bow (/wiki/Pussy_bow) blouse at a concert in Saint Paul (/wiki/Saint_Paul,_Minnesota) in 2018. Both of these style forms have been normalized and popularized by celebrities such as Harry Styles (/wiki/Harry_Styles) , Timothée Chalamet (/wiki/Timoth%C3%A9e_Chalamet) , Billie Eilish (/wiki/Billie_Eilish) , Princess Diana (/wiki/Diana,_Princess_of_Wales) , and more. [102] (#cite_note-103) Societal changes [ edit ] An individual crossplaying (/wiki/Crossplay_(cosplay)) as Misty (/wiki/Misty_(Pok%C3%A9mon)) from the popular anime (/wiki/Anime) Pokémon (/wiki/Pok%C3%A9mon_(TV_series)) at Chicago Comic & Entertainment Expo (/wiki/Chicago_Comic_%26_Entertainment_Expo) in 2015. Beyond fashion, cross-dressing in non-Western countries has not fully outgrown the negative connotations that it has in the West. For instance, many Eastern and Southeastern Asian countries have a narrative of discrimination and stigma against LGBTQ+ and cross-dressing individuals. This is especially evident in the post-pandemic world. During this time, it was clear to see the failures of these governments to provide sufficient support to these individuals due to a lack of legal services, lack of job opportunity, and more. For instance, to be able to receive government aid, these individuals need to be able to quickly change their legal name, gender, and other information on official ID documents. [103] (#cite_note-:2-104) This fault augmented the challenges of income loss, food insecurity, safe housing, healthcare, and more for many trans and cross-dressing individuals. This was especially pertinent as many of these individuals relied on entertainment and sex work for income. With the pandemic removing these job opportunities, the stigmatisation and discrimination against these individuals only increased, especially in Southeast Asian countries. [103] (#cite_note-:2-104) On the other hand, some Asian countries have grown to be more accepting of cross-dressing as modernization has increased. For instance, among Japan's niche communities, there exists the otokonoko (/wiki/Otokonoko) . This is a group of male-assigned individuals who engage in female cross-dressing as a form of gender expression. This trend originated with manga (/wiki/Manga) and grew with an increase in maid cafes (/wiki/Maid_caf%C3%A9) , cosplaying (/wiki/Cosplay) , and more in the 2010s. [104] (#cite_note-105) With the normalization of this through cosplay, cross-dressing has become a large part of otaku (/wiki/Otaku) and anime (/wiki/Anime) culture. [105] (#cite_note-106) In 2023 Noor Alsaffar (/wiki/Death_of_Noor_Alsaffar) , an Iraqi vlogger and model, who described themselves as a cross-dresser, was murdered. [106] (#cite_note-107) [107] (#cite_note-108) [108] (#cite_note-109) The killing of Alsaffar appears to be linked to an increase in homophobia and transphobia in Iraq. [109] (#cite_note-:03-110) Across media [ edit ] Main articles: Cross-dressing in literature (/wiki/Cross-dressing_in_literature) , Cross-dressing in film and television (/wiki/Cross-dressing_in_film_and_television) , and Cross-dressing in music and opera (/wiki/Cross-dressing_in_music_and_opera) Actress Lucie Höflich (/wiki/Lucie_H%C3%B6flich) portraying Viola in a Berlin (/wiki/Berlin) production of Twelfth Night (/wiki/Twelfth_Night) in 1907. Women dressed as men, and less often men dressed as women, is a common trope in fiction [110] (#cite_note-C&G_395-111) and folklore. For example, in Thrymskvitha (/wiki/Thrymskvitha) , Thor (/wiki/Thor) disguised himself as Freya (/wiki/Freya) . [110] (#cite_note-C&G_395-111) These disguises (/wiki/Disguise) were also popular in Gothic fiction (/wiki/Gothic_fiction) , such as in works by Charles Dickens (/wiki/Charles_Dickens) , Alexandre Dumas, père (/wiki/Alexandre_Dumas,_p%C3%A8re) , and Eugène Sue (/wiki/Eug%C3%A8ne_Sue) , [110] (#cite_note-C&G_395-111) and in a number of Shakespeare (/wiki/Shakespeare) 's plays, such as Twelfth Night (/wiki/Twelfth_Night) . In The Wind in the Willows (/wiki/The_Wind_in_the_Willows) , Toad dresses as a washerwoman, and in The Lord of the Rings (/wiki/The_Lord_of_the_Rings) , Éowyn (/wiki/%C3%89owyn) pretends to be a man. In science fiction (/wiki/Science_fiction) , fantasy (/wiki/Fantasy) and women's literature (/wiki/Women%27s_literature) , this literary motif (/wiki/Literary_motif) is occasionally taken further, with literal transformation of a character from male to female or vice versa. Virginia Woolf (/wiki/Virginia_Woolf) 's Orlando: A Biography (/wiki/Orlando:_A_Biography) focuses on a man who becomes a woman, as does a warrior in Peter S. Beagle (/wiki/Peter_S._Beagle) 's The Innkeeper's Song ; [111] (#cite_note-C&G_396-112) while in Geoff Ryman (/wiki/Geoff_Ryman) 's The Warrior Who Carried Life (/wiki/The_Warrior_Who_Carried_Life) , Cara magically transforms herself into a man. [111] (#cite_note-C&G_396-112) Other popular examples of gender disguise include Madame Doubtfire (/wiki/Madame_Doubtfire) (published as Alias Madame Doubtfire in the United States) and its movie adaptation Mrs. Doubtfire (/wiki/Mrs._Doubtfire) , featuring a man disguised as a woman. [112] (#cite_note-113) Similarly, the movie Tootsie (/wiki/Tootsie) features Dustin Hoffman disguised as a woman, while the movie The Associate (/wiki/The_Associate_(1996_film)) features Whoopi Goldberg disguised as a man. Japanese fashion designer and visual kei (/wiki/Visual_kei) musician Mana (/wiki/Mana_(Japanese_musician)) of the bands Malice Mizer (/wiki/Malice_Mizer) and Moi dix Mois (/wiki/Moi_dix_Mois) is notable for wearing traditionally female clothes. He is credited with popularizing cross-dressing among visual kei bands. [113] (#cite_note-114) Medical views [ edit ] The International Statistical Classification of Diseases and Related Health Problems (/wiki/International_Statistical_Classification_of_Diseases_and_Related_Health_Problems) listed dual-role transvestism (non-sexual cross-dressing) [114] (#cite_note-115) and fetishistic transvestism (cross-dressing for sexual pleasure) as disorders in its 10th edition, [115] (#cite_note-116) but both were removed for the 11th edition (/wiki/ICD-11) , which came into effect in 2022. [116] (#cite_note-lgbtq-117) Transvestic fetishism (/wiki/Transvestic_fetishism) is a paraphilia (/wiki/Paraphilia) and a psychiatric diagnosis [ need quotation to verify ] in the DSM-5 (/wiki/DSM-5) version of the Diagnostic and Statistical Manual of Mental Disorders (/wiki/Diagnostic_and_Statistical_Manual_of_Mental_Disorders) . [117] (#cite_note-DSM-5-paraphillic-118) [ needs update ] See also [ edit ] fashion portal (/wiki/Portal:Fashion) Breeches role (/wiki/Breeches_role) Breeching (boys) (/wiki/Breeching_(boys)) Cross-dressing ball (/wiki/Cross-dressing_ball) Cross-gender acting (/wiki/Cross-gender_acting) Femboy (/wiki/Femboy) Femminiello (/wiki/Femminiello) Gender identity (/wiki/Gender_identity) Gender variance (/wiki/Gender_variance) List of transgender-related topics (/wiki/List_of_transgender-related_topics) List of transgender-rights organizations (/wiki/List_of_transgender-rights_organizations) List of wartime crossdressers (/wiki/List_of_wartime_crossdressers) Otokonoko (/wiki/Otokonoko) , male crossdressing in Japan Queer heterosexuality (/wiki/Queer_heterosexuality) Sex and gender distinction (/wiki/Sex_and_gender_distinction) Social construction of gender (/wiki/Social_construction_of_gender) Sexual orientation hypothesis (/wiki/Sexual_orientation_hypothesis) Tri-Ess (/wiki/Tri-Ess) Womanless wedding (/wiki/Womanless_wedding) Notes [ edit ] ^ (#cite_ref-49) See the television series M*A*S*H (/wiki/M*A*S*H_(TV_series)) for an example of a cross-dresser who did not want to serve in the military (Max Klinger). Although the character was played for laughs, his situation was based on military regulations prohibiting cross-dressing. References [ edit ] ^ (#cite_ref-Winkler-2016_1-0) Winkler, Sheldon (5 December 2016). " (https://warfarehistorynetwork.com/this-is-the-army-irving-berlins-war/) 'This is the Army': Irving Berlin's War" (https://warfarehistorynetwork.com/this-is-the-army-irving-berlins-war/) . Warfare History Network . Archived (https://web.archive.org/web/20240718121040/https://warfarehistorynetwork.com/article/this-is-the-army-irving-berlins-war/) from the original on 18 July 2024 . Retrieved 29 June 2022 . ^ (#cite_ref-2) "What does transgender mean?" (https://www.apa.org/topics/lgbtq/transgender) . American Psychological Association. 2014. Archived (https://web.archive.org/web/20230208195456/https://www.apa.org/topics/lgbtq/transgender) from the original on 8 February 2023 . Retrieved 27 January 2023 . ^ (#cite_ref-3) "Clothing Sex, Sexing Clothes: Transvestism, Material Culture and the Sex and Gender Debate". Unzipping Gender . 2004. pp. 13–30. doi (/wiki/Doi_(identifier)) : 10.2752/9781847888952/unzipgend0005 (https://doi.org/10.2752%2F9781847888952%2Funzipgend0005) . ISBN (/wiki/ISBN_(identifier)) 978-1-84788-895-2 . ^ (#cite_ref-4) Bicchieri, Cristina; Muldoon, Ryan; Sontuoso, Alessandro (2018), "Social Norms" (https://plato.stanford.edu/archives/win2018/entries/social-norms/) , in Zalta, Edward N. (ed.), The Stanford Encyclopedia of Philosophy (Winter 2018 ed.), Metaphysics Research Lab, Stanford University, archived (https://web.archive.org/web/20200322042537/https://plato.stanford.edu/archives/win2018/entries/social-norms/) from the original on 2020-03-22 , retrieved 2022-12-01 ^ (#cite_ref-aggrawal_2009_16_3_5-0) Aggrawal, Anil. (April 2009). "References to the paraphilias and sexual crimes in the Bible". J Forensic Leg Med . 16 (3): 109–14. doi (/wiki/Doi_(identifier)) : 10.1016/j.jflm.2008.07.006 (https://doi.org/10.1016%2Fj.jflm.2008.07.006) . PMID (/wiki/PMID_(identifier)) 19239958 (https://pubmed.ncbi.nlm.nih.gov/19239958) . ^ Jump up to: a b Annemarie Vaccaro; Gerri August; Megan S. Kennedy (2011). Safe Spaces: Making Schools and Communities Welcoming to LGBT Youth . ABC-CLIO (/wiki/ABC-CLIO) . p. 142. ISBN (/wiki/ISBN_(identifier)) 978-0-313-39368-6 . Retrieved October 21, 2016 . Cross-dresser/cross-dressing. (1) The most neutral word to describe a person who dresses, at least partially or part of the time, and for any number of reasons, in clothing associated with another gender within a particular society. Carries no implications of 'usual' gender appearance, or sexual orientation. Has replaced transvestite, which is outdated, problematic, and generally offensive since it was historically used to diagnose medical/mental health disorders. ^ (#cite_ref-Capuzza_7-0) Jamie C. Capuzza; Leland G. Spencer (2015). Transgender Communication Studies: Histories, Trends, and Trajectories . Lexington Books (/wiki/Lexington_Books) . p. 174. ISBN (/wiki/ISBN_(identifier)) 978-1-4985-0006-7 . Retrieved October 21, 2016 . Eventually, the transvestite label fell out of favor because it was deemed to be derogatory; cross-dresser has emerged as a more suitable replacement ( GLAAD (/wiki/GLAAD) , 2014b). ^ (#cite_ref-Zastrow_8-0) Charles Zastrow (2016). Empowerment Series: Introduction to Social Work and Social Welfare: Empowering People . Cengage Learning (/wiki/Cengage_Learning) . p. 239. ISBN (/wiki/ISBN_(identifier)) 978-1-305-38833-8 . Retrieved October 21, 2016 . the term transvestite is often considered an offensive term. ^ (#cite_ref-9) "transvestism | Britannica" (https://www.britannica.com/topic/transvestism) . www.britannica.com . Retrieved 2022-12-01 . ^ (#cite_ref-Gerstner_10-0) David A. Gerstner (2006). Routledge International Encyclopedia of Queer Culture . Routledge (/wiki/Routledge) . p. 568. ISBN (/wiki/ISBN_(identifier)) 978-0-313-39368-6 . Retrieved October 21, 2016 . A variety of derogatory terms are still used to describe any aspect of the transgender condition. [...] The term transvestite being older [than cross-dresser] and associated with the medical community's negative view of the practice, has come to be seen as a derogatory term. [...] The term cross-dresser, in contrast, having come from the transgender community itself, is a term seen as not possessing these negative connotations. ^ (#cite_ref-11) "Home: Oxford English Dictionary" (https://web.archive.org/web/20210307191918/https://www.oed.com/;jsessionid=54290019DADF286E3311933DC816B7ED?authRejection=true&url=%2Fview%2FEntry%2F44812%3FredirectedFrom%3Dcross-dress) . www.oed.com . Archived from the original (http://www.oed.com/;jsessionid=54290019DADF286E3311933DC816B7ED?authRejection=true&url=%2Fview%2FEntry%2F44812%3FredirectedFrom%3Dcross-dress) on 2021-03-07 . Retrieved 2019-02-17 . ^ (#cite_ref-12) Butler, Kirstin (June 1, 2023). "We Were Never Meant to See this Photograph | American Experience | PBS" (https://www.pbs.org/wgbh/americanexperience/features/casa-susanna-we-were-never-meant-to-see-this-photograph/) . www.pbs.org . Archived (https://web.archive.org/web/20240718121100/https://www.pbs.org/wgbh/americanexperience/features/casa-susanna-we-were-never-meant-to-see-this-photograph/) from the original on 2024-07-18 . Retrieved 2024-03-24 . ^ (#cite_ref-13) "Julia Serano's trans, gender, sexuality, & activism glossary" (http://www.juliaserano.com/terminology.html) . www.juliaserano.com . Retrieved 2024-03-24 . ^ (#cite_ref-14) Boyd, Helen (2004). My Husband Betty: Love, Sex and Life With a Cross-Dresser . Sdal Press. p. 64. ISBN (/wiki/ISBN_(identifier)) 1560255153 . [ permanent dead link ] ^ (#cite_ref-15) Roberts, JoAnn (December 1990). "En femme magazine" (https://archive.org/details/enfemmemagazine21unse/page/n1/mode/2up) . ^ (#cite_ref-16) Scott, Joan Wallach (1996). "The Radical Individualism of Madeleine Pelletier" (https://www.jstor.org/stable/j.ctv1smjv00.8) . Only Paradoxes to Offer: French Feminists and the Rights of Man . Harvard University Press. pp. 140–141. ISBN (/wiki/ISBN_(identifier)) 978-0-674-63930-0 . JSTOR (/wiki/JSTOR_(identifier)) j.ctv1smjv00.8 (https://www.jstor.org/stable/j.ctv1smjv00.8) . To re-dress the female body 'en homme' was to signal its autonomy and its individuality . . . . She herself wore closely cropped hair, a starched collar, tie, and suit coat long before these had become fashionable attire for 'modern' women after World War 1. . . . She understood her transvestism as a transgression of prevailing norms, a way of establishing her individuality in the face of a disapproving crowd ^ (#cite_ref-17) "Cross-dressers in Ukiyo-e | 太田記念美術館 Ota Memorial Museum of Art" (http://www.ukiyoe-ota-muse.jp/exhibition-eng/crossdressors) (in Japanese). Archived (https://web.archive.org/web/20221201011917/http://www.ukiyoe-ota-muse.jp/exhibition-eng/crossdressors) from the original on 2022-12-01 . Retrieved 2022-12-01 . ^ (#cite_ref-18) "Intersections: Children in Late Sixteenth and Early Seventeenth Century Lowland Philippine Societies" (http://intersections.anu.edu.au/issue16/saeki.htm) . intersections.anu.edu.au . Archived (https://web.archive.org/web/20221201011923/http://intersections.anu.edu.au/issue16/saeki.htm) from the original on 2022-12-01 . Retrieved 2022-12-01 . ^ (#cite_ref-19) Panoussi, Vassiliki (2023-04-19), "cross-dressing" (https://oxfordre.com/classics/display/10.1093/acrefore/9780199381135.001.0001/acrefore-9780199381135-e-8634) , Oxford Classical Dictionary , doi (/wiki/Doi_(identifier)) : 10.1093/acrefore/9780199381135.013.8634 (https://doi.org/10.1093%2Facrefore%2F9780199381135.013.8634) , ISBN (/wiki/ISBN_(identifier)) 978-0-19-938113-5 , archived (https://web.archive.org/web/20240423125531/https://oxfordre.com/classics/display/10.1093/acrefore/9780199381135.001.0001/acrefore-9780199381135-e-8634) from the original on 2024-04-23 , retrieved 2024-03-24 ^ (#cite_ref-20) Duggan, Anne E.; Haase, Donald; Callow, Helen J. (2016). Folktales and fairy tales: traditions and texts from around the world (2nd ed.). Santa Barbara, California: Greenwood. pp. 241–3. ISBN (/wiki/ISBN_(identifier)) 978-1-61069-253-3 . Prohibited in many societies, cross-dressing, or wearing the clothing of the other sex, is nonetheless practiced or narrated around the world in ritual, dance, balladry, theater, folktales, fairy tales, short stories, and novels. Transvestism, as it is also known, is an integral part of many folk ritual practices. ^ (#cite_ref-Welsh_Academy_21-0) Davies, John; Jenkins, Nigel (2008). The Welsh Academy Encyclopaedia of Wales . Cardiff: University of Wales Press. p. 730. ISBN (/wiki/ISBN_(identifier)) 978-0-7083-1953-6 . ^ (#cite_ref-22) Gross, David M. (2014). 99 Tactics of Successful Tax Resistance Campaigns . Picket Line Press. pp. 68–69. ISBN (/wiki/ISBN_(identifier)) 978-1-4905-7274-1 . ^ (#cite_ref-23) Doig, Liz (November 4, 1999). "Who's wearing the trousers?" (http://news.bbc.co.uk/1/hi/uk/505095.stm) . BBC News UK . BBC. Archived (https://web.archive.org/web/20081123005510/http://news.bbc.co.uk/1/hi/uk/505095.stm) from the original on 23 November 2008 . Retrieved 12 December 2018 . ^ (#cite_ref-24) "Chapter seven: Gender Expression and Cross-dressing" (https://www.icj.org/sogi-casebook-introduction/chapter-seven-gender-expression-and-cross-dressing/) . International Commission of Jurists . Retrieved 2022-11-14 . ^ Jump up to: a b "Arresting dress: A timeline of anti-cross-dressing laws in the United States" (https://www.pbs.org/newshour/nation/arresting-dress-timeline-anti-cross-dressing-laws-u-s) . PBS NewsHour . 2015-05-31. Archived (https://web.archive.org/web/20240718120857/https://www.pbs.org/newshour/nation/arresting-dress-timeline-anti-cross-dressing-laws-u-s) from the original on 2024-07-18 . Retrieved 2022-12-01 . ^ (#cite_ref-26) Ryan, Hugh (28 June 2019). "How Dressing in Drag Was Labeled a Crime in the 20th Century" (https://www.history.com/news/stonewall-riots-lgbtq-drag-three-article-rule) . HISTORY . Retrieved 2022-12-01 . ^ (#cite_ref-27) Srikanth, Anagha (2020-09-30). 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Retrieved 2024-05-15 . ^ (#cite_ref-115) "ICD-10 Version:2016" (https://icd.who.int/browse10/2016/en#/F64.1) . icd.who.int . Archived (https://web.archive.org/web/20181105125609/http://apps.who.int/classifications/icd10/browse/2016/en#/F64.1) from the original on 2018-11-05 . Retrieved 2019-10-11 . ^ (#cite_ref-116) "ICD-10 Version:2016" (https://icd.who.int/browse10/2016/en#/F65.1) . icd.who.int . Archived (https://web.archive.org/web/20181105125609/http://apps.who.int/classifications/icd10/browse/2016/en#/F65.1) from the original on 2018-11-05 . Retrieved 2019-10-11 . ^ (#cite_ref-lgbtq_117-0) Bollinger, Alex (2019-05-28). "The World Health Organization will no longer classify being transgender as a 'mental disorder' (https://www.lgbtqnation.com/2019/05/world-health-organization-will-no-longer-classify-transgender-mental-disorder/) " (https://www.lgbtqnation.com/2019/05/world-health-organization-will-no-longer-classify-transgender-mental-disorder/) . LGBTQ Nation . Archived (https://web.archive.org/web/20210308211753/https://www.lgbtqnation.com/2019/05/world-health-organization-will-no-longer-classify-transgender-mental-disorder/) from the original on 2021-03-08 . Retrieved 2019-10-11 . ^ (#cite_ref-DSM-5-paraphillic_118-0) American Psychiatric Association (2013). Diagnostic and Statistical Manual of Mental Disorders (Fifth ed.). Arlington, VA: American Psychiatric Publishing. pp. 685–705 (https://archive.org/details/diagnosticstatis0005unse/page/685) . ISBN (/wiki/ISBN_(identifier)) 978-0-89042-555-8 . Further reading [ edit ] Anders, Charles. The Lazy Crossdresser , Greenery Press (/wiki/Greenery_Press) , 2002. ISBN (/wiki/ISBN_(identifier)) 1-890159-37-9 (/wiki/Special:BookSources/1-890159-37-9) . Boyd, Helen (/wiki/Helen_Boyd) . My Husband Betty (/wiki/My_Husband_Betty) , Thunder's Mouth Press, 2003 Chesser, Lucy Sarah (2008), Parting with My Sex: Cross-dressing, Inversion and Sexuality in Australian Cultural Life , Sydney University Press, ISBN (/wiki/ISBN_(identifier)) 978-1-920898-31-1 , OCLC (/wiki/OCLC_(identifier)) 488863093 (https://www.worldcat.org/oclc/488863093) Clute, John (/wiki/John_Clute) & Grant, John. The Encyclopedia of Fantasy (/wiki/The_Encyclopedia_of_Fantasy) , Orbit Books, 1997. ISBN (/wiki/ISBN_(identifier)) 978-1-85723-368-1 (/wiki/Special:BookSources/978-1-85723-368-1) Dekker, Rudolf M; van de Pol, Lotte C; Kazi Maruful Islam (8 February 1989), The Tradition Of Female Cross-Dressing In Early Modern Europe , Palgrave Macmillan UK, ISBN (/wiki/ISBN_(identifier)) 978-1-349-19752-1 Hauk, Savannah (1 September 2017), Living with Crossdressing: Defining a New Normal , ISBN (/wiki/ISBN_(identifier)) 978-1-5378-6529-4 , OCLC (/wiki/OCLC_(identifier)) 1013928885 (https://www.worldcat.org/oclc/1013928885) "Lynne". "A Cross-Dressing-Perspective" (https://web.archive.org/web/20160305000529/https://gendercentre.org.au/resources/polare-archive/archived-articles/a-cross-dressing-perspective.htm) External links [ edit ] Media related to Cross-dressing (https://commons.wikimedia.org/wiki/Category:Cross-dressing) at Wikimedia Commons Wikiquote has quotations related to Cross-dressing (https://en.wikiquote.org/wiki/Special:Search/Cross-dressing) . 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Wardrobe and dress in general For the Finnish magazine, see Costume (magazine) (/wiki/Costume_(magazine)) . Actors in samurai (/wiki/Samurai) costume at the Kyoto (/wiki/Kyoto) Eigamura (/wiki/Toei_Kyoto_Studio_Park) film set Costume is the distinctive style of dress (/wiki/Clothing) and/or makeup (/wiki/Cosmetics) of an individual or group that reflects class, gender, occupation, ethnicity, nationality, activity or epoch—in short, culture (/wiki/Culture) . The term also was traditionally used to describe typical appropriate clothing (/wiki/Clothing) for certain activities, such as riding costume (/wiki/Riding_habit) , swimming costume (/wiki/Swimsuit) , dance costume (/wiki/Dance_costume) , and evening costume (/wiki/Evening_gown) . Appropriate and acceptable costume is subject to changes in fashion (/wiki/Fashion) and local cultural norms. [1] (#cite_note-1) "But sable is worn more in carriages, lined with real lace over ivory satin, and worn over some smart costume suitable for an afternoon reception." A Woman's Letter from London (23 November 1899). [2] (#cite_note-2) This general usage has gradually been replaced by the terms "dress", "attire", "robes" or "wear" and usage of "costume" has become more limited to unusual or out-of-date clothing and to attire intended to evoke a change in identity, such as theatrical, Halloween, and mascot costumes. Before the advent of ready-to-wear apparel, clothing was made by hand. When made for commercial sale it was made, as late as the beginning of the 20th century, by "costumiers", often women who ran businesses that met the demand for complicated or intimate female costume, including millinery (/wiki/Hatmaking) and corsetry (/wiki/Corsetmaker) . [3] (#cite_note-Bishop-3) Etymology [ edit ] Derived from the Italian language (/wiki/Italian_language) and passed down through French (/wiki/French_language) , the term "costume" shares its origins with the word signifying fashion or custom. [4] (#cite_note-etymdict-4) Variedly, the term "costume," indicating clothing exclusively from the eighteenth century onward, can be traced back to the Latin consuetudo, meaning "custom" or "usage." [5] (#cite_note-5) National costume [ edit ] King of Bhutan in traditional dress and Bhutanese Women in traditional dress National costume (/wiki/National_costume) or regional costume expresses local (or exiled (/wiki/Exile) ) identity (/wiki/Identity_(social_science)) and emphasizes a culture's unique attributes. They are often a source of national pride. [6] (#cite_note-EncNatDress-6) Examples include the Scottish (/wiki/Scotland) kilt (/wiki/Kilt) , Turkish Zeybek (https://www.matekostum.com.tr/wp-content/uploads/2019/02/DENI%CC%87ZLI%CC%87-E.jpg) , or Japanese (/wiki/Japan) kimono (/wiki/Kimono) . In Bhutan (/wiki/Bhutan) there is a traditional national dress prescribed for men and women, including the monarchy. These have been in vogue for thousands of years and have developed into a distinctive dress style. The dress worn by men is known as Gho (/wiki/Gho) which is a robe worn up to knee-length and is fastened at the waist by a band called the Kera (/wiki/Kera_(clothing)) . The front part of the dress which is formed like a pouch, in olden days was used to hold baskets of food and short dagger, but now it is used to keep cell phone, purse and the betel nut (/wiki/Betel_nut) called Doma . The dress worn by women consist of three pieces known as Kira (/wiki/Kira_(Bhutan)) , Tego (/wiki/Toego) and Wonju (/wiki/Wonju) . The long dress which extends up to the ankle is Kira. The jacket worn above this is Tego which is provided with Wonju, the inner jacket. However, while visiting the Dzong (/wiki/Dzong) or monastery a long scarf or stoll, called Kabney (/wiki/Kabney) is worn by men across the shoulder, in colours appropriate to their ranks. Women also wear scarfs or stolls called Rachus (/w/index.php?title=Rachus&action=edit&redlink=1) , made of raw silk with embroidery, over their shoulder but not indicative of their rank. [7] (#cite_note-Council-7) Theatrical costume [ edit ] Main article: Stage clothes (/wiki/Stage_clothes) Costume often refers to a particular style of clothing worn to portray the wearer as a character (/wiki/Character_(arts)) or type of character at a social event in a theatrical (/wiki/Theatre) performance (/wiki/Performance) on the stage (/wiki/Stagecraft) or in film or television. In combination with other aspects of stagecraft, theatrical costumes can help actors portray characters' and their contexts as well as communicate information about the historical period/era, geographic location and time of day, season or weather of the theatrical performance. Some stylized theatrical costumes, such as Harlequin (/wiki/Harlequin) and Pantaloon (/wiki/Trousers) in the Commedia dell'arte (/wiki/Commedia_dell%27arte) , exaggerate an aspect of a character. Costume in Folk Dances [ edit ] Costume plays a significant role in traditional folk dances around the world, serving as a visual representation of cultural identity, heritage, and tradition. Drawing upon diverse sources, including studies on costume design in film industries and theatrical productions, as well as explorations of fashion and traditional crafts, this section sheds light on the importance and characteristics of costumes in folk dances across different cultures. Role of Costume in Cultural Representation [ edit ] A captivating performance of Rajasthani folk dance, showcasing the vibrant cultural heritage of India. Image source: Wikimedia Commons. In both Hollywood (/wiki/Hollywood,_Los_Angeles) and Bollywood (/wiki/Hindi_cinema) film industries, costume design is integral to character portrayal and storytelling (/wiki/Storytelling) . [8] (#cite_note-8) Costumes are meticulously crafted to evoke specific time periods, social statuses, and cultural contexts, enhancing the authenticity and visual appeal of characters. Similarly, in folk dances (/wiki/Folk_dance) , costumes serve as cultural markers, reflecting the unique attributes of a community or region. The Indian fashion industry (/wiki/Fashion_in_India) , for instance, has embraced traditional crafts and embellishments, contributing to the vibrant and diverse range of costumes seen in Indian folk dances (/wiki/List_of_Indian_folk_dances) . [9] (#cite_note-9) Intersection of Fashion and Theatrical Design [ edit ] The intersection of fashion design and theatrical costume design offers valuable insights into the creative processes and influences shaping costume design practices. [10] (#cite_note-10) While fashion design emphasizes innovation and individual expression, theatrical costume design often prioritizes historical accuracy and character representation. This dynamic interplay between fashion and theater resonates in folk dance costumes, where traditional aesthetics merge with contemporary influences to create visually stunning ensembles that preserve cultural heritage. Symbolism and Tradition in Costume Design [ edit ] A delightful glimpse into Kodomo Kabuki, the children's kabuki theater tradition in Nagahama, Japan. Young performers bring classic Japanese plays to life with their vibrant expressions and lively acting. Image source: lensonjapan. A captivating moment from Kodomo Kabuki, the children's kabuki theater at the Hikiyama Matsuri in Nagahama, Japan. Here, a young performer embodies the role of Warrior Kumagai Jiro Naozane, showcasing the depth of talent and dedication among the young actors. Image source: lensonjapan. In traditional Japanese Kabuki (/wiki/Kabuki) theater, costumes are imbued with symbolism and meaning, serving as integral elements of performance and storytelling. [11] (#cite_note-11) From elaborate makeup to intricate garments, each costume element conveys specific character traits, emotions, and narrative motifs. Similarly, in folk dances, costumes carry symbolic significance, reflecting historical narratives, religious beliefs, and social customs. Through meticulous attention to detail and craftsmanship, folk dance costumes preserve age-old traditions while adapting to modern sensibilities. Evolution and Innovation [ edit ] While rooted in tradition, folk dance costumes continue to evolve and adapt to changing cultural landscapes. Modern interpretations of traditional attire incorporate contemporary elements and materials, reflecting the dynamic nature of cultural identity. As seen in Kabuki theater, the fusion of tradition and modernity gives rise to innovative costume designs that captivate audiences while honoring ancestral heritage. In conclusion, costume in folk dances serves as a tangible expression of cultural identity, tradition, and artistic creativity. From the elaborate attire of Bollywood films to the symbolic costumes of Kabuki theater, the diverse array of folk dance costumes underscores the rich tapestry of global cultural heritage. Costume construction [ edit ] A costume technician is a term used for a person that constructs and/or alters the costumes. [12] (#cite_note-:0-12) The costume technician is responsible for taking the two dimensional sketch (/wiki/Sketch_(drawing)) and translating it to create a garment that resembles the designer's rendering (/wiki/Artistic_rendering) . It is important for a technician to keep the ideas of the designer in mind when building the garment. [13] (#cite_note-13) Draping and cutting [ edit ] Draping is the art of manipulating the fabric using pins and hand stitching to create structure (/wiki/Structure) on a body. This is usually done on a dress form (/wiki/Dress_form) to get the adequate shape for the performer (/wiki/Performer) . [14] (#cite_note-14) Cutting is the act of laying out fabric on a flat surface, using scissors (/wiki/Scissors) to cut and follow along a pattern. These pieces are put together to create a final costume. [15] (#cite_note-:1-15) Pros and cons of draping [ edit ] It is easier to visualize the finished product It is hard to keep the fabric symmetric You are able to drape in your fashion fabric rather than making a muslin mockup Draping makes it difficult to replicate for multiple people There are no needs for patterns It can be hard to keep the grain of the fabric straight There is less waste when using the specific fabric from the start [15] (#cite_note-:1-15) [16] (#cite_note-:2-16) Pros and cons of cutting [ edit ] You are able to create your own pattern to fit a certain size You may need instructions to piece the fabric together It is easier to control the grain of the fabric as well as symmetry There is more ability to create many of the same garment The measurements can be very accurate It takes time to see the final product [15] (#cite_note-:1-15) [16] (#cite_note-:2-16) Jobs [ edit ] Costume designer Designs and creates a concept for the costumes for the play or performance. Costume technician Constructs and patterns the costumes for the play or performance. [12] (#cite_note-:0-12) Wardrobe supervisor (/wiki/Wardrobe_supervisor) Oversees the wardrobe crew and run of the show from backstage. They are responsible for maintaining the good condition of the costumes. [17] (#cite_note-17) Milliner Also known as a hatmaker (/wiki/Hatmaking) , responsible for the manufacturing of hats and headwear. [18] (#cite_note-18) Religious festivals [ edit ] The wearing of costumes is an important part of holidays (/wiki/Holidays) developed from religious festivals (/wiki/Festival) such as Mardi Gras (/wiki/Mardi_Gras) (in the lead up to Easter (/wiki/Easter) ), and Halloween (related to All Hallow's Eve (/wiki/All_Hallow%27s_Eve) ). Mardi Gras costumes usually take the form of jesters (/wiki/Jester) and other fantasy characters; Halloween costumes (/wiki/Halloween_costume) traditionally take the form of supernatural (/wiki/Supernatural) creatures such as ghosts (/wiki/Ghosts) , vampires (/wiki/Vampires) , pop-culture icons and angels (/wiki/Angels) . A traditional, European-style Santa suit (/wiki/Santa_suit) Halloween costumes developed from pre-Christian religious traditions: to avoid being terrorized by evil spirits walking the Earth during the harvest festival Samhain (/wiki/Samhain) , the Celts donned disguises. [19] (#cite_note-:3-19) In the eighth century, Pope Gregory VIII (/wiki/Pope_Gregory_VIII) designated November 1 as All Saints Day, and the preceding days as All Hallows Eve; Samhain's costuming tradition was incorporated into these Christian holidays. [19] (#cite_note-:3-19) Given the Catholic and pagan roots of the holiday, it has been repudiated by some Protestants. [20] (#cite_note-:4-20) However, in the modern era, Halloween "is widely celebrated in almost every corner of American life," and the wearing of costumes forms part of a secular tradition. [20] (#cite_note-:4-20) In 2022, United States households spent an average of $100 preparing for Halloween, with $34 going to costume-related spending. [21] (#cite_note-21) Christmas costumes typically portray characters such as Santa Claus (/wiki/Santa_Claus) (developed from Saint Nicholas (/wiki/Saint_Nicholas) ). In Australia, the United Kingdom and the United States the American version of a Santa suit (/wiki/Santa_suit) and beard (/wiki/Beard) is popular; in the Netherlands, the costume of Zwarte Piet (/wiki/Zwarte_Piet) is customary. Easter costumes are associated with the Easter Bunny (/wiki/Easter_Bunny) or other animal costumes (/wiki/Costumed_character) . In Judaism (/wiki/Judaism) , a common practice is to dress up on Purim (/wiki/Purim) . During this holiday, Jews celebrate the change of their destiny. They were delivered from being the victims of an evil decree against them and were instead allowed by the King to destroy their enemies. A quote from the Book of Esther (/wiki/Book_of_Esther) , which says: "On the contrary" ( Hebrew (/wiki/Hebrew_language) : ונהפוך הוא ) is the reason that wearing a costume has become customary for this holiday. Buddhist religious festivals in Tibet (/wiki/Tibet) , Bhutan (/wiki/Bhutan) , Mongolia and Lhasa (/wiki/Lhasa_(prefecture-level_city)) and Sikkim (/wiki/Sikkim) in India perform the Cham dance (/wiki/Cham_dance) , which is a popular dance form utilising masks and costumes. [22] (#cite_note-Pearlman-22) [23] (#cite_note-Greenwood-23) [24] (#cite_note-Dance-24) A costume used in yakshagana (/wiki/Yakshagana) , a theater art from India (/wiki/India) Parades and processions [ edit ] Parades and processions provide opportunities for people to dress up in historical or imaginative costumes. For example, in 1879 the artist Hans Makart (/wiki/Hans_Makart) designed costumes and scenery to celebrate the wedding anniversary of the Austro-Hungarian Emperor and Empress and led the people of Vienna in a costume parade that became a regular event until the mid-twentieth century. Uncle Sam (/wiki/Uncle_Sam) costumes are worn on Independence Day (/wiki/Independence_Day_(US)) in the United States. The Lion Dance (/wiki/Lion_dance) , which is part of Chinese New Year celebrations, is performed in costume. Some costumes, such as the ones used in the Dragon Dance (/wiki/Dragon_dance) , need teams of people to create the required effect. Sporting events and parties [ edit ] Public sporting events such as fun runs (/wiki/Fun_run) also provide opportunities for wearing costumes, as do private masquerade balls (/wiki/Masquerade_ball) and fancy dress parties (/wiki/Fancy_dress_party) . Mascots [ edit ] The Chief Firemouse, Mickey Mouse, Disney World (NBY 8235) Costumes are popularly employed at sporting events, during which fans dress as their team's representative mascot (/wiki/Mascot) to show their support. Businesses use mascot costumes to bring in people to their business either by placing their mascot in the street by their business or sending their mascot out to sporting events, festivals, national celebrations, fairs, and parades. Mascots appear at organizations wanting to raise awareness of their work. Children's Book authors create mascots from the main character to present at their book signings. Animal costumes that are visually very similar to mascot costumes are also popular among the members of the furry fandom (/wiki/Furry_fandom) , where the costumes are referred to as fursuits (/wiki/Fursuit) and match one's animal persona, or " fursona (/wiki/Fursona) ". Children [ edit ] Costumes also serve as an avenue for children to explore and role-play. For example, children may dress up as characters from history or fiction, such as pirates, princesses (/wiki/Princesses) , cowboys, or superheroes. They may also dress in uniforms (/wiki/Uniform) used in common jobs, such as nurses, police officers, or firefighters, or as zoo or farm animals. Young boys tend to prefer costumes that reinforce stereotypical ideas of being male, and young girls tend to prefer costumes that reinforce stereotypical ideas of being female. [25] (#cite_note-25) Cosplay [ edit ] Main article: Cosplay (/wiki/Cosplay) Cosplay (/wiki/Cosplay) , a word of Japanese origin that in English is short for "costume display" or "costume play", is a performance art in which participants wear costumes and accessories to represent a specific character or idea that is usually always identified with a unique name (as opposed to a generic word). These costume wearers often interact to create a subculture centered on role play, so they can be seen most often in play groups, or at a gathering or convention. A significant number of these costumes are homemade and unique, and depend on the character, idea, or object the costume wearer is attempting to imitate or represent. The costumes themselves are often artistically judged to how well they represent the subject or object that the costume wearer is attempting to contrive. Design [ edit ] Main article: Costume design (/wiki/Costume_design) A U.S. university's cheerleading (/wiki/Cheerleading) group at a performance, wearing costume as per their gender. Costume design (/wiki/Costume_design) is the envisioning of clothing and the overall appearance of a character or performer. Costume may refer to the style of dress particular to a nation, a class, or a period. In many cases, it may contribute to the fullness of the artistic, visual world that is unique to a particular theatrical or cinematic production. The most basic designs are produced to denote status, provide protection or modesty, or provide visual interest to a character. Costumes may be for, but not limited to, theater, cinema, or musical performances. Costume design should not be confused with costume coordination, which merely involves altering existing clothing, although both processes are used to create stage clothes. Organizations [ edit ] The Costume Designers Guild (/wiki/Costume_Designers_Guild) 's international membership includes motion picture, television, and commercial costume designers (/wiki/Costume_designer) , assistant costume designers and costume illustrators, and totals over 750 members. The National Costumers Association (https://www.costumers.org) is an 80 year old association of professional costumers and costume shops. Publications [ edit ] The Costume Designer is a quarterly magazine devoted to the costume design industry. [26] (#cite_note-26) Notable designers and awards [ edit ] Notable costume designers (/wiki/List_of_costume_designers) include recipients of the Academy Award for Best Costume Design (/wiki/Academy_Award_for_Best_Costume_Design) , Tony Award for Best Costume Design (/wiki/Tony_Award_for_Best_Costume_Design) , and Drama Desk Award for Outstanding Costume Design (/wiki/Drama_Desk_Award_for_Outstanding_Costume_Design) . Edith Head (/wiki/Edith_Head) and Orry-Kelly (/wiki/Orry-Kelly) , both of whom were born late in 1897, were two of Hollywood's most notable costume designers. Industry [ edit ] Children in Bulgarian national costumes welcome guests during the Folklore Festival, Slivnitsa, Bulgaria. Professional-grade costumes are typically designed and produced by costume companies who can design and create unique costumes. These companies have often been in business for over 100 years, and continue to work with individual clients to create professional quality costumes. Professional costume houses rent and sell costumes for the trade. This includes companies that create mascots, costumes for film, TV costumes and theatrical costumes. Larger costume companies have warehouses full of costumes for rental to customers. There is an industry where costumers work with clients and design costumes from scratch. They then will create original costumes specifically to the clients specifications. See also [ edit ] Theatre portal (/wiki/Portal:Theatre) Holidays portal (/wiki/Portal:Holidays) Fashion portal (/wiki/Portal:Fashion) Best Costume Design (/wiki/Best_Costume_Design_(disambiguation)) Costumed character (/wiki/Costumed_character) Costume drama (/wiki/Costume_drama) Costume jewelry (/wiki/Costume_jewelry) Costume museum (/wiki/Costume_museum_(disambiguation)) Dress code (/wiki/Dress_code) Illusion costume (/wiki/Illusion_costume) List of costume designers (/wiki/List_of_costume_designers) Uniform (/wiki/Uniform) World Costume Festival (/wiki/World_Costume_Festival) Mascot (/wiki/Mascot) References [ edit ] ^ (#cite_ref-1) Cosgrave, Bronwyn (2000). The complete history of costume & fashion : from ancient Egypt to the present day . New York: Checkmark Books. ISBN (/wiki/ISBN_(identifier)) 0-8160-4574-7 . ^ (#cite_ref-2) "A Woman's Letter from London" (http://nla.gov.au/nla.news-article14347822) . The Sydney Morning Herald . 31 December 1900 . Retrieved 12 October 2015 – via Trove (/wiki/Trove) . ^ (#cite_ref-Bishop_3-0) Bishop, Catherine (2015). Minding her own Business – Colonial businesswomen in Sydney . Sydney: NewSouth Publishing. ^ (#cite_ref-etymdict_4-0) "Costume" (http://www.etymonline.com/index.php?term=costume) . etymonline.com . Retrieved 18 October 2015 . ^ (#cite_ref-5) " (https://www.metmuseum.org/art/metpublications/In_Style_Celebrating_Fifty_Years_of_the_Costume_Institute_The_Metropolitan_Museum_of_Art_Bulletin_v_45_no_2_Fall_1987) "In Style: Celebrating Fifty Years of the Costume Institute": The Metropolitan Museum of Art Bulletin, v. 45, no. 2 (Fall, 1987) - MetPublications - The Metropolitan Museum of Art" (https://www.metmuseum.org/art/metpublications/In_Style_Celebrating_Fifty_Years_of_the_Costume_Institute_The_Metropolitan_Museum_of_Art_Bulletin_v_45_no_2_Fall_1987) . www.metmuseum.org . Retrieved 30 December 2023 . ^ (#cite_ref-EncNatDress_6-0) Condra, Jill (19 April 2013). Encyclopedia of National Dress: Traditional Clothing Around the World . ABC-CLIO. p. 266. ISBN (/wiki/ISBN_(identifier)) 9780313376375 . Retrieved 17 October 2015 . ^ (#cite_ref-Council_7-0) "Bhutanese Dress" (http://www.tourism.gov.bt/about-bhutan/bhutanese-dress) . Tourism Council of Bhutan . Retrieved 17 October 2015 . ^ (#cite_ref-8) Khaire, Mukti (2011). "The Indian Fashion Industry and Traditional Indian Crafts" (https://www.jstor.org/stable/41301395) . The Business History Review . 85 (2): 345–366. ISSN (/wiki/ISSN_(identifier)) 0007-6805 (https://www.worldcat.org/issn/0007-6805) . ^ (#cite_ref-9) "Costume Designing For Hollywood and Bollywood: January 2015 | PDF | Costume | Bollywood" (https://www.scribd.com/document/476448539/CosumeDesiegingforHollywoodandBollywood) . Scribd . Retrieved 3 April 2024 . ^ (#cite_ref-10) Haroon, Rashid; Sajib, Tanjibul Hasan; Nizam, Md Eanamul Haque (6 July 2023). "Comparative Study on Fashion and Theatrical Costume Design" (https://ejtas.com/index.php/journal/article/view/106) . European Journal of Theoretical and Applied Sciences . 1 (4): 49–54. doi (/wiki/Doi_(identifier)) : 10.59324/ejtas.2023.1(4).06 (https://doi.org/10.59324%2Fejtas.2023.1%284%29.06) . ISSN (/wiki/ISSN_(identifier)) 2786-7447 (https://www.worldcat.org/issn/2786-7447) . ^ (#cite_ref-11) Salz, Jonah, ed. (2016). A History of Japanese Theatre . Cambridge: Cambridge University Press. ISBN (/wiki/ISBN_(identifier)) 978-1-107-03424-2 . ^ Jump up to: a b "Costume Technician" (https://theatre.uoregon.edu/costume-technician/) . ^ (#cite_ref-13) "Making Stage Costumes" (http://www.vam.ac.uk/content/articles/m/making-stage-costumes/) . www.vam.ac.uk . 25 January 2011 . Retrieved 16 November 2018 . ^ (#cite_ref-14) "What is Fashion Draping? And Why Should Designers Learn How to Drape?" (https://www.designersnexus.com/fashion-design-industry-information/what-is-fashion-draping/) . Designers Nexus . 21 November 2013 . Retrieved 18 November 2018 . ^ Jump up to: a b c "What you need to know about draping as a fashion design student! | Stevenson University" (http://www.stevenson.edu/academics/undergraduate-programs/fashion-design/blog-news-events/what-you-need-to-know-about-draping-as-a-fashion-design-student) . www.stevenson.edu . Retrieved 13 December 2018 . ^ Jump up to: a b Ingham, Rosemary (2003). The Costume Technician's Handbook . ^ (#cite_ref-17) "Wardrobe Supervisor Guidelines – Department Handbook – Ithaca College" (https://web.archive.org/web/20181121022215/https://www.ithaca.edu/hs/depts/theatre/handbook/crewheads/wardrobesup/) . www.ithaca.edu . Archived from the original (https://www.ithaca.edu/hs/depts/theatre/handbook/crewheads/wardrobesup/) on 21 November 2018 . Retrieved 19 November 2018 . ^ (#cite_ref-18) "Millinery | Fashion A-Z | BoF Education | The Business of Fashion | #BoFEducation" (https://www.businessoffashion.com/education/fashion-az/millinery) . The Business of Fashion . Retrieved 18 November 2018 . ^ Jump up to: a b Thomas, Heather (26 October 2021). "The Origins of Halloween Traditions" (https://blogs.loc.gov/headlinesandheroes/2021/10/the-origins-of-halloween-traditions/) . Library of Congress . ^ Jump up to: a b Hall, Jordan (29 October 2016). "Halloween — A religious holiday" (https://www.sidneyherald.com/community/religion/halloween-a-religious-holiday/article_95f12b30-9e0a-11e6-876a-83b38cd8b35a.html) . Sidney Herald . ^ (#cite_ref-21) "Halloween Spending Reaches Frightening Levels in 2022" (https://www.consolidatedcredit.org/infographics/halloween-statistics/) . Consolidated Credit . 26 July 2023. ^ (#cite_ref-Pearlman_22-0) Pearlman, Ellen (2002). Tibetan Sacred Dance: a Journey into the Religious and Folk Traditions . Inner Traditions / Bear & Co. pp. 21, 32, 180. ISBN (/wiki/ISBN_(identifier)) 0-89281-918-9 . Retrieved 16 October 2011 . ^ (#cite_ref-Greenwood_23-0) Clements, William M. (2006). The Greenwood Encyclopedia of World Folklore and Folklife: Southeast Asia and India, Central and East Asia, Middle East . Vol. 2. Greenwood Press. pp. 106–110. ISBN (/wiki/ISBN_(identifier)) 0-313-32849-8 . Retrieved 16 October 2011 . ^ (#cite_ref-Dance_24-0) "Cham Dance: The Masked Ritual" (https://dancehistorydevelopment.wordpress.com/2013/05/16/cham-dance-the-masked-ritual/) . World Press.com . History and Development of Dance/ Brockport. 16 May 2013 . Retrieved 18 October 2015 . ^ (#cite_ref-25) Jackson, Kathy Merlock, ed. (2005). Rituals and Patterns in Children's Lives . Popular Press. p. 225 (https://archive.org/details/ritualspatternsi0000unse/page/225) . ISBN (/wiki/ISBN_(identifier)) 978-0-299-20830-1 . ^ (#cite_ref-26) "Current Issue" (http://costumedesignersguild.com/magazine/) . The Costume Designer . Costume Designers Guild (/wiki/Costume_Designers_Guild) . External links [ edit ] Wikimedia Commons has media related to Costumes (https://commons.wikimedia.org/wiki/Category:Costumes) . http://costumesocietyamerica.com/ (http://costumesocietyamerica.com/) The Costume Society, UK (http://www.costumesociety.org.uk/) National Costumers Association (http://www.costumers.org/) "Costume" (https://en.wikisource.org/wiki/1911_Encyclop%C3%A6dia_Britannica/Costume) . Encyclopædia Britannica (/wiki/Encyclop%C3%A6dia_Britannica_Eleventh_Edition) . 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Stylish clothing For other uses, see Fashion (disambiguation) (/wiki/Fashion_(disambiguation)) . "Menswear" redirects here. For the music group, see Menswear (band) (/wiki/Menswear_(band)) . Examples under fashion's umbrella: catwalks, mannequins, boutiques, models and designers Fashion is a term used interchangeably to describe the creation of clothing (/wiki/Clothing) , footwear (/wiki/Footwear) , accessories (/wiki/Fashion_accessory) , cosmetics (/wiki/Cosmetics) , and jewellery (/wiki/Jewellery) of different cultural aesthetics (/wiki/Aesthetics) and their mix and match into outfits (/wiki/Clothing) that depict distinctive ways of dressing ( styles (/wiki/Style_(visual_arts)) and trends (/wiki/Trends) ) as signifiers of social status (/wiki/Social_status) , self-expression (/wiki/Self-expression_values) , and group belonging. As a multifaceted term, fashion describes an industry (/wiki/Clothing_industry) , styles (/wiki/Clothing_design) , aesthetics (/wiki/Aesthetics_(textile)) , and trends. The term 'fashion' originates from the Latin word 'Facere,' which means 'to make,' and describes the manufacturing, mixing, and wearing of outfits adorned with specific cultural aesthetics, patterns, motifs (/wiki/Motif_(textile_arts)) , shapes, and cuts, allowing people to showcase their group belonging, values, meanings, beliefs, and ways of life. Given the rise in mass production of commodities (/wiki/Commodity) and clothing at lower prices and global reach, reducing fashion's environmental impact (/wiki/Environmental_impact_of_fashion) and improving sustainability (/wiki/Sustainable_fashion) has become an urgent issue among politicians, brands, and consumers. [1] (#cite_note-1) [2] (#cite_note-2) Definitions Woman's Bicycling Ensemble, 1898, LACMA (/wiki/LACMA) The French word mode (https://en.wiktionary.org/wiki/mode#French) , meaning "fashion", dates as far back as 1482, while the English word denoting something "in style" dates only to the 16th century. Other words exist related to concepts of style and appeal that precede mode . In the 12th and 13th century Old French (/wiki/Old_French) the concept of elegance begins to appear in the context of aristocratic preferences to enhance beauty and display refinement, and cointerie , the idea of making oneself more attractive to others by style or artifice in grooming and dress, appears in a 13th-century poem by Guillaume de Lorris (/wiki/Guillaume_de_Lorris) advising men that "handsome clothes and handsome accessories improve a man a great deal". [3] (#cite_note-3) Fashion scholar Susan B. Kaiser states that everyone is "forced to appear", unmediated before others. [4] (#cite_note-4) Everyone is evaluated by their attire, and evaluation includes the consideration of colors (/wiki/Color_of_clothing) , materials, silhouette, and how garments appear on the body. Garments identical in style and material also appear different depending on the wearer's body shape, or whether the garment has been washed, folded, mended, or is new. Fashion is defined in a number of different ways, and its application can be sometimes unclear. Though the term fashion connotes difference, as in "the new fashions of the season", it can also connote sameness, for example in reference to "the fashions of the 1960s", implying a general uniformity. Fashion can signify the latest trends, but may often reference fashions of a previous era, leading to the reappearance of fashions from a different time period. While what is fashionable can be defined by a relatively insular, esteemed and often rich aesthetic elite who make a look exclusive, such as fashion houses (/wiki/Fashion_house) and haute couturiers (/wiki/Haute_couture) , this 'look' is often designed by pulling references from subcultures (/wiki/Subculture) and social groups who are not considered elite, and are thus excluded from making the distinction of what is fashion themselves. Whereas a trend often connotes a peculiar aesthetic expression, often lasting shorter than a season and being identifiable by visual extremes, fashion is a distinctive and industry-supported expression traditionally tied to the fashion season (/wiki/Fashion_week) and collections (/wiki/Fashion_design) . [5] (#cite_note-Kawamura,_Yuniija._2005-5) Style is an expression that lasts over many seasons and is often connected to cultural movements and social markers, symbols, class, and culture (such as Baroque (/wiki/Baroque) and Rococo (/wiki/Rococo) ). According to sociologist Pierre Bourdieu (/wiki/Pierre_Bourdieu) , fashion connotes "the latest difference." [6] (#cite_note-6) Even though the terms fashion , clothing and costume are often used together, fashion differs from both. Clothing describes the material and the technical garment, devoid of any social meaning or connections; costume has come to mean fancy dress (/wiki/Costume_party) or masquerade (/wiki/Masquerade_ball) wear. Fashion, by contrast, describes the social and temporal system that influences and "activates" dress as a social signifier in a certain time and context. Philosopher Giorgio Agamben (/wiki/Giorgio_Agamben) connects fashion to the qualitative Ancient Greek (/wiki/Ancient_Greece) concept of kairos (/wiki/Kairos) , meaning "the right, critical, or opportune moment", and clothing to the quantitative concept of chronos (/wiki/Chronos) , the personification of chronological or sequential time. [7] (#cite_note-7) While some exclusive brands may claim the label haute couture (/wiki/Haute_couture) , in France, the term is technically limited to members of the Chambre Syndicale de la Haute Couture [8] (#cite_note-8) in Paris. [5] (#cite_note-Kawamura,_Yuniija._2005-5) Haute couture is more aspirational; inspired by art and culture, and in most cases, reserved for the economic elite (/wiki/Elite) . However, New York's fashion calendar hosts Couture Fashion Week, which strives for a more equitable and inclusive mission. [9] (#cite_note-NYCHauteCouture-9) Fashion is also a source of art, allowing people to display their unique tastes, sensibilities, and styles. [10] (#cite_note-:10-10) Different fashion designers (/wiki/Fashion_design) are influenced by outside stimuli and reflect this inspiration in their work. For example, Gucci (/wiki/Gucci) 's 'stained green' jeans [11] (#cite_note-11) may look like a grass stain, but to others, they display purity, freshness, and summer. [12] (#cite_note-:9-12) Fashion is unique, self-fulfilling and may be a key part of someone's identity. Similarly to art, the aims of a person's choices in fashion are not necessarily to be liked by everyone, but instead to be an expression of personal taste. [10] (#cite_note-:10-10) A person's personal style functions as a "societal formation always combining two opposite principles. It is a socially acceptable and secure way to distinguish oneself from others and, at the same time, it satisfies the individual's need for social adaptation and imitation." [13] (#cite_note-:11-13) While philosopher Immanuel Kant (/wiki/Immanuel_Kant) believed that fashion "has nothing to do with genuine judgements of taste", and was instead "a case of unreflected and 'blind' imitation", [13] (#cite_note-:11-13) sociologist Georg Simmel (/wiki/Georg_Simmel) [14] (#cite_note-14) thought of fashion as something that "helped overcome the distance between an individual and his society". [13] (#cite_note-:11-13) History of fashion See also: History of fashion design (/wiki/History_of_fashion_design) Changes in clothing often took place at times of economic or social change, as occurred in ancient Rome (/wiki/Rome) and the medieval Caliphate (/wiki/Caliphate) , followed by a long period without significant changes. In eighth-century Moorish Spain (/wiki/Moorish_Spain) , the musician Ziryab (/wiki/Ziryab) introduced to Córdoba (/wiki/C%C3%B3rdoba,_Spain) [15] (#cite_note-15) [ unreliable source ] [16] (#cite_note-16) sophisticated (/wiki/Sophistication) clothing styles based on seasonal and daily fashions from his native Baghdad (/wiki/Baghdad) , modified by his inspiration. Similar changes in fashion occurred in the 11th century in the Middle East following the arrival of the Turks (/wiki/Turkic_peoples) , who introduced clothing styles from Central Asia and the Far East. [17] (#cite_note-17) Alleged Western distinctiveness Gensei Kajin Shu by Yoshu Chikanobu (/wiki/Yoshu_Chikanobu) , 1890. Various styles of traditional Japanese clothing (/wiki/Traditional_Japanese_clothing) and Western styles. Early Western travellers who visited India (/wiki/India) , Persia (/wiki/Iran) , Turkey (/wiki/Turkey) , or China (/wiki/China) , would frequently remark on the absence of change in fashion in those countries. In 1609, the secretary of the Japanese shōgun (/wiki/Tokugawa_shogunate) bragged inaccurately to a Spanish visitor that Japanese clothing (/wiki/Japanese_clothing) had not changed in over a thousand years. [18] (#cite_note-Braudel-18) : 312–313 However, these conceptions of non-Western clothing undergoing little, if any, evolution are generally held to be untrue; for instance, there is considerable evidence in Ming China (/wiki/Ming_dynasty) of rapidly changing fashions in Chinese clothing (/wiki/Han_Chinese_clothing) . [19] (#cite_note-19) In imperial China, clothing were not only an embodiment of freedom and comfort or used to cover the body or protect against the cold or used for decorative purposes; it was also regulated by strong sumptuary laws (/wiki/Sumptuary_law) which was based on strict social hierarchy system and the ritual system of the Chinese society. [20] (#cite_note-:3-20) : 14–15 It was expected for people to be dressed accordingly to their gender, social status and occupation; the Chinese clothing system had cleared evolution and varied in appearance in each period of history. [20] (#cite_note-:3-20) : 14–15 However, ancient Chinese fashion, like in other cultures, was an indicator of the socioeconomic conditions of its population; for Confucian scholars, however, changing fashion was often associated with social disorder (/wiki/Civil_disorder) which was brought by rapid commercialization. [21] (#cite_note-:2-21) : 204 Clothing which experienced fast changing fashion in ancient China was recorded in ancient Chinese texts, where it was sometimes referred as shiyang , "contemporary-styles", and was associated with the concept of fuyao (/wiki/Fuyao_(fashion)) , "outrageous dress", [22] (#cite_note-22) : 44 which typically holds a negative connotation. Similar changes in clothing can be seen in Japanese clothing between the Genroku period (/wiki/Genroku_culture) and the later centuries of the Edo period (/wiki/Edo_period) (1603–1867), during which a time clothing trends switched from flashy and expensive displays of wealth to subdued and subverted ones. The myth on the lack of fashion in what was considered the Orient was related to Western Imperialism (/wiki/Imperialism) also often accompanied Orientalism (/wiki/Orientalism) , and European imperialism was especially at its highest in the 19th century. [23] (#cite_note-:7-23) : 10 In the 19th century time, Europeans described China in binary opposition to Europe, describing China as "lacking in fashion" among many other things, while Europeans deliberately placed themselves in a superior position when they would compare themselves to the Chinese [23] (#cite_note-:7-23) : 10 as well as to other countries in Asia (/wiki/Asia) : [23] (#cite_note-:7-23) : 166 Latent orientalism is an unconscious, untouchable certainty about what the Orient is, static and unanimous, separate, eccentric, backward, silently different, sensual, and passive. It has a tendency towards despotism and away from progress. [...] Its progress and value are judged in comparison to the West, so it is the Other. Many rigorous scholars [...] saw the Orient as a locale requiring Western attention, reconstruction, even redemption. — Laura Fantone quoted Said (1979), Local Invisibility, Postcolonial Feminisms Asian American Contemporary Artists in California, page 166 Similar ideas were also applied to other countries in the East Asia, in India, and Middle East, where the perceived lack of fashion were associated with offensive remarks on the Asian social and political systems: [24] (#cite_note-24) : 187 I confess that the unchanging fashions of the Turks and other Eastern peoples do not attract me. It seems that their fashions tend to preserve their stupid despotism. — Jean Baptiste Say (/wiki/Jean_Baptiste_Say) (1829) Africa Additionally, there is a long history of fashion in West Africa (/wiki/West_Africa) . [25] (#cite_note-:8-25) Cloth was used as a form of currency in trade with the Portuguese (/wiki/Portuguese_people) and Dutch (/wiki/Dutch_people) as early as the 16th century, [25] (#cite_note-:8-25) and locally produced cloth and cheaper European imports were assembled into new styles to accommodate the growing elite class of West Africans and resident gold and slave traders. [25] (#cite_note-:8-25) There was an exceptionally strong tradition of weaving in the Oyo Empire (/wiki/Oyo_Empire) , and the areas inhabited by the Igbo people (/wiki/Igbo_people) . [25] (#cite_note-:8-25) Fashion in the Western world Marie Antoinette (/wiki/Marie_Antoinette) , wife of Louis XVI, was a leader of fashion. Her choices, such as this 1783 white muslin (/wiki/Muslin) dress called a chemise a la Reine , were highly influential and widely worn. [26] (#cite_note-dam-26) See also: History of Western fashion (/wiki/History_of_Western_fashion) , Chinoiserie in European and American fashion (/wiki/Chinoiserie_in_fashion) , and Fashion week (/wiki/Fashion_week) The beginning in Europe of continual and accelerating change in clothing styles can be fairly reliably dated to late medieval times (/wiki/Medieval_times) . Historians, including James Laver (/wiki/James_Laver) and Fernand Braudel (/wiki/Fernand_Braudel) , date the start of Western fashion in clothing to the middle of the 14th century (/wiki/1300%E2%80%931400_in_fashion) , [18] (#cite_note-Braudel-18) : 317 [27] (#cite_note-Laver-27) : 62 though they tend to rely heavily on contemporary imagery, [28] (#cite_note-28) as illuminated manuscripts were not common before the 14th century. [29] (#cite_note-29) The most dramatic early change in fashion was a sudden drastic shortening and tightening of the male over-garment from calf-length to barely covering the buttocks, [30] (#cite_note-conceitom.com.br-30) sometimes accompanied with stuffing in the chest to make it look bigger. This created the distinctive Western outline of a tailored top worn over leggings or trousers. The pace of change accelerated considerably in the following century, and women's and men's fashion, especially in the dressing and adorning of the hair, became equally complex. Art historians (/wiki/Art_history) are, therefore, able to use fashion with confidence and precision to date images, often to within five years, particularly in the case of images from the 15th century. Initially, changes in fashion led to a fragmentation across the upper classes of Europe of what had previously been a very similar style of dressing and the subsequent development of distinctive national styles. These national styles remained very different until a counter-movement in the 17th to 18th centuries imposed similar styles once again, mostly originating from Ancien Régime (/wiki/Ancien_R%C3%A9gime) France. [18] (#cite_note-Braudel-18) : 317–324 Though the rich usually led fashion, the increasing affluence of early modern Europe (/wiki/Early_modern_Europe) led to the bourgeoisie (/wiki/Bourgeoisie) and even peasants following trends at a distance, but still uncomfortably close for the elites – a factor that Fernand Braudel regards as one of the main motors of changing fashion. [18] (#cite_note-Braudel-18) : 313–315 Albrecht Dürer (/wiki/Albrecht_D%C3%BCrer) 's drawing contrasts a well-turned out bourgeoise from Nuremberg (/wiki/Nuremberg) (left) with her counterpart from Venice. The Venetian lady's high chopines (/wiki/Chopine) make her look taller. In the 16th century (/wiki/16th_century) , national differences were at their most pronounced. Ten 16th century portraits of German or Italian gentlemen may show ten entirely different hats. Albrecht Dürer (/wiki/Albrecht_D%C3%BCrer) illustrated the differences in his actual (or composite) contrast of Nuremberg and Venetian fashions at the close of the 15th century (illustration, right). The "Spanish style" of the late 16th century began the move back to synchronicity among upper-class Europeans, and after a struggle in the mid-17th century, French styles decisively took over leadership, a process completed in the 18th century. [18] (#cite_note-Braudel-18) : 317–321 Though different textile colors and patterns changed from year to year, [31] (#cite_note-31) the cut of a gentleman's coat and the length of his waistcoat, or the pattern to which a lady's dress was cut, changed more slowly. Men's fashions were primarily derived from military models, and changes in a European male silhouette were galvanized in theaters of European war where gentleman officers had opportunities to make notes of different styles such as the "Steinkirk" cravat (/wiki/Cravat_(early)) or necktie. Both parties wore shirts under their clothing, the cut and style of which had little cause to change over a number of centuries. Though there had been distribution of dressed dolls from France since the 16th century and Abraham Bosse (/wiki/Abraham_Bosse) had produced engravings of fashion in the 1620s, the pace of change picked up in the 1780s with increased publication of French engravings illustrating the latest Paris styles. By 1800, all Western Europeans were dressing alike (or thought they were); local variation became first a sign of provincial (/wiki/Province) culture and later a badge of the conservative peasant. [18] (#cite_note-Braudel-18) : 317 [27] (#cite_note-Laver-27) : 62 Although tailors (/wiki/Tailor) and dressmakers were no doubt responsible for many innovations, and the textile industry indeed led many trends, the history of fashion design (/wiki/History_of_fashion_design) is generally understood to date from 1858 when the English-born Charles Frederick Worth (/wiki/Charles_Frederick_Worth) opened the first authentic haute couture (/wiki/Haute_couture) house in Paris. The Haute house was the name established by the government for the fashion houses that met the standards of the industry. These fashion houses continue to adhere to standards such as keeping at least twenty employees engaged in making the clothes, showing two collections per year at fashion shows, and presenting a certain number of patterns to costumers. [32] (#cite_note-32) Since then, the idea of the fashion designer as a celebrity in their own right has become increasingly dominant. [33] (#cite_note-33) Although fashion can be feminine or masculine, additional trends are androgynous (/wiki/Androgynous) . [34] (#cite_note-34) The idea of unisex (/wiki/Unisex) dressing originated in the 1960s, when designers such as Pierre Cardin (/wiki/Pierre_Cardin) and Rudi Gernreich (/wiki/Rudi_Gernreich) created garments, such as stretch jersey tunics or leggings, meant to be worn by both males and females. The impact of unisex wearability expanded more broadly to encompass various themes in fashion, including androgyny, mass-market retail, and conceptual clothing. [35] (#cite_note-35) The fashion trends of the 1970s, such as sheepskin jackets, flight jackets, duffel coats, and unstructured clothing, influenced men to attend social gatherings without a dinner jacket and to accessorize in new ways. Some men's styles blended the sensuality and expressiveness, and the growing gay-rights movement and an emphasis on youth allowed for a new freedom to experiment with style and with fabrics such as wool crepe, which had previously been associated with women's attire. [36] (#cite_note-36) Cover of Marcus Clarks' (/wiki/Marcus_Clark_%26_Co) spring and summer catalogue 1926–27 The four major current fashion capitals (/wiki/Fashion_capital) are acknowledged to be New York City (/wiki/New_York_Fashion_Week) ( Manhattan (/wiki/Manhattan) ), Paris (/wiki/Paris) , Milan (/wiki/Milan) , and London (/wiki/London) , which are all headquarters to the most significant fashion companies and are renowned for their major influence on global fashion. Fashion weeks (/wiki/Fashion_week) are held in these cities, where designers exhibit their new clothing collections to audiences. A study demonstrated that general proximity to New York's Garment District (/wiki/Garment_District,_Manhattan) was important to participate in the American fashion ecosystem. [37] (#cite_note-37) Haute couture has now largely been subsidized by the sale of ready-to-wear (/wiki/Ready-to-wear) collections and perfume using the same branding. Modern Westerners (/wiki/Western_culture) have a vast number of choices in the selection of their clothes. What a person chooses to wear can reflect their personality or interests. When people who have high cultural status (/wiki/Social_status) start to wear new or different styles, they may inspire a new fashion trend. People who like or respect these people are influenced by their style and begin wearing similarly styled clothes. Fashions may vary considerably within a society according to age, social class, generation, occupation, and geography, and may also vary over time. The terms fashionista and fashion victim (/wiki/Fashion_victim) refer to someone who slavishly follows current fashions. Asia Liu Wen (/wiki/Liu_Wen_(model)) , supermodel (/wiki/Supermodel) , walks the runway modeling fashions by designer Diane von Fürstenberg (/wiki/Diane_von_F%C3%BCrstenberg) at New York Fashion Week (/wiki/New_York_Fashion_Week) 2013. In the early 2000s, Asian fashion influences became increasingly significant in local and global markets. Countries such as China, Japan, India, and Pakistan have traditionally had large textile industries (/wiki/Textile_industry) with a number of rich traditions; though these were often drawn upon by Western designers, Asian clothing styles gained considerable influence in the early- to mid-2000s. [38] (#cite_note-38) China Main articles: Chinese fashion (/wiki/Chinese_fashion) and Clothing in ancient China (/wiki/Clothing_in_ancient_China) Chinese fashion remained constantly changing over the centuries. In China, throughout the Tang Dynasty (618–907), women wore extravagant attire to demonstrate prosperity. Mongol men of the Yuan Dynasty (1279–1368) wore loose robes; horsemen sported shorter robes, trousers, and boots to provide ease when horseback riding. The leaders of the Qing Dynasty (/wiki/Qing_dynasty) (1644–1911) maintained Manchu dress, while establishing new garments for officials; while foot binding (/wiki/Foot_binding) —originally introduced in the 10th century—was not preserved, women of this era were expected to wear particular heels that pushed them to take on a ladylike walk. [39] (#cite_note-39) Then, in the 1920s, qipao (/wiki/Cheongsam) was in vogue and the style consisted of stand collars, trumpet sleeves, straight silhouettes and short side slits. Since then, designers started to move into Western fashion like fur coats and cloaks and body-hugging dresses with long side slits as qipao became more popular. In the 1950s and 60s, ‘Lenin coats’ with double lines of buttons, slanting pockets and a belt came into vogue among Chinese men. [40] (#cite_note-40) India Main article: History of Indian clothing (/wiki/History_of_Indian_clothing) In India, it has been common for followers of different religions to wear corresponding pieces of clothing (http://magazine-30330693) . [41] (#cite_note-41) During the 15th century, Muslim and Hindu women wore notably different articles of clothing. This is also seen in many other Eastern world countries. In the Victorian era, most women did not wear blouses under their saris, which did not suit the Victorian society; however, British and Indian fashion would be influenced by each other in following decades. In the 1920s, the nationalists adopted Khadi (/wiki/Khadi) cloth as a symbol of resistance; here, Gandhi became the face of the resistance which made people spin, weave, and wear their Khadi. Today, the salwaar-kameez (/wiki/Shalwar_kameez) is recognized as the national dress of India. Japan Main article: Japanese clothing (/wiki/Japanese_clothing) For Japan, the people during the Meiji period (1868–1912) widely incorporated Western styles into Japanese fashion, which is considered to be a remarkable transformation for the Japanese vogue. [42] (#cite_note-42) They extensively adopted the style and practices of Western cultures.The upper classes wore more extravagant pieces of clothing like luxurious patterned silks and adorned themselves with fancy sashes. Women also started wearing Western dresses in public instead of their traditional Kimono (/wiki/Kimono) . Most of the officials were also required to wear Western suits. In this way, the Japanese slowly adopted into Western fashion. Moreover, like India, different Japanese religions wear different pieces of clothing. Fashion industry Model with a modern dress reflecting the current fashion trend at a fashion show, Paris, 2011 Kaia Gerber (/wiki/Kaia_Gerber) at the 2019 Max Mara Fashion Week in Milan See also: Clothing industry (/wiki/Clothing_industry) , Fashion design (/wiki/Fashion_design) , Fashion show (/wiki/Fashion_show) , and Fashion week (/wiki/Fashion_week) In its most common use, the term fashion refers to the current expressions on sale through the fashion industry. The global fashion industry is a product of the modern age. [43] (#cite_note-auto-43) In the Western world, tailoring has since medieval times been controlled by guilds (/wiki/Guild) , but with the emergence of industrialism (/wiki/Industrialisation) , the power of the guilds was undermined. Before the mid-19th century, most clothing was custom-made (/wiki/Made_to_measure) . It was handmade for individuals, either as home production or on order from dressmakers and tailors. By the beginning of the 20th century, with the rise of new technologies such as the sewing machine (/wiki/Sewing_machine) , the rise of global trade, the development of the factory system of production, and the proliferation of retail outlets such as department stores, clothing became increasingly mass-produced (/wiki/Mass_production) in standard sizes and sold at fixed prices. Although the fashion industry developed first in Europe and America, as of 2017 [update] (https://en.wikipedia.org/w/index.php?title=Fashion&action=edit) , it is an international and highly globalized industry, with clothing often designed in one country, manufactured in another, and sold worldwide. For example, an American fashion company might source fabric in China and have the clothes manufactured in Vietnam, finished in Italy, and shipped to a warehouse in the United States for distribution to retail outlets internationally. The fashion industry has for a long time been one of the largest employers in the United States, [43] (#cite_note-auto-43) and it remains so in the 21st century. However, U.S. employment in fashion began to decline considerably as production increasingly moved overseas, especially to China. Because data regarding the fashion industry typically are reported for national economies and expressed in terms of the industry's many separate sectors, aggregate figures for the world production of textiles (/wiki/Textile_industry) and clothing (/wiki/Clothing_industry) are difficult to obtain. However, by any measure, the clothing industry accounts for a significant share of world economic output. [44] (#cite_note-44) The fashion industry consists of four levels: The production of raw materials, principally fiber (/wiki/Fiber) , and textiles (/wiki/Textile) but also leather (/wiki/Leather) and fur (/wiki/Fur) . The production of fashion goods by designers, manufacturers, contractors, and others. Retail sales. Various forms of advertising and promotion. The levels of focus in the fashion industry consist of many separate but interdependent sectors. These sectors include textile design (/wiki/Textile_design) and production, fashion design (/wiki/Fashion_design) and manufacturing, fashion retailing, marketing and merchandising (/wiki/Merchandising) , fashion shows (/wiki/Fashion_show) , and media and marketing. Each sector is devoted to the goal of satisfying consumer demand for apparel under conditions that enable participants in the industry to operate at a profit. [43] (#cite_note-auto-43) Fashion trends Main article: Fashion trend (/wiki/Fashion_trend) See: Category:Fashion by decade (/wiki/Category:Fashion_by_decade) A fashion trend signifies a specific look or expression that is spread across a population at a specific time and place. A trend is considered a more ephemeral (/wiki/Ephemerality) look, not defined by the seasons when collections are released by the fashion industry. A trend can thus emerge from street style (/wiki/Street_style) , across cultures, and from influencers (/wiki/Internet_celebrity) and other celebrities (/wiki/Celebrity) . Fashion trends are influenced by several factors, including cinema, celebrities, climate, creative explorations, innovations, designs, political, economic, social, and technological. Examining these factors is called a PEST analysis (/wiki/PEST_analysis) . Fashion forecasters can use this information to help determine the growth or decline of a particular trend. People's minds as well as their perceptions and consciousness are constantly changing. Fads are inherently social, are constantly evolving in a contradiction between the old and the new, and are in a sense easily influenced by those around them, and therefore also begin to imitate constantly. [45] (#cite_note-45) Timberland boots are an everyday shoe in streetwear. Continuing on from the maximalist (/wiki/Maximalist) and 1980s influences of the early 2020s (/wiki/2020s_in_fashion#General_trends) , vibrant coloured clothing had made a comeback for women in America, France, China, Korea, and the Ukraine [46] (#cite_note-46) by the spring of 2023. [47] (#cite_note-47) This style, sometimes referred to as " dopamine (/wiki/Dopamine) dressing", featured long skirts and belted maxi dresses (/wiki/Maxi_dress) with thigh splits, lots of gold and pearl jewelry, oversized striped cardigan sweaters (/wiki/Cardigan_sweater) , multicoloured silk skirts with seashell (/wiki/Seashell) or floral print, strappy sandals, pants with a contrasting stripe down the leg, ugg boots (/wiki/Ugg_boot) , [48] (#cite_note-48) floral print maxi skirts (/wiki/Maxi_skirt) , Y2K inspired platform shoes (/wiki/Platform_shoes) , chunky red rain boots (/wiki/Rain_boot) , [49] (#cite_note-49) shimmery jumpsuits (/wiki/Jumpsuit) , [50] (#cite_note-50) knitted dresses, leather pilot (/wiki/Pilot) jackets with faux fur collars, [51] (#cite_note-51) skirts with bold contrasting vertical stripes, trouser suits (/wiki/Trouser_suit) with bootcut (/wiki/Bootcut) legs, jeans with glittery heart or star-shaped details, chunky white or black sandals, and zebra (/wiki/Zebra) print tote bags (/wiki/Tote_bag) . [52] (#cite_note-52) [53] (#cite_note-53) Big, oversized garments were often made from translucent materials and featured cutouts intended to expose the wearer's bare shoulder, thigh, or midriff (/wiki/Midriff) , such as low-cut waists on the pants (/wiki/Hip_hugger) or tops with strappy necklines intended to be worn braless (/wiki/Braless) . [54] (#cite_note-54) Desirable colours included neon green, watermelon (/wiki/Watermelon) green, coral pink (/wiki/Coral_pink) , orange, salmon pink (/wiki/Salmon_pink) , magenta (/wiki/Magenta) , gold (/wiki/Gold_(color)) , electric blue (/wiki/Electric_blue_(colour)) , aquamarine (/wiki/Aquamarine_(colour)) , cyan (/wiki/Cyan) , turquoise (/wiki/Turquoise_(color)) , and royal blue (/wiki/Royal_blue) . [55] (#cite_note-55) [56] (#cite_note-56) In 2023, the predominant colours in Britain, France and America were red, white and blue. As in the mid to late 1970s (/wiki/1970s_fashion) , Western shirts (/wiki/Western_shirt) with pearl snaps (/wiki/Pearl_snap) in denim or bright madras plaid (/wiki/Madras_plaid) made a comeback, and sometimes featured contrasting yokes and cuffs with intricate embroidery. [57] (#cite_note-57) [58] (#cite_note-58) Moccasins (/wiki/Moccasin) , stonewash (/wiki/Stonewash) denim waistcoats (/wiki/Waistcoat) with decorative fringes, preppy loafers, navy blue (/wiki/Navy_blue) suits and sportcoats (/wiki/Sportcoat) , straight leg jeans (/wiki/Straight_leg_jeans) instead of the skinny jeans (/wiki/Skinny_jeans) fashionable from the late 2000s until the early 2020s (/wiki/2000s_fashion) , [59] (#cite_note-59) stetsons (/wiki/Stetson) , white baseball jerseys (/wiki/Baseball_jersey) with bold red or blue pinstripes (/wiki/Pinstripe) , striped blue neckties (/wiki/Necktie) , baggy white pants (/wiki/Baggy_pants) , Union Jack (/wiki/Union_Jack) motifs, flared jeans (/wiki/Flared_jeans) , duster coats (/wiki/Duster_coat) as worn in the Yellowstone (/wiki/Yellowstone_(American_TV_series)) TV series, [60] (#cite_note-60) preppy (/wiki/Preppy) style college (/wiki/College) sweaters (/wiki/Sweater) , retro blue and white striped football shirts (/wiki/Football_shirt) , [61] (#cite_note-61) chelsea boots (/wiki/Chelsea_boot) with cowboy boot (/wiki/Cowboy_boot) styling, two-button blazers with red and blue boating stripes, V-neck sweater vests (/wiki/Sweater_vest) , royal blue (/wiki/Royal_blue) baseball jackets (/wiki/Baseball_jacket) with white sleeves, Howler Brothers gilets (/wiki/Gilet) , [62] (#cite_note-62) shirts and suits worn open to expose the chest, [63] (#cite_note-63) and boxy leather reefer jackets (/wiki/Reefer_jacket) were popular on both sides of the Atlantic. [64] (#cite_note-64) [65] (#cite_note-65) [66] (#cite_note-66) Social influences Further information: Music and fashion (/wiki/Music_and_fashion) Celebrities such as Britney Spears (/wiki/Britney_Spears) have popularized the concept of wearing underwear as outerwear (/wiki/Underwear_as_outerwear) . Fashion is inherently a social phenomenon (/wiki/Social_phenomenon) . A person cannot have a fashion by oneself, but for something to be defined as fashion, there needs to be dissemination and followers. This dissemination can take several forms; from the top-down ("trickle-down") to bottom-up ("bubble up/trickle-up"), or transversally across cultures and through viral memes and media ("trickle-across"). Fashion relates to the social and cultural context of an environment. According to Matika, [67] (#cite_note-67) "Elements of popular culture become fused when a person's trend is associated with a preference for a genre of music […] like music, news, or literature, fashion has been fused into everyday lives." Fashion is not only seen as purely aesthetic; fashion is also a medium for people to create an overall effect and express their opinions and overall art. This mirrors what performers frequently accomplish through music videos. In the music video 'Formation' by Beyoncé (/wiki/Beyonc%C3%A9) , according to Carlos, [68] (#cite_note-68) The annual or seasonal runway show is a reflection of fashion trends and a designer's inspirations. For designers like Vivienne Westwood (/wiki/Vivienne_Westwood) , runway shows are a platform for her voice on politics and current events. For her AW15 menswear show, according to Water, [69] (#cite_note-Dazed-69) "where models with severely bruised faces channeled eco-warriors on a mission to save the planet." Another recent example is a staged feminist protest march for Chanel's SS15 show, rioting models chanting words of empowerment using signs like "Feminist but feminine" and "Ladies first." According to Water, [69] (#cite_note-Dazed-69) "The show tapped into Chanel's long history of championing female independence: founder Coco Chanel was a trailblazer for liberating the female body in the post-WWI era, introducing silhouettes that countered the restrictive corsets then in favour." The annual Met Gala (/wiki/Met_Gala) ceremony in Manhattan (/wiki/Manhattan) is the premier venue where fashion designers and their creations are celebrated. Social media (/wiki/Social_media) is also a place where fashion is presented most often. Some influencers are paid huge amounts of money to promote a product or clothing item, where the business hopes many viewers will buy the product off the back of the advertisement. Instagram is the most popular platform for advertising, but Facebook, Snapchat, Twitter and other platforms are also used. [70] (#cite_note-70) In New York, the LGBT fashion design community (/wiki/List_of_LGBT_people_from_New_York_City#Fashion) contributes very significantly to promulgating fashion trends, and drag celebrities (/wiki/List_of_LGBT_people_from_New_York_City#Drag) have developed a profound influence upon New York Fashion Week (/wiki/New_York_Fashion_Week) . [71] (#cite_note-DragQueensNewYorkFashionWeek-71) Marketing Market research Fur fashion for sale in Tallinn (/wiki/Tallinn) , Estonia (/wiki/Estonia) Consumers of different groups have varying needs and demands. Factors taken into consideration when analyzing consumers' needs include key demographics. [72] (#cite_note-72) To understand consumers' needs and predict fashion trends, fashion companies have to do market research (/wiki/Market_research) [73] (#cite_note-73) There are two research methods: primary and secondary. [74] (#cite_note-Consumer_Research_Methods-74) Secondary methods are taking other information that has already been collected, for example using a book or an article for research. Primary research is collecting data through surveys, interviews, observation, and/or focus groups. Primary research often focuses on large sample sizes to determine customer's motivations to shop. [75] (#cite_note-Parker_158–175-75) The benefits of primary research are specific information about a fashion brand's consumer is explored. Surveys are helpful tools; questions can be open-ended or closed-ended. Negative factor surveys and interviews present is that the answers can be biased, due to wording in the survey or on face-to-face interactions. Focus groups, about 8 to 12 people, can be beneficial because several points can be addressed in depth. However, there are drawbacks to this tactic, too. With such a small sample size, it is hard to know if the greater public would react the same way as the focus group. [74] (#cite_note-Consumer_Research_Methods-74) Observation can really help a company gain insight on what a consumer truly wants. There is less of a bias because consumers are just performing their daily tasks, not necessarily realizing they are being observed. For example, observing the public by taking street style photos of people, the consumer did not get dressed in the morning knowing that would have their photo taken necessarily. They just wear what they would normally wear. Through observation patterns can be seen, helping trend forecasters know what their target market needs and wants. Knowing the needs of consumers will increase fashion companies' sales and profits. Through research and studying the consumers' lives the needs of the customer can be obtained and help fashion brands know what trends the consumers are ready for. Symbolic consumption Consumption is driven not only by need, the symbolic meaning for consumers is also a factor. Consumers engaging in symbolic consumption may develop a sense of self over an extended period of time as various objects are collected as part of the process of establishing their identity and, when the symbolic meaning is shared in a social group, to communicate their identity to others. For teenagers, consumption plays a role in distinguishing the child self from the adult. Researchers have found that the fashion choices of teenagers are used for self-expression and also to recognize other teens who wear similar clothes. The symbolic association of clothing items can link individuals' personality and interests, with music as a prominent factor influencing fashion decisions. [76] (#cite_note-76) Political influences Melania Trump (/wiki/Melania_Trump) with Argentine first lady Juliana Awada (/wiki/Juliana_Awada) in 2017 Political figures have played a central role in the development of fashion, at least since the time of French king Louis XIV (/wiki/Louis_XIV) . For example, First Lady Jacqueline Kennedy (/wiki/Jacqueline_Kennedy_Onassis) was a fashion icon of the early 1960s. Wearing Chanel suits, structural Givenchy shift dresses, and soft color Cassini coats with large buttons, she inspired trends of both elegant formal dressing and classic feminine style. [77] (#cite_note-77) Cultural upheavals have also had an impact on fashion trends. For example, during the 1960s, the U.S. economy was robust, the divorce rate was increasing, and the government approved the birth control pill (/wiki/Combined_oral_contraceptive_pill) . These factors inspired the younger generation to rebel against entrenched social norms. The civil rights movement, a struggle for social justice and equal opportunity for Blacks, and the women's liberation movement, seeking equal rights and opportunities and greater personal freedom for women, were in full bloom. In 1964, the leg-baring mini-skirt was introduced and became a white-hot trend. Fashion designers then began to experiment with the shapes of garments: loose sleeveless dresses, micro-minis, flared skirts, and trumpet sleeves. Fluorescent colors, print patterns, bell-bottom jeans, fringed vests, and skirts became de rigueur outfits of the 1960s. [78] (#cite_note-78) Concern and protest over U.S. involvement in the failing Vietnam War also influenced fashion. Camouflage patterns in military clothing, developed to help military personnel be less visible to enemy forces, seeped into streetwear designs in the 1960s. Camouflage trends have disappeared and resurfaced several times since then, appearing in high fashion iterations in the 1990s. [79] (#cite_note-79) Designers such as Valentino, Dior, and Dolce & Gabbana combined camouflage into their runway and ready-to-wear collections. Today, variations of camouflage, including pastel shades, in every article of clothing or accessory, continue to enjoy popularity. Technology influences A see-through (/wiki/See-through_clothing) top worn along with pasties (/wiki/Pasties) by a model at a fashion show (/wiki/Fashion_show) in US, 2017. Such fashion trends (/wiki/Fashion_trend) get popularised through media. Today, technology plays a sizable role in society, and technological influences are correspondingly increasing within the realm of fashion. Wearable technology (/wiki/Wearable_technology) has become incorporated; for example, clothing constructed with solar panels that charge devices and smart fabrics (/wiki/E-textiles) that enhance wearer comfort by changing color or texture based on environmental changes. [80] (#cite_note-80) 3D printing (/wiki/3D_printing) technology has influenced designers such as Iris van Herpen (/wiki/Iris_van_Herpen) and Kimberly Ovitz (/wiki/Kimberly_Ovitz) . As the technology evolves, 3D printers will become more accessible to designers and eventually, consumers — these could potentially reshape design and production in the fashion industry entirely. Internet technology, enabling the far reaches of online retailers and social media platforms, has created previously unimaginable ways for trends to be identified, marketed, and sold immediately. [81] (#cite_note-81) Trend-setting styles are easily displayed and communicated online to attract customers. Posts on Instagram or Facebook can quickly increase awareness about new trends in fashion, which subsequently may create high demand for specific items or brands, [82] (#cite_note-82) new "buy now button" technology can link these styles with direct sales. Machine vision (/wiki/Machine_vision) technology has been developed to track how fashions spread through society. The industry can now see the direct correlation on how fashion shows influence street-chic outfits. Effects such as these can now be quantified and provide valuable feedback to fashion houses, designers, and consumers regarding trends. [83] (#cite_note-83) Environmental impact This section is an excerpt from Environmental impact of fashion (/wiki/Environmental_impact_of_fashion) . [ edit (https://en.wikipedia.org/w/index.php?title=Environmental_impact_of_fashion&action=edit) ] Production of cotton (/wiki/Cotton) requires a large amount of water, and also produces wastewater (/wiki/Wastewater) . The fashion industry (/wiki/Fashion_industry) , particularly manufacture and use of apparel (/wiki/Apparel) and footwear (/wiki/Footwear) , is a significant driver of greenhouse gas emissions (/wiki/Greenhouse_gas_emissions) and plastic pollution (/wiki/Plastic_pollution) . [84] (#cite_note-84) The rapid growth of fast fashion (/wiki/Fast_fashion) has led to around 80 billion items of clothing being consumed annually, with about 85% of clothes consumed in United States being sent to landfill (/wiki/Landfill) . [85] (#cite_note-Environmental_impact_of_fashion_:62-85) Less than one percent of clothing is recycled (/wiki/Recycled) to make new clothes. [86] (#cite_note-Environmental_impact_of_fashion_:632-86) The industry was estimated to produce 10% of all greenhouse gas emissions in 2020, which was larger than the emissions produced by international flights and maritime shipping combined. According to a 2017 report from the Ellen MacArthur Foundation (/wiki/Ellen_MacArthur_Foundation) , if the fashion sector persists on its same trajectory, its share of global carbon emissions could increase to 26% by 2050. [87] (#cite_note-87) [88] (#cite_note-88) [89] (#cite_note-89) The production and distribution of the crops, fibers, and garments used in fashion all contribute to differing forms of environmental pollution (/wiki/Environmental_pollution) , including water, air, and soil degradation (/wiki/Soil_degradation) . [ citation needed ] The textile industry (/wiki/Textile_industry) is the second greatest polluter of local freshwater in the world, [90] (#cite_note-Environmental_impact_of_fashion_FI_1-90) and is culpable for roughly one-fifth of all industrial water pollution (/wiki/Water_pollution) . [91] (#cite_note-91) Some of the main factors that contribute to this industrial caused pollution are the vast overproduction (/wiki/Overproduction) of fashion items, [ citation needed ] the use of synthetic fibers (/wiki/Synthetic_fibers) , the agriculture pollution (/wiki/Agriculture_pollution) of fashion crops, [92] (#cite_note-92) and the proliferation of microfibers (/wiki/Microfiber) across global water sources. [86] (#cite_note-Environmental_impact_of_fashion_:632-86) Efforts have been made by some retailers and consumers to promote sustainable fashion (/wiki/Sustainable_fashion) practices, such as reducing waste, improving energy and water efficiency, and using primarily eco-friendly materials. Counter movements, such as slow fashion, have also developed as a response to the growth of fast fashion. [ citation needed ] Media Latin dancers (/wiki/Latin_dance) in their costumes (/wiki/Costume) . The woman is wearing backless dress (/wiki/Backless_dress) with deep slits on its lower portion, while the man is wearing a shirt with top buttons open. The media plays a significant role when it comes to fashion. For instance, an important part of fashion is fashion journalism (/wiki/Fashion_journalism) . Editorial critique, guidelines, and commentary can be found on television and in magazines, newspapers, fashion websites, social networks, and fashion blogs (/wiki/Fashion_blog) . In recent years, fashion blogging and YouTube videos have become a major outlet for spreading trends and fashion tips, creating an online culture of sharing one's style on a website or social media accounts (i.e. Instagram, TikTok, or Twitter). Through these media outlets, readers and viewers all over the world can learn about fashion, making it very accessible. [93] (#cite_note-93) In addition to fashion journalism, another media platform that is important in fashion industry is advertisement. Advertisements provide information to audiences and promote the sales of products and services. The fashion industry uses advertisements to attract consumers and promote its products to generate sales. A few decades ago when technology was still underdeveloped, advertisements heavily relied on radio, magazines, billboards, and newspapers. [94] (#cite_note-94) These days, there are more various ways in advertisements such as television ads, online-based ads using internet websites, and posts, videos, and live streaming in social media platforms. Fashion in printed media This 1921 clipping from the St. Louis Post-Dispatch (/wiki/St._Louis_Post-Dispatch) , with story and drawings by Marguerite Martyn (/wiki/Marguerite_Martyn) , represents the saturation newspaper coverage given to society women at a fashionable dance. There are two subsets of print styling: editorial and lifestyle. Editorial styling is the high-fashion styling seen in fashion magazines, and this tends to be more artistic and fashion-forward. Lifestyle styling focuses on a more overtly commercial goal, like a department store advertisement, a website, or an advertisement where fashion is not what's being sold but the models are hired to promote the product in the photo. [95] (#cite_note-95) The dressing practices of the powerful have traditionally been mediated through art and the practices of the courts. The looks of the French court were disseminated through prints from the 16th century on, but gained cohesive design with the development of a centralized court under King Louis XIV (/wiki/Louis_XIV) , which produced an identifiable style that took his name (/wiki/Louis_XIV_style) . [96] (#cite_note-96) At the beginning of the 20th century, fashion magazines began to include photographs of various fashion designs and became even more influential than in the past. [97] (#cite_note-97) In cities throughout the world these magazines were greatly sought after and had a profound effect on public taste in clothing. Talented illustrators drew exquisite fashion plates for the publications which covered the most recent developments in fashion and beauty. Perhaps the most famous of these magazines was La Gazette du Bon Ton (/wiki/La_Gazette_du_Bon_Ton) , which was founded in 1912 by Lucien Vogel and regularly published until 1925 (with the exception of the war years). [98] (#cite_note-98) Vogue , founded in Manhattan (/wiki/Manhattan) in 1892, has been the longest-lasting and most successful of the hundreds of fashion magazines that have come and gone. Increasing affluence after World War II (/wiki/World_War_II) and, most importantly, the advent of cheap color printing in the 1960s, led to a huge boost in its sales and heavy coverage of fashion in mainstream women's magazines, followed by men's magazines in the 1990s. One such example of Vogue' s popularity is the younger version, Teen Vogue (/wiki/Teen_Vogue) , which covers clothing and trends that are targeted more toward the "fashionista on a budget". Haute couture (/wiki/Haute_couture) designers followed the trend by starting ready-to-wear (/wiki/Ready-to-wear) and perfume lines which are heavily advertised in the magazines and now dwarf their original couture businesses. A recent development within fashion print media is the rise of text-based and critical magazines which aim to prove that fashion is not superficial, by creating a dialogue between fashion academia and the industry. Examples of this development are: Fashion Theory (/wiki/Fashion_Theory_(journal)) (1997), Fashion Practice: The Journal of Design, Creative Process & the Fashion Industry (2008), and Vestoj (/wiki/Vestoj) (2009). Fashion in television Television coverage began in the 1950s with small fashion features. In the 1960s and 1970s, fashion segments on various entertainment shows became more frequent, and by the 1980s, dedicated fashion shows such as Fashion Television (/wiki/Fashion_Television) started to appear. FashionTV (/wiki/FashionTV) was the pioneer in this undertaking and has since grown to become the leader in both Fashion Television and new media channels. The Fashion Industry is beginning to promote their styles through Bloggers on social media's. Vogue specified Chiara Ferragni as "blogger of the moment" due to the rises of followers through her Fashion Blog, that became popular. [99] (#cite_note-99) A few days after the 2010 Fall Fashion Week in New York City (/wiki/New_York_Fashion_Week) came to a close, The New Islander (/w/index.php?title=The_New_Islander&action=edit&redlink=1) ' s Fashion Editor, Genevieve Tax, criticized the fashion industry for running on a seasonal schedule of its own, largely at the expense of real-world consumers. "Because designers release their fall collections in the spring and their spring collections in the fall, fashion magazines such as Vogue always and only look forward to the upcoming season, promoting parkas come September while issuing reviews on shorts in January", she writes. "Savvy shoppers, consequently, have been conditioned to be extremely, perhaps impractically, farsighted with their buying." [100] (#cite_note-100) The fashion industry has been the subject of numerous films and television shows, including the reality show Project Runway (/wiki/Project_Runway) and the drama series Ugly Betty (/wiki/Ugly_Betty) . Specific fashion brands have been featured in film, not only as product placement (/wiki/Product_placement) opportunities, but as bespoke items that have subsequently led to trends in fashion. [101] (#cite_note-101) Videos in general have been very useful in promoting the fashion industry. This is evident not only from television shows directly spotlighting the fashion industry, but also movies, events and music videos which showcase fashion statements as well as promote specific brands through product placements. Controversial advertisements in fashion industry Racism in fashion advertisements Some fashion advertisements have been accused of racism and led to boycotts from customers. Globally known Swedish fashion brand H&M (/wiki/H%26M) faced this issue with one of its children's wear advertisements in 2018. A Black child wearing a hoodie with the slogan "coolest monkey in the jungle" was featured in the ad. This immediately led to controversy, as "monkey" is commonly used as slur against Black people (/wiki/List_of_ethnic_slurs_and_epithets_by_ethnicity#African) , and caused many customers to boycott the brand. Many people, including celebrities, posted on social media about their resentments towards H&M and refusal to work with and buy its products. H&M issued a statement saying "we apologise to anyone this may have offended", though this too received some criticism for appearing insincere. [102] (#cite_note-102) Another fashion advertisement seen as racist was from GAP (/wiki/Gap_Inc.) , an American worldwide clothing brand. GAP collaborated with Ellen DeGeneres (/wiki/Ellen_DeGeneres) in 2016 for the advertisement. It features four playful young girls, with a tall White girl leaning with her arm on a shorter Black girl's head. Upon release, some viewers harshly criticized it, claiming it shows an underlying passive racism. A representative from The Root (/wiki/The_Root_(magazine)) commented that the ad portrays the message that Black people are undervalued and seen as props for White people to look better. [103] (#cite_note-103) Others saw little issue with the ad, and that the controversy was the result of people being oversensitive (/wiki/Hostile_Attribution_Bias) . GAP replaced the image in the ad and apologized to critics. [104] (#cite_note-104) Sexism in fashion advertisements Many fashion brands have published ads that were provocative and sexy to attract customers' attention. British high fashion brand, Jimmy Choo, was blamed for having sexism in its ad which featured a female British model wearing the brand's boots. In this two-minute ad, men whistle at a model, walking on the street with red, sleeveless mini dress. This ad gained much backlash and criticism by the viewers, as it was seen as promoting sexual harassment and other misconduct. Many people showed their dismay through social media posts, leading Jimmy Choo to pull down the ad from social media platforms. [105] (#cite_note-105) French luxury fashion brand Yves Saint Laurent also faced this issue with its print ad shown in Paris in 2017. The ad depicted a female model wearing fishnet tights with roller-skate stilettos reclining with her legs opened in front of the camera. This advertisement brought harsh comments from both viewers and French advertising organization directors for going against the advertising codes related to "respect for decency, dignity and those prohibiting submission, violence or dependence, as well as the use of stereotypes." and additionally said that this ad was causing "mental harm to adolescents." [106] (#cite_note-106) Due to the negative public reaction, the poster was removed from the city. Public relations and social media A Mexican sports reporter Inés Sainz (/wiki/In%C3%A9s_Sainz) wearing a little black dress (/wiki/Little_black_dress) and knee-high boots Fashion public relations (/wiki/Public_relations) involves being in touch with a company's audiences and creating strong relationships with them, reaching out to media, and initiating messages that project positive images of the company. [107] (#cite_note-107) Social media plays an important role in modern-day fashion public relations; enabling practitioners to reach a wide range of consumers through various platforms. [108] (#cite_note-108) Building brand awareness and credibility is a key implication of good public relations. In some cases, the hype is built about new designers' collections before they are released into the market, due to the immense exposure generated by practitioners. [109] (#cite_note-109) Social media, such as blogs, microblogs, podcasts, photo and video sharing sites have all become increasingly important to fashion public relations. [110] (#cite_note-110) The interactive nature of these platforms allows practitioners to engage and communicate with the public in real-time, and tailor their clients' brand or campaign messages to the target audience. With blogging platforms such as Instagram, Tumblr, WordPress, Squarespace, and other sharing sites, bloggers have emerged as expert fashion commentators, shaping brands and having a great impact on what is 'on trend'. [111] (#cite_note-111) Women in the fashion public relations industry such as Sweaty Betty PR founder Roxy Jacenko (/wiki/Roxy_Jacenko) and Oscar de la Renta's PR girl Erika Bearman, have acquired copious followers on their social media sites, by providing a brand identity and a behind the scenes look into the companies they work for. Social media is changing the way practitioners deliver messages, [30] (#cite_note-conceitom.com.br-30) as they are concerned with the media, and also customer relationship building. [112] (#cite_note-112) PR practitioners must provide effective communication among all platforms, in order to engage the fashion public in an industry socially connected via online shopping. [113] (#cite_note-113) Consumers have the ability to share their purchases on their personal social media pages (such as Facebook, Twitter, Instagram, etc.), and if practitioners deliver the brand message effectively and meet the needs of its public, word-of-mouth publicity will be generated and potentially provide a wide reach for the designer and their products. Fashion and political activism Further information: Fashion activism (/wiki/Fashion_activism) Jacqueline Kennedy (/wiki/Jacqueline_Kennedy) , the wife of President John F. Kennedy (/wiki/John_F._Kennedy) , made pink a popular high-fashion color. As fashion concerns people, and signifies social hierarchies, fashion intersects with politics and the social organization of societies. Whereas haute couture (/wiki/Haute_couture) and business suits (/wiki/Suit) are associated by people in power, also groups aiming to challenge the political order also use clothes to signal their position. The explicit use of fashion as a form of activism, is usually referred to as " fashion activism (/wiki/Fashion_activism) ." There is a complex relationship between fashion and feminism. Some feminists have argued that by participating in feminine fashions women are contributing to maintaining the gender differences which are part of women's oppression. [114] (#cite_note-Femininity-114) Brownmiller felt that women should reject traditionally feminine dress, focusing on comfort and practicality rather than fashion. [114] (#cite_note-Femininity-114) Others believe that it is the fashion system itself that is repressive in requiring women to seasonally change their clothes to keep up with trends. [115] (#cite_note-115) Greer has advocated this argument that seasonal changes in dress should be ignored; she argues that women can be liberated by replacing the compulsiveness of fashion with enjoyment of rejecting the norm to create their own personal styling. [116] (#cite_note-116) This rejection of seasonal fashion led to many protests in the 1960s alongside rejection of fashion on socialist, racial and environmental grounds. [117] (#cite_note-tandfonline.com-117) However, Mosmann has pointed out that the relationship between protesting fashion and creating fashion is dynamic because the language and style used in these protests has then become part of fashion itself. [117] (#cite_note-tandfonline.com-117) Fashion designers and brands have traditionally kept themselves out of political conflicts, there has been a movement in the industry towards taking more explicit positions across the political spectrum. From maintaining a rather apolitical stance, designers and brands today engage more explicitly in current debates. [118] (#cite_note-newyorker.com-118) Tie dye vendor, July 2013 For example, considering the U.S.'s political climate in the surrounding months of the 2016 presidential election (/wiki/2016_United_States_presidential_election) , during 2017 fashion weeks (/wiki/Fashion_week) in London (/wiki/London_Fashion_Week) , Milan (/wiki/Milan_Fashion_Week) , New York (/wiki/New_York_Fashion_Week) , Paris (/wiki/Paris_Fashion_Week) and São Paulo (/wiki/S%C3%A3o_Paulo_Fashion_Week) amongst others, many designers took the opportunity to take political stances leveraging their platforms and influence to reach their customers. [119] (#cite_note-119) [120] (#cite_note-120) This has also led to some controversy over democratic values, as fashion is not always the most inclusive platform for political debate, but a one-way broadcast of top-down messages. When taking an explicit political stance, designers generally favor issues that can be identified in clear language with virtuous undertones. For example, aiming to "amplify a greater message of unity, inclusion, diversity, and feminism in a fashion space", designer Mara Hoffman invited the founders of the Women's March on Washington to open her show which featured modern silhouettes of utilitarian wear, described by critics as "Made for a modern warrior" and "Clothing for those who still have work to do". [121] (#cite_note-121) Prabal Gurung (/wiki/Prabal_Gurung) debuted his collection of T-shirts featuring slogans such as "The Future is Female", "We Will Not Be Silenced", and "Nevertheless She Persisted", with proceeds going to the ACLU (/wiki/American_Civil_Liberties_Union) , Planned Parenthood (/wiki/Planned_Parenthood) , and Gurung's own charity, "Shikshya Foundation Nepal". [118] (#cite_note-newyorker.com-118) Similarly, The Business of Fashion launched the #TiedTogether movement on Social Media, encouraging member of the industry from editors to models, to wear a white bandana advocating for "unity, solidarity, and inclusiveness during fashion week". [122] (#cite_note-122) Fashion may be used to promote a cause, such as to promote healthy behavior, [123] (#cite_note-123) to raise money for a cancer cure, [124] (#cite_note-124) or to raise money for local charities [125] (#cite_note-125) such as the Juvenile Protective Association (/wiki/Juvenile_Protective_Association) [126] (#cite_note-126) or a children's hospice (/wiki/Children%27s_hospice) . [127] (#cite_note-127) One fashion cause is trashion (/wiki/Trashion) , which is using trash to make clothes, jewelry (/wiki/Jewellery) , and other fashion items in order to promote awareness of pollution. There are a number of modern trashion artists such as Marina DeBris (/wiki/Marina_DeBris) , Ann Wizer, [128] (#cite_note-128) and Nancy Judd. [129] (#cite_note-129) Other designers have used DIY fashions, in the tradition of the punk movement, to address elitism in the industry to promote more inclusion and diversity. [130] (#cite_note-130) Anthropological perspective Indigenous Americas Map Tunic designed in 2018 by Carla Fernández (/wiki/Carla_Fern%C3%A1ndez) and Pedro Reyes for Taller Flora. From an academic lens, the sporting of various fashions has been seen as a form of fashion language, a mode of communication that produced various fashion statements, using a grammar of fashion. [131] (#cite_note-131) This is a perspective promoted in the work of influential French philosopher and semiotician Roland Barthes (/wiki/Roland_Barthes) . Anthropology (/wiki/Anthropology) , the study of culture and of human societies, examines fashion by asking why certain styles are deemed socially appropriate and others are not. From the theory of interactionism, a certain practice or expression is chosen by those in power in a community, and that becomes "the fashion" as defined at a certain time by the people under influence of those in power. If a particular style has a meaning in an already occurring set of beliefs (/wiki/Beliefs) , then that style may have a greater chance of become fashion. [132] (#cite_note-132) According to cultural theorists Ted Polhemus and Lynn Procter, one can describe fashion as adornment (/wiki/Adornment) , of which there are two types: fashion and anti-fashion (/wiki/Anti-fashion) . Through the capitalization (/wiki/Capitalization_(disambiguation)) and commoditization (/wiki/Commoditization) of clothing, accessories, and shoes, etc., what once constituted anti-fashion becomes part of fashion as the lines between fashion and anti-fashion are blurred, as expressions that were once outside the changes of fashion are swept along with trends to signify new meanings. [133] (#cite_note-133) Examples range from how elements from ethnic dress becomes part of a trend and appear on catwalks or street cultures, for example how tattoos travel from sailors, laborers and criminals to popular culture. To cultural theorist Malcolm Bernard, fashion and anti-fashion differ as polar opposites. Anti-fashion is fixed and changes little over time, [134] (#cite_note-134) varying depending on the cultural or social group one is associated with or where one lives, but within that group or locality the style changes little. Fashion, in contrast, can change ( evolve (/wiki/Cultural_evolution) ) very quickly [135] (#cite_note-135) and is not affiliated with one group or area of the world but spreads throughout the world wherever people can communicate easily with each other. An example of anti-fashion would be ceremonial or otherwise traditional clothing where specific garments and their designs are both reproduced faithfully and with the intent of maintaining a status quo of tradition. This can be seen in the clothing of some kabuki (/wiki/Kabuki) plays, where some character outfits are kept intact from designs of several centuries ago, in some cases retaining the crests of the actors considered to have 'perfected' that role. Anti-fashion is concerned with maintaining the status quo, while fashion is concerned with social mobility (/wiki/Social_mobility) . Time is expressed in terms of continuity in anti-fashion, and in terms of change in fashion; fashion has changing modes of adornment, while anti-fashion has fixed modes of adornment. From this theoretical lens, change in fashion is part of the larger industrial system and is structured by the powerful actors in this system to be a deliberate change in style, promoted through the channels influenced by the industry (such as paid advertisements). [136] (#cite_note-136) Intellectual property Gross sales of goods vs IP laws (US 2007) In the fashion industry, intellectual property is not enforced as it is within the film industry (/wiki/Film_industry) and music industry (/wiki/Music_industry) . Robert Glariston, an intellectual property expert, mentioned in a fashion seminar held in LA [ which? ] that "Copyright law regarding clothing is a current hot-button issue in the industry. We often have to draw the line between designers being inspired by a design and those outright stealing it in different places." [137] (#cite_note-137) To take inspiration from others' designs contributes to the fashion industry's ability to establish clothing trends. For the past few years, WGSN (/w/index.php?title=WGSN_(fashion_forecaster)&action=edit&redlink=1) has been a dominant source of fashion news and forecasts in encouraging fashion brands worldwide to be inspired by one another. Enticing consumers to buy clothing by establishing new trends is, some have argued, a key component of the industry's success. Intellectual property rules that interfere with this process of trend-making would, in this view, be counter-productive. On the other hand, it is often argued that the blatant theft of new ideas, unique designs, and design details by larger companies is what often contributes to the failure of many smaller or independent design companies. Since fakes are distinguishable by their poorer quality, there is still a demand for luxury goods, and as only a trademark or logo can be copyrighted, many fashion brands make this one of the most visible aspects of the garment or accessory. In handbags, especially, the designer's brand may be woven into the fabric (or the lining fabric) from which the bag is made, making the brand an intrinsic element of the bag. In 2005, the World Intellectual Property Organization (/wiki/World_Intellectual_Property_Organization) (WIPO) held a conference calling for stricter intellectual property enforcement within the fashion industry to better protect small and medium businesses and promote competitiveness within the textile and clothing industries. [138] (#cite_note-138) [139] (#cite_note-139) See also Fashion portal (/wiki/Portal:Fashion) Digital fashion (/wiki/Digital_fashion) Designer clothing (/wiki/Designer_clothing) Dress code (/wiki/Dress_code) Fashion faux pas (/wiki/Fashion_faux_pas) Fashion law (/wiki/Fashion_law) Fetish fashion (/wiki/Fetish_fashion) Fitness fashion (/wiki/Fitness_fashion) Fashion psychology (/wiki/Fashion_psychology) History of Western fashion (/wiki/History_of_Western_fashion) Human physical appearance (/wiki/Human_physical_appearance) Index of fashion articles (/wiki/Index_of_fashion_articles) Latex clothing (/wiki/Latex_clothing) Lolita fashion (/wiki/Lolita_fashion) Modest fashion (/wiki/Modest_fashion) Punk fashion (/wiki/Punk_fashion) Red carpet fashion (/wiki/Red_carpet_fashion) Social media in the fashion industry (/wiki/Social_media_in_the_fashion_industry) Suit (clothing) (/wiki/Suit_(clothing)) Sustainable fashion (/wiki/Sustainable_fashion) Western dress codes (/wiki/Western_dress_codes) References ^ (#cite_ref-1) Environmental Audit Committee (19 February 2019). Fixing fashion: clothing consumption and sustainability (https://publications.parliament.uk/pa/cm201719/cmselect/cmenvaud/1952/report-summary.html) (Report). UK Parliament. ^ (#cite_ref-2) Fletcher, Kate (2012). Fashion & sustainability: design for change . Laurence King Pub. ISBN (/wiki/ISBN_(identifier)) 978-1-78067-196-3 . OCLC (/wiki/OCLC_(identifier)) 866622248 (https://www.worldcat.org/oclc/866622248) . ^ (#cite_ref-3) Grace Heller, Sarah (2007). Fashion in Medieval France . United Kingdom: D.S. Brewer. p. 97. ^ (#cite_ref-4) Kaiser, Susan (2012). Fashion and Cultural Studies . London: Berg. ^ Jump up to: a b Kawamura, Yuniija. (2005). Fashion-ology : an introduction to fashion studies . Berg. ISBN (/wiki/ISBN_(identifier)) 978-1859738146 . OCLC (/wiki/OCLC_(identifier)) 796077256 (https://www.worldcat.org/oclc/796077256) . ^ (#cite_ref-6) Bourdieu, Pierre (1993). 'Haute couture and haute culture,' in Sociology in Question . Sage. ^ (#cite_ref-7) Agamben, Georgio (2009). 'What is an apparatus?' and other essays . Stanford University Press. ^ (#cite_ref-8) "Fédération de la Haute Couture et de la Mode" (https://fhcm.paris/en/the-federation/) . Fédération de la Haute Couture et de la Mode . Retrieved 2020-09-19 . ^ (#cite_ref-NYCHauteCouture_9-0) "Couture Fashion Week" (https://www.couturefashionweek.com/designers/) . Couture Fashion Week . Retrieved November 26, 2023 . Couture Fashion Week New York Latest Designers ^ Jump up to: a b Benton, Angelique (March 2012). "Angelique Benton Fashion as Art/ Art as Fashion: Is Fashion, Art?" (https://core.ac.uk/download/pdf/159564065.pdf) (PDF) . The Ohio State University Journal . Archived (https://web.archive.org/web/20210919023922/https://core.ac.uk/download/pdf/159564065.pdf) (PDF) from the original on 2021-09-19 – via Ohio. ^ (#cite_ref-11) Dear, Alice (September 2020). "Gucci is selling 'grass-stained' jeans for £600, and people have a lot to say" (https://www.heart.co.uk/lifestyle/gucci-grass-stained-jeans/) . Heart . ^ (#cite_ref-:9_12-0) Kaiser, Susan B. (2019). Fashion and Cultural Studies . Bloomsbury Visual Arts. ISBN (/wiki/ISBN_(identifier)) 978-1350109605 . OCLC (/wiki/OCLC_(identifier)) 1057778310 (https://www.worldcat.org/oclc/1057778310) . ^ Jump up to: a b c Gronow, Jukka (1993). "Taste and Fashion: The Social Function of Fashion and Style" (https://www.jstor.org/stable/4200841) . Acta Sociologica . 36 (2): 89–90. doi (/wiki/Doi_(identifier)) : 10.1177/000169939303600201 (https://doi.org/10.1177%2F000169939303600201) . JSTOR (/wiki/JSTOR_(identifier)) 4200841 (https://www.jstor.org/stable/4200841) . S2CID (/wiki/S2CID_(identifier)) 56514246 (https://api.semanticscholar.org/CorpusID:56514246) . 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ISBN (/wiki/ISBN_(identifier)) 978-0415966917 . ^ Jump up to: a b c d e f Braudel, Fernand Civilization and Capitalism, 15th–18th Centuries, Vol 1: The Structures of Everyday Life , William Collins & Sons, London 1981 ISBN (/wiki/ISBN_(identifier)) 0-520-08114-5 (/wiki/Special:BookSources/0-520-08114-5) ^ (#cite_ref-19) Timothy Brook (/wiki/Timothy_Brook_(historian)) : " The Confusions of Pleasure: Commerce and Culture in Ming China (/wiki/The_Confusions_of_Pleasure:_Commerce_and_Culture_in_Ming_China) " (University of California Press 1999); this has a whole section on fashion. ^ Jump up to: a b Feng, Ge (2015). Traditional Chinese rites and rituals . Zhengming Du. Newcastle upon Tyne: Cambridge Scholars Publishing. ISBN (/wiki/ISBN_(identifier)) 978-1-4438-8783-0 . OCLC (/wiki/OCLC_(identifier)) 935642485 (https://www.worldcat.org/oclc/935642485) . ^ (#cite_ref-:2_21-0) Chow, Rey (2000). Modern Chinese literary and cultural studies in the age of theory: reimagining a field . 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(2013) Beyond the Catwalk: Fashion Public Relations and Social Media in Australia, Asia Pacific Public Relations Journal, vol. 14, No. 1 & 2, Murdoch University. ^ (#cite_ref-108) "How Social Media Contributed to the Rise of Fast Fashion" (https://www.adweek.com/digital/oliver-tan-visenze-guest-pot-fast-fashion/) . Retrieved 2018-10-02 . ^ (#cite_ref-109) Westfield, A. M. (2002) The Role of Public Relations in Redefining Brands in the Fashion Industry, University of Southern California, Los Angeles, California. ^ (#cite_ref-110) Experian. (2012). Getting the most from social: An integrated marketing approach. Retrieved from www.experian.com.au/assets/social/getting-the-most-from-social.pdf in Cassidy, L. & Fitch, K. (2013) Beyond the Catwalk: Fashion Public Relations and Social Media in Australia, Asia Pacific Public Relations Journal, vol. 14, No. 1 & 2, Murdoch University. ^ (#cite_ref-111) Dalto, A. (2010, September). Brands tempt female bloggers with 'swag'. O'Dwyer's Communications and New Media: The Fashion Issue, 24(9), 12–13. (http://www.odwyerpr.com/profiles/O%27Dwyer%27s%20Magazine%20-%20Sep.%202010.pdf) Archived (https://web.archive.org/web/20150924054905/http://www.odwyerpr.com/profiles/O%27Dwyer%27s%20Magazine%20-%20Sep.%202010.pdf) 2015-09-24 at the Wayback Machine (/wiki/Wayback_Machine) in Cassidy, L. & Fitch, K. (2013) Beyond the Catwalk: Fashion Public Relations and Social Media in Australia, Asia Pacific Public Relations Journal, vol. 14, No. 1 & 2, Murdoch University. ^ (#cite_ref-112) Noricks, C. (2006). Social media sites are often the first experience a consumer has with a fashion brand. From style to strategy: An exploratory investigation of public relations practice in the fashion industry. Unpublished master's thesis, San Diego State University, San Diego, CA. in Cassidy, L. & Fitch, K. (2013) Beyond the Catwalk: Fashion Public Relations and Social Media in Australia, Asia Pacific Public Relations Journal, vol. 14, No. 1 & 2, Murdoch University. ^ (#cite_ref-113) Wright, M. (Feb 11, 2011). "How premium fashion brands are maximizing their social media ROI" (https://web.archive.org/web/20210118081606/https://mashable.com/2011/02/11/fashion-brands-social-media-roi/) . Mashable . Archived from the original (https://mashable.com/2011/02/11/fashion-brands-social-media-roi/) on Jan 18, 2021. in Cassidy, L. & Fitch, K. (2013) Beyond the Catwalk: Fashion Public Relations and Social Media in Australia, Asia Pacific Public Relations Journal, vol. 14, No. 1 & 2, Murdoch University. ^ Jump up to: a b Brownmiller, Susan (1984). Femininity . New York: Lindon Press. ^ (#cite_ref-115) Mosmann, Petra (2016). "A feminist fashion icon: Germaine Greer's paisley coat" (https://www.tandfonline.com/doi/full/10.1080/08164649.2016.1174928) . Australian Feminist Studies . 31 (87): 87. doi (/wiki/Doi_(identifier)) : 10.1080/08164649.2016.1174928 (https://doi.org/10.1080%2F08164649.2016.1174928) . S2CID (/wiki/S2CID_(identifier)) 148120100 (https://api.semanticscholar.org/CorpusID:148120100) . ^ (#cite_ref-116) Greer, Germaine (1971). The Female Eunuch . London: Paladin. ^ Jump up to: a b Mosmann, Petra (2016). "A feminist fashion icon: Germaine Greer's paisley coat" (https://www.tandfonline.com/doi/full/10.1080/08164649.2016.1174928) . Australian Feminist Studies . 31 (87): 88. doi (/wiki/Doi_(identifier)) : 10.1080/08164649.2016.1174928 (https://doi.org/10.1080%2F08164649.2016.1174928) . S2CID (/wiki/S2CID_(identifier)) 148120100 (https://api.semanticscholar.org/CorpusID:148120100) . ^ Jump up to: a b "Fashion Week's Anti-Trump Runway Politics" (https://www.newyorker.com/culture/culture-desk/fashion-week-runway-politics) . The New Yorker . 21 February 2017. ^ (#cite_ref-119) "7 Ways Fashion Joined the Political Conversation in 2017" (https://fashionista.com/2017/12/fashion-politics-protests-statements-issues-2017) . Fashionista . Retrieved 2018-08-16 . ^ (#cite_ref-120) "Fashion Gets Political: On and Off the Runway Statements" (https://www.hollywoodreporter.com/lists/new-york-fashion-week-political-statements-runway-974742) . The Hollywood Reporter . Retrieved 2018-08-16 . ^ (#cite_ref-121) "Are fashion and politics the perfect fit?" (https://www.bbc.com/news/world-38987248) . BBC News . 15 February 2017. ^ (#cite_ref-122) "Here's Why You'll See White Bandanas Everywhere During Fashion Month" (https://web.archive.org/web/20200509085515/https://www.instyle.com/awards-events/fashion-week/white-bandana-tied-together-movement) . InStyle . Archived from the original (http://www.instyle.com/awards-events/fashion-week/white-bandana-tied-together-movement) on 2020-05-09 . Retrieved 2017-04-11 . ^ (#cite_ref-123) "Fashion for a Cause" (https://web.archive.org/web/20130501064756/http://articles.timesofindia.indiatimes.com/2013-02-04/parties/36742432_1_world-cancer-cancer-day-fashion-show) . The Times of India (/wiki/The_Times_of_India) . 2013-02-04. Archived from the original (http://articles.timesofindia.indiatimes.com/2013-02-04/parties/36742432_1_world-cancer-cancer-day-fashion-show) on 2013-05-01 . Retrieved 2013-02-15 . ^ (#cite_ref-124) Woodman, Anne (2013-01-26). "Fashion for a cause" (https://archive.today/20130411114856/http://www.newsobserver.com/2013/01/29/2630417/fashion-for-a-cause.html) . Clayton News Star . Archived from the original (http://www.newsobserver.com/2013/01/29/2630417/fashion-for-a-cause.html) on 2013-04-11 . Retrieved 2013-02-15 . ^ (#cite_ref-125) "Fashion for a cause" (https://web.archive.org/web/20130527080701/http://www.chathamdailynews.ca/2013/02/07/fashion-for-a-cause) . Chatham Daily News . 2013-02-07. Archived from the original (http://www.chathamdailynews.ca/2013/02/07/fashion-for-a-cause) on 2013-05-27 . Retrieved 2013-02-15 . ^ (#cite_ref-126) luc, karie angell (2013-01-16). " (https://web.archive.org/web/20130607090639/http://northbrook.suntimes.com/lifestyles/trend/17445677-423/fashion-for-a-cause-aids-families-and-kids.html) 'Fashion for a Cause' aids families and kids" (https://web.archive.org/web/20130607090639/http://northbrook.suntimes.com/lifestyles/trend/17445677-423/fashion-for-a-cause-aids-families-and-kids.html) . Northbrook Star . Archived from the original (http://northbrook.suntimes.com/lifestyles/trend/17445677-423/fashion-for-a-cause-aids-families-and-kids.html) on 2013-06-07 . Retrieved 2013-02-15 . ^ (#cite_ref-127) "Fashion for a cause" (https://archive.today/20130407213748/http://www.capitalgazette.com/calendar/fashion-for-a-cause/event_b6724a0e-8e3a-11e1-b219-6f4af5ab0114.html) . Capital Gazette . Archived from the original (http://www.capitalgazette.com/calendar/fashion-for-a-cause/event_b6724a0e-8e3a-11e1-b219-6f4af5ab0114.html) on 2013-04-07 . Retrieved 2013-02-15 . ^ (#cite_ref-128) "One man's trash is another man's fashion" (http://www.today.com/id/25497155/site/todayshow/ns/today-green/t/one-mans-trash-another-mans-fashion/) . NBC News/ AP . 2008-07-02 . Retrieved 2013-02-15 . ^ (#cite_ref-129) Simon, Stephanie (2009-01-13). "Trashion Trend: Dumpster Couture Gets a Boost at Green Inaugural Ball" (https://www.wsj.com/articles/SB123180107217975103) . Wall Street Journal . Retrieved 2013-02-15 . ^ (#cite_ref-130) Busch, Otto von (2014). "Fashion Hacking" (https://dx.doi.org/10.5040/9781474293907-0009) . Design as Future-Making : 47–57. doi (/wiki/Doi_(identifier)) : 10.5040/9781474293907-0009 (https://doi.org/10.5040%2F9781474293907-0009) . ISBN (/wiki/ISBN_(identifier)) 9781474293907 . ^ (#cite_ref-131) Barthes, Roland (1983). The Fashion System . Berkeley: Univ. of California Press. ^ (#cite_ref-132) Molnar, Andrea K (1998). Transformations in the Use of Traditional Textiles of Ngada (Western Flores, Eastern Indonesia): Commercialization, Fashion and Ethnicity . Consuming Fashion: Adorning the Transnational Body: Berg. pp. 39–55 [42]. ^ (#cite_ref-133) Ted Polhemus and Lynn Procter (1978). Fashion and Anti-fashion: An Anthropology of Clothing and Adornment . Thames and Hudson. p. 12. ^ (#cite_ref-134) Barnard, Malcolm (1996). Fashion as communication . London: Routledge. ^ (#cite_ref-135) Hamilton Hill, Margot; Bucknell, Peter A. (1987). The Evolution of Fashion: Pattern and Cut from 1066 to 1930 (5 ed.). London: Batsford. p. vii. ISBN (/wiki/ISBN_(identifier)) 9780713458183 . Retrieved 20 November 2020 . ^ (#cite_ref-136) Ted Polhemus and Lynn Procter (1978). Fashion and Anti-fashion: An Anthropology of Clothing and Adornment . Thames and Hudson. pp. 12–13. ^ (#cite_ref-137) "Design details by larger companies is what often | Outspoken" (http://outspoken.wpshower.com/2013/06/design-details-by-larger-companies-is-what-often/) . outspoken.wpshower.com . 9 June 2013 . Retrieved 2018-08-16 . ^ (#cite_ref-138) IPFrontline.com (http://www.ipfrontline.com/depts/article.asp?id=7678&deptid=8) Archived (https://web.archive.org/web/20070510220626/http://www.ipfrontline.com/depts/article.asp?id=7678&deptid=8) 2007-05-10 at the Wayback Machine (/wiki/Wayback_Machine) : Intellectual Property in Fashion Industry, WIPO press release, December 2, 2005 ^ (#cite_ref-139) INSME announcement (http://www.insme.org/page.asp?IDArea=1&page=sanleucio) Archived (https://web.archive.org/web/20070929090258/http://www.insme.org/page.asp?IDArea=1&page=sanleucio) 2007-09-29 at the Wayback Machine (/wiki/Wayback_Machine) : WIPO-Italy International Symposium, 30 November – 2 December 2005 Further reading Breward, Christopher, The culture of fashion: a new history of fashionable dress , Manchester: Manchester University Press, 2003, ISBN (/wiki/ISBN_(identifier)) 978-0-7190-4125-9 (/wiki/Special:BookSources/978-0-7190-4125-9) Cabrera, Ana, and Lesley Miller. "Genio y Figura. La influencia de la cultura española en la moda." Fashion Theory: The Journal of Dress, Body & Culture 13.1 (2009): 103–110 Cumming, Valerie: Understanding Fashion History , Costume & Fashion Press, 2004, ISBN (/wiki/ISBN_(identifier)) 0-89676-253-X (/wiki/Special:BookSources/0-89676-253-X) Davis, F. (1989). Of maids' uniforms and blue jeans: The drama of status ambivalences in clothing and fashion. Qualitative Sociology (/wiki/Qualitative_Sociology) , 12(4), 337–355. Hollander, Anne, Seeing through clothes , Berkeley: University of California Press, 1993, ISBN (/wiki/ISBN_(identifier)) 978-0-520-08231-1 (/wiki/Special:BookSources/978-0-520-08231-1) Hanifie, Sowaibah (5 August 2020). "Australia's first National Indigenous Fashion Awards winners revealed, signaling hope for a more diverse industry" (https://www.abc.net.au/news/2020-08-06/first-national-indigenous-fashion-awards-nifas-held-online/12527416) . ABC News . Australian Broadcasting Corporation. Hollander, Anne, Sex and suits: the evolution of modern dress , New York: Knopf, 1994, ISBN (/wiki/ISBN_(identifier)) 978-0-679-43096-4 (/wiki/Special:BookSources/978-0-679-43096-4) Hollander, Anne, Feeding the eye: essays , New York: Farrar, Straus, and Giroux, 1999, ISBN (/wiki/ISBN_(identifier)) 978-0-374-28201-1 (/wiki/Special:BookSources/978-0-374-28201-1) Hollander, Anne, Fabric of vision: dress and drapery in painting , London: National Gallery, 2002, ISBN (/wiki/ISBN_(identifier)) 978-0-300-09419-0 (/wiki/Special:BookSources/978-0-300-09419-0) Kawamura, Yuniya, Fashion-ology: an introduction to Fashion Studies , Oxford and New York: Berg, 2005, ISBN (/wiki/ISBN_(identifier)) 1-85973-814-1 (/wiki/Special:BookSources/1-85973-814-1) Lipovetsky, Gilles (translated by Catherine Porter), The empire of fashion: dressing modern democracy , Woodstock: Princeton University Press, 2002, ISBN (/wiki/ISBN_(identifier)) 978-0-691-10262-7 (/wiki/Special:BookSources/978-0-691-10262-7) McDermott, Kathleen, Style for all: why fashion, invented by kings, now belongs to all of us (An illustrated history) , 2010, ISBN (/wiki/ISBN_(identifier)) 978-0-557-51917-0 (/wiki/Special:BookSources/978-0-557-51917-0) – Many hand-drawn color illustrations, extensive annotated bibliography and reading guide Perrot, Philippe (translated by Richard Bienvenu), Fashioning the bourgeoisie: a history of clothing in the nineteenth century , Princeton NJ: Princeton University Press, 1994, ISBN (/wiki/ISBN_(identifier)) 978-0-691-00081-7 (/wiki/Special:BookSources/978-0-691-00081-7) Steele, Valerie, Paris fashion: a cultural history , (2. ed., rev. and updated), Oxford: Berg, 1998, ISBN (/wiki/ISBN_(identifier)) 978-1-85973-973-0 (/wiki/Special:BookSources/978-1-85973-973-0) Steele, Valerie, Fifty years of fashion: new look to now , New Haven: Yale University Press, 2000, ISBN (/wiki/ISBN_(identifier)) 978-0-300-08738-3 (/wiki/Special:BookSources/978-0-300-08738-3) Steele, Valerie, Encyclopedia of clothing and fashion , Detroit: Thomson Gale, 2005 Turrell, Claire (2 Mar 2023). "The Asian blouse that tells a tale of many cultures" (https://www.bbc.com/travel/article/20230302-the-asian-blouse-that-tells-a-tale-of-many-cultures) . BBC . 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American actress (born 1966) Not to be confused with Halle Bailey (/wiki/Halle_Bailey) . Halle Berry Berry in 2017 Born Maria Halle Berry ( 1966-08-14 ) August 14, 1966 (age 57) Cleveland, Ohio (/wiki/Cleveland,_Ohio) , U.S. Education Cuyahoga Community College (/wiki/Cuyahoga_Community_College) Occupation Actress Years active 1989–present Spouses David Justice (/wiki/David_Justice) ( m. 1993; div. 1997) Eric Benét (/wiki/Eric_Ben%C3%A9t) ( m. 2001; div. 2005) Olivier Martinez (/wiki/Olivier_Martinez) ( m. 2013; div. 2016) Partner Gabriel Aubry (/wiki/Gabriel_Aubry) (2005–2010) Children 2 Awards Full list (/wiki/List_of_awards_and_nominations_received_by_Halle_Berry) Halle Maria Berry ( / (/wiki/Help:IPA/English) ˈ h æ l i / (/wiki/Help:IPA/English) HAL -ee ; born Maria Halle Berry ; August 14, 1966) is an American actress. She began her career as a model and entered several beauty contests, finishing as the first runner-up in the Miss USA (/wiki/Miss_USA) pageant and coming in sixth in the Miss World 1986 (/wiki/Miss_World_1986) . Her breakthrough film role was in the romantic comedy Boomerang (/wiki/Boomerang_(1992_film)) (1992), alongside Eddie Murphy (/wiki/Eddie_Murphy) , which led to roles in The Flintstones (/wiki/The_Flintstones_(film)) (1994) and Bulworth (/wiki/Bulworth) (1998) as well as the television film Introducing Dorothy Dandridge (/wiki/Introducing_Dorothy_Dandridge) (1999), for which she won a Primetime Emmy Award (/wiki/Primetime_Emmy_Award_for_Outstanding_Lead_Actress_in_a_Limited_Series_or_Movie) and a Golden Globe Award (/wiki/Golden_Globe_Award_for_Best_Actress_%E2%80%93_Miniseries_or_Television_Film) . Berry established herself as one of the highest-paid actresses in Hollywood (/wiki/Hollywood_(film_industry)) during the 2000s. For her performance of a struggling widow in the romantic drama Monster's Ball (/wiki/Monster%27s_Ball) (2001), Berry became the only African-American woman to win the Academy Award for Best Actress (/wiki/Academy_Award_for_Best_Actress) , and the first woman of color (/wiki/Woman_of_color) . Berry took on high-profile roles such as Storm (/wiki/Storm_(Marvel_Comics)) in four installments of the X-Men film series (/wiki/X-Men_(film)) (2000–2014), the henchwoman of a robber in the thriller Swordfish (/wiki/Swordfish_(film)) (2001), Bond girl (/wiki/Bond_girl) Jinx (/wiki/Jinx_(James_Bond)) in Die Another Day (/wiki/Die_Another_Day) (2002), and the title role in the much-derided Catwoman (/wiki/Catwoman_(film)) (2004). A varying critical and commercial reception followed in subsequent years, with Perfect Stranger (/wiki/Perfect_Stranger_(film)) (2007), Cloud Atlas (/wiki/Cloud_Atlas_(film)) (2012) and The Call (/wiki/The_Call_(2013_film)) (2013) being among her notable film releases in that period. Berry launched a production company, 606 Films (/wiki/606_Films) , in 2014 and has been involved in the production of a number of projects in which she performed, such as the CBS (/wiki/CBS) science fiction series Extant (/wiki/Extant_(TV_series)) (2014–2015). She appeared in the action films Kingsman: The Golden Circle (/wiki/Kingsman:_The_Golden_Circle) (2017) and John Wick: Chapter 3 – Parabellum (/wiki/John_Wick:_Chapter_3_%E2%80%93_Parabellum) (2019) and made her directorial debut with the Netflix (/wiki/Netflix) drama Bruised (/wiki/Bruised_(film)) (2020). Berry has been a Revlon (/wiki/Revlon) spokesmodel since 1996. She was formerly married to baseball player David Justice (/wiki/David_Justice) , singer-songwriter Eric Benét (/wiki/Eric_Ben%C3%A9t) , and actor Olivier Martinez (/wiki/Olivier_Martinez) . She has two children, one with Martinez and another with model Gabriel Aubry (/wiki/Gabriel_Aubry) . Early life Berry was born Maria Halle Berry in Cleveland, Ohio (/wiki/Cleveland,_Ohio) , [1] (#cite_note-actors-1) on August 14, 1966, [2] (#cite_note-2) to Judith Ann (née Hawkins), an English immigrant from Liverpool (/wiki/Liverpool) , [3] (#cite_note-3) and Jerome Jesse Berry, an African-American man. [1] (#cite_note-actors-1) Her name was legally changed to Halle Maria Berry at the age of five. [4] (#cite_note-4) Her parents selected her middle name from Halle's Department Store (/wiki/Halle_Brothers_Co.) , which was then a local landmark in Cleveland. [1] (#cite_note-actors-1) Berry's mother worked as a psychiatric nurse, and her father worked in the same hospital as an attendant in the psychiatric ward; he later became a bus driver. [1] (#cite_note-actors-1) They divorced when Berry was four years old, and she and her older sister Heidi Berry-Henderson [5] (#cite_note-nea-5) were raised exclusively by their mother. [1] (#cite_note-actors-1) She has been estranged from her father since childhood, [1] (#cite_note-actors-1) [6] (#cite_note-Showbiz-6) noting in 1992 that she did not even know if he was still alive. [5] (#cite_note-nea-5) Her father was abusive to her mother, and Berry has recalled witnessing her mother being beaten daily, kicked down stairs, and hit in the head with a wine bottle. [7] (#cite_note-7) Berry grew up in Oakwood, Ohio (/wiki/Oakwood,_Cuyahoga_County,_Ohio) , [8] (#cite_note-8) and graduated from Bedford High School (/wiki/Bedford_High_School_(Bedford,_Ohio)) , where she was a cheerleader, honor student, editor of the school newspaper, and prom queen (/wiki/Prom) . [9] (#cite_note-Hurts-9) She worked in the children's department at Higbee's (/wiki/Higbee%27s) Department store. She then studied at Cuyahoga Community College (/wiki/Cuyahoga_Community_College) . In the 1980s, she entered several beauty contests, winning Miss Teen All American 1985 and Miss Ohio USA (/wiki/Miss_Ohio_USA) in 1986. [10] (#cite_note-peo1-10) She was the 1986 Miss USA (/wiki/Miss_USA) first runner-up to Christy Fichtner (/wiki/Christy_Fichtner) of Texas. [10] (#cite_note-peo1-10) In the Miss USA 1986 pageant interview competition, she said she hoped to become an entertainer or to have something to do with the media. Her interview was awarded the highest score by the judges. [11] (#cite_note-11) She was the first African-American Miss World entrant in 1986 (/wiki/Miss_World_1986) , where she finished sixth and Trinidad and Tobago (/wiki/Trinidad_and_Tobago) 's Giselle Laronde (/wiki/Giselle_Laronde) was crowned Miss World. [12] (#cite_note-12) Career Early work and breakthrough (1989–1999) In 1989, Berry moved to New York City (/wiki/New_York_City) to pursue her acting ambitions. [13] (#cite_note-Noelle-13) During her early time there, she ran out of money and briefly lived in a homeless shelter and a YMCA (/wiki/YMCA) . [14] (#cite_note-CurrentBio1999-14) [15] (#cite_note-15) [16] (#cite_note-16) Her situation improved by the end of that year, and she was cast in the role of model Emily Franklin in the short-lived ABC television series Living Dolls (/wiki/Living_Dolls) , which was shot in New York and was a spin-off of the hit series Who's the Boss? (/wiki/Who%27s_the_Boss%3F) . [14] (#cite_note-CurrentBio1999-14) During the taping of Living Dolls , she lapsed into a coma and was diagnosed with type 1 diabetes (/wiki/Type_1_diabetes) . [17] (#cite_note-17) [18] (#cite_note-18) [19] (#cite_note-19) After the cancellation of Living Dolls , she moved to Los Angeles. [14] (#cite_note-CurrentBio1999-14) Berry at the 1997 Essence Awards (/wiki/Essence_Awards) Berry's film debut was in a small role for Spike Lee (/wiki/Spike_Lee) 's Jungle Fever (/wiki/Jungle_Fever) (1991), in which she played Vivian, a drug addict. [1] (#cite_note-actors-1) That same year, Berry had her first co-starring role in Strictly Business (/wiki/Strictly_Business_(1991_film)) . In 1992, Berry portrayed a career woman who falls for the lead character played by Eddie Murphy (/wiki/Eddie_Murphy) in the romantic comedy Boomerang (/wiki/Boomerang_(1992_film)) . The following year, she caught the public's attention as a headstrong biracial (/wiki/Biracial) slave in the TV adaptation of Queen: The Story of an American Family (/wiki/Queen:_The_Story_of_an_American_Family) , based on the book by Alex Haley (/wiki/Alex_Haley) . Berry was also in the live-action Flintstones (/wiki/The_Flintstones_(film)) film as Sharon Stone, a sultry secretary who attempts to seduce Fred Flintstone (/wiki/Fred_Flintstone) . [20] (#cite_note-Sharon-20) Berry tackled a more serious role, playing a former drug addict struggling to regain custody of her son in Losing Isaiah (/wiki/Losing_Isaiah) (1995), starring opposite Jessica Lange (/wiki/Jessica_Lange) . She portrayed Sandra Beecher in Race the Sun (/wiki/Race_the_Sun_(film)) (1996), which was based on a true story, shot in Australia (/wiki/Australia) , and co-starred alongside Kurt Russell in Executive Decision (/wiki/Executive_Decision) . Beginning in 1996, she was a Revlon (/wiki/Revlon) spokeswoman for seven years and renewed her contract in 2004. [21] (#cite_note-PSASNaSaR-21) [22] (#cite_note-22) She starred alongside Natalie Deselle Reid in the 1997 comedy film B*A*P*S (/wiki/B.A.P.S.) . In 1998, Berry received praise for her role in Bulworth (/wiki/Bulworth) as an intelligent woman raised by activists who gives a politician ( Warren Beatty (/wiki/Warren_Beatty) ) a new lease on life. The same year, she played the singer Zola Taylor (/wiki/Zola_Taylor) , one of the three wives of pop singer Frankie Lymon (/wiki/Frankie_Lymon) , in the biopic Why Do Fools Fall in Love (/wiki/Why_Do_Fools_Fall_in_Love_(film)) . In the 1999 HBO (/wiki/HBO) biopic Introducing Dorothy Dandridge (/wiki/Introducing_Dorothy_Dandridge) , [23] (#cite_note-23) she portrayed Dorthy Dandridge (/wiki/Dorothy_Dandridge) , the first African American woman to be nominated for the Academy Award for Best Actress (/wiki/Academy_Award_for_Best_Actress) . It was to Berry a heartfelt project that she introduced, co-produced and fought intensely for it to come through. [1] (#cite_note-actors-1) Berry won awards including a Primetime Emmy Award (/wiki/Primetime_Emmy_Award) and Golden Globe Award (/wiki/Golden_Globe_Award) . [10] (#cite_note-peo1-10) [24] (#cite_note-24) Worldwide recognition (2000–2004) Berry portrayed the mutant superhero Storm (/wiki/Storm_(Marvel_Comics)) in the film adaptation of the comic book series X-Men (/wiki/X-Men_(film)) (2000) and its sequels, X2 (/wiki/X2_(film)) (2003), X-Men: The Last Stand (/wiki/X-Men:_The_Last_Stand) (2006) and X-Men: Days of Future Past (/wiki/X-Men:_Days_of_Future_Past) (2014). In 2001, Berry appeared in the film Swordfish (/wiki/Swordfish_(film)) , which featured her first topless (/wiki/Toplessness) scene. [25] (#cite_note-Hyland-25) At first, she was opposed to a sunbathing scene in the film in which she would appear topless, but Berry eventually agreed. Some people attributed her change of heart to a substantial increase in the amount Warner Bros. offered her; [26] (#cite_note-26) she was reportedly paid an additional $500,000 for the short scene. [27] (#cite_note-27) Berry denied these stories, telling one interviewer that they amused her and "made for great publicity for the movie." [25] (#cite_note-Hyland-25) [28] (#cite_note-28) After turning down numerous roles that required nudity, she said she decided to make Swordfish because her then-husband, Eric Benét, supported her and encouraged her to take risks. [29] (#cite_note-ebony-29) Berry appeared as Leticia Musgrove, the troubled wife of an executed murderer ( Sean Combs (/wiki/Sean_Combs) ), in the 2001 feature film Monster's Ball (/wiki/Monster%27s_Ball) . Her performance was awarded the National Board of Review (/wiki/National_Board_of_Review) and the Screen Actors Guild Award (/wiki/Screen_Actors_Guild_Award) for Best Actress. She became the only African-American woman to win the Academy Award for Best Actress (/wiki/Academy_Award_for_Best_Actress) . [30] (#cite_note-indiewire-30) The NAACP (/wiki/NAACP) issued the statement: "Congratulations to Halle Berry and Denzel Washington for giving us hope and making us proud. If this is a sign that Hollywood is finally ready to give opportunity and judge performance based on skill and not on skin color then it is a good thing." [31] (#cite_note-31) This role generated controversy. Her graphic nude love scene with a racist character played by co-star Billy Bob Thornton (/wiki/Billy_Bob_Thornton) was the subject of much media chatter and discussion among African Americans. Many in the African-American community were critical of Berry for taking the part. [29] (#cite_note-ebony-29) Berry responded: "I don't really see a reason to ever go that far again. That was a unique movie. That scene was special and pivotal and needed to be there, and it would be a really special script that would require something like that again." [29] (#cite_note-ebony-29) Berry asked for a higher fee for Revlon advertisements after winning the Oscar. Ron Perelman (/wiki/Ron_Perelman) , the cosmetics firm's chief, congratulated her, saying how happy he was that she modeled for his company. She replied, "Of course, you'll have to pay me more." Perelman stalked off in a rage. [32] (#cite_note-32) In accepting her award, she gave an acceptance speech honoring previous black actresses who had never had the opportunity. She said, "This moment is so much bigger than me. This is for every nameless, faceless woman of color who now has a chance tonight because this door has been opened." [33] (#cite_note-33) Berry at the German premiere of Catwoman (/wiki/Catwoman_(film)) in 2004 As Bond girl (/wiki/Bond_girl) Giacinta 'Jinx' Johnson (/wiki/Giacinta_%27Jinx%27_Johnson) in the 2002 blockbuster Die Another Day (/wiki/Die_Another_Day) , Berry recreated a scene from Dr. No (/wiki/Dr._No_(film)) , emerging from the surf to be greeted by James Bond (/wiki/James_Bond) as Ursula Andress (/wiki/Ursula_Andress) had 40 years earlier. [34] (#cite_note-34) Lindy Hemming, costume designer on Die Another Day , had insisted that Berry wear a bikini and knife as a homage. [35] (#cite_note-35) Berry has said of the scene: "It's splashy", "exciting", "sexy", "provocative" and "it will keep me still out there after winning an Oscar." [29] (#cite_note-ebony-29) [36] (#cite_note-36) According to an ITV news poll, Jinx was voted the fourth toughest girl on screen of all time. [37] (#cite_note-37) Berry was hurt during filming when debris from a smoke grenade flew into her eye. It was removed in a 30-minute operation. [38] (#cite_note-38) After Berry won the Academy Award, rewrites were commissioned to give her more screentime for X2 . [39] (#cite_note-39) She starred in the psychological thriller Gothika (/wiki/Gothika) opposite Robert Downey, Jr. (/wiki/Robert_Downey,_Jr.) in November 2003, during which she broke her arm in a scene with Downey, who twisted her arm too hard. Production was halted for eight weeks. [40] (#cite_note-40) It was a moderate hit at the United States box office, taking in $60 million; it earned another $80 million abroad. [41] (#cite_note-action-41) Berry appeared in the nu metal (/wiki/Nu_metal) band Limp Bizkit (/wiki/Limp_Bizkit) 's music video for " Behind Blue Eyes (/wiki/Behind_Blue_Eyes) " for the motion picture soundtrack for the film. The same year, she was named No. 1 in FHM (/wiki/FHM) ' s 100 Sexiest Women in the World (/wiki/FHM_100_Sexiest_Women_in_the_World_2003) poll. [42] (#cite_note-42) Berry starred as the title role in the film Catwoman (/wiki/Catwoman_(film)) , [41] (#cite_note-action-41) for which she received US$12.5 million. [43] (#cite_note-43) and is widely regarded by critics as one of the worst films ever made (/wiki/List_of_worst_films) . [44] (#cite_note-44) She was awarded the Worst Actress Razzie Award (/wiki/Golden_Raspberry_Awards) for her performance; she appeared at the ceremony to accept the award in person (while holding her Oscar from Monster's Ball ) [45] (#cite_note-45) with a sense of humor, considering it an experience of the "rock bottom" in order to be "at the top." [46] (#cite_note-AcssisC-46) Holding the Academy Award in one hand and the Razzie in the other she said, "I never in my life thought that I would be up here, winning a Razzie! It's not like I ever aspired to be here, but thank you. When I was a kid, my mother told me that if you could not be a good loser, then there's no way you could be a good winner." [47] (#cite_note-peo2-47) Established actress and career fluctuations (2005–2013) Berry at New York Fleet Week (/wiki/Fleet_Week) in 2006 Her next film appearance was in the Oprah Winfrey (/wiki/Oprah_Winfrey) -produced ABC (/wiki/American_Broadcasting_Company) television film Their Eyes Were Watching God (/wiki/Their_Eyes_Were_Watching_God_(2005_television)) (2005), an adaptation of Zora Neale Hurston (/wiki/Zora_Neale_Hurston) 's novel, with Berry portraying a free-spirited woman whose unconventional sexual mores upset her 1920s contemporaries in a small community. She received her second Primetime Emmy Award (/wiki/Primetime_Emmy_Award) nomination for her role. Also in 2005, she served as an executive producer in Lackawanna Blues (/wiki/Lackawanna_Blues_(film)) , and landed her voice for the character of Cappy (/wiki/List_of_Robots_characters) , one of the many mechanical beings in the animated feature Robots (/wiki/Robots_(2005_film)) . [48] (#cite_note-48) In the thriller Perfect Stranger (/wiki/Perfect_Stranger_(film)) (2007), Berry starred with Bruce Willis (/wiki/Bruce_Willis) , playing a reporter who goes undercover to uncover the killer of her childhood friend. The film grossed a modest US$73 million worldwide, and received lukewarm reviews from critics, who felt that despite the presence of Berry and Willis, it is "too convoluted to work, and features a twist ending that's irritating and superfluous." [49] (#cite_note-49) Her next 2007 film release was the drama Things We Lost in the Fire (/wiki/Things_We_Lost_in_the_Fire_(film)) , co-starring Benicio del Toro (/wiki/Benicio_del_Toro) , where she took on the role of a recent widow befriending the troubled friend of her late husband. The film was the first time in which she worked with a female director, Danish Susanne Bier (/wiki/Susanne_Bier) , giving her a new feeling of "thinking the same way," which she appreciated. [50] (#cite_note-50) While the film made US$8.6 million in its global theatrical run, [51] (#cite_note-51) it garnered positive reviews from writers; The Austin Chronicle (/wiki/The_Austin_Chronicle) found the film to be "an impeccably constructed and perfectly paced drama of domestic and internal volatility" and felt that "Berry is brilliant here, as good as she's ever been." [52] (#cite_note-52) In April 2007, Berry was awarded a star (/wiki/List_of_actors_with_Hollywood_Walk_of_Fame_motion_picture_stars) on the Hollywood Walk of Fame (/wiki/Hollywood_Walk_of_Fame) in front of the Kodak Theatre (/wiki/Kodak_Theatre) at 6801 Hollywood Boulevard for her contributions to the film industry, [53] (#cite_note-53) and by the end of the decade, she established herself as one of the highest-paid actresses in Hollywood, earning an estimated $10 million per film. [54] (#cite_note-54) In the independent drama Frankie and Alice (/wiki/Frankie_and_Alice) (2010), Berry played the leading role of a young multiracial American woman with dissociative identity disorder struggling against her alter personality to retain her true self. The film received a limited theatrical release, to a mixed critical response. The Hollywood Reporter (/wiki/The_Hollywood_Reporter) nevertheless described the film as "a well-wrought psychological drama that delves into the dark side of one woman's psyche" and found Berry to be "spellbinding" in it. [55] (#cite_note-55) She earned the African-American Film Critics Association (/wiki/African-American_Film_Critics_Association) Award for Best Actress and a Golden Globe Award (/wiki/Golden_Globe_Award) nomination for Best Actress – Motion Picture Drama (/wiki/Golden_Globe_Award_for_Best_Actress_%E2%80%93_Motion_Picture_Drama) . [56] (#cite_note-56) [57] (#cite_note-57) She next made part of a large ensemble cast in Garry Marshall (/wiki/Garry_Marshall) 's romantic comedy New Year's Eve (/wiki/New_Year%27s_Eve_(2011_film)) (2011), with Michelle Pfeiffer (/wiki/Michelle_Pfeiffer) , Jessica Biel (/wiki/Jessica_Biel) , Robert De Niro (/wiki/Robert_De_Niro) , Josh Duhamel (/wiki/Josh_Duhamel) , Zac Efron (/wiki/Zac_Efron) , Sarah Jessica Parker (/wiki/Sarah_Jessica_Parker) , and Sofía Vergara (/wiki/Sof%C3%ADa_Vergara) , among many others. In the film, she took on the supporting role of a nurse befriending a man in the final stages (De Niro). While the film was panned by critics, it made US$142 million worldwide. [58] (#cite_note-58) In 2012, Berry starred as an expert diver tutor alongside then-husband Olivier Martinez (/wiki/Olivier_Martinez) in the little-seen thriller Dark Tide (/wiki/Dark_Tide) , [59] (#cite_note-59) and led an ensemble cast opposite Tom Hanks (/wiki/Tom_Hanks) and Jim Broadbent (/wiki/Jim_Broadbent) in The Wachowskis (/wiki/The_Wachowskis) 's epic (/wiki/Epic_film) science fiction film Cloud Atlas (/wiki/Cloud_Atlas_(film)) (2012), with each of the actors playing six different characters across a period of five centuries. [60] (#cite_note-60) Budgeted at US$128.8 million, Cloud Atlas made US$130.4 million worldwide, [61] (#cite_note-61) and garnered polarized reactions from both critics and audiences. [62] (#cite_note-62) Berry at the 2013 San Diego Comic-Con International (/wiki/San_Diego_Comic-Con_International) Berry appeared in a segment of the independent anthology comedy Movie 43 (/wiki/Movie_43) (2013), which the Chicago Sun-Times (/wiki/Chicago_Sun-Times) called "the Citizen Kane (/wiki/Citizen_Kane) of awful." [63] (#cite_note-sun-times-63) [64] (#cite_note-64) Berry found greater success with her next performance, as a 9-1-1 (/wiki/9-1-1) operator receiving a call from a girl kidnapped by a serial killer, in the crime thriller The Call (/wiki/The_Call_(2013_film)) (2013). Berry was drawn to "the idea of being a part of a movie that was so empowering for women. We don't often get to play roles like this, where ordinary people become heroic and do something extraordinary." [65] (#cite_note-Grant-65) Manohla Dargis (/wiki/Manohla_Dargis) of The New York Times (/wiki/The_New_York_Times) found the film to be "an effectively creepy thriller," [66] (#cite_note-Dargis-66) while reviewer Dwight Brown felt that "the script gives Berry a blue-collar character she can make accessible, vulnerable and gutsy[...]." [67] (#cite_note-67) The Call was a sleeper hit (/wiki/Sleeper_hit) , grossing US$68.6 million around the globe. [68] (#cite_note-68) Continued film and television work (2014–present) In 2014, Berry signed on to star and serve as a co-executive producer in CBS (/wiki/Columbia_Broadcasting_System) drama series Extant (/wiki/Extant_(TV_series)) , [69] (#cite_note-69) where she took on the role of Molly Woods (/wiki/Molly_Woods) , an astronaut who struggles to reconnect with her husband and android son after spending 13 months in space. The show ran for two seasons until 2015, receiving largely positive reviews from critics. [70] (#cite_note-70) [71] (#cite_note-71) [72] (#cite_note-72) USA Today (/wiki/USA_Today) remarked: "She [Halle Berry] brings a dignity and gravity to Molly, a projected intelligence that allows you to buy her as an astronaut and to see what has happened to her as frightening rather than ridiculous. Berry's all in, and you float along." [73] (#cite_note-73) Also in 2014, Berry launched a new production company, 606 Films (/wiki/606_Films) , with producing partner Elaine Goldsmith-Thomas. It is named after the Anti-Paparazzi Bill, SB 606, that the actress pushed for and which was signed into law by California Governor Jerry Brown (/wiki/Jerry_Brown) in the fall of 2013. The new company emerged as part of a deal for Berry to work in Extant . [74] (#cite_note-74) In the stand-up comedy concert film (/wiki/Concert_film) Kevin Hart: What Now? (/wiki/Kevin_Hart:_What_Now%3F) (2016), Berry appeared as herself, opposite Kevin Hart (/wiki/Kevin_Hart) , attending a poker game event that goes horribly wrong. [75] (#cite_note-75) She provided uncredited vocals to the song, "Calling All My Lovelies" by Bruno Mars (/wiki/Bruno_Mars) from his third studio album, 24K Magic (/wiki/24K_Magic_(album)) (2016). [76] (#cite_note-76) Kidnap (/wiki/Kidnap_(2017_film)) , an abduction thriller Berry filmed in 2014, was released in 2017. [77] (#cite_note-77) In the film, she starred as a diner waitress tailing a vehicle when her son is kidnapped by its occupants. Kidnap grossed US$34 million and garnered mixed reviews from writers, who felt that it "strays into poorly scripted exploitation too often to take advantage of its pulpy premise — or the still-impressive talents of [Berry]." [78] (#cite_note-78) She next played an agent employed by a secret American spy organisation in the action comedy sequel Kingsman: The Golden Circle (/wiki/Kingsman:_The_Golden_Circle) (2017), as part of an ensemble cast, consisting of Colin Firth (/wiki/Colin_Firth) , Taron Egerton (/wiki/Taron_Egerton) , Mark Strong (/wiki/Mark_Strong) , Julianne Moore (/wiki/Julianne_Moore) , and Elton John (/wiki/Elton_John) . While critical response towards the film was mixed, it made US$414 million worldwide. [79] (#cite_note-79) Alongside Daniel Craig (/wiki/Daniel_Craig) , Berry starred as a working-class mother during the 1992 Los Angeles riots (/wiki/1992_Los_Angeles_riots) in Deniz Gamze Ergüven (/wiki/Deniz_Gamze_Erg%C3%BCven) 's drama Kings (/wiki/Kings_(2017_film)) (2017). The film found a limited theatrical release following its initial screening at the Toronto International Film Festival (/wiki/Toronto_International_Film_Festival) , [80] (#cite_note-80) and as part of an overall lukewarm reception, [81] (#cite_note-81) Variety noted: "It should be said that Berry has given some of the best and worst performances of the past quarter-century, but this is perhaps the only one that swings to both extremes in the same movie." [82] (#cite_note-82) Berry competed against James Corden (/wiki/James_Corden) in the first rap battle on the first episode of TBS (/wiki/TBS_(U.S._TV_channel)) 's Drop the Mic (/wiki/Drop_the_Mic) , originally aired on October 24, 2017. [83] (#cite_note-83) She played Sofia, an assassin, in the film John Wick: Chapter 3 – Parabellum (/wiki/John_Wick:_Chapter_3_%E2%80%93_Parabellum) , which was released on May 17, 2019, by Lionsgate (/wiki/Lionsgate) . [84] (#cite_note-84) She is, as of February 2019, executive producer of the BET (/wiki/BET) television series Boomerang (/wiki/Boomerang_(U.S._TV_series)) , based on the film in which she starred. The series premiered February 12, 2019. [85] (#cite_note-Pilot-85) Berry made her directorial debut with the feature Bruised (/wiki/Bruised_(film)) in which she plays a disgraced MMA fighter named Jackie Justice, who reconnects with her estranged son. The film premiered at the Toronto International Film Festival (/wiki/Toronto_International_Film_Festival) in September 2020 [86] (#cite_note-86) and was released on Netflix (/wiki/Netflix) in November 2021. [87] (#cite_note-87) Berry received a positive review from Deadline (/wiki/Deadline_Hollywood) for her performance. [88] (#cite_note-88) In January 2023, Berry signed with Range Media Partners as a producer and director. [89] (#cite_note-89) Media image Berry was ranked No. 1 on People (/wiki/People_(American_magazine)) 's "50 Most Beautiful People in the World" list in 2003 after making the top ten seven times and appeared No. 1 on FHM 's "100 Sexiest Women in the World" the same year. [90] (#cite_note-90) [91] (#cite_note-91) She was named Esquire (/wiki/Esquire_(magazine)) magazine's "Sexiest Woman Alive" in October 2008, about which she stated: "I don't know exactly what it means, but being 42 and having just had a baby, I think I'll take it." [92] (#cite_note-92) [93] (#cite_note-93) Men's Health (/wiki/Men%27s_Health_(magazine)) ranked her at No. 35 on their "100 Hottest Women of All-Time" list. [94] (#cite_note-94) In 2009, she was voted #23 on Empire 's 100 Sexiest Film Stars. [95] (#cite_note-95) The same year, rapper Hurricane Chris (/wiki/Hurricane_Chris_(rapper)) released a song titled " Halle Berry (She's Fine) (/wiki/Halle_Berry_(She%27s_Fine)) " extolling Berry's beauty and sex appeal. [96] (#cite_note-96) At the age of 42 (in 2008), she was named the "Sexiest Black Woman" by Access Hollywood's "TV One Access" survey. [97] (#cite_note-97) [98] (#cite_note-98) [99] (#cite_note-99) [100] (#cite_note-100) Born to an African-American father and a white mother, Berry has stated that her biracial background was "painful and confusing" when she was a young woman, and she made the decision early on to identify as a black woman because she knew that was how she would be perceived. [13] (#cite_note-Noelle-13) Personal life Berry dated Chicago dentist John Ronan from March 1989 to October 1991. [101] (#cite_note-101) In November 1993, Ronan sued Berry for $80,000 in what he claimed were unpaid loans to help launch her career. [102] (#cite_note-102) Berry contended that the money was a gift, and a judge dismissed the case because Ronan did not list Berry as a debtor when he filed for bankruptcy (/wiki/Bankruptcy) in 1992. [9] (#cite_note-Hurts-9) According to Berry, a beating from a former abusive boyfriend during the filming of The Last Boy Scout (/wiki/The_Last_Boy_Scout) in 1991 punctured her eardrum and caused her to lose 80% of her hearing in her left ear. [9] (#cite_note-Hurts-9) She has never named the abuser, but said that he was someone "well known in Hollywood". In 2004, her former boyfriend Christopher Williams (/wiki/Christopher_Williams_(singer)) accused Wesley Snipes (/wiki/Wesley_Snipes) of being responsible for the incident, saying, "I'm so tired of people thinking I'm the guy [who did it]. Wesley Snipes busted her eardrum, not me." [103] (#cite_note-103) Berry first saw baseball player David Justice (/wiki/David_Justice) on TV playing in an MTV (/wiki/MTV) celebrity baseball game in February 1992. When a reporter from Justice's hometown of Cincinnati (/wiki/Cincinnati) told her that Justice was a fan, Berry gave her phone number to the reporter to give to Justice. [9] (#cite_note-Hurts-9) Berry married Justice shortly after midnight on January 1, 1993. [104] (#cite_note-104) Following their separation in February 1996, Berry stated publicly that she was so depressed that she had considered taking her own life. [105] (#cite_note-MSASoM-105) [106] (#cite_note-106) Berry and Justice were divorced on June 20, 1997. [107] (#cite_note-107) In May 2000, Berry pleaded no contest to a charge of leaving the scene of a car accident; she was sentenced to three years' probation, fined $13,500, and ordered to perform 200 hours of community service. [108] (#cite_note-108) Berry married her second husband, singer-songwriter Eric Benét (/wiki/Eric_Ben%C3%A9t) , on January 24, 2001, following a two-year courtship. [29] (#cite_note-ebony-29) [109] (#cite_note-People2003-10-02-109) Benét underwent treatment for sex addiction in 2002. [110] (#cite_note-Contactmusic-110) By early October 2003, they had separated, [109] (#cite_note-People2003-10-02-109) and their divorce was finalized on January 3, 2005. [111] (#cite_note-111) [112] (#cite_note-Peopledivorced-112) In November 2005, Berry began dating French-Canadian model Gabriel Aubry (/wiki/Gabriel_Aubry) , whom she had met at a Versace (/wiki/Gianni_Versace_S.p.A.) photoshoot. [113] (#cite_note-113) Berry gave birth to their daughter in March 2008. [114] (#cite_note-114) On April 30, 2010, Berry and Aubry announced that their relationship had ended some months earlier. [115] (#cite_note-115) In January 2011, Berry and Aubry became involved in a highly publicized custody battle, [116] (#cite_note-custody-116) [117] (#cite_note-custody2-117) [118] (#cite_note-custody3-118) centered primarily on Berry's desire to move with their daughter from Los Angeles, where Berry and Aubry resided, to France, the home of French actor Olivier Martinez (/wiki/Olivier_Martinez) , whom Berry had started dating in 2010, having met him while filming Dark Tide (/wiki/Dark_Tide) in South Africa. [119] (#cite_note-119) Aubry objected to the move on the ground that it would interfere with their joint custody arrangement. [120] (#cite_note-custody4-120) In November 2012, a judge denied Berry's request to move the couple's daughter to France. [121] (#cite_note-custody5-121) Less than two weeks later, on November 22, 2012, Aubry and Martinez were both treated at a hospital for injuries after engaging in a physical altercation at Berry's residence. Martinez performed a citizen's arrest (/wiki/Citizen%27s_arrest) on Aubry, and because it was considered a domestic violence (/wiki/Domestic_violence) incident, was granted a temporary emergency protective order preventing Aubry from coming within 100 yards of Berry, Martinez, and the child with whom he shares custody with Berry, until November 29, 2012. [122] (#cite_note-custody6-122) In turn, Aubry obtained a temporary restraining order against Martinez on November 26, 2012, asserting that the fight had begun when Martinez had threatened to kill Aubry if he did not allow the couple to move to France. [123] (#cite_note-custody7-123) Leaked court documents included photos showing significant injuries to Aubry's face, which were widely displayed in the media. [124] (#cite_note-custody8-124) On November 29, 2012, Berry's lawyer announced that Berry and Aubry had reached an amicable custody agreement in court. [125] (#cite_note-custody9-125) In June 2014, a Superior Court (/wiki/Superior_Court) ruling called for Berry to pay Aubry $16,000 a month in child support as well as a retroactive payment of $115,000 and $300,000 for Aubry's attorney fees. [126] (#cite_note-126) Berry and Martinez confirmed their engagement in March 2012, [127] (#cite_note-127) [128] (#cite_note-128) and married in France on July 13, 2013. [129] (#cite_note-129) In October 2013, Berry gave birth to their son. [130] (#cite_note-130) In 2015, after two years of marriage, the couple announced they were divorcing. [131] (#cite_note-131) The divorce was finalized in December 2016. [132] (#cite_note-132) In August 2023, issues dealing with custody and child support were settled. [133] (#cite_note-133) Berry started dating American musician Van Hunt (/wiki/Van_Hunt) in 2020, which was revealed through her Instagram. [134] (#cite_note-134) [135] (#cite_note-135) Activism Along with Pierce Brosnan (/wiki/Pierce_Brosnan) , Cindy Crawford (/wiki/Cindy_Crawford) , Jane Seymour (/wiki/Jane_Seymour_(actress)) , Dick Van Dyke (/wiki/Dick_Van_Dyke) , Téa Leoni (/wiki/T%C3%A9a_Leoni) , and Daryl Hannah (/wiki/Daryl_Hannah) , Berry successfully fought in 2006 against the Cabrillo Port Liquefied Natural Gas facility (/wiki/List_of_LNG_terminals#United_States_and_Gulf_of_Mexico) that was proposed off the coast of Malibu. [136] (#cite_note-136) Berry said, "I care about the air we breathe, I care about the marine life and the ecosystem of the ocean." [137] (#cite_note-137) In May 2007, Governor Arnold Schwarzenegger (/wiki/Arnold_Schwarzenegger) vetoed the facility. [138] (#cite_note-138) Hasty Pudding Theatricals (/wiki/Hasty_Pudding_Theatricals) gave her its 2006 Woman of The Year award. [139] (#cite_note-139) Berry took part in a nearly 2,000-house cellphone-bank campaign for Barack Obama (/wiki/Barack_Obama) in February 2008. [140] (#cite_note-140) In April 2013, she appeared in a video clip for Gucci (/wiki/Gucci) 's "Chime for Change" campaign that aims to raise funds and awareness of women's issues in terms of education, health, and justice. [141] (#cite_note-141) In August 2013, Berry testified alongside Jennifer Garner (/wiki/Jennifer_Garner) before the California State Assembly's Judiciary Committee in support of a bill that would protect celebrities' children from harassment by photographers. [142] (#cite_note-142) The bill passed in September. [143] (#cite_note-143) In May 2024, Berry advocated for more research and education on menopause (/wiki/Menopause) by supporting a bill introduced by Senators Patty Murray (/wiki/Patty_Murray) and Lisa Murkowski (/wiki/Lisa_Murkowski) . Berry said, "I'm in menopause, OK?... The shame has to be taken out of menopause. We have to talk about this very normal part of our life that happens. Our doctors can't even say the word to us, let alone walk us through the journey." [144] (#cite_note-144) Filmography Film Berry at the 2013 Golden Globe Awards (/wiki/2013_Golden_Globe_Awards) Year Title Role Notes 1991 Jungle Fever (/wiki/Jungle_Fever) Vivian Strictly Business (/wiki/Strictly_Business_(1991_film)) Natalie The Last Boy Scout (/wiki/The_Last_Boy_Scout) Cory 1992 Boomerang (/wiki/Boomerang_(1992_film)) Angela Lewis 1993 CB4 (/wiki/CB4) Herself Father Hood (/wiki/Father_Hood) Kathleen Mercer The Program (/wiki/The_Program_(1993_film)) Autumn Haley 1994 The Flintstones (/wiki/The_Flintstones_(film)) Sharon Stone [20] (#cite_note-Sharon-20) 1995 Solomon & Sheba (/wiki/Solomon_%26_Sheba_(1995_film)) Nikhaule/ Queen Sheba (/wiki/Queen_Sheba) Television film Losing Isaiah (/wiki/Losing_Isaiah) Khaila Richards 1996 Executive Decision (/wiki/Executive_Decision) Jean Girl 6 (/wiki/Girl_6) Herself Race the Sun (/wiki/Race_the_Sun_(film)) Miss Sandra Beecher The Rich Man's Wife (/wiki/The_Rich_Man%27s_Wife) Josie Potenza 1997 B*A*P*S (/wiki/B.A.P.S.) Nisi 1998 Bulworth (/wiki/Bulworth) Nina Why Do Fools Fall in Love (/wiki/Why_Do_Fools_Fall_in_Love_(film)) Zola Taylor (/wiki/Zola_Taylor) Welcome to Hollywood (/wiki/Welcome_to_Hollywood) Herself 1999 Introducing Dorothy Dandridge (/wiki/Introducing_Dorothy_Dandridge) Dorothy Dandridge (/wiki/Dorothy_Dandridge) Television film 2000 X-Men (/wiki/X-Men_(film)) Ororo Munroe/Storm (/wiki/Storm_(Marvel_Comics)) 2001 Swordfish (/wiki/Swordfish_(film)) Ginger Knowles Monster's Ball (/wiki/Monster%27s_Ball) Leticia Musgrove 2002 Die Another Day (/wiki/Die_Another_Day) Giacinta "Jinx" Johnson (/wiki/Jinx_(James_Bond)) 2003 X2 (/wiki/X2_(film)) Ororo Munroe/Storm Gothika (/wiki/Gothika) Miranda Grey 2004 Catwoman (/wiki/Catwoman_(film)) Patience Phillips/Catwoman (/wiki/Catwoman) 2005 Their Eyes Were Watching God (/wiki/Their_Eyes_Were_Watching_God_(film)) Janie Crawford Television film Robots (/wiki/Robots_(2005_film)) Cappy Voice 2006 X-Men: The Last Stand (/wiki/X-Men:_The_Last_Stand) Ororo Munroe/Storm 2007 Perfect Stranger (/wiki/Perfect_Stranger_(film)) Rowena Price Things We Lost in the Fire (/wiki/Things_We_Lost_in_the_Fire_(film)) Audrey Burke 2010 Frankie & Alice (/wiki/Frankie_%26_Alice) Frankie/Alice 2011 New Year's Eve (/wiki/New_Year%27s_Eve_(2011_film)) Nurse Aimee 2012 Dark Tide (/wiki/Dark_Tide) Kate Mathieson Cloud Atlas (/wiki/Cloud_Atlas_(film)) Various Roles 2013 Movie 43 (/wiki/Movie_43) Emily Segment: "Truth Or Dare" The Call (/wiki/The_Call_(2013_film)) Jordan Turner 2014 X-Men: Days of Future Past (/wiki/X-Men:_Days_of_Future_Past) Ororo Munroe/Storm 2016 Kevin Hart: What Now? (/wiki/Kevin_Hart:_What_Now%3F) Money Berry 2017 Kidnap (/wiki/Kidnap_(2017_film)) Karla Dyson Kings (/wiki/Kings_(2017_film)) Millie Dunbar Kingsman: The Golden Circle (/wiki/Kingsman:_The_Golden_Circle) Ginger Ale 2019 John Wick: Chapter 3 – Parabellum (/wiki/John_Wick:_Chapter_3_%E2%80%93_Parabellum) Sofia 2020 Bruised (/wiki/Bruised_(film)) Jackie Justice 2022 Moonfall (/wiki/Moonfall_(film)) Jocinda "Jo" Fowler 2023 The Mothership (/wiki/The_Mothership) Sara Morse Unreleased 2024 The Union (/wiki/The_Union_(upcoming_film)) Roxanne 2024 Never Let Go (/wiki/Never_Let_Go_(2024_film)) TBA Post-production; also executive producer Television Year Title Role Notes 1989 Living Dolls (/wiki/Living_Dolls) Emily Franklin Main Cast 1991 Amen (/wiki/Amen_(TV_series)) Claire Episode: "Unforgettable" A Different World (/wiki/A_Different_World) Jaclyn Episode: "Love, Hillman-Style" They Came from Outer Space (/wiki/They_Came_from_Outer_Space) Rene Episode: "Hair Today, Gone Tomorrow" Knots Landing (/wiki/Knots_Landing) Debbie Porter Recurring Cast: Season 13 1993 NAACP Image Awards (/wiki/NAACP_Image_Awards) Herself/Co-Host Main Co-Host Alex Haley's Queen (/wiki/Alex_Haley%27s_Queen) Queen Jackson Haley Episode: "Part 1-3" 1994 A Century of Women Herself Episode: "Part 1-2" 1996 Martin (/wiki/Martin_(TV_series)) Episode: "Where the Party At" 1996–97 Essence Awards (/wiki/Essence_Awards) Herself/Co-Host Main Co-Host 1997 World Music Awards (/wiki/World_Music_Awards) Herself/Host Main Host 1998 Behind the Music (/wiki/Behind_the_Music) Herself Episode: "Lionel Richie" Intimate Portrait (/wiki/Intimate_Portrait) Episode: "Halle Berry" Mad TV (/wiki/Mad_TV) Herself/Host Episode: "Halle Berry" The Wedding (/wiki/The_Wedding_(miniseries)) Shelby Coles Episode: "Part 1-2" Frasier (/wiki/Frasier) Betsy Voice, episode: "Room Service" 1999–08 Biography (/wiki/Biography_(TV_program)) Herself Recurring Guest 2001 Great Streets Episode: "The Champs Elysees" 2002 E! True Hollywood Story (/wiki/E!_True_Hollywood_Story) Episode: "The Bond Girls" Mad TV (/wiki/Mad_TV) Episode: "Episode #8.7" The Bernie Mac Show (/wiki/The_Bernie_Mac_Show) Episode: "Handle Your Business" 2003 Ant & Dec's Saturday Night Takeaway (/wiki/Ant_%26_Dec%27s_Saturday_Night_Takeaway) Episode: "Episode #2.8" Saturday Night Live (/wiki/Saturday_Night_Live) Herself/Host Episode: "Halle Berry/Britney Spears" Style Star Herself Episode: "Halle Berry" Punk'd (/wiki/Punk%27d) Episode: "Episode #2.5" Making the Video (/wiki/Making_the_Video) Episode: "Limp Bizkit: Behind Blue Eyes" 2004 Rove (/wiki/Rove_(TV_series)) Episode: "Episode #5.9" Getaway (/wiki/Getaway_(TV_series)) Episode: "Getaway Goes to Hollywood" 4Pop Episode: "Pärstäkerroin voittaa aina" 2009 NAACP Image Awards (/wiki/40th_NAACP_Image_Awards) Herself/Co-Host Main Co-Host 2011 The Simpsons (/wiki/The_Simpsons) Herself Voice, episode: " Angry Dad: The Movie (/wiki/Angry_Dad:_The_Movie) " 2012 Sesame Street (/wiki/Sesame_Street) Episode: "Get Lost, Mr. Chips" 2014–15 Extant (/wiki/Extant_(TV_series)) Molly Woods (/wiki/Molly_Woods) Main cast 2017 Drop the Mic (/wiki/Drop_the_Mic) Herself Episode: "Halle Berry vs. James Corden (/wiki/James_Corden) & Anthony Anderson (/wiki/Anthony_Anderson) vs. Usher (/wiki/Usher_(musician)) " 2021 American Masters (/wiki/American_Masters) Episode: "How It Feels To Be Free" 2022 Soul of a Nation (/wiki/Soul_of_a_Nation) Episode: "Soul of a Nation Presents: Screen Queens Rising" Celebrity IOU (/wiki/Celebrity_IOU) Episode: "Halle Berry's Beautiful Gift" Video game Year Game Role 2004 Catwoman (/wiki/Catwoman_(film)) Patience Phillips/Catwoman (/wiki/Catwoman) Music videos Year Song Artist 1994 " (Meet) The Flintstones (/wiki/(Meet)_The_Flintstones) " The B-52s (/wiki/The_B-52s) 1998 " Ghetto Supastar (That Is What You Are) (/wiki/Ghetto_Supastar_(That_Is_What_You_Are)) " Pras (/wiki/Pras) featuring Ol' Dirty Bastard (/wiki/Ol%27_Dirty_Bastard) and Mya (/wiki/Mya_(singer)) 2003 " Behind Blue Eyes (/wiki/Behind_Blue_Eyes) " Limp Bizkit (/wiki/Limp_Bizkit) Awards and nominations Main article: List of awards and nominations received by Halle Berry (/wiki/List_of_awards_and_nominations_received_by_Halle_Berry) See also List of African American firsts (/wiki/List_of_African_American_firsts) List of female film and television directors (/wiki/List_of_female_film_and_television_directors) List of LGBT-related films directed by women (/wiki/List_of_LGBT-related_films_directed_by_women) References ^ Jump up to: a b c d e f g h "Halle Berry". Inside the Actors Studio (/wiki/Inside_the_Actors_Studio) . Bravo (/wiki/Bravo_(U.S._TV_network)) , October 29, 2007. ^ (#cite_ref-2) Although Britannica Kids (/wiki/Encyclop%C3%A6dia_Britannica) gives a 1968 birthdate (http://kids.britannica.com/comptons/article-9389354/Halle-Berry) Archived (https://web.archive.org/web/20120817132742/http://kids.britannica.com/comptons/article-9389354/Halle-Berry) August 17, 2012, at the Wayback Machine (/wiki/Wayback_Machine) , (from the original on August 17, 2012), she stated in interviews prior to August 2006 that she would turn 40 then. See: FemaleFirst (https://web.archive.org/web/20090103001746/http://www.femalefirst.co.uk/celebrity/Halle%2BBerry-9679.html) , DarkHorizons (https://web.archive.org/web/20060525074438/http://www.darkhorizons.com/news06/berry.php) , FilmMonthly (http://www.filmmonthly.com/Profiles/Articles/HalleBerryX3/HalleBerryX3.html) Archived (https://web.archive.org/web/20060903215437/http://www.filmmonthly.com/Profiles/Articles/HalleBerryX3/HalleBerryX3.html) September 3, 2006, at the Wayback Machine (/wiki/Wayback_Machine) , and see also Profile (https://www.cbsnews.com/stories/2004/07/20/earlyshow/leisure/celebspot/main630707.shtml) , cbsnews.com; accessed May 5, 2007. ^ (#cite_ref-3) Echo, Liverpool (March 25, 2002). "Halle's Liverpool roots" (https://www.liverpoolecho.co.uk/news/liverpool-news/halles-liverpool-roots-3559287) . Liverpool Echo . Archived (https://web.archive.org/web/20200801104746/https://www.liverpoolecho.co.uk/news/liverpool-news/halles-liverpool-roots-3559287) from the original on August 1, 2020 . Retrieved July 31, 2019 . ^ (#cite_ref-4) "First Generation" (https://web.archive.org/web/20120509181354/http://www.genealogy.com/famousfolks/halleb/d0/i0000001.htm) . Genealogy.com . Archived from the original on May 9, 2012. {{ cite web (/wiki/Template:Cite_web) }} : CS1 maint: bot: original URL status unknown ( link (/wiki/Category:CS1_maint:_bot:_original_URL_status_unknown) ) ^ Jump up to: a b Lovece (/wiki/Frank_Lovece) , Frank (July 7, 1992). "Halle Berry Is Poised to Become Major Star" (https://news.google.com/newspapers?nid=1955&dat=19920705&id=I_ohAAAAIBAJ&pg=1658,2911296) . Newspaper Enterprise Association (/wiki/Newspaper_Enterprise_Association) / Reading Eagle (/wiki/Reading_Eagle) . Reading, Pennsylvania (/wiki/Reading,_Pennsylvania) . Archived (https://web.archive.org/web/20200901194743/https://news.google.com/newspapers?nid=1955&dat=19920705&id=I_ohAAAAIBAJ&pg=1658,2911296) from the original on September 1, 2020 . Retrieved May 11, 2023 . ^ (#cite_ref-Showbiz_6-0) "Showbiz Bytes 28-01-03" (http://www.theage.com.au/articles/2003/01/28/1043534043252.html) . The Age . January 28, 2003. Archived (https://web.archive.org/web/20121112161104/http://www.theage.com.au/articles/2003/01/28/1043534043252.html) from the original on November 12, 2012 . Retrieved December 15, 2007 . ^ (#cite_ref-7) Gennis, Sadie (February 21, 2015). "Halle Berry Opens Up About Childhood Experience with Domestic Violence" (https://www.tvguide.com/news/halle-berry-childhood-domestic-violence) . TVGuide . Archived (https://web.archive.org/web/20190301074807/https://www.tvguide.com/news/halle-berry-childhood-domestic-violence/) from the original on March 1, 2019 . Retrieved May 7, 2015 . ^ (#cite_ref-8) The Woman Who Would Be Queen | PEOPLE.com (http://people.com/archive/the-woman-who-would-be-queen-vol-39-no-7/) Archived (https://web.archive.org/web/20180612162407/https://people.com/archive/the-woman-who-would-be-queen-vol-39-no-7/) June 12, 2018, at the Wayback Machine (/wiki/Wayback_Machine) Retrieved May 20, 2018. ^ Jump up to: a b c d Schneider, Karen S. (May 13, 1996). "Hurts So Bad" (https://people.com/archive/cover-story-hurts-so-bad-vol-45-no-19/) . People . Archived (https://web.archive.org/web/20200801110417/https://people.com/archive/cover-story-hurts-so-bad-vol-45-no-19/) from the original on August 1, 2020 . Retrieved February 28, 2019 . ^ Jump up to: a b c "Halle Berry Biography" (https://web.archive.org/web/20160829174903/http://www.people.com/people/halle_berry/biography) . People (/wiki/People_(American_magazine)) . Archived from the original (http://www.people.com/people/halle_berry/biography) on August 29, 2016 . Retrieved December 15, 2007 . ^ (#cite_ref-11) "Miss USA 1986 Scores" (https://web.archive.org/web/20071009090510/http://www.pageant-almanac.com/miss-usa/scorecard.php) . Pageant Almanac . Archived from the original on October 9, 2007 . Retrieved December 21, 2007 . {{ cite web (/wiki/Template:Cite_web) }} : CS1 maint: unfit URL ( link (/wiki/Category:CS1_maint:_unfit_URL) ) ^ (#cite_ref-12) Sanello, Frank (2003). Halle Berry: A Stormy Life . Tebbo. ISBN (/wiki/ISBN_(identifier)) 978-1-7424-4654-7 . ^ Jump up to: a b Talmon, Noelle. "The 15 Sexiest Black Actresses In Hollywood" (https://web.archive.org/web/20160520080702/http://www.starpulse.com/news/Noelle_Talmon/2014/07/12/the_15_sexiest_black_actresses_in_holl) . Starpulse.com . Archived from the original (http://www.starpulse.com/news/Noelle_Talmon/2014/07/12/the_15_sexiest_black_actresses_in_holl) on May 20, 2016 . Retrieved July 12, 2015 . ^ Jump up to: a b c Current Biography Yearbook . New York City: H.W. Wilson Company. 1999. pp. 62–64 (https://archive.org/details/currentbiography1999clif/page/62) . ISBN (/wiki/ISBN_(identifier)) 978-0-8242-0988-9 . ^ (#cite_ref-15) "Halle Berry: From homeless shelter to Hollywood fame" (April 2007). Reader's Digest (/wiki/Reader%27s_Digest) (White Plains, New York USA: Reader's Digest Association, Inc.), p. 89: Reader's Digest: "Is it true that when you moved to New York to begin your acting career, you lived in a shelter?" Berry: "Very briefly. ... I wasn't working for a while." ^ (#cite_ref-16) US Weekly (/wiki/US_Weekly) (April 27, 2007). "Halle Berry was homeless. Berry slept at a shelter in NYC after her mom refused to send her money." ^ (#cite_ref-17) Pérez-Peña, Richard (May 17, 2006). Beyond 'I'm a Diabetic', Little Common Ground (https://www.nytimes.com/2006/05/17/nyregion/17diabetes.html) Archived (https://web.archive.org/web/20180825155207/https://www.nytimes.com/2006/05/17/nyregion/17diabetes.html) August 25, 2018, at the Wayback Machine (/wiki/Wayback_Machine) , The New York Times (/wiki/The_New_York_Times) ; accessed December 24, 2010. ^ (#cite_ref-18) Hoskins, Mike (April 25, 2013). "Revisiting the Great Halle Berry Diabetes Ruckus" (http://www.diabetesmine.com/2013/04/revisiting-the-great-halle-berry-diabetes-ruckus.html) Archived (https://web.archive.org/web/20150107214130/http://www.diabetesmine.com/2013/04/revisiting-the-great-halle-berry-diabetes-ruckus.html) January 7, 2015, at the Wayback Machine (/wiki/Wayback_Machine) , DiabetesMine.com; accessed March 20, 2013. ^ (#cite_ref-19) "Halle Berry - Actress & Model with Type 1 Diabetes" (https://www.diabetes.co.uk/celebrities/halle-berry.html) . www.diabetes.co.uk . January 15, 2019. 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Archived (https://web.archive.org/web/20190721124633/https://www.nytimes.com/2002/12/01/business/private-sector-a-shaker-not-a-stirrer-at-revlon.html) from the original on July 21, 2019 . Retrieved December 23, 2007 . ^ (#cite_ref-22) "Revlon – Supplier News – renewed its contract with actress Halle Berry; to introduce the Pink Happiness Spring 2004 Color Collection – Brief Article" (http://findarticles.com/p/articles/mi_m3374/is_17_25/ai_111648596) Archived (https://web.archive.org/web/20130829090122/http://findarticles.com/p/articles/mi_m3374/is_17_25/ai_111648596) August 29, 2013, at the Wayback Machine (/wiki/Wayback_Machine) (December 15, 2003), CNET Networks; accessed December 23, 2007. ^ (#cite_ref-23) "Halle Berry Brings the Passion and Pain of Dorothy Dandridge to HBO Movie" (https://books.google.com/books?id=Fj0DAAAAMBAJ&pg=PA60) . Jet (/wiki/Jet_(magazine)) . August 23, 1999 . Retrieved July 29, 2014 . ^ (#cite_ref-24) Parish, James Robert (October 29, 2001). The Hollywood Book of Death: The Bizarre, Often Sordid, Passings of More than 125 American Movie and TV Idols , Contemporary Books of McGraw Hill; ISBN (/wiki/ISBN_(identifier)) 0-8092-2227-2 (/wiki/Special:BookSources/0-8092-2227-2) ^ Jump up to: a b Hyland, Ian (September 2, 2001) "The Diary: Halle's bold glory" (https://web.archive.org/web/20100701225947/http://findarticles.com/p/articles/mi_qn4161/is_20010902/ai_n14532259/) , Sunday Mirror (/wiki/Sunday_Mirror) ; accessed July 5, 2009. ^ (#cite_ref-26) Davies, Hugh (February 7, 2001). "Halle Berry earns extra £357,000 for topless scene" (https://www.telegraph.co.uk/news/worldnews/1310430/Halle-Berry-earns-extra-357000-for-topless-scene.html) Archived (https://web.archive.org/web/20180417121035/https://www.telegraph.co.uk/news/worldnews/1310430/Halle-Berry-earns-extra-357000-for-topless-scene.html) April 17, 2018, at the Wayback Machine (/wiki/Wayback_Machine) , The Telegraph (/wiki/The_Daily_Telegraph) ; accessed April 29, 2008. ^ (#cite_ref-27) D'Souza, Christa (December 31, 2001). "And the winner is..." 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(http://news.harvard.edu/gazette/2006/02.02/15-hasty.html) Archived (https://web.archive.org/web/20160304023033/http://news.harvard.edu/gazette/2006/02.02/15-hasty.html) March 4, 2016, at the Wayback Machine (/wiki/Wayback_Machine) (February 2, 2006), Harvard University Gazette (/wiki/Harvard_University_Gazette) ; accessed January 1, 2008. ^ (#cite_ref-140) "Halle Berry, Ted Kennedy: 'Move On' for Obama" (February 29, 2008), Chicago Tribune . ^ (#cite_ref-141) Karmali, Sarah (April 16, 2013). "Blake Lively and Halle Berry Join Gucci's Chime For Change" (https://www.vogue.co.uk/news/2013/04/16/blake-lively-joins-gucci-chime-for-change---halle-berry-zoe-saldana-beyonce) . Vogue (/wiki/Vogue_(magazine)) . Archived (https://web.archive.org/web/20160304195348/http://www.vogue.co.uk/news/2013/04/16/blake-lively-joins-gucci-chime-for-change---halle-berry-zoe-saldana-beyonce) from the original on March 4, 2016 . Retrieved April 22, 2013 . ^ (#cite_ref-142) Child, Ben (August 15, 2013). "Jennifer Garner joins Halle Berry's fight for new anti-paparazzi law in California" (https://www.theguardian.com/film/2013/aug/15/jennifer-garner-halle-berry-paparazzi-law) . The Guardian (/wiki/The_Guardian) . Archived (https://web.archive.org/web/20220827172408/https://www.theguardian.com/film/2013/aug/15/jennifer-garner-halle-berry-paparazzi-law) from the original on August 27, 2022 . Retrieved January 24, 2013 . ^ (#cite_ref-143) Pulver, Andrew (September 26, 2013). "Anti-paparazzi bill backed by Halle Berry now California law" (https://www.theguardian.com/film/2013/sep/26/halle-berry-anti-paparazzi-law) . The Guardian . Archived (https://web.archive.org/web/20131219095618/http://www.theguardian.com/film/2013/sep/26/halle-berry-anti-paparazzi-law) from the original on December 19, 2013 . Retrieved January 24, 2014 . ^ (#cite_ref-144) Khan, Mariam; Kindelan, Katie (May 2, 2024). "Halle Berry shouts 'I'm in menopause' on Capitol Hill as she fights for funding to improve women's care" (https://abcnews.go.com/GMA/Wellness/halle-berry-shouts-im-menopause-capitol-hill-fights/story?id=109881356) . ABC News . Retrieved May 8, 2024 . General bibliography Banting, Erinn. Halle Berry , Weigl Publishers, 2005. ISBN (/wiki/ISBN_(identifier)) 1-59036-333-7 (/wiki/Special:BookSources/1-59036-333-7) . Gogerly, Liz. Halle Berry , Raintree, 2005. ISBN (/wiki/ISBN_(identifier)) 1-4109-1085-7 (/wiki/Special:BookSources/1-4109-1085-7) . Naden, Corinne J. Halle Berry , Sagebrush Education Resources, 2001. ISBN (/wiki/ISBN_(identifier)) 0-613-86157-4 (/wiki/Special:BookSources/0-613-86157-4) . O'Brien, Daniel. Halle Berry , Reynolds & Hearn, 2003. ISBN (/wiki/ISBN_(identifier)) 1-903111-38-2 (/wiki/Special:BookSources/1-903111-38-2) . Sanello, Frank. Halle Berry: A Stormy Life , Virgin Books, 2003. ISBN (/wiki/ISBN_(identifier)) 1-85227-092-6 (/wiki/Special:BookSources/1-85227-092-6) . Schuman, Michael A. Halle Berry: Beauty Is Not Just Physical , Enslow, 2006. ISBN (/wiki/ISBN_(identifier)) 0-7660-2467-9 (/wiki/Special:BookSources/0-7660-2467-9) . External links Halle Berry (https://www.facebook.com/HalleBerry) on Facebook (/wiki/Facebook_(identifier)) Halle Berry (https://www.imdb.com/name/nm0000932/) at IMDb (/wiki/IMDb_(identifier)) Halle Berry (https://www.allmovie.com/artist/p5863) at AllMovie (/wiki/AllMovie) Halle Berry (http://www.people.com/people/halle_berry) at People.com (/wiki/People.com) Halle Berry (https://www.tvguide.com/celebrities/-/halle-berry/152937/) at TV Guide (/wiki/TV_Guide) Halle Berry (https://www.tcm.com/tcmdb/person/15188%7C175874/wp) at the TCM Movie Database (/wiki/Turner_Classic_Movies) Appearances (https://www.c-span.org/person/?64419) on C-SPAN (/wiki/C-SPAN) Awards for Halle Berry (/wiki/List_of_awards_and_nominations_received_by_Halle_Berry) v t e Academy Award for Best Actress (/wiki/Academy_Award_for_Best_Actress) 1928–1950 Janet Gaynor (/wiki/Janet_Gaynor) (1928) Mary Pickford (/wiki/Mary_Pickford) (1929) Norma Shearer (/wiki/Norma_Shearer) (1930) Marie Dressler (/wiki/Marie_Dressler) 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(1998) Hilary Swank (/wiki/Hilary_Swank) (1999) Julia Roberts (/wiki/Julia_Roberts) (2000) 2001–present Halle Berry (2001) Nicole Kidman (/wiki/Nicole_Kidman) (2002) Charlize Theron (/wiki/Charlize_Theron) (2003) Hilary Swank (/wiki/Hilary_Swank) (2004) Reese Witherspoon (/wiki/Reese_Witherspoon) (2005) Helen Mirren (/wiki/Helen_Mirren) (2006) Marion Cotillard (/wiki/Marion_Cotillard) (2007) Kate Winslet (/wiki/Kate_Winslet) (2008) Sandra Bullock (/wiki/Sandra_Bullock) (2009) Natalie Portman (/wiki/Natalie_Portman) (2010) Meryl Streep (/wiki/Meryl_Streep) (2011) Jennifer Lawrence (/wiki/Jennifer_Lawrence) (2012) Cate Blanchett (/wiki/Cate_Blanchett) (2013) Julianne Moore (/wiki/Julianne_Moore) (2014) Brie Larson (/wiki/Brie_Larson) (2015) Emma Stone (/wiki/Emma_Stone) (2016) Frances McDormand (/wiki/Frances_McDormand) (2017) Olivia Colman (/wiki/Olivia_Colman) (2018) Renée Zellweger (/wiki/Ren%C3%A9e_Zellweger) (2019) Frances McDormand (/wiki/Frances_McDormand) (2020) Jessica Chastain (/wiki/Jessica_Chastain) (2021) Michelle Yeoh (/wiki/Michelle_Yeoh) (2022) Emma Stone (/wiki/Emma_Stone) (2023) v t e BET Award for Best Actress (/wiki/BET_Award_for_Best_Actress) Sanaa Lathan (/wiki/Sanaa_Lathan) (2001) Halle Berry (2002) Queen Latifah (/wiki/Queen_Latifah) (2003) Halle Berry (2004) Regina King (/wiki/Regina_King) (2005) Taraji P. Henson (/wiki/Taraji_P._Henson) (2006) Jennifer Hudson (/wiki/Jennifer_Hudson) (2007) Halle Berry (2008) Taraji P. Henson (/wiki/Taraji_P._Henson) (2009) Mo'Nique (/wiki/Mo%27Nique) (2010) Taraji P. Henson (/wiki/Taraji_P._Henson) (2011) Viola Davis (/wiki/Viola_Davis) (2012) Kerry Washington (/wiki/Kerry_Washington) (2013) Lupita Nyong'o (/wiki/Lupita_Nyong%27o) (2014) Taraji P. Henson (/wiki/Taraji_P._Henson) (2015) Taraji P. Henson (/wiki/Taraji_P._Henson) (2016) Taraji P. 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Hall (/wiki/Irma_P._Hall) / Sophie Okonedo (/wiki/Sophie_Okonedo) (2005) Kimberly Elise (/wiki/Kimberly_Elise) (2006) Keke Palmer (/wiki/Keke_Palmer) (2007) Queen Latifah (/wiki/Queen_Latifah) (2008) No Award (2009) Gabourey Sidibe (/wiki/Gabourey_Sidibe) (2010) Kerry Washington (/wiki/Kerry_Washington) (2011) Viola Davis (/wiki/Viola_Davis) (2012) Quvenzhané Wallis (/wiki/Quvenzhan%C3%A9_Wallis) (2013) Danai Gurira (/wiki/Danai_Gurira) (2014) Gugu Mbatha-Raw (/wiki/Gugu_Mbatha-Raw) (2015) Teyonah Parris (/wiki/Teyonah_Parris) (2016) Ruth Negga (/wiki/Ruth_Negga) (2017) Natalie Paul (/wiki/Natalie_Paul) (2018) KiKi Layne (/wiki/KiKi_Layne) (2019) Lupita Nyong'o (/wiki/Lupita_Nyong%27o) (2020) Viola Davis (/wiki/Viola_Davis) (2021) Tessa Thompson (/wiki/Tessa_Thompson) (2022) Danielle Deadwyler (/wiki/Danielle_Deadwyler) (2023) v t e Black Reel Award for Outstanding Actress, TV Movie or Limited Series (/wiki/Black_Reel_Award_for_Outstanding_Actress,_TV_Movie_or_Limited_Series) Halle Berry (2000) Khandi Alexander (/wiki/Khandi_Alexander) (2001) Angela Bassett (/wiki/Angela_Bassett) (2002) Angela Bassett (/wiki/Angela_Bassett) (2003) Suzzanne Douglas (/wiki/Suzzanne_Douglas) (2004) Lynn Whitfield (/wiki/Lynn_Whitfield) (2005) S. Epatha Merkerson (/wiki/S._Epatha_Merkerson) (2006) Alexa Vega (/wiki/Alexa_Vega) (2007) Taraji P. Henson (/wiki/Taraji_P._Henson) (2012) Aunjanue Ellis (/wiki/Aunjanue_Ellis-Taylor) (2013) Anika Noni Rose (/wiki/Anika_Noni_Rose) (2014) Cicely Tyson (/wiki/Cicely_Tyson) (2015) Queen Latifah (/wiki/Queen_Latifah) (2016) Kerry Washington (/wiki/Kerry_Washington) (2017) Sanaa Lathan (/wiki/Sanaa_Lathan) (2017) Regina King (/wiki/Regina_King) (2018) Niecy Nash (/wiki/Niecy_Nash) (2019) Regina King (/wiki/Regina_King) (2020) Michaela Coel (/wiki/Michaela_Coel) (2021) Wunmi Mosaku (/wiki/Wunmi_Mosaku) (2022) v t e Primetime Emmy Award for Outstanding Lead Actress in a Limited or Anthology Series or Movie (/wiki/Primetime_Emmy_Award_for_Outstanding_Lead_Actress_in_a_Limited_or_Anthology_Series_or_Movie) 1952–1975 Helen Hayes (/wiki/Helen_Hayes) (1952) Judith Anderson (/wiki/Judith_Anderson) (1954) Mary Martin (/wiki/Mary_Martin) (1955) Claire Trevor (/wiki/Claire_Trevor) (1956) Polly Bergen (/wiki/Polly_Bergen) (1957) Julie Harris (/wiki/Julie_Harris) (1959) Ingrid Bergman (/wiki/Ingrid_Bergman) (1960) Judith Anderson (/wiki/Judith_Anderson) (1961) Julie Harris (/wiki/Julie_Harris) (1962) Kim Stanley (/wiki/Kim_Stanley) (1963) Shelley Winters (/wiki/Shelley_Winters) (1964) Lynn Fontanne (/wiki/Lynn_Fontanne) (1965) Simone Signoret (/wiki/Simone_Signoret) (1966) Geraldine Page (/wiki/Geraldine_Page) (1967) Maureen Stapleton (/wiki/Maureen_Stapleton) (1968) Geraldine Page (/wiki/Geraldine_Page) (1969) Patty Duke (/wiki/Patty_Duke) (1970) Lee Grant (/wiki/Lee_Grant) (1971) Glenda Jackson (/wiki/Glenda_Jackson) (1972) Susan Hampshire (/wiki/Susan_Hampshire) / Cloris Leachman (/wiki/Cloris_Leachman) (1973) Mildred Natwick (/wiki/Mildred_Natwick) / Cicely Tyson (/wiki/Cicely_Tyson) (1974) Katharine Hepburn (/wiki/Katharine_Hepburn) / Jessica Walter (/wiki/Jessica_Walter) (1975) 1976–2000 Susan Clark (/wiki/Susan_Clark) / Rosemary Harris (/wiki/Rosemary_Harris) (1976) Patty Duke (/wiki/Patty_Duke) / Sally Field (/wiki/Sally_Field) (1977) Meryl Streep (/wiki/Meryl_Streep) / Joanne Woodward (/wiki/Joanne_Woodward) (1978) Bette Davis (/wiki/Bette_Davis) (1979) Patty Duke (/wiki/Patty_Duke) (1980) Vanessa Redgrave (/wiki/Vanessa_Redgrave) (1981) Ingrid Bergman (/wiki/Ingrid_Bergman) (1982) Barbara Stanwyck (/wiki/Barbara_Stanwyck) (1983) Jane Fonda (/wiki/Jane_Fonda) (1984) Joanne Woodward (/wiki/Joanne_Woodward) (1985) Marlo Thomas (/wiki/Marlo_Thomas) (1986) Gena Rowlands (/wiki/Gena_Rowlands) (1987) Jessica Tandy (/wiki/Jessica_Tandy) (1988) Holly Hunter (/wiki/Holly_Hunter) (1989) Barbara Hershey (/wiki/Barbara_Hershey) (1990) Lynn Whitfield (/wiki/Lynn_Whitfield) (1991) Gena Rowlands (/wiki/Gena_Rowlands) (1992) Holly Hunter (/wiki/Holly_Hunter) (1993) Kirstie Alley (/wiki/Kirstie_Alley) (1994) Glenn Close (/wiki/Glenn_Close) (1995) Helen Mirren (/wiki/Helen_Mirren) (1996) Alfre Woodard (/wiki/Alfre_Woodard) (1997) Ellen Barkin (/wiki/Ellen_Barkin) (1998) Helen Mirren (/wiki/Helen_Mirren) (1999) Halle Berry (2000) 2001–present Judy Davis (/wiki/Judy_Davis) (2001) Laura Linney (/wiki/Laura_Linney) (2002) Maggie Smith (/wiki/Maggie_Smith) (2003) Meryl Streep (/wiki/Meryl_Streep) (2004) S. 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Epatha Merkerson (/wiki/S._Epatha_Merkerson) (2005) Helen Mirren (/wiki/Helen_Mirren) (2006) Queen Latifah (/wiki/Queen_Latifah) (2007) Laura Linney (/wiki/Laura_Linney) (2008) Drew Barrymore (/wiki/Drew_Barrymore) (2009) Claire Danes (/wiki/Claire_Danes) (2010) Kate Winslet (/wiki/Kate_Winslet) (2011) Julianne Moore (/wiki/Julianne_Moore) (2012) Elisabeth Moss (/wiki/Elisabeth_Moss) (2013) Maggie Gyllenhaal (/wiki/Maggie_Gyllenhaal) (2014) Lady Gaga (/wiki/Lady_Gaga) (2015) Sarah Paulson (/wiki/Sarah_Paulson) (2016) Nicole Kidman (/wiki/Nicole_Kidman) (2017) Patricia Arquette (/wiki/Patricia_Arquette) (2018) Michelle Williams (/wiki/Michelle_Williams_(actress)) (2019) 2020–present Anya Taylor-Joy (/wiki/Anya_Taylor-Joy) (2020) Kate Winslet (/wiki/Kate_Winslet) (2021) Amanda Seyfried (/wiki/Amanda_Seyfried) (2022) Ali Wong (/wiki/Ali_Wong) (2023) v t e Golden Raspberry Award for Worst Actress (/wiki/Golden_Raspberry_Award_for_Worst_Actress) 1980s Brooke Shields (/wiki/Brooke_Shields) – The Blue Lagoon (/wiki/The_Blue_Lagoon_(1980_film)) (1980) Bo Derek (/wiki/Bo_Derek) – Tarzan, the Ape Man (/wiki/Tarzan,_the_Ape_Man_(1981_film)) / Faye Dunaway (/wiki/Faye_Dunaway) – Mommie Dearest (/wiki/Mommie_Dearest_(film)) (1981) Pia Zadora (/wiki/Pia_Zadora) – Butterfly (/wiki/Butterfly_(1982_film)) (1982) Pia Zadora (/wiki/Pia_Zadora) – The Lonely Lady (/wiki/The_Lonely_Lady) (1983) Bo Derek (/wiki/Bo_Derek) – Bolero (/wiki/Bolero_(1984_film)) (1984) Linda Blair (/wiki/Linda_Blair) – Night Patrol (/wiki/Night_Patrol) , Savage Island , and Savage Streets (/wiki/Savage_Streets) (1985) Madonna (/wiki/Madonna) – Shanghai Surprise (/wiki/Shanghai_Surprise) (1986) Madonna (/wiki/Madonna) – Who's That Girl (/wiki/Who%27s_That_Girl_(1987_film)) (1987) Liza Minnelli (/wiki/Liza_Minnelli) – Arthur 2: On the Rocks (/wiki/Arthur_2:_On_the_Rocks) and Rent-a-Cop (/wiki/Rent-a-Cop) (1988) Heather Locklear (/wiki/Heather_Locklear) – The Return of Swamp Thing (/wiki/The_Return_of_Swamp_Thing) (1989) 1990s Bo Derek (/wiki/Bo_Derek) – Ghosts Can't Do It (/wiki/Ghosts_Can%27t_Do_It) (1990) Sean Young (/wiki/Sean_Young) – A Kiss Before Dying (/wiki/A_Kiss_Before_Dying_(1991_film)) (1991) Melanie Griffith (/wiki/Melanie_Griffith) – Shining Through (/wiki/Shining_Through) and A Stranger Among Us (/wiki/A_Stranger_Among_Us) (1992) Madonna (/wiki/Madonna) – Body of Evidence (/wiki/Body_of_Evidence_(1993_film)) (1993) Sharon Stone (/wiki/Sharon_Stone) – Intersection (/wiki/Intersection_(1994_film)) and The Specialist (/wiki/The_Specialist) (1994) Elizabeth Berkley (/wiki/Elizabeth_Berkley) – Showgirls (/wiki/Showgirls) (1995) Demi Moore (/wiki/Demi_Moore) – The Juror (/wiki/The_Juror) and Striptease (/wiki/Striptease_(film)) (1996) Demi Moore (/wiki/Demi_Moore) – G.I. Jane (/wiki/G.I._Jane) (1997) Spice Girls (/wiki/Spice_Girls) – Spice World (/wiki/Spice_World_(film)) (1998) Heather Donahue (/wiki/Rei_Hance) – The Blair Witch Project (/wiki/The_Blair_Witch_Project) (1999) 2000s Madonna (/wiki/Madonna) – The Next Best Thing (/wiki/The_Next_Best_Thing) (2000) Mariah Carey (/wiki/Mariah_Carey) – Glitter (/wiki/Glitter_(film)) (2001) Madonna (/wiki/Madonna) – Swept Away (/wiki/Swept_Away_(2002_film)) / Britney Spears (/wiki/Britney_Spears) – Crossroads (/wiki/Crossroads_(2002_film)) (2002) Jennifer Lopez (/wiki/Jennifer_Lopez) – Gigli (/wiki/Gigli) (2003) Halle Berry – Catwoman (/wiki/Catwoman_(film)) (2004) Jenny McCarthy (/wiki/Jenny_McCarthy) – Dirty Love (/wiki/Dirty_Love_(film)) (2005) Sharon Stone (/wiki/Sharon_Stone) – Basic Instinct 2 (/wiki/Basic_Instinct_2) (2006) Lindsay Lohan (/wiki/Lindsay_Lohan) – I Know Who Killed Me (/wiki/I_Know_Who_Killed_Me) (2007) Paris Hilton (/wiki/Paris_Hilton) – The Hottie and the Nottie (/wiki/The_Hottie_and_the_Nottie) (2008) Sandra Bullock (/wiki/Sandra_Bullock) – All About Steve (/wiki/All_About_Steve) (2009) 2010s Kim Cattrall (/wiki/Kim_Cattrall) , Kristin Davis (/wiki/Kristin_Davis) , Cynthia Nixon (/wiki/Cynthia_Nixon) , and Sarah Jessica Parker (/wiki/Sarah_Jessica_Parker) – Sex and the City 2 (/wiki/Sex_and_the_City_2) (2010) Adam Sandler (/wiki/Adam_Sandler) (in drag) – Jack and Jill (/wiki/Jack_and_Jill_(2011_film)) (2011) Kristen Stewart (/wiki/Kristen_Stewart) – Snow White and the Huntsman (/wiki/Snow_White_and_the_Huntsman) and The Twilight Saga: Breaking Dawn – Part 2 (/wiki/The_Twilight_Saga:_Breaking_Dawn_%E2%80%93_Part_2) (2012) Tyler Perry (/wiki/Tyler_Perry) (in drag) – A Madea Christmas (/wiki/A_Madea_Christmas_(film)) (2013) Cameron Diaz (/wiki/Cameron_Diaz) – The Other Woman (/wiki/The_Other_Woman_(2014_film)) and Sex Tape (/wiki/Sex_Tape_(film)) (2014) Dakota Johnson (/wiki/Dakota_Johnson) – Fifty Shades of Grey (/wiki/Fifty_Shades_of_Grey_(film)) (2015) Rebekah Turner (/wiki/Rebekah_Turner) – Hillary's America: The Secret History of the Democratic Party (/wiki/Hillary%27s_America:_The_Secret_History_of_the_Democratic_Party) (2016) Tyler Perry (/wiki/Tyler_Perry) (in drag) – Boo 2! A Madea Halloween (/wiki/Boo_2!_A_Madea_Halloween) (2017) Melissa McCarthy (/wiki/Melissa_McCarthy) – The Happytime Murders (/wiki/The_Happytime_Murders) and Life of the Party (/wiki/Life_of_the_Party_(2018_film)) (2018) Hilary Duff (/wiki/Hilary_Duff) – The Haunting of Sharon Tate (/wiki/The_Haunting_of_Sharon_Tate) (2019) 2020s Kate Hudson (/wiki/Kate_Hudson) – Music (/wiki/Music_(2021_film)) (2020/21) Jeanna de Waal (/wiki/Jeanna_de_Waal) – Diana: The Musical (/wiki/Diana_(musical)) (2021) Golden Raspberry Awards (/wiki/Golden_Raspberry_Awards) (for nominating Ryan Kiera Armstrong (/wiki/Ryan_Kiera_Armstrong) ) (2022) Megan Fox (/wiki/Megan_Fox) – Johnny & Clyde (/wiki/Johnny_%26_Clyde) (2023) v t e Hasty Pudding Woman of the Year (/wiki/Hasty_Pudding_Woman_of_the_Year) 1951–1975 Gertrude Lawrence (/wiki/Gertrude_Lawrence) (1951) Barbara Bel Geddes (/wiki/Barbara_Bel_Geddes) (1952) Mamie Eisenhower (/wiki/Mamie_Eisenhower) (1953) Shirley Booth (/wiki/Shirley_Booth) (1954) Debbie Reynolds (/wiki/Debbie_Reynolds) (1955) Peggy Ann Garner (/wiki/Peggy_Ann_Garner) (1956) Carroll Baker (/wiki/Carroll_Baker) (1957) Katharine Hepburn (/wiki/Katharine_Hepburn) (1958) Joanne Woodward (/wiki/Joanne_Woodward) (1959) Carol Lawrence (/wiki/Carol_Lawrence) (1960) Jane Fonda (/wiki/Jane_Fonda) (1961) Piper Laurie (/wiki/Piper_Laurie) (1962) Shirley MacLaine (/wiki/Shirley_MacLaine) (1963) Rosalind Russell (/wiki/Rosalind_Russell) (1964) Lee Remick (/wiki/Lee_Remick) (1965) Ethel Merman (/wiki/Ethel_Merman) (1966) Lauren Bacall (/wiki/Lauren_Bacall) (1967) Angela Lansbury (/wiki/Angela_Lansbury) (1968) Carol Burnett (/wiki/Carol_Burnett) (1969) Dionne Warwick (/wiki/Dionne_Warwick) (1970) Carol Channing (/wiki/Carol_Channing) (1971) Ruby Keeler (/wiki/Ruby_Keeler) (1972) Liza Minnelli (/wiki/Liza_Minnelli) (1973) Faye Dunaway (/wiki/Faye_Dunaway) (1974) Valerie Harper (/wiki/Valerie_Harper) (1975) 1976–2000 Bette Midler (/wiki/Bette_Midler) (1976) Elizabeth Taylor (/wiki/Elizabeth_Taylor) (1977) Beverly Sills (/wiki/Beverly_Sills) (1978) Candice Bergen (/wiki/Candice_Bergen) (1979) Meryl Streep (/wiki/Meryl_Streep) (1980) Mary Tyler Moore (/wiki/Mary_Tyler_Moore) (1981) Ella Fitzgerald (/wiki/Ella_Fitzgerald) (1982) Julie Andrews (/wiki/Julie_Andrews) (1983) Joan Rivers (/wiki/Joan_Rivers) (1984) Cher (/wiki/Cher) (1985) Sally Field (/wiki/Sally_Field) (1986) Bernadette Peters (/wiki/Bernadette_Peters) (1987) Lucille Ball (/wiki/Lucille_Ball) (1988) Kathleen Turner (/wiki/Kathleen_Turner) (1989) Glenn Close (/wiki/Glenn_Close) (1990) Diane Keaton (/wiki/Diane_Keaton) (1991) Jodie Foster (/wiki/Jodie_Foster) (1992) Whoopi Goldberg (/wiki/Whoopi_Goldberg) (1993) Meg Ryan (/wiki/Meg_Ryan) (1994) Michelle Pfeiffer (/wiki/Michelle_Pfeiffer) (1995) Susan Sarandon (/wiki/Susan_Sarandon) (1996) Julia Roberts (/wiki/Julia_Roberts) (1997) Sigourney Weaver (/wiki/Sigourney_Weaver) (1998) Goldie Hawn (/wiki/Goldie_Hawn) (1999) Jamie Lee Curtis (/wiki/Jamie_Lee_Curtis) (2000) 2001–present Drew Barrymore (/wiki/Drew_Barrymore) (2001) Sarah Jessica Parker (/wiki/Sarah_Jessica_Parker) (2002) Anjelica Huston (/wiki/Anjelica_Huston) (2003) Sandra Bullock (/wiki/Sandra_Bullock) (2004) Catherine Zeta-Jones (/wiki/Catherine_Zeta-Jones) (2005) Halle Berry (2006) Scarlett Johansson (/wiki/Scarlett_Johansson) (2007) Charlize Theron (/wiki/Charlize_Theron) (2008) Renée Zellweger (/wiki/Ren%C3%A9e_Zellweger) (2009) Anne Hathaway (/wiki/Anne_Hathaway) (2010) Julianne Moore (/wiki/Julianne_Moore) (2011) Claire Danes (/wiki/Claire_Danes) (2012) Marion Cotillard (/wiki/Marion_Cotillard) (2013) Helen Mirren (/wiki/Helen_Mirren) (2014) Amy Poehler (/wiki/Amy_Poehler) (2015) Kerry Washington (/wiki/Kerry_Washington) (2016) Octavia Spencer (/wiki/Octavia_Spencer) (2017) Mila Kunis (/wiki/Mila_Kunis) (2018) Bryce Dallas Howard (/wiki/Bryce_Dallas_Howard) (2019) Elizabeth Banks (/wiki/Elizabeth_Banks) (2020) Viola Davis (/wiki/Viola_Davis) (2021) Jennifer Garner (/wiki/Jennifer_Garner) (2022) Jennifer Coolidge (/wiki/Jennifer_Coolidge) (2023) Annette Bening (/wiki/Annette_Bening) (2024) v t e NAACP Image Award for Entertainer of the Year (/wiki/NAACP_Image_Award_for_Entertainer_of_the_Year) Dionne Warwick (/wiki/Dionne_Warwick) (1985) Patti LaBelle (/wiki/Patti_LaBelle) (1986) Dionne Warwick (/wiki/Dionne_Warwick) (1987) Lionel Richie (/wiki/Lionel_Richie) (1988) Eddie Murphy (/wiki/Eddie_Murphy) (1989) Oprah Winfrey (/wiki/Oprah_Winfrey) (1990) Patti LaBelle (/wiki/Patti_LaBelle) (1991) Michael Jackson (/wiki/Michael_Jackson) (1992) Whitney Houston (/wiki/Whitney_Houston) (1993) Quincy Jones (/wiki/Quincy_Jones) (1995) Denzel Washington (/wiki/Denzel_Washington) (1996) Kenneth "Babyface" Edmonds (/wiki/Babyface_(musician)) (1997) Will Smith (/wiki/Will_Smith) (1998) Halle Berry (1999) Steve Harvey (/wiki/Steve_Harvey) (2000) Beyoncé (/wiki/Beyonc%C3%A9) (2003) Jamie Foxx (/wiki/Jamie_Foxx) (2012) Kevin Hart (/wiki/Kevin_Hart) (2013) Taraji P. Henson (/wiki/Taraji_P._Henson) (2014) Michael B. Jordan (/wiki/Michael_B._Jordan) (2015) Dwayne Johnson (/wiki/Dwayne_Johnson) (2016) Ava DuVernay (/wiki/Ava_DuVernay) (2017) Beyoncé (/wiki/Beyonc%C3%A9) (2018) Lizzo (/wiki/Lizzo) (2019) D-Nice (/wiki/D-Nice) (2020) Jennifer Hudson (/wiki/Jennifer_Hudson) (2021) Angela Bassett (/wiki/Angela_Bassett) (2022) Usher (/wiki/Usher_(musician)) (2023) v t e NAACP Image Award for Outstanding Actress in a Motion Picture (/wiki/NAACP_Image_Award_for_Outstanding_Actress_in_a_Motion_Picture) Estelle Evans (/wiki/Estelle_Evans) (1969) Barbara McNair (/wiki/Barbara_McNair) (1970) Jane Fonda (/wiki/Jane_Fonda) (1971) Diana Ross (/wiki/Diana_Ross) (1972) No Award (1973) Ester Anderson (/wiki/Esther_Anderson_(Jamaican_actress)) (1974) Diahann Carroll (/wiki/Diahann_Carroll) (1975) Denise Nicholas (/wiki/Denise_Nicholas) (1976) Cicely Tyson (/wiki/Cicely_Tyson) (1977) Cicely Tyson (/wiki/Cicely_Tyson) (1978) Mavis Washington (1979) Irene Cara (/wiki/Irene_Cara) (1980) No Award (1981) Jayne Kennedy (/wiki/Jayne_Kennedy) (1982) Jennifer Beals (/wiki/Jennifer_Beals) (1983) Alfre Woodard (/wiki/Alfre_Woodard) (1984) Tina Turner (/wiki/Tina_Turner) (1985) Whoopi Goldberg (/wiki/Whoopi_Goldberg) (1986) Traci Wolfe (/wiki/Traci_Wolfe) (1987) Whoopi Goldberg (/wiki/Whoopi_Goldberg) (1988) Ruby Dee (/wiki/Ruby_Dee) (1989) No Award (1990) Whoopi Goldberg (/wiki/Whoopi_Goldberg) (1991) Whoopi Goldberg (/wiki/Whoopi_Goldberg) (1992) Angela Bassett (/wiki/Angela_Bassett) (1993) No Award (1994) Angela Bassett (/wiki/Angela_Bassett) (1995) Whitney Houston (/wiki/Whitney_Houston) (1996) Vanessa Williams (/wiki/Vanessa_Williams) (1997) Angela Bassett (/wiki/Angela_Bassett) (1998) Nia Long (/wiki/Nia_Long) (1999) Sanaa Lathan (/wiki/Sanaa_Lathan) (2000) Halle Berry (2001) Angela Bassett (/wiki/Angela_Bassett) (2002) Queen Latifah (/wiki/Queen_Latifah) (2003) Kerry Washington (/wiki/Kerry_Washington) (2004) Kimberly Elise (/wiki/Kimberly_Elise) (2005) Keke Palmer (/wiki/Keke_Palmer) (2006) Jurnee Smollett (/wiki/Jurnee_Smollett) (2007) Rosario Dawson (/wiki/Rosario_Dawson) (2008) Gabourey Sidibe (/wiki/Gabourey_Sidibe) (2009) Halle Berry (2010) Viola Davis (/wiki/Viola_Davis) (2011) Viola Davis (/wiki/Viola_Davis) (2012) Angela Bassett (/wiki/Angela_Bassett) (2013) Taraji P. Henson (/wiki/Taraji_P._Henson) (2014) Sanaa Lathan (/wiki/Sanaa_Lathan) (2015) Taraji P. Henson (/wiki/Taraji_P._Henson) (2016) Octavia Spencer (/wiki/Octavia_Spencer) (2017) Amandla Stenberg (/wiki/Amandla_Stenberg) (2018) Lupita Nyong'o (/wiki/Lupita_Nyong%27o) (2019) Viola Davis (/wiki/Viola_Davis) (2020) Jennifer Hudson (/wiki/Jennifer_Hudson) (2021) Viola Davis (/wiki/Viola_Davis) (2022) Fantasia Barrino (/wiki/Fantasia_(singer)) (2023) v t e NAACP Image Award for Outstanding Supporting Actress in a Motion Picture (/wiki/NAACP_Image_Award_for_Outstanding_Supporting_Actress_in_a_Motion_Picture) Beah Richards (/wiki/Beah_Richards) (1970) No Awards (1971–1984) Oprah Winfrey (/wiki/Oprah_Winfrey) (1985) No Award (1986) Traci Wolfe (/wiki/Traci_Wolfe) (1987) Juanita Waterman (1988) Suzzanne Douglas (/wiki/Suzzanne_Douglas) (1989) Whoopi Goldberg (/wiki/Whoopi_Goldberg) (1990) No Awards (1991) Angela Bassett (/wiki/Angela_Bassett) (1992) No Awards (1993–1994) Loretta Devine (/wiki/Loretta_Devine) (1995) Loretta Devine (/wiki/Loretta_Devine) (1996) Irma P. Hall (/wiki/Irma_P._Hall) (1997) Whoopi Goldberg (/wiki/Whoopi_Goldberg) (1998) Angela Bassett (/wiki/Angela_Bassett) (1999) Alfre Woodard (/wiki/Alfre_Woodard) (2000) Angela Bassett (/wiki/Angela_Bassett) (2001) Halle Berry (2002) Alfre Woodard (/wiki/Alfre_Woodard) (2003) Regina King (/wiki/Regina_King) (2004) Cicely Tyson (/wiki/Cicely_Tyson) (2005) Jennifer Hudson (/wiki/Jennifer_Hudson) (2006) Janet Jackson (/wiki/Janet_Jackson) (2007) Taraji P. Henson (/wiki/Taraji_P._Henson) (2008) Mo'Nique (/wiki/Mo%27Nique) (2009) Kimberly Elise (/wiki/Kimberly_Elise) (2010) Octavia Spencer (/wiki/Octavia_Spencer) (2011) Kerry Washington (/wiki/Kerry_Washington) (2012) Lupita Nyong'o (/wiki/Lupita_Nyong%27o) (2013) Carmen Ejogo (/wiki/Carmen_Ejogo) (2014) Phylicia Rashad (/wiki/Phylicia_Rashad) (2015) Viola Davis (/wiki/Viola_Davis) (2016) Tiffany Haddish (/wiki/Tiffany_Haddish) (2017) Danai Gurira (/wiki/Danai_Gurira) (2018) Marsai Martin (/wiki/Marsai_Martin) (2019) Phylicia Rashad (/wiki/Phylicia_Rashad) (2020) Regina King (/wiki/Regina_King) (2021) Angela Bassett (/wiki/Angela_Bassett) (2022) Taraji P. Henson (/wiki/Taraji_P._Henson) (2023) v t e NAACP Image Award for Outstanding Actress in a Television Movie, Mini-Series or Dramatic Special (/wiki/NAACP_Image_Award_for_Outstanding_Actress_in_a_Television_Movie,_Mini-Series_or_Dramatic_Special) 1970s Elena Verdugo (/wiki/Elena_Verdugo) (1971) No Award (1972–1979) 1980s No Award (1980–1981) Irene Cara (/wiki/Irene_Cara) (1982) No Award (1983–1986) Cicely Tyson (/wiki/Cicely_Tyson) (1987) Alfre Woodard (/wiki/Alfre_Woodard) (1988) Alfre Woodard (/wiki/Alfre_Woodard) (1989) 1990s No Award (1990) Alfre Woodard (/wiki/Alfre_Woodard) (1991) Lynn Whitfield (/wiki/Lynn_Whitfield) (1992) Lynn Whitfield (/wiki/Lynn_Whitfield) (1993) Halle Berry (1994) Alfre Woodard (/wiki/Alfre_Woodard) (1995) Cicely Tyson (/wiki/Cicely_Tyson) (1996) Alfre Woodard (/wiki/Alfre_Woodard) (1997) Cicely Tyson (/wiki/Cicely_Tyson) (1998) Halle Berry (1999) 2000s Natalie Cole (/wiki/Natalie_Cole) (2000) Angela Bassett (/wiki/Angela_Bassett) (2001) Angela Bassett (/wiki/Angela_Bassett) (2002) Whoopi Goldberg (/wiki/Whoopi_Goldberg) (2003) Lynn Whitfield (/wiki/Lynn_Whitfield) (2004) S. Epatha Merkerson (/wiki/S._Epatha_Merkerson) (2005) Sophie Okonedo (/wiki/Sophie_Okonedo) (2006) Queen Latifah (/wiki/Queen_Latifah) (2007) Phylicia Rashad (/wiki/Phylicia_Rashad) (2008) Kimberly Elise (/wiki/Kimberly_Elise) (2009) 2010s Jill Scott (/wiki/Jill_Scott_(singer)) (2010) Taraji P. Henson (/wiki/Taraji_P._Henson) (2011) Alfre Woodard (/wiki/Alfre_Woodard) (2012) Gabrielle Union (/wiki/Gabrielle_Union) (2013) Cicely Tyson (/wiki/Cicely_Tyson) (2014) Queen Latifah (/wiki/Queen_Latifah) (2015) Regina King (/wiki/Regina_King) (2016) Queen Latifah (/wiki/Queen_Latifah) (2017) Regina King (/wiki/Regina_King) (2018) Niecy Nash (/wiki/Niecy_Nash) (2019) 2020s Octavia Spencer (/wiki/Octavia_Spencer) (2020) Taraji P. Henson (/wiki/Taraji_P._Henson) (2021) Niecy Nash (/wiki/Niecy_Nash) (2022) Chlöe Bailey (/wiki/Chloe_Bailey) (2023) v t e National Board of Review Award for Best Actress (/wiki/National_Board_of_Review_Award_for_Best_Actress) 1945–1975 Joan Crawford (/wiki/Joan_Crawford) (1945) Anna Magnani (/wiki/Anna_Magnani) (1946) Celia Johnson (/wiki/Celia_Johnson) (1947) Olivia de Havilland (/wiki/Olivia_de_Havilland) (1948) Gloria Swanson (/wiki/Gloria_Swanson) (1950) Jan Sterling (/wiki/Jan_Sterling) (1951) Shirley Booth (/wiki/Shirley_Booth) (1952) Jean Simmons (/wiki/Jean_Simmons) (1953) Grace Kelly (/wiki/Grace_Kelly) (1954) Anna Magnani (/wiki/Anna_Magnani) (1955) Dorothy McGuire (/wiki/Dorothy_McGuire) (1956) Joanne Woodward (/wiki/Joanne_Woodward) (1957) Ingrid Bergman (/wiki/Ingrid_Bergman) (1958) Simone Signoret (/wiki/Simone_Signoret) (1959) Greer Garson (/wiki/Greer_Garson) (1960) Geraldine Page (/wiki/Geraldine_Page) (1961) Anne Bancroft (/wiki/Anne_Bancroft) (1962) Patricia Neal (/wiki/Patricia_Neal) (1963) Kim Stanley (/wiki/Kim_Stanley) (1964) Julie Christie (/wiki/Julie_Christie) (1965) Elizabeth Taylor (/wiki/Elizabeth_Taylor) (1966) Edith Evans (/wiki/Edith_Evans) (1967) Liv Ullmann (/wiki/Liv_Ullmann) (1968) Geraldine Page (/wiki/Geraldine_Page) (1969) Glenda Jackson (/wiki/Glenda_Jackson) (1970) Irene Papas (/wiki/Irene_Papas) (1971) Cicely Tyson (/wiki/Cicely_Tyson) (1972) Liv Ullmann (/wiki/Liv_Ullmann) (1973) Gena Rowlands (/wiki/Gena_Rowlands) (1974) Isabelle Adjani (/wiki/Isabelle_Adjani) (1975) 1976–2000 Liv Ullmann (/wiki/Liv_Ullmann) (1976) Anne Bancroft (/wiki/Anne_Bancroft) (1977) Ingrid Bergman (/wiki/Ingrid_Bergman) (1978) Sally Field (/wiki/Sally_Field) (1979) Sissy Spacek (/wiki/Sissy_Spacek) (1980) Glenda Jackson (/wiki/Glenda_Jackson) (1981) Meryl Streep (/wiki/Meryl_Streep) (1982) Shirley MacLaine (/wiki/Shirley_MacLaine) (1983) Peggy Ashcroft (/wiki/Peggy_Ashcroft) (1984) Whoopi Goldberg (/wiki/Whoopi_Goldberg) (1985) Kathleen Turner (/wiki/Kathleen_Turner) (1986) Lillian Gish (/wiki/Lillian_Gish) / Holly Hunter (/wiki/Holly_Hunter) (1987) Jodie Foster (/wiki/Jodie_Foster) (1988) Michelle Pfeiffer (/wiki/Michelle_Pfeiffer) (1989) Mia Farrow (/wiki/Mia_Farrow) (1990) Geena Davis (/wiki/Geena_Davis) / Susan Sarandon (/wiki/Susan_Sarandon) (1991) Emma Thompson (/wiki/Emma_Thompson) (1992) Holly Hunter (/wiki/Holly_Hunter) (1993) Miranda Richardson (/wiki/Miranda_Richardson) (1994) Emma Thompson (/wiki/Emma_Thompson) (1995) Frances McDormand (/wiki/Frances_McDormand) (1996) Helena Bonham Carter (/wiki/Helena_Bonham_Carter) (1997) Fernanda Montenegro (/wiki/Fernanda_Montenegro) (1998) Janet McTeer (/wiki/Janet_McTeer) (1999) Julia Roberts (/wiki/Julia_Roberts) (2000) 2001–present Halle Berry (2001) Julianne Moore (/wiki/Julianne_Moore) (2002) Diane Keaton (/wiki/Diane_Keaton) (2003) Annette Bening (/wiki/Annette_Bening) (2004) Felicity Huffman (/wiki/Felicity_Huffman) (2005) Helen Mirren (/wiki/Helen_Mirren) (2006) Julie Christie (/wiki/Julie_Christie) (2007) Anne Hathaway (/wiki/Anne_Hathaway) (2008) Carey Mulligan (/wiki/Carey_Mulligan) (2009) Lesley Manville (/wiki/Lesley_Manville) (2010) Tilda Swinton (/wiki/Tilda_Swinton) (2011) Jessica Chastain (/wiki/Jessica_Chastain) (2012) Emma Thompson (/wiki/Emma_Thompson) (2013) Julianne Moore (/wiki/Julianne_Moore) (2014) Brie Larson (/wiki/Brie_Larson) (2015) Amy Adams (/wiki/Amy_Adams) (2016) Meryl Streep (/wiki/Meryl_Streep) (2017) Lady Gaga (/wiki/Lady_Gaga) (2018) Renée Zellweger (/wiki/Ren%C3%A9e_Zellweger) (2019) Carey Mulligan (/wiki/Carey_Mulligan) (2020) Rachel Zegler (/wiki/Rachel_Zegler) (2021) Michelle Yeoh (/wiki/Michelle_Yeoh) (2022) Lily Gladstone (/wiki/Lily_Gladstone) (2023) v t e Satellite Award for Best First Feature (/wiki/Satellite_Award_for_Outstanding_New_Talent) Outstanding New Talent (1996–2010, 2012) Arie Verveen (/wiki/Arie_Verveen) (1996) Aaron Eckhart (/wiki/Aaron_Eckhart) (1997) Eamonn Owens (/wiki/Eamonn_Owens) (1998) Haley Joel Osment (/wiki/Haley_Joel_Osment) (1999) Rob Brown (/wiki/Rob_Brown_(actor)) (2000) Dakota Fanning (/wiki/Dakota_Fanning) / Rupert Grint (/wiki/Rupert_Grint) (2001) Derek Luke (/wiki/Derek_Luke) (2002) No Award (2003) Freddie Highmore (/wiki/Freddie_Highmore) (2004) Rupert Friend (/wiki/Rupert_Friend) (2005) No Award (2006) No Award (2007) Brandon Walters (/wiki/Brandon_Walters) (2008) Gabourey Sidibe (/wiki/Gabourey_Sidibe) (2009) No Award (2010) Quvenzhané Wallis (/wiki/Quvenzhan%C3%A9_Wallis) (2012) Best First Feature (2011, 2016–2021) Paddy Considine (/wiki/Paddy_Considine) (2011) Rusudan Glurjidze (/wiki/Rusudan_Glurjidze) (2016) John Carroll Lynch (/wiki/John_Carroll_Lynch) (2017) Rupert Everett (/wiki/Rupert_Everett) (2018) Laure de Clermont-Tonnerre (/wiki/Laure_de_Clermont-Tonnerre) (2019) Channing Godfrey Peoples (/wiki/Channing_Godfrey_Peoples) (2020) Halle Berry (2021) Breakthrough Performance Award (2013, 2022–present) Michael B. 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(/wiki/Yvonne_Mitchell) (1957) Anna Magnani (/wiki/Anna_Magnani) (1958) Shirley MacLaine (/wiki/Shirley_MacLaine) (1959) Juliette Mayniel (/wiki/Juliette_Mayniel) (1960) Anna Karina (/wiki/Anna_Karina) (1961) Rita Gam (/wiki/Rita_Gam) / Viveca Lindfors (/wiki/Viveca_Lindfors) (1962) Bibi Andersson (/wiki/Bibi_Andersson) (1963) Sachiko Hidari (/wiki/Sachiko_Hidari) (1964) Madhur Jaffrey (/wiki/Madhur_Jaffrey) (1965) Lola Albright (/wiki/Lola_Albright) (1966) Edith Evans (/wiki/Edith_Evans) (1967) Stéphane Audran (/wiki/St%C3%A9phane_Audran) (1968) Shirley MacLaine (/wiki/Shirley_MacLaine) / Simone Signoret (/wiki/Simone_Signoret) (1971) Elizabeth Taylor (/wiki/Elizabeth_Taylor) (1972) Kinuyo Tanaka (/wiki/Kinuyo_Tanaka) (1975) 1976–2000 Jadwiga Barańska (/wiki/Jadwiga_Bara%C5%84ska) (1976) Lily Tomlin (/wiki/Lily_Tomlin) (1977) Gena Rowlands (/wiki/Gena_Rowlands) (1978) Hanna Schygulla (/wiki/Hanna_Schygulla) (1979) Renate Krößner (/wiki/Renate_Kr%C3%B6%C3%9Fner) (1980) Barbara 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Long pin used to secure the hair For other uses, see Hairpin (disambiguation) (/wiki/Hairpin_(disambiguation)) . A bobby pin (/wiki/Bobby_pin) or hair grip, a type of hairpin Hairpins (around 600 BC) A golden double-spiral-headed pin from Georgia (3rd millennium BC) A hairpin or hair pin is a long device used to hold a person's hair in place. It may be used simply to secure long hair out of the way for convenience or as part of an elaborate hairstyle (/wiki/Hairstyle) or coiffure. The earliest evidence for dressing the hair may be seen in carved " Venus figurines (/wiki/Venus_figurine) " such as the Venus of Brassempouy (/wiki/Venus_of_Brassempouy) and the Venus of Willendorf (/wiki/Venus_of_Willendorf) . The creation of different hairstyles, especially among women, seems to be common to all cultures and all periods and many past, and current, societies use hairpins. Hairpins made of metal, ivory (/wiki/Ivory) , bronze (/wiki/Bronze) , carved wood, etc. were used in ancient Egypt. [1] (#cite_note-1) for securing decorated hairstyles. Such hairpins suggest, as graves show, that many were luxury objects among the Egyptians and later the Greeks, Etruscans, and Romans. Major success came in 1901 with the invention of the spiral hairpin (/wiki/Spiral_hairpin) by New Zealand (/wiki/New_Zealand) inventor Ernest Godward (/wiki/Ernest_Godward) . This was a predecessor of the hair clip. The hairpin may be decorative and encrusted with jewels and ornaments, or it may be utilitarian, and designed to be almost invisible while holding a hairstyle in place. Some hairpins are a single straight pin, but modern versions are more likely to be constructed from different lengths of wire that are bent in half with a u-shaped end and a few kinks along the two opposite portions. The finished pin may vary from two to six inches in last length. The length of the wires enables placement in several designs of hairstyles (/wiki/Hairstyle) to hold the nature in place. The kinks enable retaining the pin during normal movements. A hairpin patent was issued to Kelly Chamandy in 1925. [2] (#cite_note-2) Hairpins in Chinese culture [ edit ] See also: Chinese hairpin (/wiki/Chinese_hairpin) Gold phoenix (/wiki/Chinese_Phoenix) hairpin found in the Ming dynasty (/wiki/Ming_dynasty) tomb of Prince Chuang of Liang (梁莊王, 1411–1441), 15th century. Hairpins (generally known as fa-zan ; Chinese (/wiki/Chinese_language) : 髮簪 ) are an important symbol in Chinese culture. In ancient China, hairpins were worn by men as well as women, [3] (#cite_note-3) and they were essential items for everyday hairstyling, mainly for securing and decorating a hair bun. Furthermore, hairpins worn by women could also represent their social status. In Han Chinese culture, when young girls reached the age of fifteen, they were allowed to take part in a rite of passage known as ji li (/wiki/Ji_Li_(ceremony)) ( Chinese (/wiki/Chinese_language) : 筓禮 ), or " hairpin initiation (/wiki/Guan_Li) ". This ceremony marked the coming of age of young women. Particularly, before the age of fifteen, girls did not use hairpins as they wore their hair in braids, and they were considered as children. When they turned fifteen, they could be considered as young women after the ceremony, and they started to style their hair as buns secured and embellished by hairpins. This practice indicated that these young women could now enter into marriage. However, if a young woman had not been consented to marriage before age twenty, or she had not yet participated in a coming of age ceremony, she would attend a ceremony when she turned twenty. In comparison with ji li , the male equivalent known as guan li (/wiki/Guan_Li) ( Chinese (/wiki/Chinese_language) : 冠禮 ) or "hat initiation", usually took place five years later, at the age of twenty. In the 21st century hanfu movement (/wiki/Hanfu_movement) , an attempt to revive the traditional Han Chinese coming-of-age ceremonies has been made, and the ideal age to attend the ceremony is twenty years old for all genders. While hairpins can symbolize the transition from childhood to adulthood, they were closely connected to the concept of marriage as well. At the time of an engagement, the fiancée may take a hairpin from her hair and give it to her fiancé as a pledge: this can be seen as a reversal of the Western tradition, in which the future groom presents an engagement ring to his betrothed. After the wedding ceremony, the husband should put the hairpin back into his spouse's hair. Hair has always carried many psychological, philosophical, romantic, and cultural meanings in Chinese culture. In Han culture, people call the union between two people jie-fa ( Chinese (/wiki/Chinese_language) : 結髮 ), literally "tying hair". During the wedding ceremony, some Chinese couples exchange a lock of hair as a pledge, while others break a hairpin into two parts, and then, each of the betrothed take one part with them for keeping. If this couple were ever to get separated in the future, when they reunite, they can piece the two halves together, and the completed hairpin would serve as a proof of their identities as well as a symbol of their reunion. In addition, a married couple is sometimes referred to as jie-fa fu-qi ( Chinese (/wiki/Chinese_language) : 結髮夫妻 ), an idiom which implies the relationship between the pair is very intimate and happy, just like how their hair has been tied together. Gallery [ edit ] Chinese Tang dynasty (/wiki/Tang_dynasty) (618–907) hairpin Chinese Ming dynasty (/wiki/Ming_dynasty) (1368–1644) hairpin Chinese Ming dynasty (/wiki/Ming_dynasty) (1368–1644) hairpin Chinese Ming dynasty (/wiki/Ming_dynasty) hairpins, 15th century Chinese Ming dynasty (/wiki/Ming_dynasty) hairpins, 15th century Japanese hirauchi kanzashi (/wiki/Kanzashi) , period unknown Russian hairpins from Moscow (/wiki/Moscow) , probably 18th or 19th century Modern U-shaped hairpin made out of plastic-coated metal See also [ edit ] Fashion portal (/wiki/Portal:Fashion) Bobby pin (/wiki/Bobby_pin) Hair stick (/wiki/Hair_stick) Hatpin (/wiki/Hatpin) Hair clip (/wiki/Hair_clip) Kanzashi (/wiki/Kanzashi) References [ edit ] ^ (#cite_ref-1) Fletcher Joann, University (2016). "The Egyptian Hair Pin: practical, sacred, fatal" (https://doi.org/10.11141%2Fia.42.6.5) . Internet Archaeology (42). doi (/wiki/Doi_(identifier)) : 10.11141/ia.42.6.5 (https://doi.org/10.11141%2Fia.42.6.5) . ^ (#cite_ref-2) CA patent 250155 (https://worldwide.espacenet.com/textdoc?DB=EPODOC&IDX=CA250155) , Kelly Chamandy, "Hairpin / Épingle à cheveux", issued 1925-06-02 See also "Hairpin / Épingle à cheveux" (https://web.archive.org/web/20071212114537/http://patents.ic.gc.ca/cipo/cpd/en/patent/250155/summary.html) . Canadian Patents Database . Canadian Intellectual Property Office (/wiki/Canadian_Intellectual_Property_Office) . 2009-03-29. Archived from the original (http://patents.ic.gc.ca/cipo/cpd/en/patent/250155/summary.html) on 2007-12-12 . Retrieved 2009-03-30 . ^ (#cite_ref-3) Sherrow, Victoria (2006). Encyclopedia of Hair: A Cultural History . Greenwood Publishing Group. p. 80. ISBN (/wiki/ISBN_(identifier)) 9780313331459 . External links [ edit ] Look up hairpin (https://en.wiktionary.org/wiki/Special:Search/hairpin) in Wiktionary, the free dictionary. 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Traditional Japanese clothing For other uses, see Kimono (disambiguation) (/wiki/Kimono_(disambiguation)) . A Zen (/wiki/Zen) temple-goer wearing a formal cherry-blossom-motif kimono A rakugoka (/wiki/Rakugo) (storyteller) wearing kimono and 5- mon (/wiki/Mon_(emblem)) haori (/wiki/Haori) A man and a woman wearing formal kimono, for a 1923 wedding ( other views (https://commons.wikimedia.org/wiki/Category:Kimono_Ensemble_with_Chrysanthemums_MET_1998.487.2a_%26_b) ) Kimono for a young woman, depicting a boat on swirling water, with pine tree, plum blossoms and maples. Japan, 1912–1926. From the Khalili Collection of Kimono (/wiki/Khalili_Collection_of_Kimono) Woman in kimono at Fukuoka City (/wiki/Fukuoka) Hall Kimono 'Kimono' in kanji (/wiki/Kanji) Japanese name Kanji (/wiki/Kanji) 着物 Transcriptions Romanization (/wiki/Romanization_of_Japanese) kimono The kimono ( きもの/ 着物 (https://en.wiktionary.org/wiki/%E7%9D%80%E7%89%A9) , lit. ' thing to wear ' ) [a] (#cite_note-2) is a traditional Japanese garment and the national dress of Japan (/wiki/Japan) . The kimono is a wrapped-front garment with square sleeves and a rectangular body, and is worn left side wrapped over right (/wiki/Garment_collars_in_hanfu#Youren_(right_lapel)) , unless the wearer is deceased. [2] (#cite_note-3) The kimono is traditionally worn with a broad sash, called an obi (/wiki/Obi_(sash)) , and is commonly worn with accessories such as zōri (/wiki/Z%C5%8Dri) sandals and tabi (/wiki/Tabi) socks. Kimono have a set method of construction and are typically made from a long, narrow bolt of cloth known as a tanmono (/wiki/Tanmono) , though Western-style fabric bolts are also sometimes used. [3] (#cite_note-4) There are different types of kimono for men, women, and children, varying based on the occasion, the season (/wiki/Seasonal_Wardrobe_Change_in_Japan) , the wearer's age, and – less commonly in the modern day – the wearer's marital status. Despite the kimono's reputation as a formal and difficult-to-wear garment, there are types of kimono suitable for both formal and informal occasions. The way a person wears their kimono is known as kitsuke ( 着付け , lit. ' dressing ' ) . The history of the kimono can be tracked back to the Heian period (794–1185), when Japan's nobility embraced a distinctive style of clothing. Formerly the most common Japanese garment, the kimono has fallen out of favor and is rarely worn as everyday dress now. They are most often seen at summer festivals, where people frequently wear the yukata (/wiki/Yukata) , the most informal type of kimono. More formal types are worn to funerals, weddings, graduations, and other formal events. Geisha (/wiki/Geisha) and maiko (/wiki/Maiko) are required to wear a kimono as part of their profession, and rikishi (/wiki/Rikishi) ( sumo (/wiki/Sumo) wrestlers) must wear kimonos at all times in public. [4] (#cite_note-Sharnoff-5) Despite the small number of people who wear it regularly and its reputation as a complicated garment, the kimono has experienced a number of revivals in previous decades, and is still worn today as fashionable clothing in Japan. History [ edit ] This section needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/Kimono) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) in this section. Unsourced material may be challenged and removed. Find sources: "Kimono" (https://www.google.com/search?as_eq=wikipedia&q=%22Kimono%22) – news (https://www.google.com/search?tbm=nws&q=%22Kimono%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Kimono%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Kimono%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Kimono%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Kimono%22&acc=on&wc=on) ( August 2020 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Main article: Japanese clothing (/wiki/Japanese_clothing) Women's dress under Goguryeo (/wiki/Goguryeo) influence, with overlapping collar and mo skirt. [5] (#cite_note-Jill-6) ( Takamatsuzuka Tomb (/wiki/Takamatsuzuka_Tomb) , 7th century) Asuka (/wiki/Asuka_period) (late Yamato Period (/wiki/Yamato_Period) ) dress, 7th century Nara-period (/wiki/Nara_period) dress, late 8th century, 2005 reconstruction Yamato period to Nara period (300–794) [ edit ] The first instances of kimono-like garments in Japan were traditional Chinese clothing (/wiki/Hanfu) introduced to Japan via Chinese envoys in the Kofun period (/wiki/Kofun_period) (300–538 CE; the first part of the Yamato period), through immigration between the two countries and envoys to the Tang dynasty court (/wiki/Japanese_missions_to_Tang_China) leading to Chinese styles of dress, appearance, and culture becoming extremely popular in Japanese court society. [1] (#cite_note-Dalby_Fashioning_Culture-1) The Imperial Japanese court quickly adopted Chinese styles of dress and clothing, [6] (#cite_note-7) with evidence of the oldest samples of shibori (/wiki/Shibori) tie-dyed fabric stored at the Shōsōin Temple (/wiki/Sh%C5%8Ds%C5%8Din) being of Chinese origin, due to the limitations of Japan's ability to produce the fabrics at the time. [7] (#cite_note-Wada-8) As early as the 4th century CE, images of priestess-queens and tribal chiefs in Japan depicted figures wearing clothing similar that of Han dynasty (/wiki/Han_dynasty) China. [8] (#cite_note-9) In 718 CE, the Yoro clothing code was instituted, which stipulated that all robes had to be overlapped at the front with a left-to-right closure, following typical Chinese fashions. [9] (#cite_note-kimono_inspiration-10) : 133–136 This convention of wear is still followed today, with a right-to-left closure worn only by the deceased. [9] (#cite_note-kimono_inspiration-10) Clothing used by the upper classes was significantly simpler to don and wear than dress from the following Heian period. [10] (#cite_note-sora-11) Sleeves, while narrow, were long enough to cover the fingers, since status was associated with covering more of the body. [11] (#cite_note-raiment-12) [10] (#cite_note-sora-11) Heian period to Azuchi–Momoyama period (794–1600) [ edit ] During the Heian period (/wiki/Heian_period) (794–1193 CE), Japan stopped sending envoys to the Chinese dynastic courts. This prevented Chinese-imported goods—including clothing—from entering the Imperial Palace (/wiki/Heian_Palace) . This also prevented dissemination to the upper classes, who were the main arbiters of traditional Japanese culture at the time, and the only people allowed to wear such clothing. [12] (#cite_note-13) The ensuing cultural vacuum facilitated the development of a Japanese culture independent from Chinese fashions. Elements previously lifted from the Tang Dynastic courts developed independently into what is known literally as "national culture" or " kokufū culture" ( 国風文化 , kokufū-bunka ) . The term is used to refer to Heian-period Japanese culture, particularly that of the upper classes. [13] (#cite_note-14) Women's clothing in the imperial palace became increasingly stylised in the formal jūnihitoe (/wiki/J%C5%ABnihitoe) , with some elements being abandoned by both male and female courtiers, such as the round-necked and tube-sleeved chun ju jacket worn by both genders in the early 7th century. Others, such as the wrapped front robes also worn by men and women, were kept. Some elements, such as the mo skirt worn by women, continued to in a reduced capacity, worn only to formal occasions; [1] (#cite_note-Dalby_Fashioning_Culture-1) the mо̄ (/w/index.php?title=Mo_(Japanese_clothing)&action=edit&redlink=1) [ ja (https://ja.wikipedia.org/wiki/%E8%A3%B3) ] ( 裳 ) grew too narrow to wrap all the way around and became a trapezoidal pleated train (/wiki/Train_(clothing)) . [14] (#cite_note-Fgarments-15) Hakama (/wiki/Hakama) (trousers) became longer than the legs and also trailed behind the wearer. [15] (#cite_note-Foutfits-16) During the later Heian period, various clothing edicts reduced the number of layers a woman could wear, leading to the kosode (/wiki/Kosode) ( lit. ' small sleeve ' ) garment—previously considered underwear—becoming outerwear by the time of the Muromachi period (/wiki/Muromachi_period) (1336–1573 CE). Originally worn with hakama (/wiki/Hakama) , the kosode began to be held closed with a small belt known as an obi instead. [1] (#cite_note-Dalby_Fashioning_Culture-1) The kosode resembled a modern kimono, though at this time the sleeves were sewn shut at the back and were smaller in width (shoulder seam to cuff) than the body of the garment. During the Sengoku period (/wiki/Sengoku_period) (1467–1615) and the Azuchi–Momoyama period (/wiki/Azuchi%E2%80%93Momoyama_period) (1568–1600), the decoration of the kosode developed further, with bolder designs and flashy colours becoming popular. By this time, separate lower-body garments, such as the mō and hakama , were almost never worn, [15] (#cite_note-Foutfits-16) allowing full-length patterns to be seen. In the late Heian period, the jūnihitoe (/wiki/J%C5%ABnihitoe) consisted of many layers ( hitoe ) worn over a plain kosode (/wiki/Kosode) and hakama (/wiki/Hakama) . [16] (#cite_note-Bardo-17) ( The Tale of Genji (/wiki/The_Tale_of_Genji) , 12th century) The courtiers in the foreground are wearing their hitoe off-the-shoulder, showing the kosode beneath. The kosode worn as outerwear. Note wider cut of the body, unisex narrow obi and shorter sleeves. Matsuura byōbu (/wiki/By%C5%8Dbu) , c. 1650 , Azuchi-Momoyama period. Edo period (1603–1867) [ edit ] The overall silhouette of the kimono transformed during the Edo period due to the evolution of the obi , the sleeves, and the style of wearing multiple layered kimono. ( Utagawa Kuniyoshi (/wiki/Utagawa_Kuniyoshi) , Plum Blossoms at Night , woodblock print, 19th century) During the Edo period (/wiki/Edo_period) (1603–1867 CE), both Japan's culture and economy developed significantly. A particular factor in the development of the Edo period was the early Genroku (/wiki/Genroku) period (1688–1704 CE), wherein " Genroku culture (/wiki/Genroku_culture) " – luxurious displays of wealth and increased patronage of the arts – led to the further development of many art forms, including those of clothing. Genroku culture was led by the growing and increasingly-powerful merchant classes (/wiki/Ch%C5%8Dnin) ( chōnin ), whose clothing was representative of their increasing economic power and rivaled the aristocracy and samurai classes, shown by their brightly-coloured kimono that utilised expensive production techniques, such as hand-painted dyework. [17] (#cite_note-18) Rinzu (/wiki/Rinzu) , a damask (/wiki/Damask) fabric, also became the preferred material for kimono at this time, replacing the previously-popular nerinuki plain-weave silk, which had been used to create tsujigahana (/wiki/Tsujigahana) . [18] (#cite_note-19) In response to the increasing material wealth of the merchant classes, the Tokugawa shogunate (/wiki/Tokugawa_shogunate) issued a number of sumptuary laws on kimono for the lower classes, prohibiting the use of purple or red fabric, gold embroidery, and the use of intricately dyed shibori patterns. [19] (#cite_note-20) As a result, a school of aesthetic thought known as Iki developed. They valued and prioritised the display of wealth through an almost mundane appearance, and the concept of kimono design and wear continues to this day as a major influence. From this point onwards, the basic shape of both men's and women's kimono remained largely unchanged. [1] (#cite_note-Dalby_Fashioning_Culture-1) The sleeves of the kosode began to grow in length, especially amongst unmarried women, and the obi became much longer and wider, with various styles of knots coming into fashion, alongside stiffer weaves of material to support them. [1] (#cite_note-Dalby_Fashioning_Culture-1) In the Edo period, the kimono market was divided into craftspeople, who made the tanmono and accessories, tonya , or wholesalers, and retailers. [20] (#cite_note-Valk-21) : 129 Modern period [ edit ] Meiji period (1868–1912) [ edit ] Part of the Ootuki family in kimono, 1874 Assorted types of kimono, Western dress, a court lady in keiko (https://commons.wikimedia.org/wiki/Category:Keiko_(dress)) , and a schoolgirl in a high-collared shirt, kimono and hakama . All wear both purple and red. 1890. Family of Horiai Setsuko (/w/index.php?title=Horiai_Setsuko&action=edit&redlink=1) , May 1912, some in European dress, some in kimono, some wearing hakama . Women's hakama spread from the court as part of Japanese reform dress (/wiki/Reform_dress#Japan) . In 1869, the social class system was abolished, and with them, class-specific sumptuary laws. [20] (#cite_note-Valk-21) : 113 Kimono with formerly-restricted elements, like red and purple colours, became popular, [20] (#cite_note-Valk-21) : 147 particularly with the advent of synthetic dyestuffs such as mauvine (/wiki/Mauvine) . Following the opening of Japan's borders in the early Meiji period to Western trade, a number of materials and techniques – such as wool and the use of synthetic dyestuffs – became popular, with casual wool kimono being relatively common in pre-1960s Japan; the use of safflower dye ( beni ) for silk linings fabrics (known as momi ; literally, "red silk") was also common in pre-1960s Japan, making kimono from this era easily identifiable. During the Meiji period (/wiki/Meiji_period) , the opening of Japan to Western trade after the enclosure of the Edo period led to a drive towards Western dress as a sign of "modernity". After an edict by Emperor Meiji (/wiki/Emperor_Meiji) , [ citation needed ] policemen, railroad workers and teachers moved to wearing Western clothing within their job roles, with the adoption of Western clothing by men in Japan happening at a much greater pace than by women. Initiatives such as the Tokyo Women's & Children's Wear Manufacturers' Association ( 東京婦人子供服組合 ) promoted Western dress as everyday clothing. Taishō period (1912–1926) [ edit ] Western clothing quickly became standard issue as army uniform (/wiki/Kokumin-fuku) for men [21] (#cite_note-22) and school uniform for boys, and between 1920 and 1930, the fuku sailor outfit (/wiki/Japanese_school_uniform) replaced the kimono and undivided hakama as school uniform for girls. [1] (#cite_note-Dalby_Fashioning_Culture-1) : 140 However, kimono still remained popular as an item of everyday fashion; following the Great Kantō Earthquake (/wiki/Great_Kant%C5%8D_Earthquake) of 1923, cheap, informal and ready-to-wear meisen (/wiki/Meisen) kimono, woven from raw and waste silk threads unsuitable for other uses, became highly popular, following the loss of many people's possessions. [22] (#cite_note-Taisho_Kimono-23) By 1930, ready-to-wear meisen kimono had become highly popular for their bright, seasonally changing designs (/wiki/Seasonal_Wardrobe_Change_in_Japan) , many of which took inspiration from the Art Deco (/wiki/Art_Deco) movement. Meisen kimono were usually dyed using the ikat (/wiki/Ikat) ( kasuri (/wiki/Kasuri) ) technique of dyeing, where either warp or both warp and weft threads (known as heiyō-gasuri ) [22] (#cite_note-Taisho_Kimono-23) : 85 were dyed using a stencil pattern before weaving. It was during the Taishō period that the modern formalisation of kimono and kimono types began to emerge. The Meiji period had seen the slow introduction of kimono types that mediated between the informal and the most formal, a trend that continued throughout the Taishō period, as social occasions and opportunities for leisure increased under the abolition of class distinctions. As Western clothing increased in popularity for men as everyday clothing, the kimono industry further established its own traditions of formal and informal dress for women; this saw the invention of the hōmongi , divisions of tomesode (short-sleeved) kimono for women, and montsuki hakama . [20] (#cite_note-Valk-21) : 133-134 The bridal kimono trousseau (/wiki/Hope_chest) ( oyomeiri dōgu ), an uncommon practice of the upper classes in the Edo period, also became common throughout the middle classes; [20] (#cite_note-Valk-21) : 67, 76 traditions of kimono bridalwear for marriage ceremonies were also codified in this time, which resembled the bridalwear of samurai-class women. [20] (#cite_note-Valk-21) : 82, 93, 146 Standards of kitsuke at this time began to slowly graduate to a more formalised, neatened appearance, with a flat, uniform ohashori and a smooth, uncreased obi , which also resembled the "proper" kitsuke of upper-class women. However, kitsuke standards were still relatively informal, and would not become formalised until after World War II. Shōwa period (1926–1989) [ edit ] A 1957 clothing ad, showing postwar kitsuke standards for women, which promoted a neater, more standardised appearance While kimono were no longer common wear for men, they remained everyday wear for Japanese women until World War II (/wiki/Japan_during_World_War_II) (1940–1945). [20] (#cite_note-Valk-21) : 17 Though the Taishō period had seen a number of invented traditions, standards of kitsuke (wearing kimono) were still not as formalised in this time, with creases, uneven ohashori and crooked obi still deemed acceptable. [20] (#cite_note-Valk-21) : 44-45 During the war, kimono factories shut down, and the government encouraged people to wear monpe (/wiki/Monpe) (also romanised as mompe ) – trousers constructed from old kimono – instead. [20] (#cite_note-Valk-21) : 131 Fibres such as rayon became widespread during WWII, being inexpensive to produce and cheap to buy, and typically featured printed designs. [ citation needed ] Cloth rationing persisted until 1951, so most kimono were made at home from repurposed fabrics. [20] (#cite_note-Valk-21) : 131 In the second half of the 20th century, the Japanese economy boomed, [20] (#cite_note-Valk-21) : 36 and silk became cheaper, [ citation needed ] making it possible for the average family to afford silk kimono. [20] (#cite_note-Valk-21) : 76 The kimono retail industry had developed an elaborate codification of rules for kimono-wearing, with types of kimono, levels of formality, and rules on seasonality, which intensified after the war; there had previously been rules about kimono-wearing, but these were not rigidly codified and varied by region and class. [20] (#cite_note-Valk-21) : 36 Formalisation sought perfection, with no creases or unevenness in the kimono, and an increasingly tubular figure was promoted as the ideal for women in kimono. [20] (#cite_note-Valk-21) : 44-45 The kimono-retail industry also promoted a sharp distinction between Japanese and Western clothes; [20] (#cite_note-Valk-21) : 54 for instance, wearing Western shoes with Japanese clothing (while common in the Taishō period) was codified as improper; [20] (#cite_note-Valk-21) : 16 these rules on proper dressing are often described in Japanese using the English phrase "Time, Place, and Occasion" (TPO). As neither Japanese men or women commonly wore kimono, having grown up under wartime auspices, commercial kitsuke schools were set up to teach women how to don kimono. [20] (#cite_note-Valk-21) : 44 Men in this period rarely wore kimono, and menswear thus escaped most of the formalisation. [20] (#cite_note-Valk-21) : 36, 133 ). Kimono were promoted as essential for ceremonial occasions; [20] (#cite_note-Valk-21) : 76, 135 for instance, the expensive furisode (/wiki/Furisode) worn by young women for Seijinshiki (/wiki/Seijinshiki) was deemed a necessity. [20] (#cite_note-Valk-21) : 60 Bridal trousseaus containing tens of kimono of every possible subtype were also promoted as de rigueur , and parents felt obliged to provide [20] (#cite_note-Valk-21) : 76 kimono trousseaus that cost up to 10 million yen (~£70,000), [20] (#cite_note-Valk-21) : 262 which were displayed and inspected publicly as part of the wedding, including being transported in transparent trucks. [20] (#cite_note-Valk-21) : 81 By the 1970s, formal kimono formed the vast majority of kimono sales. [20] (#cite_note-Valk-21) : 132 Kimono retailers, due to the pricing structure of brand new kimono, had developed a relative monopoly on not only prices but also a perception of kimono knowledge, allowing them to dictate prices and heavily promote more formal (and expensive) purchases, as selling a single formal kimono could support the seller comfortably for three months. The kimono industry peaked in 1975, with total sales of 2.8 trillion yen (~£18 billion). The sale of informal brand new kimono was largely neglected. [20] (#cite_note-Valk-21) : 135, 136 Heisei period (1989–2019) [ edit ] The economic collapse of the 1990s bankrupted much of the kimono industry [20] (#cite_note-Valk-21) : 129 and ended a number of expensive practices. [20] (#cite_note-Valk-21) : 98 The rules for how to wear kimono lost their previous hold over the entire industry, [20] (#cite_note-Valk-21) : 36 and formerly-expensive traditions such as bridal kimono trousseaus generally disappeared, and when still given, were much less extensive. [20] (#cite_note-Valk-21) : 98 It was during this time that it became acceptable and even preferred for women to wear Western dress to ceremonial occasions like weddings and funerals. [20] (#cite_note-Valk-21) : 95, 263 Many women had dozens or even hundreds of kimono, mostly unworn, in their homes; a secondhand kimono, even if unworn, would sell for about 500 yen (less than £3.50; [20] (#cite_note-Valk-21) : 98 about US$5), a few percent of the bought-new price. In the 1990s and early 2000s, many secondhand kimono shops opened as a result of this. [20] (#cite_note-Valk-21) : 98 In the early years of the 21st century, the cheaper and simpler yukata became popular with young people. [20] (#cite_note-Valk-21) : 37 Around 2010, men began wearing kimono again in situations other than their own wedding, [20] (#cite_note-Valk-21) : 36, 159 and kimono were again promoted and worn as everyday dress by a small minority. [20] (#cite_note-Valk-21) Reiwa period (2019–present) [ edit ] Today, the majority of people in Japan wear Western clothing as everyday attire, and are most likely to wear kimono either to formal occasions such as wedding ceremonies and funerals, or to summer events, where the standard kimono is the easy-to-wear, single-layer cotton yukata . In 2019, the mayor of Kyoto announced that his staff were working to register "Kimono Culture" on UNESCO (/wiki/UNESCO) 's intangible cultural heritage (/wiki/Intangible_cultural_heritage) list. [23] (#cite_note-Guardian2019-07-01-24) Textiles [ edit ] Main article: Tanmono (/wiki/Tanmono) A child wearing a furisode kimono in full formal dress Both kimono and obi are made from a wide variety of fibre types, including hemp, linen, silk, Japanese crêpe (/wiki/Cr%C3%AApe_(textile)) (known as chirimen ), and figured damask (/wiki/Damask) weaves ( rinzu (/wiki/Rinzu) ). Fabrics are typically – for both obi and kimono – woven as tanmono (/wiki/Tanmono) (bolts of narrow width), save for certain types of obi (such as the maru obi ), woven to double-width. Formal kimono are almost always made from silk, with thicker, heavier, stiff or matte fabrics generally being considered informal. Modern kimono are widely available in fabrics considered easier to care for, such as polyester. Kimono linings are typically silk or imitation silk, and often match the top fabric in fibre type, though the lining of some casual silk kimono may be cotton, wool or linen. Kimono motifs [ edit ] A modern yukata machine-dyed with a nadeshiko (/wiki/Dianthus_superbus) pattern, a September motif Kimono fabrics are often decorated, sometimes by hand, before construction. Customarily, kimono with woven patterns are considered more informal, though for obi , the reverse is true, with obi featuring dyed patterns being less formal than obi with woven patterns. Though kimono fabrics with woven patterns are typically not especially heavy and can be lightweight, obi fabrics with woven patterns are often very heavy, with many formal obi being made from thickly-woven brocade. Traditionally, woven kimono are paired with obi that are decorated with dyed patterns, and vice versa. However, for all but the most formal kimono, this is more of a general suggestion than a strict rule. Formal kimono are typically decorated with dyed patterns, commonly found along the hemline. [24] (#cite_note-Dalby_Geisha-25) These patterns may feature embroidery in parts, couched (/wiki/Couching) gold and silver thread, and/or gold and silver foil. The layout of motifs can denote a kimono's age, with patterns that mirror along the vertical back seam ( ryōzuma ) being typical for kimono made before the 1930s. Many kimono motifs are seasonal (/wiki/Seasonal_Wardrobe_Change_in_Japan) , and denote the season in which the kimono can be worn; however, some motifs have no season and can be worn all-year round. Others, such as the combination of pine, plum and bamboo – a grouping referred to as the Three Friends of Winter (/wiki/Three_Friends_of_Winter) – are auspicious, and thus worn to formal occasions for the entire year. Motifs seen on yukata are commonly seasonal motifs worn out of season, either to denote the spring just passed or the desire for cooler autumn or winter temperatures. Colour also contributes to the seasonality of kimono, with some seasons – such as autumn – generally favouring warmer, darker colours over lighter, cooler ones. A number of different guides on seasonal kimono motifs exist, [25] (#cite_note-kimono5-26) with some guides – such as those for tea ceremony in particular – being especially stringent on their reflection of the seasons. [26] (#cite_note-august-february_kimono_lady-27) Motifs typically represent the flora, fauna, landscape or culture of Japan; one such example is cherry blossoms (/wiki/Cherry_blossoms) , a famously seasonal motif worn in spring until just before the actual cherry blossoms begin to bloom, it being considered unlucky to try and 'compete' with the cherries. Motifs are typically worn a few weeks before the official 'start' of any given season, as it is considered fashionable to anticipate the coming season. Though men's kimono historically displayed just as much decoration and variety as women's kimono, in the modern era, the principal distinction of men's kimono in terms of seasonality and occasion is the fabric. The typical men's kimono is a subdued, dark colour; black, dark blues, greens and browns are common. Fabrics are usually matte, in contrast to the occasional satin weaves of some women's kimono. Some men's kimono have a subtle pattern, and textured fabrics are more common in informal men's kimono. Informal men's kimono may also feature slightly brighter colours, such as lighter purples, greens and blues. Sumo wrestlers have occasionally been known to wear quite bright colours, such as fuchsia, in their kimono, which they are required to wear when appearing in public. Terms [ edit ] Patchwork haori (/wiki/Haori) for tea ceremony (/wiki/Japanese_tea_ceremony) ( chabaori ), c. 1800 ; the areas likely to have been damaged are made in another colour. Paper and silk. The fabrics that kimono are made from are classified in two categories within Japan. Gofuku ( 呉服 ) is the term used to indicate silk kimono fabrics, composed of the characters go ( 呉 , the Japanese pronunciation of "Wu") , referring to the State of Wu (/wiki/Wu_(state)) in ancient China where silk weaving technology developed, and fuku ( 服 , meaning "clothing") . [20] (#cite_note-Valk-21) : 115 [27] (#cite_note-28) The term gofuku is also used to refer to kimono in general within Japan, particularly within the context of the kimono industry, as traditional kimono shops are referred to as either gofukuten ( 呉服店 ) or gofukuya ( 呉服屋 ) – with the additional character of ya ( 屋 ) meaning 'shop'. [28] (#cite_note-29) Cotton and hemp fabrics are referred to generally as futomono ( 太物 ) , meaning "thick materials", with both cotton and hemp yarns being considerably thicker than silk yarns used for weaving. Cotton kimono are specifically referred to in the context of materials as momenfuku ( 木綿服 ) , "cotton clothes", whereas hemp kimono are known as asafuku ( 麻服 ) , "hemp clothes", in Japanese, with the character for hemp – asa ( 麻 ) – also being used to refer widely to hemp, linen and ramie kimono fabrics. Merchants' terms [ edit ] Until the end of the Edo period, the tailoring of both gofuku and futomono fabrics was separated, with silk kimono handled at shops known as gofuku dana , and kimono of other fibres sold at shops known as futomono dana . Stores that handled all types of fabric were known as gofuku futomono dana , though after the Meiji period, stores only retailing futomono kimono became less profitable in the face of cheaper everyday Western clothing, and eventually went out of business, leaving only gofuku stores to sell kimono – leading to kimono shops becoming known only as gofukuya today. [ citation needed ] Reuse [ edit ] Kimono can readily be resized, or unpicked back into tanmono (/wiki/Tanmono) (bolt) lengths. [20] (#cite_note-Valk-21) : 131, 147 Outside of being re-woven into new fabrics, worn-out kimono have historically been recycled in a variety of ways, depending on the type of kimono and its original use. [20] (#cite_note-Valk-21) : 131 When the cloth is worn out, it may be used as fabric for smaller items or to create boroboro (/wiki/Boroboro) (patchwork) kimono (which were also sometimes made for the sake of fashion [29] (#cite_note-simple-30) ). The fact that the pattern pieces of a kimono consist of rectangles, and not complex shapes, make reuse in garments or other items easier. [30] (#cite_note-boronobi-31) Sashiko (/wiki/Sashiko) are used to hold cloth together and decorate it. The cloth used for patchwork clothing must all be of similar weight (/wiki/Fabric_weight) , drape (/wiki/Drapery#Drape) , and handle (/w/index.php?title=Handle_(textiles)&action=edit&redlink=1) . Formal kimono, made of expensive and thin silk fabrics, would have been re-sewn into children's kimono when they became unusable for adults, as they were typically unsuitable for practical clothing; kimono were shortened, with the okumi taken off and the collar re-sewn to create haori , or were simply cut at the waist to create a side-tying jacket. After marriage or a certain age, young women would shorten the sleeves of their kimono; the excess fabric would be used as a furoshiki (wrapping cloth), could be used to lengthen the kimono at the waist, or could be used to create a patchwork undergarment known as a dōnuki . Kimono that were in better condition could be re-used as an under-kimono, or to create a false underlayer known as a hiyoku . Children also traditionally wore kataire , kimono made of a fancier material in the okumi and upper back. [31] (#cite_note-V&A-32) : 16 Construction [ edit ] Cutting a kimono from a tanmono (/wiki/Tanmono) How a kimono is assembled from pieces cut from a tanmono The hatless child in the pale kimono most clearly shows the shoulder tucks and hip overfold used to adjust size. Kata-nue-age , shoulder tucks to adjust size for children Kimono are traditionally made from a single bolt of fabric known as a tanmono (/wiki/Tanmono) , which is roughly 11.5 metres (38 ft) long and 36 centimetres (14 in) wide for women, [1] (#cite_note-Dalby_Fashioning_Culture-1) and 12.5 metres (41 ft) long and 42 centimetres (17 in) wide for men. The entire bolt is used to make one kimono, and some men's tanmono are woven to be long enough to create a matching haori (/wiki/Haori) jacket and juban as well. Kimono linings are made from bolts of the same width. Some custom bolts of fabric are produced for especially tall or heavy people, such as sumo wrestlers, who must have kimono custom-made by either joining multiple bolts, weaving custom-width fabric, or using non-standard size fabric. [32] (#cite_note-33) For children, in the early 1900s, shorter lengths were used, and sometimes the body of the kimono was made only a single cloth width wide ( hitotsumi ). [33] (#cite_note-furisode-34) Tucks were also used to take in the garment; an outwards-facing pleat at each shoulder ( kata-nue-age ) and a kolpos (/wiki/Kolpos) -like overfold at the hip ( koshi-nue-age ), so that the child appeared to be wearing a sleeveless vest of the same fabric over their garment. These sewn tucks were let out as the child grew, [31] (#cite_note-V&A-32) : 15 and are mostly only seen today on the kimono of apprentice geisha in Kyoto, as apprentices previously began their training at a young age, requiring tucks to be let out as they grew. In the present day, apprentices begin their training in their late teenage years, and the tucks are retained merely as an anachronism. Though adult women also retained a 'tuck' at the hip, this was a leftover from the trailing length of most women's kimono, which had previously been either held up by hand when walking or tied up loosely with a shigoki obi ; though kimono were not worn as trailing towards the end of the 19th century, the excess length of most women's kimono remained, with the hip fold formalised and neatened into the ohashori of the modern day. Kimono have a set method of construction, which allows the entire garment to be taken apart, cleaned and resewn easily. As the seam allowance (/wiki/Seam_allowance) on nearly every panel features two selvedges (/wiki/Selvedge) that will not fray, the woven edges of the fabric bolt are retained when the kimono is sewn, leading to large and often uneven seam allowances; unlike Western clothing, the seam allowances are not trimmed down, allowing for a kimono to be resewn to different measurements without the fabric fraying at the seams. [ citation needed ] This was also used to prolong the life of the garment by reversing the sleeves (hiding the worn cuff hem in the shoulder seam) or the back panels (swapping the high-stress center seam and the low-stress sides), [34] (#cite_note-mochi_komon-35) like the European custom of side-to-middling or end-to-middling bedsheets. Historically, kimono were taken apart entirely to be washed – a process known as arai-hari . Once cleaned, the fabric would be resewn by hand; [1] (#cite_note-Dalby_Fashioning_Culture-1) this process, though necessary in previous centuries, is uncommon in modern-day Japan, as it is relatively expensive. Despite the expense of hand-sewing, however, some modern kimono, including silk kimono and all formal kimono, are still hand-sewn entirely; even machine-sewn kimono require some degree of hand-sewing, particularly in finishing the collar, the hem, and the lining, if present. Hand-sewn kimono are usually sewn with a single running stitch roughly 3 millimetres (0.12 in) to 4 millimetres (0.16 in) long, with stitches growing shorter around the collar area for strength. Kimono seams, instead of being pressed entirely flat, are pressed to have a 'lip' of roughly 2 millimetres (0.079 in) (known as the kise ) pressed over each seam. This disguises the stitches, as hand-sewn kimono are not tightly sewn, rendering the stitches visible if pressed entirely flat. Terms [ edit ] Diagram of the kimono parts A number of terms are used to refer to the different parts of a kimono. Kimono that are lined are known as awase kimono, whereas unlined kimono are known as hitoe kimono; partially lined kimono – with lining only at the sleeve cuff, the back of the sleeve, the lower chest portion of the dōura and the entirety of the hakkake – are known as dō-bitoe ( lit. ' chest-single-layer ' ) kimono. [35] (#cite_note-36) Some fully lined kimono do not have a separate lower and upper lining, and are instead lined with solid panels on the okumi , the maemigoro and the ushiromigoro . These terms refer to parts of a kimono: Dōura ( 胴裏 ) The upper lining of a kimono. Hakkake ( 八掛 ) The lower lining of a kimono. Eri ( 衿 ) The collar. Fuki ( 袘 ) The hem guard. Furi ( 振り , lit. ' dangling ' ) The part of the sleeve left hanging below the armhole. Maemigoro ( 前身頃 , lit. ' front body ' ) The front panels on a kimono, excluding the okumi . The panels are divided into the "right maemigoro " and "left maemigoro ". Miyatsukuchi ( 身八つ口 ) The opening under the sleeve on a woman's kimono. Okumi ( 衽 ) The overlapping front panel. Sode ( 袖 ) The entire sleeve. Sodeguchi ( 袖口 ) The wrist opening of the sleeve. Sodetsuke ( 袖付 ) The kimono armhole. Susomawashi ( 裾回し ) The lower lining. Tamoto ( 袂 ) The sleeve pouch of a kimono. Tomoeri ( 共衿 , lit. ' over-collar ' ) The collar cover sewn on top of the uraeri . Uraeri ( 裏襟 , lit. ' neckband lining ' ) The inner collar. Ushiromigoro ( 後身頃 , lit. ' back body ' ) The back panels. The back panels consist of the "right ushiromigoro " and "left ushiromigoro ". Evolution of kimono construction [ edit ] Main article: kosode (/wiki/Kosode) Comparison between a kosode (left) and a modern-day kimono (right) Ways of wearing kosode . Top left: as a belted and wrapped robe; top right: belted and off the shoulders in the koshimaki style; bottom left: as an unbelted outer robe kosode in the uchikake style; bottom right: over the head in the katsugi style. Though the basic shape of the kimono has not changed in centuries, proportions have, historically, varied in different eras of Japanese history. Beginning in the later Heian period, the hitoe – an unlined robe worn as underwear – became the predominant outerwear garment for both men and women, known as the kosode ( lit. ' small sleeve ' ) . Court-appropriate dress continued to resemble the previous eras. By the beginning of the Kamakura period, the kosode was an ankle-length garment for both men and women, and had small, rounded sleeves that were sewn to the body of the garment. The obi was a relatively thin belt tied somewhat low on the waist, usually in a plain bow, and was known as a hoso-obi . [36] (#cite_note-37) During this time period, the fashion of wearing a kosode draped around the shoulders, over the head, or as the outermost garment stripped off the shoulders and held in place by the obi , led to the rise of the uchikake – a heavily decorated over-kimono, stemming from the verb uchikake-ru ( lit. ' to drape upon ' ) , worn unbelted over the top of the kosode – becoming popular as formal dress for the upper classes. [1] (#cite_note-Dalby_Fashioning_Culture-1) : 39 In the following centuries, the kosode mostly retained its small, narrow and round-sleeved nature, with the length of women's sleeves gradually increasing over time and eventually becoming mostly detached from the body of the garment below the shoulders. The collar on both men's and women's kosode retained its relatively long and wide proportions, and the okumi front panel kept its long, shallow angle towards the hem. During the Edo period, the kosode had developed roughly modern kimono proportions, though variety existed until roughly the mid- to later years of the era. [37] (#cite_note-38) Men's sleeves continued to be sewn shut to the body of the kimono down most of their length, with no more than a few inches unattached at the bottom, unlike the women's style of very deep sleeves mostly detached from the body of the kimono. Men's sleeves were also less deep than women's kimono sleeves so that they did not get tied under the narrow obi around the hips, whereas on a woman's kimono, the long, unattached bottom of the sleeve could hang over the wider obi without getting in the way. [38] (#cite_note-mochi_juban-39) Sleeves for both men and women grew in proportion to be of roughly equal width to the body panels, and the collar for both men's and women's kimono became shorter and narrower. In the present day, both men's and women's kimono retain some historical features – for instance, women's kimono trailed along the floor throughout certain eras, and when the wearer went outside, the excess length would be tucked and tied underneath the obi in a hip fold known as the ohashori . The ohashori is now used for fine length adjustments, [39] (#cite_note-mochi_furisode-40) and takes up 7–10 inches (18–25 cm) of excess length. [38] (#cite_note-mochi_juban-39) A hand-sewn tuck across the back under the obi is used for coarse adjustments, and made deliberately weak so that the stitches will tear before the cloth does under tension. [39] (#cite_note-mochi_furisode-40) Men's kimono, on the other hand, are cut to the length of the wearer's body and tied with a narrow belt at the hips, with no extra fabric in the kimono's length for an overfold at the hip. Formal women's kimono also retain the wider collar of previous eras (made from a full tanmono -width instead of a half width), though it is always folded in half lengthwise before wearing – a style known as hiro-eri ( lit. ' wide collar ' , as opposed to bachi-eri , a normal width collar) . [40] (#cite_note-41) Women's kimono are still worn trailing in some situations, such as onstage, in historical dramas, and by geisha and maiko . In these instances, the kimono worn is constructed differently to a regular women's kimono: the collar is set back further into the neck, the sleeves are sewn to the body unevenly (further down the front than the back), and the body is elongated. This style of kimono is referred to as a susohiki or hikizuri . Though the length of the kimono, collar style and sleeve construction differs for this type of kimono, in all other types of women's kimono, the construction is generally the same; the collar is set back only slightly into the nape of the neck, the sleeves are attached evenly only at the shoulder (not all the way down the sleeve length) and the kimono's length from shoulder to hem is ideally the entire height of the woman wearing it, to allow for the creation of the ohashori . Sleeve length [ edit ] The sleeve length (dropping down from the arm towards the floor when held outstretched) varies in kimono. Sleeve lengths Type Sleeve length Use Men's sleeves Men's sleeves are not visual markers of youth. They are attached to the body of the kimono all the way down, or almost all of the way down; though a small portion perhaps a few centimetres in length may be left unattached to the body at the very bottom, this portion is sewn closed. The construction of men's kimono sleeves reflects the fact that they do not have to accommodate the wider obi worn by women. Tomesode , ordinary women's sleeves 49 cm (19 in), or hip-length [41] (#cite_note-lady-42) Usual women's length; this was longer pre-WWII, but was shortened due to rationing. [34] (#cite_note-mochi_komon-35) [41] (#cite_note-lady-42) This is the length almost invariably used for yukata , and used by definition for every type of tomesode kimono. Furisode (/wiki/Furisode) Furisode ( 振袖 (https://en.wiktionary.org/wiki/%E6%8C%AF%E8%A2%96) , lit. ' swinging sleeve ' ) kimono are worn by young, typically unmarried, women. In the present day, the term furisode refers by definition to highly-formal long-sleeved kimono worn by girls and young women; however, informal kimono such as yukata with furisode -length sleeves are sometimes seen. In the past, mostly all young women wore long-sleeved kimono as a marker of youth generally regardless of the formality of their kimono, and upon marriage, women would cut or hem their sleeves shorter, or unpick the sleeves and swap them for an identical but shorter pair. Furisode were historically worn by all children, with no gender distinction in pattern or cut, but it is now only young girls who are dressed in furisode . [33] (#cite_note-furisode-34) Ko-furisode (also called nisyakusode ) [42] (#cite_note-cafe-43) ("short") 76–86 cm (30–34 in) [42] (#cite_note-cafe-43) Divided into kuro-furisode and iro-furisode , these are parallel versions of the formal, shorter-sleeved kurotomesode and irotomesode , but with longer sleeves. A ko-furisode with a komon -style pattern is deemed casual wear. Ko-furisode are also worn with hakama . In the modern era, ko-furisode are rare, but are sometimes worn for graduations. Most ko-furisode are vintage kimono, as in the modern day furisode are not worn often enough to warrant buying a more casual form of the dress. [43] (#cite_note-mai-ko-44) Tyu-furisode [42] (#cite_note-cafe-43) or chu-furisode ("mid-size") 86–115 cm (34–45 in), or shoulder to calf; [42] (#cite_note-cafe-43) usually about 100 cm (39 in) Tyu-furisode are suitable for most formal occasions; the sleeve length of tyu-furisode has been growing longer, due to growing people and the near-elimination of ō-furisode , and may be considered ō-furisode . [43] (#cite_note-mai-ko-44) Tyu-furisode are worn to seijin shiki (/wiki/Seijin_shiki) (Coming of Age Day) or weddings, either by the bride herself or an unmarried younger female relative. Ō-furisode [42] (#cite_note-cafe-43) or hon-furisode 114–115 cm (45–45 in), as high as 125 cm (49 in), or shoulder to ankle [42] (#cite_note-cafe-43) Generally only worn by brides, dancers, and singers. The hem of the ō-furisode is padded so it can trail. Cost [ edit ] A modern second-hand kimono shop Both men's and women's brand-new kimono can range in expense (in 2023) from around ¥1000 (~$7 USD) to ¥150,000 (~$1050 US) [44] (#cite_note-45) The high expense of some hand-crafted brand-new kimono reflects the traditional kimono making industry, where the most skilled artisans practice specific, expensive and time-consuming techniques, known to and mastered only by a few. These techniques, such as hand-plied bashofu fabrics and hand-tied kanoko shibori dotwork dyeing, may take over a year to finish. Kimono artisans may be made Living National Treasures (/wiki/Living_National_Treasure_(Japan)) in recognition of their work, with the pieces they produce being considered culturally important. Even kimono that have not been hand-crafted will constitute a relatively high expense when bought new, as even for one outfit, a number of accessories of the right formality and appearance must be bought. Not all brand-new kimono originate from artisans, and mass-production of kimono – mainly of casual or semi-formal kimono – does exist, with mass-produced pieces being mostly cheaper than those purchased through a gofukuya (kimono shop). Though artisan-made kimono are some of the most accomplished works of textile art on the market, many pieces are not bought solely for appreciation of the craft. Unwritten social obligations to wear kimono to certain events – weddings, funerals – often leads consumers to purchase artisan pieces for reasons other than personal choice, fashion sense or love of kimono: [Third-generation yūzen (/wiki/Y%C5%ABzen) dyer Jotaro Saito] believes we are in a strange age where people who know nothing about kimono are the ones who spend a lot of money on a genuine handcrafted kimono for a wedding that is worn once by someone who suffers wearing it, and then is never used again. [45] (#cite_note-Cliffe-46) : 134 The high cost of most brand-new kimono reflects in part the pricing techniques within the industry. Most brand-new kimono are purchased through gofukuya , where kimono are sold as fabric rolls only, the price of which is often left to the shop's discretion. The shop will charge a fee separate to the cost of the fabric for it to be sewn to the customer's measurements, and fees for washing the fabric or weatherproofing it may be added as another separate cost. If the customer is unfamiliar with wearing kimono, they may hire a service to help dress them; the end cost of a new kimono, therefore, remains uncertain until the kimono itself has been finished and worn. [20] (#cite_note-Valk-21) Gofukuya are also regarded as notorious for sales practices seen as unscrupulous and pressuring: Many [Japanese kimono consumers] feared a tactic known as kakoikomi : being surrounded by staff and essentially pressured into purchasing an expensive kimono [...] Shops are also renowned for lying about the origins of their products and who made them [...] [My kimono dressing ( kitsuke ) teacher] gave me careful instructions before we entered the [ gofukuya ]: 'do not touch anything. And even if you don't buy a kimono today, you have to buy something, no matter how small it is.' [20] (#cite_note-Valk-21) : 115–117 In contrast, kimono bought by hobbyists are likely to be less expensive, purchased from second-hand stores with no such sales practices or obligation to buy. Hobbyists may also buy cheaper synthetic kimono (marketed as 'washable') brand-new. Some enthusiasts also make their own kimono; this may be due to difficulty finding kimono of the right size, or simply for personal choice and fashion. Second-hand items are seen as highly affordable; costs can be as little as ¥100 (about US$0.90) [ citation needed ] at thrift stores within Japan, and certain historic kimono production areas around the country – such as the Nishijin (/wiki/Nishijin) district of Kyoto – are well known for their second-hand kimono markets. Kimono themselves do not go out of fashion, making even vintage or antique pieces viable for wear, depending on condition. [46] (#cite_note-47) However, even second-hand women's obi are likely to remain somewhat pricey; a used, well-kept and high-quality second-hand obi can cost upwards of US$300, [ citation needed ] as they are often intricately woven, or decorated with embroidery, goldwork and may be hand-painted. Men's obi , in contrast, retail much cheaper, as they are narrower, shorter, and have either very little or no decoration, though high-end men's obi can still retail at a high cost equal to that of a high-end women's obi . Types of kimono [ edit ] Several different types of kimono exist. These varieties are primarily based on formality and gender, with more women's varieties of kimono existing than men's. The modern kimono canon was roughly formalised after WWII, following fabric shortages, a generation unfamiliar with wearing kimono in everyday life, and the postwar revival of kimono sales by gofukuya , traditional kimono shops. In previous centuries, types of kimono were not as distinct, with factors such as age and social class playing a much larger role in determining kimono types than they do presently. Beginning in the Meiji period, and following the Meiji Restoration and the abolition of class distinctions, kimono varieties began to change as Japanese society did, with new varieties being invented for new social situations. Formality [ edit ] A hinata kamon dyed onto a kimono A dyed 'shadow' ( kage ) kamon on the centre-back seam of a haori Kimono range in variation from extremely formal to very casual. For women, the formality is determined mostly by pattern placement, decoration style, fabric choice and colour. For men, whose kimono are generally monochromatic, formality is determined typically by fabric choice and colour. For both men and women, the accessories and obi worn with the kimono also determine formality. The formality levels of different types of kimono are a relatively modern invention, having been developed between late Meiji- to post-war Japan, following the abolition of Edo-period sumptuary clothing laws in 1868. [47] (#cite_note-restoration-48) These laws changed constantly, as did the strictness with which they were enforced, and were designed to keep the nouveau riche merchant classes from dressing above their station, and appearing better-dressed than monetarily-poor but status-rich samurai (/wiki/Samurai) class. Colours and patterns [ edit ] Under feudal sumptuary laws, colours were restricted by class; for instance, indigo (/wiki/Indigo) -dyed clothing was allowed for all classes, and was commonly seen in hand-dyed cotton, linen or hemp kasuri (/wiki/Kasuri) fabrics, but other dyes, such as reds and purples, were forbidden to those below a certain class. Sometimes, for some classes, designs were restricted to below the belt, to the bottoms of the sleeves (for furisode ) or to along the hem ( suso-moyo ); sometimes they were banned altogether, [39] (#cite_note-mochi_furisode-40) and were transferred to the collar of the underkimono, [48] (#cite_note-mochi_tomosode-49) or the inside of the hem, where only the faintest glimpse would be intermittently visible. This type of subtle ostentation became an aesthetic known as iki (/wiki/Iki_(aesthetics)) , and outlasted the sumptuary laws. [39] (#cite_note-mochi_furisode-40) Modern-day rules of formality, however, still echo clothing distinctions typically employed by the uppermost samurai classes. [39] (#cite_note-mochi_furisode-40) Aspects of men's kimono still follow this extreme of iki . Bright, elaborate decoration is used on the lining of the haori (jacket), and on men's juban (underkimono), which is not worn as an outer layer outside the home, and so only shows at the neck and inside the sleeves. Women's juban were once bright and boldly-patterned (and were often kimono too damaged to use as an outer layer, repurposed), but are now typically muted pastel shades. [38] (#cite_note-mochi_juban-39) [34] (#cite_note-mochi_komon-35) The outside of men's garments tended towards subtle patterns and colours even after the sumptuary laws lifted, with blues and blacks predominating, but designers later came to use browns, greens, purples, and other colours in increasingly bold patterns. Older people generally wear more subtle patterns, and younger people brighter, bolder ones. Fabric type [ edit ] Couple being married in formal traditional dress Kimono vary widely in fabric type, and are not all made of silk. Certain types of fabric, such as wool, cotton, linen and hemp, are always considered informal, and so are not seen on more formal varieties of kimono. Certain varieties of silk, such as tsumugi (/wiki/Tsumugi) , are considered informal, [49] (#cite_note-mimi_men-50) having once been woven only by silk farmers out of unusable cocoons for their own use; other, more modern varieties, such as meisen (/wiki/Meisen) , were designed to be used as casual, cheap daywear, and are machine-spun and -woven using brightly-patterned yarns. Some varieties of crêpe are on the lowest end of formal, with their rougher texture considered unsuitable for formal use; [49] (#cite_note-mimi_men-50) other varieties, such as smooth crêpe, are used for all varieties of formal kimono. The most formal kimono are only ever made of smooth, fine silks, such as glossy silk fabrics like habutai (/wiki/Habutai) . Some fabrics are also worn only at certain times of year; ro (/wiki/Leno_weave#karamiori) , for instance, is a plain-weave fabric with leno weave (/wiki/Leno_weave) stripes only worn in high summer (July and August), but is used for all types of kimono and for other garments, such as under-kimono and obi . [48] (#cite_note-mochi_tomosode-49) [38] (#cite_note-mochi_juban-39) Some fabrics – such as certain types of crêpe – are never seen in certain varieties of kimono, [b] (#cite_note-51) and some fabrics such as shusu (heavy satin) silk are barely ever seen in modern kimono or obi altogether, having been more popular in previous eras than in the present-day. Despite their informal nature, many types of traditional, informal kimono fabrics are highly-prized for their craftsmanship. Varieties of tsumugi , kasuri (/wiki/Kasuri) , and fabrics woven from Musa basjoo (/wiki/Musa_basjoo#Fibre) are valued for their traditional production, and regularly command high prices. Lined and unlined kimono [ edit ] In the summer months (from June [50] (#cite_note-june_kimono_lady-52) until October [26] (#cite_note-august-february_kimono_lady-27) in the most stringent kimono guides, such as those for tea ceremony), kimono are unlined ( hitoe ); for the rest of the year, they are lined ( awase ). This applies to all types of kimono, with a few caveats: the very informal yukata is always unlined, and thus only worn in summer; the most formal kimono, in contrast, are unlikely to be worn unlined in summer, as many people simply do not have more than one formal kimono to wear, and do not wear formal kimono often enough to warrant the purchase of a new, unlined kimono, just for summer wear. Obi also change fabric type in the summer months. Within the two realms of lined and unlined, further distinctions exist for different months. Lined kimono are either made from transparent or gauze fabrics ( usu-mono ) or opaque fabrics, with kimono transitioning towards gauze fabrics at the height of summer and away from them as autumn begins. In one kimono guide for tea ceremony, at the start of the unlined season in June, fabrics such as kawari-chirimen (a type of silk crêpe noted as a more "wrinkle-resistant" form of hitokoshi-chirimen ) and komayori ro (a thicker type of ro with twisted silk threads) are recommended for wear. [50] (#cite_note-june_kimono_lady-52) Following the beginning of the rainy season (/wiki/Rainy_season) in some time in July, fabrics switch over to gauzier varieties, and highly-prized hemp fabrics such as Echigo-jofu (/wiki/Echigo-jofu) are worn. [51] (#cite_note-july_kimono_lady-53) Continuing into August, hemp, ro and sha (/wiki/Leno_weave#Karamiori) continue to be worn; in September, they are still worn, but fabrics such as hitokoshi chirimen , worn in June, become suitable again, and opaque fabrics become preferred over sheer, though sheer may still be worn if the weather is hot. [26] (#cite_note-august-february_kimono_lady-27) In the same kimono guide, the first lined kimono are worn in October, and the transition away from plainer opaque fabrics to richer silks such as rinzu is immediate. The richness of fabrics increases going into November and December, with figured silks featuring woven patterns appropriate. Coming into January, crêpe fabrics with a rougher texture become appropriate, with fabrics such as tsumugi (/wiki/Tsumugi) worn in February. [26] (#cite_note-august-february_kimono_lady-27) Figured silks continue to be worn until June, when the unlined season begins again. In Japan, this process of changing clothes is referred to as koromogae (/wiki/Seasonal_Wardrobe_Change_in_Japan) . Crests [ edit ] Formality is also determined by the number and type of mon (/wiki/Mon_(badge)) or kamon (crests). Five crests ( itsutsu mon ) are the most formal, three crests ( mitsu mon ) are mid-formality, and one crest ( hitotsu mon ) is the least formal, used for occasions such as tea ceremony. Kimono (and other garments, like hakama ) with mon are called montsuki (https://en.wiktionary.org/wiki/%E3%82%82%E3%82%93%E3%81%A4%E3%81%8D) (" mon -carrying"). The type of crest adds formality as well. A "full sun" ( hinata ) crest, where the design is outlined and filled in with white, is the most formal type. A "mid-shadow" ( nakakage ) crest is mid-formality, with only the outline of the crest visible in white. A "shadow" ( kage ) crest is the least formal, with the outline of the crest relatively faint. Shadow crests may be embroidered onto the kimono, and full-embroidery crests, called nui mon , are also seen. [52] (#cite_note-54) Choice of accessories [ edit ] Formality can also be determined by the type and colour of accessories. For women, this may be the weave of obijime and the style of obiage . [ citation needed ] For men, adding a haori (a traditional jacket) makes an outfit more formal, and adding both haori and hakama (traditional trousers) is more formal still. The material, colour, and pattern of these overgarments also varies in formality. [49] (#cite_note-mimi_men-50) Longer haori are also more formal. Sleeve length and construction [ edit ] Both men's and women's kimono feature sleeves considered relatively short, with men's sleeves shorter than women's. Though lengths can vary by a few centimetres, these lengths are informally standardised. Men's kimono sleeves are only ever one length, and women's sleeves are limited to a short length suitable for almost all types of kimono, or a longer length used for only one type of formal young women's kimono. In the modern day, the two lengths of women's sleeve worn on kimono are furisode (/wiki/Furisode) length, which almost reaches the floor, and a shorter length, used for every other variety of women's kimono. Before WWII, the length of women's kimono sleeves varied, with sleeves gradually shortening as a woman got older. During WWII, due to shortage of fabric, the 'short' length of women's kimono sleeves became standardised, and post-WWII, the realm of long kimono sleeves was narrowly curtailed to the realm of furisode only – formal young women's and girl's kimono, where previously longer sleeves were seen on other varieties of dress, both formal and informal. Pre-WWII women's kimono are recognisable for their longer sleeves, which, though not furisode length, are longer than most women's kimono sleeves today. Young women are not limited to wearing only furisode , and outside of formal occasions that warrant it, can wear all other types of women's kimono which feature shorter sleeves. General types of kimono [ edit ] Juban [ edit ] The juban , also referred to as the nagajuban , is an under-kimono worn by both men and women. Juban resemble a kimono in construction, with a few key differences: the sleeves are typically open along the entire cuff side, with only a few stitches sewing both sides together placed where a normal kimono sleeve cuff would end; the sleeve has no curve sewn into the outer edge, instead being square; the juban is typically a little shorter than the length of a kimono when worn, and features no extra length to be bloused into an ohashori for women's kimono; the front either does not have any overlapping panels ( okumi ) or features only thin ones, with the collar set at a lower angle than that of a regular kimono. Juban are considered an essential piece of kimono underwear, and are worn with all types of kimono except for yukata . Juban are typically made of lightweight materials, often silk. Women's juban and can either be patterned or entirely plain, and modern women's juban are frequently white in colour. Men's juban are often dyed in dark colours, and can be made of the same material as the outer kimono, as some kimono fabric bolts ( tanmono (/wiki/Tanmono) ) are woven with enough length to accommodate this. Men's juban are frequently more decorative than women's, often featuring a dyed pictorial scene in the upper back, such as a scene from The Tale of Genji (/wiki/The_Tale_of_Genji) . In the late 19th and early 20th century, women's juban transitioned from being mostly red with bold white motifs to being white or light pastel colours. The dye technique previously used to achieve this, beni itajime (/wiki/Shibori#Beni_itajime) , fell out of fashion and knowledge and was rediscovered in 2010. [53] (#cite_note-Beni_itajime-55) : 1 Hadajuban [ edit ] Hadajuban are a type of kimono undergarment traditionally worn underneath the nagajuban . Hadajuban are even further removed from resembling a kimono in construction than the nagajuban ; the hadajuban comes in two pieces (a wrap-front top and a skirt), features no collar, and either has tube sleeves or is sleeveless. Unlike the nagajuban , the hadajuban is not considered an essential piece of kimono underwear, and a t-shirt and shorts are frequently substituted in its place. Yukata [ edit ] Main article: Yukata (/wiki/Yukata) A woman and a young boy wearing yukata decorated with spider chrysanthemums and dragonflies respectively Yukata (/wiki/Yukata) ( 浴衣 (https://en.wiktionary.org/wiki/%E6%B5%B4%E8%A1%A3) ) are casual cotton summer kimono worn by both men and women. Yukata were originally very simple indigo and white cotton kimono, little more than a bathrobe worn either within the house, or for a short walk locally; yukata were also worn by guests at inns, with the design of the yukata displaying the inn a person was staying at. From roughly the mid-1980s onwards, they began to be produced in a wider variety of colours and designs, responding to demand for a more casual kimono that could be worn to a summer festival, and have since become more formal than their previous status as bathrobes, with high-end, less colourful yukata sometimes standing in place of komon . In the present day, many yukata are brightly coloured, featuring large motifs from a variety of different seasons. For women, they are worn with either a hanhaba obi (half-width obi ) or a heko obi (a soft, sash-like obi ), and are often accessorised with colourful hair accessories. For men, yukata are worn with either an informal kaku obi or a heko obi . Children generally wear a heko obi with yukata . Yukata are always unlined, and it is possible for women to wear a casual nagoya obi with a high-end, more subdued yukata , often with a juban underneath. A high-end men's yukata could also be dressed up in the same way. A yukata is traditionally worn as a single layer or over a hadajuban (an underkimono worn underneath the nagajuban , featuring a simplified construction). Yukata may also be worn over the top of a t-shirt and shorts. This distinguishes yukata from a more-formal komon kimono, where a nagajuban (also simply referred to as a juban , an underkimono resembling) is worn underneath, showing a second layer of collar at the neckline. However, some modern yukata are worn with collared cotton juban featuring a collar of linen, cotton or ro , for occasions such as informal eating-out. [38] (#cite_note-mochi_juban-39) [34] (#cite_note-mochi_komon-35) Tsumugi [ edit ] Main article: Tsumugi (/wiki/Tsumugi) Detailed kasuri (/wiki/Kasuri) ( 絣 (https://en.wiktionary.org/wiki/%E7%B5%A3) ) on an Ōshima-tsumugi (/wiki/%C5%8Cshima-tsumugi) Kimono Tsumugi (/wiki/Tsumugi) ( 紬 (https://en.wiktionary.org/wiki/%E7%B4%AC) ) are casual silk kimono worn by both men and women. Tsumugi kimono traditionally referred to kimono woven in plain weave with silk noil (/wiki/Silk_noil) , short- staple (/wiki/Staple_(textiles)) silk fibre, though now include various types of casual silk kimono whereby the pattern is produced by weave as opposed to surface dying. [54] (#cite_note-56) Tsumugi (/wiki/Tsumugi) kimono are often dyed with Kasuri (/wiki/Kasuri) patterns. [55] (#cite_note-57) Komon [ edit ] A komon with a small, repeating floral pattern Komon ( 小紋 (https://en.wiktionary.org/wiki/%E5%B0%8F%E7%B4%8B) , lit. ' small pattern ' , though the patterns may in fact be large) are informal women's kimono. They were the type most often worn as everyday womenswear in pre-war Japan. Though informal, komon with smaller, denser patterns are considered a shade more formal than komon with larger, bolder patterns. Komon mostly have no kamon (crests), and the sleeves are fairly short. They are made with a repeating designs, though the repeat length may be quite long. Designs can be made with any method; woven patterns, prints, stencilled patterns in alternating orientations, freehand painting ( yūzen (/wiki/Y%C5%ABzen) ) or tie-dye patterns ( shibori (/wiki/Shibori) ). Traditionally the direction of the fabric was alternated in adjacent panels (necessary due to the lack of shoulder seam), so patterns were generally reversible. If the pattern is the same way up on each panel, the komon is more formal, approaching tsukesage -level formality. [ citation needed ] Woven geometric patterns (such as stripes) have no season, but others show images representing the season in general. Woven non-geometric patterns ( kasuri (/wiki/Kasuri) ) are also common. Small, dense patterns are often used; this is practical, as fine-scale patterns hides stains. Komon are made with informal materials such as tsumugi (/wiki/Tsumugi) (slubbed silk), cotton, linen, ramie, and hemp. In the modern day, synthetic blends and synthetics are also used; rayon ( jinken ) and polyester are common. Now that kimono are not typically worn as informal clothing, komon are not worn as often as formal kimono, though they have a wider range of suitable use. Edo komon (#Edo_komon) are the most formal type of komon ; they may have one to three crests, with a small, fine pattern that appears to be a solid colour from a distance, and so resembles the more formal iromuji . Edo komon [ edit ] This edo komon pattern is stencil-dyed onto the fabric. Edo komon ( 江戸小紋 (https://en.wiktionary.org/wiki/%E6%B1%9F%E6%88%B8%E5%B0%8F%E7%B4%8B) ) are a type of komon worn by women characterised by an extremely small repeating pattern, usually done in white on a coloured background. The edo komon dyeing technique is sometimes said to originate in the late Heian period (circa mid-12th century), with a motif called kozakura , which shows tiny stylised cherry blossoms on a background of white dots. In the Edo period (/wiki/Edo_period) (1603–1867), the samurai (/wiki/Samurai) classes used them for kamishimo (/wiki/Kamishimo) formal wear, with specific patterns becoming associated with specific families. Towards the end of the Edo period, in the early 1800s, commoners began to wear them. [56] (#cite_note-58) Edo komon are of a similar formality to iromuji , and edo komon with one kamon can be worn as low-formality visiting wear; because of this, they are always made of silk, unlike regular komon . Iromuji [ edit ] Iromuji Iromuji ( 色無地 (https://en.wiktionary.org/wiki/%E8%89%B2%E7%84%A1%E5%9C%B0) , lit. ' solid colour ' ) are monochromatic, undecorated women's kimono mainly worn to tea ceremonies, as the monochrome appearance is considered to be unobtrusive to the ceremony itself. Despite being monochromatic, iromuji may feature a woven design; iromuji suitable for autumn are often made of rinzu (/wiki/Rinzu) damask silk. Some edo komon with incredibly fine patterns are also considered suitable for tea ceremony, as from a distance they are visually similar to iromuji . Iromuji may occasionally have one kamon , though likely no more than this, and are always made of silk. Shibori accessories such as obiage are never worn with iromuji if the purpose of wear is a tea ceremony; instead, flat and untextured silks are chosen for accessories. Tsukesage [ edit ] Tsukesage Tsukesage ( 付け下げ (https://en.wiktionary.org/wiki/%E4%BB%98%E3%81%91%E4%B8%8B%E3%81%92) ) are low-ranking women's formalwear, and are a step below hōmongi , though the two sometimes appear similar or indistinguishable. The motifs on a tsukesage are placed similarly to those of a hōmongi – across the back-right shoulder and back-right sleeve, the front-left shoulder and the front-left sleeve, and across the hem, higher at the left than the right – but, unlike hōmongi , do not typically cross over the seams of each kimono panel, though some confusingly do. In older examples, the motifs may instead be placed symmetrically along the hem, with the skirt patterns mirrored down the centre-back seam. [39] (#cite_note-mochi_furisode-40) Similarities between tsukesage and hōmongi often lead to confusion, with some tsukesage indistinguishable from hōmongi ; often, tsukesage are only distinguishable from hōmongi by the size of the motifs used, with smaller, less fluid motifs generally considered to be tsukesage , and larger, more fluid motifs considered to be hōmongi . [57] (#cite_note-tsukesage-59) Tsukesage can have between one and three kamon , and can be worn to parties, but not ceremonies or highly formal events. Hōmongi [ edit ] Hōmongi Hōmongi ( 訪問着 (https://en.wiktionary.org/wiki/%E8%A8%AA%E5%95%8F%E7%9D%80) , lit. ' visiting wear ' ) are women's formal kimono with the same pattern placement as a tsukesage , but with patterns generally matching across the seams. They are always made of silk, and are considered more formal than the tsukesage . Hōmongi are first roughly sewn up, and the design is sketched onto the fabric, before the garment is taken apart to be dyed again. The hōmongi 's close relative, the tsukesage , has its patterns dyed on the bolt before sewing up. This method of production can usually distinguish the two, as the motifs on a hōmongi are likely to cross fluidly over seams in a way a tsukesage generally will not. [57] (#cite_note-tsukesage-59) However, the two can prove near-indistinguishable at times. Hōmongi may be worn by both married and unmarried women; often friends of the bride will wear hōmongi to weddings (except relatives) and receptions. They may also be worn to formal parties. Irotomesode [ edit ] An irotomesode dating to the 1920s displaying a mirrored skirt pattern (the same garment as in the wedding image at the top of the page) Irotomesode ( 色留袖 (https://en.wiktionary.org/wiki/%E8%89%B2%E7%95%99%E8%A2%96) , lit. ' colour short-sleeve ' ) are formal women's kimono that feature a design along the hem on a coloured background. They are slightly less formal than kurotomesode , which have roughly the same pattern placement on a black background. Irotomesode , though worn to formal events, may be chosen when a kurotomesode would make the wearer appear to be overdressed for the situation. The pattern placement for irotomesode is roughly identical to kurotomesode , though patterns seen along the fuki and okumi may drift slightly into the back hem itself. Irotomesode with five kamon are of the same formality as any kurotomesode . Irotomesode may be made of figured silk such as rinzū . Iro-montsuki [ edit ] Iro-montsuki ( lit. ' colour mon -decorated ' ) are formal men's kimono. Iro-montsuki feature formal crests along the shoulders on a colour background, which, apart from the cut of the sleeve, appears the same as an irotomesode from the waist up, and thus cannot be distinguished in pattern when worn under the hakama . [49] (#cite_note-mimi_men-50) Because formalwear for men requires hakama , [49] (#cite_note-mimi_men-50) men do not wear formal kimono that have elaborate patterns on the hem, as these would be hidden. [58] (#cite_note-tim-60) Kurotomesode [ edit ] A pre-WWII kurotomesode with three crests and longer sleeves Kurotomesode ( 黒留袖 (https://en.wiktionary.org/wiki/%E9%BB%92%E7%95%99%E8%A2%96) , lit. ' black short-sleeve ' ) are formal women's kimono, featuring a black background and a design along the hem. They are the most formal women's kimono, and are worn to formal events such as weddings and wedding parties. The design is only present along the hem; the further up the body this design reaches, the younger the wearer is considered to be, though for a very young woman an irotomesode may be chosen instead, kurotomesode being considered somewhat more mature. The design is either symmetrically placed on the fuki and okumi portions of the kimono, or asymmetrically placed along the entirety of the hem, with the design being larger and higher-placed at the left side than the right. Vintage kimono are more likely to have the former pattern placement than the latter, though this is not a hard rule. Kurotomesode are always made of silk, and may have a hiyoku – a false lining layer – attached, occasionally with a slightly padded hem. A kurotomesode usually has between 3 and 5 crests; a kurotomesode of any number of crests outranks an irotomesode with less than five. Kurotomesode , though formalwear, are not allowed at the royal court, as black is the colour of mourning, despite the colour designs decorating the kimono itself; [ citation needed ] outside of the royal court, this distinction for kurotomesode does not exist. Kurotomesode are never made of flashy silks such as rinzū , but are instead likely to be a matte fabric with little texture. Kurotomesode typically feature kazari jitsuke ( 飾り仕付け ) , small white decorative prickstitches along the collar. Kuro-montsuki [ edit ] Kuro-montsuki ("black mon -decorated") are the most formal men's kimono, which, apart from the cut of the sleeve, look exactly the same from the waist up as a kurotomesode , and thus cannot be distinguished in pattern when worn under the hakama required for men's formal dress. [49] (#cite_note-mimi_men-50) Occasion-specific types [ edit ] Mofuku [ edit ] Main article: Mourning § Asia (/wiki/Mourning#Asia) Mofuku ( 喪服 (https://en.wiktionary.org/wiki/%E5%96%AA%E6%9C%8D) ) are a category of kimono and kimono accessories suitable for mourning, worn by both men and women. Mofuku kimono, obi and accessories are characterised by their plain, solid black appearance. Mofuku kimono are plain black silk with five kamon , worn with white undergarments and white tabi . Men wear a kimono of the same kind, with a subdued obi and a black-and-white or black-and-grey striped hakama , worn with black or white zōri. A completely black mourning ensemble for women – a plain black obi , black obijime and black obiage – is usually reserved for those closest to the deceased. Those further away will wear kimono in dark and subdued colours, rather than a plain black kimono with a reduced number of crests. In time periods when kimono were worn more often, those closest to the deceased would slowly begin dressing in coloured kimono over a period of weeks after the death, with the obijime being the last thing to be changed over to colour. [1] (#cite_note-Dalby_Fashioning_Culture-1) Uchikake [ edit ] An uchikake (formal over-kimono) depicting cranes (/wiki/Red-crowned_crane) , from the Khalili Collection of Kimono (/wiki/Khalili_Collection_of_Kimono) Uchikake ( 打ち掛け (https://en.wiktionary.org/wiki/%E6%89%93%E3%81%A1%E6%8E%9B%E3%81%91) ) are highly formal women's over-kimono, worn only by brides or onstage. The name uchikake comes from the Japanese (/wiki/Japanese_language) verb uchikake-ru , "to drape upon", originating in roughly the 16th century from a fashion among the ruling classes of the time to wear kimono (then called kosode (/wiki/Kosode) , lit. ' small sleeve ' ) unbelted over the shoulders of one's other garments; [1] (#cite_note-Dalby_Fashioning_Culture-1) : 34 the uchikake progressed into being an over-kimono worn by samurai women before being adopted some time in the 20th century as bridal wear. Uchikake are designed to be worn over the top of a complete kimono outfit with obi , and thus are not designed to be worn belted. Unlike their 16th century counterparts, modern uchikake generally could not double as a regular kimono, as they often feature heavy, highly-formal decoration and may be padded throughout, if not solely on the hem. They are designed to trail along the floor, and the heavily-padded hem helps to achieve this. Bridal uchikake are typically red or white, and often decorated heavily with auspicious motifs. Because they are not designed to be worn with an obi , the designs cover the entirety of the back. Shiromuku [ edit ] A shiromuku with tsunokakushi (wedding headpiece) Shiromuku ( 白無垢 (https://en.wiktionary.org/wiki/%E7%99%BD%E7%84%A1%E5%9E%A2) , lit. ' white pure-innocence ' ) are pure-white wedding kimono worn by brides for a traditional Japanese (/wiki/Marriage_in_Japan) Shinto (/wiki/Shinto) wedding ceremony (/wiki/Wedding_ceremony#Eastern_culture) . Comparable to an uchikake and sometimes described as a white uchikake , the shiromuku is worn for the part of the wedding ceremony, symbolising the purity of the bride coming into the marriage. The bride may later change into a red uchikake after the ceremony to symbolise good luck. A shiromuku will form part of a bridal ensemble with matching or coordinating accessories, such as a bridal katsura ( bridal wig (/wiki/Nihongami#brides) ), a set of matching kanzashi (usually mock-tortoiseshell), and a sensu fan tucked into the kimono. Due to the expensive nature of traditional bridal clothing, few are likely to buy brand-new shiromuku ; it is not unusual to rent kimono for special occasions, and Shinto shrines are known to keep and rent out shiromuku for traditional weddings. Those who do possess shiromuku already are likely to have inherited them from close family members. Susohiki/Hikizuri [ edit ] A geisha's formal susohiki kimono, displaying a kurotomesode -type pattern on the kimono's elongated skirt Susohiki ( lit. ' trailing skirt ' ) (also known as hikizuri ) are women's kimono with a specialised construction that allows them to be worn trailing, with a deep-set and widely-spaced collar. Susohiki are extremely long kimono worn by geisha, maiko , actors in kabuki (/wiki/Kabuki) and people performing traditional Japanese dance (/wiki/Buy%C5%8D) . A susohiki can be up to 230 cm (91 in) long, and are generally no shorter than 200 cm (79 in) from shoulder to hem; this is to allow the kimono to trail along the floor. Susohiki are sewn differently to normal kimono due to the way they are worn. [59] (#cite_note-61) The collar on a susohiki is sewn further and deeper back into the nape of the neck, so that it can be pulled down much lower without causing the front of the kimono to ride up. The sleeves are set unevenly onto the body, shorter at the back than at the front, so that the underarm does not show when the collar is pulled down. Susohiki are also tied differently when they are put on – whereas regular kimono are tied with a visible ohashori , and the side seams are kept straight, susohiki are pulled up somewhat diagonally, to emphasise the hips and ensure the kimono trails nicely on the floor. A small ohashori is tied, larger at the back than the front, but it wrapped against the body with a momi ( lit. ' red silk ' ) wrap, which is then covered by the obi , rendering the ohashori invisible. [c] (#cite_note-63) Aside from their specialised construction, susohiki can resemble many other types of women's kimono in their decoration, fabric type, colour and sleeve length. The susohiki worn by geisha and their apprentices are formal kimono worn to engagements, and so are always made of fine silk, resembling kimono of hōmongi formality and above in their pattern placement and background colour. The susohiki worn by kabuki actors varies by role, and so can appear as the humble clothing of an Edo-period merchant's daughter, as well as the fine silk clothing of a samurai woman. These costumes may be made of polyester, as well as silk, informal silk fabrics, cotton, linen or hemp. Pattern placement, colour and design varies by role, with many roles having costume designs preserved from previous centuries. The susohiki worn by people performing traditional Japanese dance typically feature a bold design in block colours, as their clothing must stand out from the stage. Performers performing in a group wear kimono identical to one another, with the bold designs creating visual unity between performers. Related garments and accessories [ edit ] Main article: List of items traditionally worn in Japan (/wiki/List_of_items_traditionally_worn_in_Japan) Though the kimono is the national dress of Japan, it has never been the sole item of clothing worn throughout Japan; even before the introduction of Western dress to Japan, many different styles of dress were worn, such as the attus of the Ainu people (/wiki/Ainu_people) and the ryusou of the Ryukyuan people. Though similar to the kimono, these garments are distinguishable by their separate cultural heritage, and are not considered to be simply 'variations' of kimono such as the clothing worn by the working class is considered to be. Some related garments still worn today were the contemporary clothing of previous time periods, and have survived on in an official and/or ceremonial capacity, worn only on certain occasions by certain people. There are a number of accessories that can be worn with the kimono, and these vary by occasion and use. Some are ceremonial, or worn only for special occasions, whereas others are part of dressing in kimono and are used in a more practical sense. Both geisha (/wiki/Geisha#Appearance) and maiko (/wiki/Maiko#Appearance) wear variations on common accessories that are not found in everyday dress. As an extension of this, many practitioners of Japanese traditional dance (/wiki/Japanese_traditional_dance) wear similar kimono and accessories to geisha and maiko . For certain traditional holidays and occasions some specific types of kimono accessories are worn. For instance, okobo (/wiki/Okobo) , also known as pokkuri , are worn by girls for shichi-go-san (/wiki/Shichi-go-san) , alongside brightly coloured furisode . Okobo are also worn by young women on seijin no hi (/wiki/Seijin_no_hi) (Coming of Age Day). Layering [ edit ] Pre-WW2, kimono were commonly worn layered, with three being the standard number of layers worn over the top of undergarments. The layered kimono underneath were known as dōnuki , and were often a patchwork of older or unwearable kimono taken apart for their fabric. Specifically-designed matching sets of formal layered kimono were known as o-tsui , and generally featured the same design presented on different background colours, such as white (innermost), red (middle layer) and black (outermost). [22] (#cite_note-Taisho_Kimono-23) : 42 The innermost layers, known as shitagi , typically featured the plainest decorative techniques, such as dyework only, and the successive outer layers would feature techniques such as embroidery and couched gold thread, with the outermost layer – known as the uwagi – displaying the most extensive decoration. [22] (#cite_note-Taisho_Kimono-23) : 45 These matching sets would be designed and created together, commonly as part of a bride's outfit for a wedding. Extant intact sets of o-tsui kimono are difficult to find, particularly in good condition, with the innermost kimono typically damaged and in poor condition. [22] (#cite_note-Taisho_Kimono-23) : 46 In modern Japan, at least one layer is typically worn next to the skin when wearing kimono. Traditionally, this would be the hadagi or hadajuban , a tube-sleeved, wrapped-front garment considered to be underwear, though in the modern day, regular underwear is sometimes worn instead, and a traditional hadajuban is not considered strictly necessary. A hadajuban is typically made of something more washable than silk, such as cotton, hemp, linen or some synthetic fibres. For all forms of kimono except the yukata (excluding high-quality yukata dressed up as komon ), a nagajuban ( lit. ' long juban ' ) , often known and referred to as a juban , is worn over the top of any underwear. The juban resembles a kimono made of a lighter, thinner fabric, not uncommonly constructed without an okumi panel at the front, and often has a collar cover known as a han'eri sewn over its collar. The han'eri , which is visible at the neckline when worn underneath a kimono, is designed to be replaced and washed when needed. [38] (#cite_note-mochi_juban-39) In modern-day Japan, layered kimono are generally only seen on the stage, whether for classical dances or in kabuki. A false second layer called a hiyoku ( 比翼 , "second wing") may be attached instead of an entirely separate kimono to achieve this look; the hiyoku resembles the lower half of a kimono's lining which, and is sewn to the kimono horizontally along the back. A hiyoku may have a false collar attached to it, or a matching false collar sewn to the kimono separately, creating the illusion of a layered kimono at the neckline; separate false sleeve cuffs may also be sewn into the kimono to create this effect. Kimono featuring hiyoku can be seen in some kabuki performances such as Fuji Musume (/wiki/Fuji_Musume) , where the kimono is worn with the okumi flipped back slightly underneath the obi to expose the design on the hiyoku . The hiyoku can also be seen on some bridal kimono. Care [ edit ] How to fold a kimono In the past, a kimono would often be entirely taken apart for washing, and then re-sewn for wearing. [24] (#cite_note-Dalby_Geisha-25) This traditional washing method involves two steps: taking the kimono apart and washing each piece ( toki arai ) and then stretching each piece of a kimono onto a board to dry after they have been washed and starched ( arai hari ). [61] (#cite_note-64) Because the stitches must be taken out for washing, traditional kimono need to be hand sewn. The process of traditionally washing kimono is very expensive and difficult and is one of the causes of the declining popularity [ citation needed ] of kimono. Modern fabrics and cleaning methods have been developed that eliminate this need, although the traditional washing of kimono is still practiced, especially for high-end garments. New, custom-made kimono are generally delivered to a customer with long, loose basting (/wiki/Tack_(sewing)) stitches placed around the outside edges. These stitches are called shitsuke ito (not to be confused with kazari jitsuke , the small white prickstitching seen along the collar of kurotomesode ). They are sometimes replaced for storage. They help to prevent bunching, folding and wrinkling, and keep the kimono's layers in alignment. Like many other traditional Japanese garments, there are specific ways to fold kimono. These methods help to preserve the garment and to keep it from creasing when stored. Kimono are often stored wrapped in acid-free paper envelopes known as tatōshi . Kimono need to be aired out (/wiki/Airing_(air_circulation)) at least seasonally and before and after each time they are worn. Many people prefer to have their kimono dry cleaned (/wiki/Dry_cleaning) . Although this can be extremely expensive, it is generally less expensive than the traditional method of taking a kimono apart to clean it. This may, however, be impossible for certain fabrics or dyes. Sanchi , Kimono Production Regions [ edit ] Kimono are produced in different regions all over Japan. Locations known for making kimono are often called Sanchi . Many of these regional variations still exist today and are recognized as meibutsu (/wiki/Meibutsu) , famous products of their place of origin. Name Kanji (/wiki/Kanji) Location Notes Example image Kumejima-tsumugi (/wiki/Kumejima-tsumugi) 久米島紬 Kumejima, Okinawa (/wiki/Kumejima,_Okinawa) Miyako Jofu (/wiki/Miyako_Jofu) 宮古上布 Miyako, Okinawa (/wiki/Miyako,_Okinawa) Oitama 置賜 Yamagata Including: Benibana tsumugi Heiyōgasuri Itajime kogasuri Kusakizome tsumugi Shirataka itajime kogasuri Yokosogasuri Shiozawa tsumugi 塩沢島紬 Shiozawa, Niigata (/wiki/Shiozawa,_Niigata) Kurume-Gasuri 久留米絣 Kurume, Fukuoka (/wiki/Kurume,_Fukuoka) Cotton Kimono known for often hand woven kasuri (/wiki/Kasuri) Ushikubi tsumugi 牛首紬 Hakusan, Ishikawa (/wiki/Hakusan,_Ishikawa) Yūki-tsumugi (/wiki/Y%C5%ABki-tsumugi) 結城紬 Yūki, Ibaraki (/wiki/Y%C5%ABki,_Ibaraki) Yūki-tsumugi (/wiki/Y%C5%ABki-tsumugi) kimono are often made with thread spun by hand. It can take up to three months to make enough thread for one kimono by an experienced weaver. [62] (#cite_note-65) Ōshima-tsumugi (/wiki/%C5%8Cshima-tsumugi) 大島紬 Amami Ōshima (/wiki/Amami_%C5%8Cshima) Ōshima Tsumugi kimono are dyed with mud and dyed from the bark of Sharinbai Tree creating a deep black color. Mud dyed kasuri (/wiki/Kasuri) threads are hand woven together to create patterns. [63] (#cite_note-66) Outside of Japan [ edit ] Kimono are worn outside of Japan in a variety of circumstances. Kimono may be worn to Shinto ceremonies by Brazilian girls of Japanese descent (/wiki/Japanese_Brazilians) in Curitiba (/wiki/Curitiba) , in the Brazilian state of Paraná (/wiki/Paran%C3%A1_(state)) . [ citation needed ] Kimono are also worn by Japanese Americans (/wiki/Japanese_Americans) , and by other members of the Japanese diaspora (/wiki/Japanese_diaspora) overseas, such as Japanese Filipinos in the Philippines (see Japanese in the Philippines (/wiki/Japanese_in_the_Philippines) ). Kimono are collected in the same way as Japanese hobbyists by some non-Japanese, and may be worn to events such as Kimono de Jack gatherings. [20] (#cite_note-Valk-21) [ page needed ] See also [ edit ] Jūnihitoe (/wiki/J%C5%ABnihitoe) List of items traditionally worn in Japan (/wiki/List_of_items_traditionally_worn_in_Japan) Sokutai (/wiki/Sokutai) Notes [ edit ] ^ (#cite_ref-2) The term kimono comes from the verb ' to wear (on the shoulders) ' ( 着る (https://en.wiktionary.org/wiki/%E7%9D%80%E3%82%8B) , kiru ) , and the noun ' thing ' ( 物 (https://en.wiktionary.org/wiki/%E7%89%A9) , mono ) . [1] (#cite_note-Dalby_Fashioning_Culture-1) Though 'kimonos' is technically an acceptable plural for the term kimono in English, Japanese has no conventions of adding an -s suffix to denote plurality in transliterated words; thus, most sources in English use kimono as both singular and plural. ^ (#cite_ref-51) Rough crêpe fabrics are not used for iromuji , whereas smooth crêpe fabrics are. ^ (#cite_ref-63) Video reference showing Atami geisha Kyouma being dressed in hikizuri – the second video shows the difference between ohashori length at the front and back, showing how it is tied into the obi so as to be not visible. [60] (#cite_note-62) References [ edit ] ^ Jump up to: a b c d e f g h i j k l Dalby, Liza (1993). Kimono: Fashioning Culture (1st ed.). Seattle: University of Washington Press. ISBN (/wiki/ISBN_(identifier)) 9780099428992 . ^ (#cite_ref-3) Spacey, John. "5 Embarrassing Kimono Mistakes" (https://www.japan-talk.com/jt/new/kimono-mistakes) . japan-talk.com . Japan Talk . Retrieved 27 January 2020 . ^ (#cite_ref-4) "About the size of tanmono (a roll of kimono cloth)" (https://archive.today/20200704203011/https://hirotatsumugi.jp/blogen/post-5579) . hirotatsumugi.jp . Hirota Tsumugi. Archived from the original (https://hirotatsumugi.jp/blogen/post-5579) on 4 July 2020 . Retrieved 27 January 2020 . ^ (#cite_ref-Sharnoff_5-0) Sharnoff, Lora (1993). Grand Sumo: The Living Sport and Tradition . Weatherhill. ISBN (/wiki/ISBN_(identifier)) 0-8348-0283-X . ^ (#cite_ref-Jill_6-0) Liddell, Jill (1989). The Story of the Kimono . E.P. Dutton. p. 28. ISBN (/wiki/ISBN_(identifier)) 978-0525245742 . ^ (#cite_ref-7) Elizabeth LaCouture, Journal of Design History, Vol. 30, Issue 3, 1 September 2017, Pages 300–314 . ^ (#cite_ref-Wada_8-0) Wada, Yoshiko Iwamoto; Rice, Mary Kellogg; Barton, Jane (2011). Shibori: The Inventive Art of Japanese Shaped Resist Dyeing (3rd ed.). New York: Kodansha USA, Inc. pp. 11–13. ISBN (/wiki/ISBN_(identifier)) 978-1-56836-396-7 . ^ (#cite_ref-9) Textile Museum (Washington, D.C.) (1996). The kimono inspiration : art and art-to-wear in America . Rebecca A. T. Stevens, Yoshiko Iwamoto Wada, Textile Museum (1st ed.). Washington, D.C.: Pomegranate. p. 132. ISBN (/wiki/ISBN_(identifier)) 0-87654-897-4 . OCLC (/wiki/OCLC_(identifier)) 33947597 (https://www.worldcat.org/oclc/33947597) . ^ Jump up to: a b Stevens, Rebecca A. T.; Wada, Yoshiko Iwamoto (1996). The kimono inspiration: art and art-to-wear in America (first ed.). Washington DC, San Francisco: The Textile Museum, Pomegranate Artbooks. ISBN (/wiki/ISBN_(identifier)) 0-87654-897-4 . OCLC (/wiki/OCLC_(identifier)) 33947597 (https://www.worldcat.org/oclc/33947597) . ^ Jump up to: a b Rogers, Krista (14 December 2015). "Dress like an aristocrat from the Nara period at new costume rental shop in Nara【Photos】" (https://soranews24.com/2015/12/14/dress-like-an-aristocrat-from-the-nara-period-at-new-costume-rental-shop-in-nara%E3%80%90photos%E3%80%91/) . SoraNews24 -Japan News- . Retrieved 16 October 2021 . ^ (#cite_ref-raiment_12-0) Rybalko, Svitlana (June 2012). "JAPANESE TRADITIONAL RAIMENT IN THE CONTEXT OF EMERGENT CULTURAL PARADIGMS" (https://www.academia.edu/3435310) . Cogito (2066-7094, Humanities Source, EBSCO (Host) . 4 (2): 112–123 . Retrieved 29 October 2016 . ^ (#cite_ref-13) "The Arts of Edo Japan" (https://education.asianart.org/wp-content/uploads/sites/6/2019/12/Arts-of-Edo.pdf) (PDF) . Asian Art Museum . 18 March 2000. ^ (#cite_ref-14) 平安時代の貴族の服装 (https://www2.nhk.or.jp/school/movie/clip.cgi?das_id=D0005310767_00000) Archived (https://web.archive.org/web/20210819153341/https://www2.nhk.or.jp/school/movie/clip.cgi?das_id=D0005310767_00000) 19 August 2021 at the Wayback Machine (/wiki/Wayback_Machine) NHK (/wiki/NHK) for school ^ (#cite_ref-Fgarments_15-0) Badgley, Joshua L. "Women's Garments" (https://sengokudaimyo.com/garb/womens-garments) . Sengoku Daimyo . ^ Jump up to: a b Badgley, Joshua L. "Women's Outfits" (https://sengokudaimyo.com/garb/womens-outfits) . Sengoku Daimyo . ^ (#cite_ref-Bardo_17-0) Fassbender, Bardo; Peters, Anne; Peter, Simone; Högger, Daniel (2012). The Oxford Handbook of the History of International Law . Oxford: Oxford University Press. p. 477. ISBN (/wiki/ISBN_(identifier)) 978-0198725220 . ^ (#cite_ref-18) "Genroku period | Edo culture, Ukiyo-e art & Kabuki theater | Britannica" (https://www.britannica.com/event/Genroku-period) . www.britannica.com . Retrieved 4 June 2024 . ^ (#cite_ref-19) Ishimura Hayao et al. Robes of Elegance: Japanese Kimonos of the 16th-20th Centuries . North Carolina Museum of Art (/wiki/North_Carolina_Museum_of_Art) (1988), p. 1. ISBN (/wiki/ISBN_(identifier)) 0-88259-955-0 (/wiki/Special:BookSources/0-88259-955-0) . ^ (#cite_ref-20) 町人のきもの 1 寛文~江戸中期までの着物 (https://www.jstage.jst.go.jp/article/fiber/64/7/64_7_P_242/_pdf) Mami Baba. Sen'i gakkaishi vol.64 ^ 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 Valk, Julie (2018). "Survival or Success? The Kimono Retail Industry in Contemporary Japan" (https://ora.ox.ac.uk/objects/uuid:80d0a41f-fdf0-41a8-a7cd-16c3b1f07845/download_file?file_format=pdf&safe_filename=Thesis%2BJulie%2BValk%2B%2528dissemination%2529.pdf&type_of_work=Thesis) (D.Phil thesis) . University of Oxford (/wiki/University_of_Oxford) . Retrieved 24 January 2020 . ^ (#cite_ref-22) 更新日:2010年11月25日. "戦時衣生活簡素化実施要綱" (https://web.archive.org/web/20080616143836/http://www.ndl.go.jp/horei_jp/kakugi/txt/txt00477.htm) . Ndl.go.jp. Archived from the original (http://www.ndl.go.jp/horei_jp/kakugi/txt/txt00477.htm) on 16 June 2008 . Retrieved 22 July 2012 . {{ cite web (/wiki/Template:Cite_web) }} : CS1 maint: numeric names: authors list ( link (/wiki/Category:CS1_maint:_numeric_names:_authors_list) ) ^ Jump up to: a b c d e Dees, Jan (2009). Taisho Kimono: Speaking of Past and Present (1st ed.). Milano, Italy: Skira Editore S.p.A. ISBN (/wiki/ISBN_(identifier)) 978-88-572-0011-8 . ^ (#cite_ref-Guardian2019-07-01_24-0) Ho, Vivian (1 July 2019). "#KimOhNo: Kim Kardashian West renames Kimono brand amid outcry" (https://www.theguardian.com/lifeandstyle/2019/jul/01/our-traditional-garment-is-not-spandex-kim-kardashian-west-renames-brand-amid-outcry) . The Guardian . ISSN (/wiki/ISSN_(identifier)) 0261-3077 (https://www.worldcat.org/issn/0261-3077) . Retrieved 2 July 2019 . ^ Jump up to: a b Dalby, Liza (2000). Geisha (3rd ed.). London: Vintage Random House. ISBN (/wiki/ISBN_(identifier)) 978-0099286387 . ^ (#cite_ref-kimono5_26-0) Miyoshi, Yurika. "季節の着物" (https://archive.today/20130812094124/http://kimono5.jp/kimono-of-seasons.html) . kimono5.jp (in Japanese). スリーネクスト (株). Archived from the original (http://kimono5.jp/kimono-of-seasons.html) on 12 August 2013 . Retrieved 2 July 2020 . ^ Jump up to: a b c d "Kimono Seasonal Motifs, Colors and Flowers: Finished!" (https://thekimonolady.blogspot.com/2013/09/kimono-seasonal-motifs-colors-and.html) . thekimonolady.blogspot.com . 30 September 2013. Archived (https://archive.today/20200702211008/https://thekimonolady.blogspot.com/2013/09/kimono-seasonal-motifs-colors-and.html) from the original on 2 July 2020 . Retrieved 2 July 2020 . (Translated from the original Japanese: 茶席 の きもの を 学ぶ: 季節 ごと の 装い [Learning Kimono for Tea Ceremony: Dressing for each season] (in Japanese). Archived from the original (http://wabiji.web.fc2.com/learn/1.htm) on 27 July 2008 . Retrieved 26 August 2022 . ) ^ (#cite_ref-28) Daijisen Dictionary . Shogakukan. "呉服 Gofuku, Kure-hatori" 1. A general term for kimono textiles, a bolt of fabric 2. The name of silk fabrics as opposed to Futomono 3. A twill woven with the method from the country of Go in ancient China, Kurehatori (literally translates as a weave of Kure) ^ (#cite_ref-29) Tanaka, Atsuko (2012). きもの自分流入門 (in Japanese). Tokyo: Shogakukan. p. 82. ISBN (/wiki/ISBN_(identifier)) 9784093108041 . ^ (#cite_ref-simple_30-0) Joseph, Lisa A. "Kosode: a Japanese garment for the SCA period" (http://www.wodefordhall.com/page4.html) . www.wodefordhall.com . Retrieved 10 June 2021 . ^ (#cite_ref-boronobi_31-0) Wada, Yoshiko (1 January 2004). Boro no Bi : Beauty in Humility—Repaired Cotton Rags of Old Japan . Textile Society of America Symposium Proceedings . ^ Jump up to: a b Victoria and Albert Museum. Department of Textiles; Smith, A. D. Howell; Koop, Albert J. (Albert James) (1919–1920). Guide to the Japanese textiles: Costume . Vol. 2. Translated by Inada, Hogitaro. Harold B. Lee Library. London : Printed under the authority of H. M. Stationery Office. (translator did not translate the full book text, but from the acknowledgements of vol 1 it sounds as if some of his translations might be incorporated into the work. Volume 1 came out in 1919, volume 2 in 1920. Note the work is in the public domain, therefore the fulltext (/wiki/File:Guide_to_Japanese_Textiles,_Part_II.pdf) is not copyright) ^ (#cite_ref-33) "男のきもの大全" (http://www.kimono-taizen.com/) . Kimono-taizen.com. 22 February 1999 . Retrieved 13 August 2012 . ^ Jump up to: a b Sawada, Kazuto (9 May 2014). "Furisode and teenage boys" (https://archive.today/20140509012219/http://www.rekihaku.ac.jp/english/publication/rekihaku/137witness.html) . Bimonthly Magazine REKIHAKU . 137 A Witness to History. National Museum of Japanese History. Archived from the original (http://www.rekihaku.ac.jp/english/publication/rekihaku/137witness.html) on 9 May 2014. ^ Jump up to: a b c d e "Komon kimono" (https://kimonomochi.jimdofree.com/komon/) . Kimono mochi: kimono collection . [for some reason the author used this abstract as the HTML title, so I've preserved it in the citation]The lowly komon kimono is the workhorse of the kimono wardrobe, worn for trips to town, to friends houses, in any situation which is outside of the home but informal. Despite their name, which means 'small design', komon can have large or small imagery, and the repeat can be staggered widely. painted, closely stencilled, woven, Printed, striped, spotted, shibori, silk, jinken, modern polyester--if it's a repetitive design, short-sleeved, and without kamon, then it's a komon. ^ (#cite_ref-36) "Kimono Seasonal Motifs, Flowers, and Colors: May" (http://thekimonolady.blogspot.com/2013/04/kimono-seasonal-motifs-flowers-and_30.html?m=1) . thekimonolady.blogspot.com . 13 April 2013. Archived (https://archive.today/20200703112215/http://thekimonolady.blogspot.com/2013/04/kimono-seasonal-motifs-flowers-and_30.html?m=1) from the original on 3 July 2020 . Retrieved 3 July 2020 . ^ (#cite_ref-37) "Costume History in Japan - The Kamakura Period" (http://www.iz2.or.jp/english/fukusyoku/busou/index.htm) . iz2.or.jp . The Costume Museum . Retrieved 13 June 2020 . ^ (#cite_ref-38) Watson, William, ed. (1981). The Great Japan Exhibition: Art of the Edo Period 1600-1868 . London: Royal Academy of Arts. pp. 222–229. [A number of visual examples of Edo-period kosode , with a variety of sleeve lengths and proportions showing the variation in style and shape throughout the era.] ^ Jump up to: a b c d e f g "Juban" (https://kimonomochi.jimdofree.com/juban/) . Kimonomochi: kimono collection . [for some reason the author used this abstract as the HTML title, so I've preserved it in the citation] Juban covers a wide range of undergarments which are worn between the silk kimono and the skin, to protect the delicate, expensive and often unwashable kimono from sweat and skin oils. Juban worn next to the skin are generally described as hadagi or hadajuban and need to be washable, so are cotton, hemp, linen or, more recently, synthetic fibers. Nagajuban are the outer layer of kimono underwear, and can be silk or synthetic, lined (awase) or unlined (hitoe). In summer, one can lessen the layers or just wear a han-juban (literally half-juban) with no susoyoke (skirt). The only part of a juban which is seen after dressing is the collar, which is removable so that a clean matching collar can be replaced at short notice. collars (eri) are a separate area, with many types, fabrics and levels of intracacy. ^ Jump up to: a b c d e f g "Furisode" (https://kimonomochi.jimdofree.com/) . Kimono Mochi: private kimono collection photographs and text . Retrieved 31 July 2021 . ^ (#cite_ref-41) Coline, Youandi (26 October 2018). "Women's vs Men's kimono" (https://chayatsujikimono.wordpress.com/2018/10/26/womens-vs-mens-kimono/) . chayatsujikimono.wordpress.com . Chayatsuji Kimono . Retrieved 13 June 2020 . ^ Jump up to: a b "Furisode vs. Tomesode The Kimono Lady" (http://thekimonolady.blogspot.com/2010/01/furisode-vs-tomesode.html) . The Kimono Lady . 24 January 2010. ^ Jump up to: a b c d e f "Introduction Of Furisode, With Obi And Kimono Accessories | かふぇきもの Cafekimono" (https://cafe-kimono.com/en/introduction-of-furisode-with-obi-and-accessories/) . cafe-kimono.com . 13 February 2020. ^ Jump up to: a b "Main Kimono Types (general info)" (https://mai-ko.com/travel/culture-in-japan/kimono/main-kimono-types-general-info/) . Tea Ceremony Japan Experiences MAIKOYA . 28 October 2020. ^ (#cite_ref-45) "How to buy a kimono in Japan" (https://jobsinjapan.com/japan-faq/how-to-buy-a-kimono-in-japan/) . Jobs in Japan . 25 June 2023 . Retrieved 25 June 2023 . ^ (#cite_ref-Cliffe_46-0) Cliffe, Sheila (23 March 2017). The Social Life of Kimono (1st ed.). New York: Bloomsbury Academic. ISBN (/wiki/ISBN_(identifier)) 978-1-4725-8553-0 . ^ (#cite_ref-47) Tsuruoka, Hiroyuki. "The unspoiled market found by the lost office workers" (http://jbpress.ismedia.jp/articles/-/40138) . Japan Business Press (in Japanese) . Retrieved 14 May 2019 . ^ (#cite_ref-restoration_48-0) Fukatsu-Fukuoka, Yuko (2004). "The Evolution of (https://digitalcommons.unl.edu/cgi/viewcontent.cgi?article=1474&context=tsaconf) Yuzen -dyeing Techniques and Designs after the Meiji Restoration" (https://digitalcommons.unl.edu/cgi/viewcontent.cgi?article=1474&context=tsaconf) . Textile Society of America Symposium Proceedings (475). DigitalCommons@University of Nebraska - Lincoln. Archived (https://web.archive.org/web/20231007161552/https://digitalcommons.unl.edu/cgi/viewcontent.cgi?article=1474&context=tsaconf) from the original on 7 October 2023. ^ Jump up to: a b c "Tomosode" (https://kimonomochi.jimdofree.com/tomesode/) . Kimonomochi: kimono collection . [for some reason the author used this abstract as the HTML title, so I've preserved it in the citation] On this page are some of my tomesode. Most are black-background kuro-tomesode, but there is the odd iro-tomesode (coloured tomesode) too. In the list of formality, tomesode rank to the top, becoming more formal the higher the number of kamon (small family emblems to the center back, each sleeve back, and each chest side to the front). Iro-tomesode may be worn by both married and unmarried women, though kuro-tomesode are exclusively worn by married women. in days past, the closer the design was to the hemline and the more muted the colours, the older the wearer (Wearing a tomesode that was too bright or too effusive in design was the equivalent of 'mutton dressed as lamb', and very definitely not iki!). Thus it was possible to read a lot of information from a wearer's kimono (age, family, status, children) without ever having spoken to them, saving faux-pas and so all-important face! ^ Jump up to: a b c d e f Mimi. "Male article: Type and difference of kimono" (https://mangadejapan.com/articles/detail/1010) . Manga de Japan . Manga Designers Lab . Retrieved 2 August 2021 . ^ Jump up to: a b "Kimono Seasonal Flowers, Motifs, and More: June" (http://thekimonolady.blogspot.com/2012/12/kimono-seasonal-flowers-motifs-and-more.html?m=1) . thekimonolady.blogspot.com . 16 October 2012. Archived (https://archive.today/20220105221053/http://thekimonolady.blogspot.com/2012/12/kimono-seasonal-flowers-motifs-and-more.html?m=1) from the original on 5 January 2022 . Retrieved 26 August 2022 . (Translated from the original Japanese: 茶席 の きもの を 学ぶ: 季節 ごと の 装い [Learning Kimono for Tea Ceremony: Dressing for each season] (in Japanese). Archived from the original (http://wabiji.web.fc2.com/learn/1.htm) on 27 July 2008 . Retrieved 26 August 2022 . ) ^ (#cite_ref-july_kimono_lady_53-0) "Kimono Seasonal Flowers, Motifs, and Colors: July" (http://thekimonolady.blogspot.com/2013/01/kimono-seasonal-flowers-motifs-and.html?m=1) . 19 January 2013. Archived (https://archive.today/20220105221611/http://thekimonolady.blogspot.com/2013/01/kimono-seasonal-flowers-motifs-and.html?m=1) from the original on 5 January 2022 . Retrieved 26 August 2022 . (Translated from the original Japanese: 茶席 の きもの を 学ぶ: 季節 ごと の 装い [Learning Kimono for Tea Ceremony: Dressing for each season] (in Japanese). Archived from the original (http://wabiji.web.fc2.com/learn/1.htm) on 27 July 2008 . Retrieved 26 August 2022 . ) ^ (#cite_ref-54) "Mon and Kamon" (https://wafuku.wordpress.com/2009/03/04/mon-kamon-%E2%80%93-japanese-emblem-crests-%E2%80%93-vintage-antique-japanese-kimonos/) . wafuku.co.uk . Retrieved 20 October 2019 . ^ (#cite_ref-Beni_itajime_55-0) Arai, Masanao; Iwamoto Wada, Yoshiko (2010). "BENI ITAJIME: CARVED BOARD CLAMP RESIST DYEING IN RED" (https://digitalcommons.unl.edu/cgi/viewcontent.cgi?article=1004&context=tsaconf) (PDF) . Textile Society of America Symposium Proceedings . University of Nebraska - Lincoln. Archived (https://web.archive.org/web/20211102105415/https://digitalcommons.unl.edu/cgi/viewcontent.cgi?article=1004&context=tsaconf) from the original on 2 November 2021. ^ (#cite_ref-56) https://kimonoya3daime.hatenadiary.org/entry/20100207/1265518918 (https://kimonoya3daime.hatenadiary.org/entry/20100207/1265518918) ^ (#cite_ref-57) https://www.motoji.co.jp/blogs/artists-origins/oshima-tsumugi (https://www.motoji.co.jp/blogs/artists-origins/oshima-tsumugi) ^ (#cite_ref-58) Okamura, Mayumi. "Edokomon - Kimono" (http://project-japan.jp/edo-komon-kimono/) . project-japan.jp . Project Japan . Retrieved 5 August 2021 . ^ Jump up to: a b Coline, Youandi (2 August 2019). "Formality Series: Tsukesage" (https://chayatsujikimono.wordpress.com/2019/08/02/formality-series-tsukesage/) . chayatsujikimono.wordpress.com . Chayatsuji Kimono . Retrieved 20 October 2019 . ^ (#cite_ref-tim_60-0) Tim (5 October 2020). "Varianten des Kimono: Furisode, Tomesode, Hōmongi & Co" (https://timnotabi.de/varianten-des-kimono-furisode-tomesode-homongi-co/) . Tim no Tabi (in German). ^ (#cite_ref-61) Coline, Youandi (June 2018). "Are kimono and hikizuri the same?" (https://chayatsujikimono.wordpress.com/2018/06/01/are-kimono-and-hikizuri-the-same/) . Chayatsuji Kimono . Retrieved 14 May 2019 . ^ (#cite_ref-62) "[Video from Atami Geigi Kenban on Instagram]" (https://ghostarchive.org/iarchive/s/instagram/BrPk7R-Apeh) (in Japanese). 11 December 2018. Archived from the original (https://www.instagram.com/p/BrPk7R-Apeh/) on 26 December 2021 . Retrieved 14 May 2019 . ^ (#cite_ref-64) 【完全解説】自宅で着物を洗い張りしてみた (video) (in Japanese). さとしの和ちゃんねる. 13 August 2022. Archived (https://web.archive.org/web/20230408102425/https://www.youtube.com/watch?v=9PxdY317o7U) from the original on 8 April 2023 . Retrieved 8 April 2023 – via YouTube. ^ (#cite_ref-65) https://kogeijapan.com/locale/en_US/yukitsumugi/ (https://kogeijapan.com/locale/en_US/yukitsumugi/) ^ (#cite_ref-66) http://www.tumugi.co.jp/english/index.html (http://www.tumugi.co.jp/english/index.html) External links [ edit ] Listen to this article ( 27 minutes ) Duration: 27 minutes and 12 seconds. 27:12 This audio file (/wiki/File:Kimono.ogg) was created from a revision of this article dated 19 February 2009 ( 2009-02-19 ) , and does not reflect subsequent edits. ( Audio help (/wiki/Wikipedia:Media_help) · More spoken articles (/wiki/Wikipedia:Spoken_articles) ) Wikimedia Commons has media related to kimono (https://commons.wikimedia.org/wiki/Category:Kimono) . Look up kimono (https://en.wiktionary.org/wiki/Special:Search/kimono) in Wiktionary, the free dictionary. Wikivoyage has a travel guide for Kimono buying guide (https://en.wikivoyage.org/wiki/Kimono_buying_guide#Q483444) . Articles on contemporary kimono artisans and production regions by Ginza Motoji (https://www.motoji.co.jp/pages/english) The Canadian Museum of Civilization - Archive of the exhibition "The Landscape Kimonos of Itchiku Kubota" (http://www.civilization.ca/cmc/exhibitions/cultur/kimonos/kimoneng.shtml) The Kyoto Costume Museum - Costume History in Japan (http://www.iz2.or.jp/english/) Archived link to the Immortal Geisha Forums; comprehensive resource on kimono knowledge and culture (https://web.archive.org/web/20120324224115/http://immortalgeisha.com/ig_bb/) Articles on kimono from the V&A Collection (http://www.vam.ac.uk/page/k/kimono/) Articles on kimono (https://hirotatsumugi.jp/en/) v t e Japanese clothing (/wiki/Japanese_clothing) List of items traditionally worn in Japan (/wiki/List_of_items_traditionally_worn_in_Japan) Traditional Chihaya (/wiki/Chihaya_(clothing)) Fundoshi (/wiki/Fundoshi) Furisode (/wiki/Furisode) Hanten (/wiki/Hanten) Hakama (/wiki/Hakama) Haori (/wiki/Haori) 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Dhoti (/wiki/Dhoti) Dupatta (/wiki/Dupatta) India (/wiki/Clothing_in_India) Lungi (/wiki/Lungi) Nepal (/wiki/Newar_traditional_clothing) Pakistan (/wiki/Pakistani_clothing) Pathin (/wiki/Pathin) Perak (/wiki/Perak_(headdress)) Peshawari pagri (/wiki/Peshawari_turban) Sari (/wiki/Sari) Shalwar kameez (/wiki/Shalwar_kameez) Sherwani (/wiki/Sherwani) Southeast Burma (/wiki/Burmese_clothing) Longyi (/wiki/Longyi) Gaung baung (/wiki/Gaung_baung) Cambodia (/wiki/Khmer_clothing) Chong Kben (/wiki/Sompot_Chong_Kben) Krama (/wiki/Krama) Sompot (/wiki/Sompot) Sbai (/wiki/Sbai) Indonesia (/wiki/National_costume_of_Indonesia) Baju bodo (/wiki/Bodo_blouse) Batik (/wiki/Batik) Blangkon (/wiki/Blangkon) Ikat (/wiki/Ikat) Kebaya (/wiki/Kebaya) Kemben (/wiki/Kemben) Kupiah (/wiki/Kupiah) Songket (/wiki/Songket) Songkok (/wiki/Songkok) Tanjak (/wiki/Tengkolok) Ulos (/wiki/Ulos) Laos (/wiki/Culture_of_Laos#Traditional_clothing) Xout lao (/wiki/Xout_lao) Suea pat (/wiki/Suea_pat) Sinh (/wiki/Sinh_(clothing)) Malaysia (/wiki/Malaysian_cultural_outfits) Baju Kurung (/wiki/Baju_Kurung) Baju Melayu (/wiki/Baju_Melayu) Songket (/wiki/Songket) Songkok (/wiki/Songkok) Tengkolok (/wiki/Tengkolok) Philippines (/wiki/Fashion_and_clothing_in_the_Philippines) Barong tagalog (/wiki/Barong_tagalog) Baro't saya (/wiki/Baro%27t_saya) Buntal hat (/wiki/Buntal_hat) Malong (/wiki/Malong) Maria Clara gown (/wiki/Maria_Clara_gown) Patadyong (/wiki/Patadyong) Salakot (/wiki/Salakot) Thailand (/wiki/Traditional_Thai_clothing) Banong (/wiki/Traditional_Thai_clothing#Banong) Chong kraben (/wiki/Chong_kraben) Chut Thai (/wiki/Traditional_Thai_clothing) Formal Chut Thai (/wiki/Formal_Thai_national_costume) Pha khao ma (/wiki/Traditional_Thai_clothing#Pha_khao_ma) Pha nung (/wiki/Pha_nung) Raj pattern (/wiki/Raj_pattern) Sabai (/wiki/Sabai) Sinh (/wiki/Sinh_(clothing)) Suea pat (/wiki/Suea_pat) Tabengman (/wiki/Traditional_Thai_clothing#Tabengman) Tudong (/wiki/Tudong) Vietnam (/wiki/Vietnamese_clothing) Áo bà ba (/wiki/%C3%81o_b%C3%A0_ba) Áo dài (/wiki/%C3%81o_d%C3%A0i) Áo giao lĩnh (/wiki/%C3%81o_giao_l%C4%A9nh) Áo tứ thân (/wiki/%C3%81o_t%E1%BB%A9_th%C3%A2n) Middle East Abaya (/wiki/Abaya) Agal (/wiki/Agal_(accessory)) Assyria (/wiki/Assyrian_clothing) Bisht (/wiki/Bisht_(clothing)) Boshiya (/wiki/Boshiya) Burqa (/wiki/Burqa) Chador (/wiki/Chador) Izaar (/wiki/Izaar) Jewish (/wiki/Jewish_religious_clothing) Kippah (/wiki/Kippah) Sheitel (/wiki/Sheitel) Tallit (/wiki/Tallit) Tallit katan (/wiki/Tallit_katan) Tefillin (/wiki/Tefillin) Tzitzit (/wiki/Tzitzit) Jilbāb (/wiki/Jilb%C4%81b) Keffiyeh (/wiki/Keffiyeh) Kurdish (/wiki/Kurdish_clothing) Niqāb (/wiki/Niq%C4%81b) Palestine (/wiki/Palestinian_costumes) Pandama (/wiki/Pandama) Thawb (/wiki/Thawb) Turban (/wiki/Turban) Hejazi (/wiki/Hejazi_turban) Europe Balkan Traditional Albanian clothing (/wiki/Traditional_Albanian_clothing) Brez (/wiki/Brez_(clothing)) Çorape (/wiki/%C3%87orape) Opinga (/wiki/Opinga) Qeleshe (/wiki/Qeleshe) Xhamadan (/wiki/Xhamadan) Xhubleta (/wiki/Xhubleta) Aromanian (/w/index.php?title=Aromanian_traditional_clothing&action=edit&redlink=1) Croatia (/wiki/Croatian_national_costume) Fustanella (/wiki/Fustanella) Greek (/wiki/Greek_dress) Chiton (/wiki/Chiton_(costume)) Chlamys (/wiki/Chlamys) Himation (/wiki/Himation) Macedonia (/wiki/Macedonian_national_costume) Romania (/wiki/Romanian_dress) Serbia (/wiki/Serbian_traditional_clothing) Kosovo (/wiki/Traditional_clothing_of_Kosovo) British Isles Britain Country (/wiki/British_country_clothing) Court (/wiki/Court_uniform_and_dress_in_the_United_Kingdom) Windsor uniform (/wiki/Windsor_uniform) Ireland (/wiki/Irish_clothing) Scottish highlands (/wiki/Highland_dress) Aboyne (/wiki/Aboyne_dress) Feather bonnet (/wiki/Feather_bonnet) Kilt (/wiki/Kilt) Sporran (/wiki/Sporran) Wales (/wiki/Traditional_Welsh_costume) Central Dirndl (/wiki/Dirndl) Lederhosen (/wiki/Lederhosen) Poland (/wiki/National_costumes_of_Poland) Tracht (/wiki/Tracht) Eastern Armenia (/wiki/Armenian_dress) Azerbaijan (/wiki/Azerbaijani_traditional_clothing) Kelaghayi (/wiki/Kelaghayi) Ukraine (/wiki/Ukrainian_national_clothing) Kobeniak (/wiki/Kobeniak) Kozhukh (/wiki/Kozhukh) Kozhushanka (/wiki/Kozhushanka) Ochipok (/wiki/Ochipok) Sharovary (/wiki/Sharovary) Vyshyvanka (/wiki/Vyshyvanka) Ukrainian wreath (/wiki/Ukrainian_wreath) Russia Kokoshnik (/wiki/Kokoshnik) Kosovorotka (/wiki/Kosovorotka) Lapti (/wiki/Bast_shoe) Orenburg shawl (/wiki/Orenburg_shawl) Sarafan (/wiki/Sarafan) Western Netherlands Poffer (/wiki/Poffer) Kraplap (/wiki/Kraplap) Oorijzer (/wiki/Oorijzer) France Breton costume (/wiki/Breton_costume) Spain Traje de flamenca (/wiki/Traje_de_flamenca) Barretina (/wiki/Barretina) Cachirulo (/wiki/Cachirulo) Cordovan hat (/wiki/Cordovan_hat) Sombrero de catite (/wiki/Sombrero_de_catite) Mantilla (/wiki/Mantilla) Italy Ciocia (/wiki/Ciocia) Coppola cap (/wiki/Coppola_cap) Scandinavian Bunad (/wiki/Bunad) Gákti (/wiki/G%C3%A1kti) Iceland (/wiki/Icelandic_national_costume) Sweden (/wiki/Culture_of_Sweden#Folk_costuming) Nationella dräkten (/wiki/Nationella_dr%C3%A4kten) Bäckadräkten (/wiki/B%C3%A4ckadr%C3%A4kten) Sverigedräkten (/w/index.php?title=Sverigedr%C3%A4kten&action=edit&redlink=1) South America Aguayo (/wiki/Aguayo_(cloth)) Chile Chamanto (/wiki/Chamanto) Chilote cap (/wiki/Chilote_cap) Chilote poncho (/wiki/Chilote_poncho) Chupalla (/wiki/Chupalla) Chullo (/wiki/Chullo) Guayabera (/wiki/Guayabera) Liqui liqui (/wiki/Liqui_liqui) Lliklla (/wiki/Lliklla) Panama hat (/wiki/Panama_hat) Pollera (/wiki/Pollera) Poncho (/wiki/Poncho) Ruana (/wiki/Ruana) North America Inuit skin clothing (/wiki/Inuit_clothing) Tignon (/wiki/Tignon) Ceinture fléchée (/wiki/Ceinture_fl%C3%A9ch%C3%A9e) Western wear (/wiki/Western_wear) Bolo tie (/wiki/Bolo_tie) Chaps (/wiki/Chaps) Huipil (/wiki/Huipil) Mexico Huarache (/wiki/Huarache_(shoe)) Mexican pointy boots (/wiki/Mexican_pointy_boots) Rebozo (/wiki/Rebozo) Serape (/wiki/Serape) Sombrero (/wiki/Sombrero) Quechquemitl (/wiki/Quechquemitl) Oceania Grass skirt (/wiki/Grass_skirt) Feather cloak (/wiki/Feather_cloak) I-sala (/wiki/I-sala) Lap-lap (/wiki/Lap-lap) Lavalava (/wiki/Lavalava) Kiekie (/wiki/Kiekie_(clothing)) Pareo (/wiki/Pareo) Sulu (/wiki/Sulu_(skirt)) Taʻovala (/wiki/Ta%CA%BBovala) Tēfui (/wiki/T%C4%93fui) Tupenu (/wiki/Tupenu) Authority control databases (/wiki/Help:Authority_control) : National France (https://catalogue.bnf.fr/ark:/12148/cb11960158p) BnF data (https://data.bnf.fr/ark:/12148/cb11960158p) Germany (https://d-nb.info/gnd/4249579-9) Israel (http://olduli.nli.org.il/F/?func=find-b&local_base=NLX10&find_code=UID&request=987007543570205171) United States (https://id.loc.gov/authorities/sh85072356) Japan (https://id.ndl.go.jp/auth/ndlna/00574112) Czech Republic (https://aleph.nkp.cz/F/?func=find-c&local_base=aut&ccl_term=ica=ph710321&CON_LNG=ENG) Portals (/wiki/Wikipedia:Contents/Portals) : Japan 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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=Kimono&oldid=1232859241 (https://en.wikipedia.org/w/index.php?title=Kimono&oldid=1232859241) " Categories (/wiki/Help:Category) : Dresses (/wiki/Category:Dresses) Japanese full-body garments (/wiki/Category:Japanese_full-body_garments) Robes and cloaks (/wiki/Category:Robes_and_cloaks) Folk costumes (/wiki/Category:Folk_costumes) History of Asian clothing (/wiki/Category:History_of_Asian_clothing) Hidden categories: Articles containing Japanese-language text (/wiki/Category:Articles_containing_Japanese-language_text) Webarchive template wayback links (/wiki/Category:Webarchive_template_wayback_links) CS1 maint: numeric names: authors list (/wiki/Category:CS1_maint:_numeric_names:_authors_list) CS1 Japanese-language sources (ja) (/wiki/Category:CS1_Japanese-language_sources_(ja)) CS1 uses Japanese-language script (ja) (/wiki/Category:CS1_uses_Japanese-language_script_(ja)) CS1: long volume value (/wiki/Category:CS1:_long_volume_value) 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 British English from November 2020 (/wiki/Category:Use_British_English_from_November_2020) Use dmy dates from November 2020 (/wiki/Category:Use_dmy_dates_from_November_2020) Pages using multiple image with auto scaled images (/wiki/Category:Pages_using_multiple_image_with_auto_scaled_images) Articles needing additional references from August 2020 (/wiki/Category:Articles_needing_additional_references_from_August_2020) All articles needing additional references (/wiki/Category:All_articles_needing_additional_references) All articles with unsourced statements (/wiki/Category:All_articles_with_unsourced_statements) Articles with unsourced statements from February 2020 (/wiki/Category:Articles_with_unsourced_statements_from_February_2020) Articles with unsourced statements from August 2021 (/wiki/Category:Articles_with_unsourced_statements_from_August_2021) Articles with unsourced statements from July 2020 (/wiki/Category:Articles_with_unsourced_statements_from_July_2020) Articles with unsourced statements from January 2020 (/wiki/Category:Articles_with_unsourced_statements_from_January_2020) Articles with unsourced statements from September 2021 (/wiki/Category:Articles_with_unsourced_statements_from_September_2021) Articles with unsourced statements from April 2021 (/wiki/Category:Articles_with_unsourced_statements_from_April_2021) Articles with unsourced statements from April 2023 (/wiki/Category:Articles_with_unsourced_statements_from_April_2023) Articles with unsourced statements from December 2021 (/wiki/Category:Articles_with_unsourced_statements_from_December_2021) Wikipedia articles needing page number citations from December 2021 (/wiki/Category:Wikipedia_articles_needing_page_number_citations_from_December_2021) Articles with hAudio microformats (/wiki/Category:Articles_with_hAudio_microformats) Spoken articles (/wiki/Category:Spoken_articles) Commons category link is on Wikidata (/wiki/Category:Commons_category_link_is_on_Wikidata) Articles with BNF identifiers (/wiki/Category:Articles_with_BNF_identifiers) Articles with BNFdata identifiers (/wiki/Category:Articles_with_BNFdata_identifiers) Articles with GND identifiers (/wiki/Category:Articles_with_GND_identifiers) Articles with J9U identifiers (/wiki/Category:Articles_with_J9U_identifiers) Articles with LCCN identifiers (/wiki/Category:Articles_with_LCCN_identifiers) Articles with NDL identifiers (/wiki/Category:Articles_with_NDL_identifiers) Articles with NKC identifiers (/wiki/Category:Articles_with_NKC_identifiers) |
Durable and flexible material created by tanning animal skins For other uses, see Leather (disambiguation) (/wiki/Leather_(disambiguation)) . A variety of leather products and leather-working tools Leather is a strong, flexible and durable material obtained from the tanning (/wiki/Tanning_(leather)) , or chemical treatment, of animal skins and hides to prevent decay. The most common leathers come from cattle (/wiki/Cattle) , sheep (/wiki/Sheep) , goats, equine (/wiki/Equine) animals, buffalo, pigs and hogs, and aquatic animals such as seals and alligators. [1] (#cite_note-gillan-1) [2] (#cite_note-britannica-2) Leather can be used to make a variety of items, including clothing, footwear, handbags, furniture, tools and sports equipment, and lasts for decades. Leather making has been practiced for more than 7,000 years and the leading producers of leather today are China and India. [1] (#cite_note-gillan-1) [2] (#cite_note-britannica-2) [3] (#cite_note-3) Critics of tanneries (/wiki/Tanning_(leather)) claim that they engage in unsustainable practices that pose health hazards to the people and the environment near them. [4] (#cite_note-4) Production processes Drying of leather in East Timor (/wiki/East_Timor) Ancient leather tanning in Fes (/wiki/Fes) , Morocco (/wiki/Morocco) Tanned leather in Marrakech (/wiki/Marrakech) Modern-day tannery in Leon (/wiki/Le%C3%B3n,_Guanajuato) , Mexico (/wiki/Mexico) . Main article: Leather production processes (/wiki/Leather_production_processes) The leather manufacturing process is divided into three fundamental subprocesses: preparatory stages, tanning, and crusting. A further subprocess, finishing, can be added into the leather process sequence, but not all leathers receive finishing. The preparatory stages are when the hide is prepared for tanning. Preparatory stages may include soaking, hair removal, liming (/wiki/Liming_(leather_processing)) , deliming (/wiki/Deliming) , bating (/wiki/Bating_(leather)) , bleaching (/wiki/Bleaching) , and pickling (/wiki/Pickling) . Tanning (/wiki/Tanning_(leather)) is a process that stabilizes the proteins (/wiki/Protein) , particularly collagen (/wiki/Collagen) , of the raw hide to increase the thermal, chemical and microbiological stability of the hides and skins, making it suitable for a wide variety of end applications. The principal difference between raw and tanned hides is that raw hides dry out to form a hard, inflexible material that, when rewetted, will putrefy (/wiki/Putrefaction) , while tanned material dries to a flexible form that does not become putrid when rewetted. Many tanning methods and materials exist. The typical process sees tanners load the hides into a drum and immerse them in a tank that contains the tanning "liquor". The hides soak while the drum slowly rotates about its axis, and the tanning liquor slowly penetrates through the full thickness of the hide. Once the process achieves even penetration, workers slowly raise the liquor's pH in a process called basification, which fixes the tanning material to the leather. The more tanning material fixed, the higher the leather's hydrothermal stability and shrinkage (/wiki/Shrinkage_(fabric)) temperature resistance. Crusting is a process that thins and lubricates leather. It often includes a coloring operation. Chemicals added during crusting must be fixed in place. Crusting culminates with a drying and softening operation, and may include splitting, shaving, dyeing (/wiki/Dyeing) , whitening (/wiki/Whitening_(leather_processing)) or other methods. For some leathers, tanners apply a surface coating, called "finishing". Finishing operations can include oiling, brushing, buffing, coating, polishing, embossing, glazing (/wiki/Glaze_(painting_technique)) , or tumbling (/wiki/Tumble_finishing) , among others. Leather can be oiled to improve its water resistance. This currying (/wiki/Currying_(leather)) process after tanning supplements the natural oils remaining in the leather itself, which can be washed out through repeated exposure to water. Frequent oiling of leather, with mink oil (/wiki/Mink_oil) , neatsfoot oil (/wiki/Neatsfoot_oil) , or a similar material keeps it supple and improves its lifespan dramatically. [5] (#cite_note-5) Tanning methods Main article: Tanning (leather) (/wiki/Tanning_(leather)) Tanning processes largely differ in which chemicals are used in the tanning liquor. Some common types include: Vegetable-tanned leather is tanned using tannins (/wiki/Tannin) extracted from vegetable matter (/wiki/Vegetable_matter) , such as tree bark (/wiki/Tanbark) prepared in bark mills (/wiki/Bark_mill) . It is the oldest known method. It is supple and light brown in color, with the exact shade depending on the mix of materials and the color of the skin. The color tan (/wiki/Tan_(color)) derives its name from the appearance of undyed vegetable-tanned leather. Vegetable-tanned leather is not stable in water; it tends to discolor, and if left to soak and then dry, it shrinks and becomes harder, a feature of vegetable-tanned leather that is exploited in traditional shoemaking. In hot water, it shrinks drastically and partly congeals, becoming rigid and eventually brittle. Boiled leather (/wiki/Boiled_leather) is an example of this, where the leather has been hardened by being immersed in boiling water, or in wax (/wiki/Wax) or similar substances. Historically, it was occasionally used as armor (/wiki/Armor) after hardening, and it has also been used for book binding (/wiki/Book_binding) . [6] (#cite_note-6) [7] (#cite_note-methods-7) Chrome-tanned leather is tanned using chromium sulfate (/wiki/Chromium_(III)_sulfate) and other chromium (/wiki/Chromium) salts (/wiki/Salt_(chemistry)) . It is also known as "wet blue" for the pale blue color of the undyed leather. The chrome tanning method usually takes approximately one day to complete, making it best suited for large-scale industrial use. This is the most common method in modern use. It is more supple and pliable than vegetable-tanned leather and does not discolor or lose shape as drastically in water as vegetable-tanned. However, there are environmental concerns with this tanning method, as chromium is a heavy metal; while the trivalent chromium used for tanning is harmless, other byproducts can contain toxic variants. The method was developed in the latter half of the 19th century as tanneries wanted to find ways to speed up the process and to make leather more waterproof. [8] (#cite_note-8) [7] (#cite_note-methods-7) Aldehyde-tanned leather is tanned using glutaraldehyde (/wiki/Glutaraldehyde) or oxazolidine (/wiki/Oxazolidine) compounds. It is referred to as "wet white" due to its pale cream color. It is the main type of "chrome-free" leather, often seen in shoes for infants and automobiles. Formaldehyde (/wiki/Formaldehyde) has been used for tanning in the past; it is being phased out due to danger to workers and sensitivity of many people to formaldehyde. Chamois leather (/wiki/Chamois_leather) is a form of aldehyde-tanned leather that is porous and highly water-absorbent. Chamois leather is made using oil (traditionally cod oil) [9] (#cite_note-9) that oxidizes to produce the aldehydes that tan the leather. Brain tanned leathers are made by a labor-intensive process that uses emulsified oils, often those of animal brains such as deer, cattle, and buffalo. An example of this kind is buckskin (/wiki/Buckskin_(leather)) . Leather products made in this manner are known for their exceptional softness and washability. Alum leather is transformed using aluminium (/wiki/Aluminium) salts mixed with a variety of binders and protein (/wiki/Protein) sources, such as flour and egg yolk. Alum leather is not actually tanned; rather the process is called "tawing", and the resulting material reverts to rawhide if soaked in water long enough to remove the alum salts. Grades In general, leather is produced in the following grades: Top-grain leather includes the outer layer of the hide, known as the grain, which features finer, more densely packed fibers, resulting in strength and durability. Depending on thickness, it may also contain some of the more fibrous under layer, known as the corium. Types of top-grain leather include: Full-grain leather contains the entire grain layer, without any removal of the surface. Rather than wearing out, it develops a patina (/wiki/Patina) during its useful lifetime. It is usually considered the highest quality leather. Furniture and footwear are often made from full-grain leather. Full-grain leather is typically finished with a soluble aniline (/wiki/Aniline_leather) dye. Russia leather (/wiki/Russia_leather) is a form of full-grain leather. Corrected grain leather has the surface subjected to finishing treatments to create a more uniform appearance. This usually involves buffing or sanding away flaws in the grain, then dyeing and embossing the surface. Nubuck (/wiki/Nubuck) is top-grain leather that has been sanded or buffed on the grain side to give a slight nap of short protein fibers, producing a velvet-like surface. Split leather is created from the corium left once the top-grain has been separated from the hide, known as the drop split. In thicker hides, the drop split can be further split into a middle split and a flesh split. Bicast leather (/wiki/Bicast_leather) is split leather that is coated with a layer of polyurethane (/wiki/Polyurethane) or vinyl (/wiki/Polyvinyl_chloride) with an embossed texture. This gives it the appearance of a grain. It is slightly stiffer than top-grain leather but has a more consistent texture. [10] (#cite_note-10) Patent leather (/wiki/Patent_leather) is leather that has been given a high-gloss finish by the addition of a coating. Dating to the late 1700s, it became widely popular after inventor Seth Boyden (/wiki/Seth_Boyden) developed the first mass-production process, using a linseed-oil-based lacquer, in 1818. Modern versions are usually a form of bicast leather. Suede (/wiki/Suede) is made from the underside of a split to create a soft, napped finish. It is often made from younger or smaller animals, as the skins of adults often result in a coarse, shaggy nap. Bonded leather (/wiki/Bonded_leather) , also called reconstituted leather , is a material that uses leather scraps that are shredded and bonded together with polyurethane or latex (/wiki/Latex) onto a fiber mesh. The amount of leather fibers in the mix varies from 10% to 90%, affecting the properties of the product. [11] (#cite_note-11) The term "genuine leather" does not describe a specific grade. The term often indicates split leather that has been extensively processed, [12] (#cite_note-12) and some sources describe it as synonymous with bicast leather, [13] (#cite_note-13) or made from multiple splits glued together and coated. [14] (#cite_note-14) [15] (#cite_note-15) In some countries, when it is the description on a product label the term means nothing more than "contains leather"; [16] (#cite_note-16) [17] (#cite_note-LeatherDictionaryGenuine-17) depending on jurisdiction, regulations limit the term's use in product labelling. [18] (#cite_note-18) [17] (#cite_note-LeatherDictionaryGenuine-17) Animals used A book bound in pigskin Today, most leather is made of cattle (/wiki/Cattle) hides, which constitute about 65% of all leather produced. Other animals that are used include sheep (about 13%), goats (about 11%), and pigs (about 10%). Obtaining accurate figures from around the world is difficult, especially for areas where the skin may be eaten. [19] (#cite_note-19) [20] (#cite_note-20) There are significant regional differences in leather production: i.e. goat leather was historically called "Turkey" or "Morocco" due to its association with the Middle East, while pig skin had historically been used the most in Germany. [21] (#cite_note-21) Other animals mentioned below only constitute a fraction of a percent of total leather production. Horse hides are used to make particularly durable leathers. Shell cordovan (/wiki/Shell_cordovan) is a horse leather made not from the outer skin but from an under layer, found only in equine species, called the shell. It is prized for its mirror-like finish and anti-creasing properties. Lamb and deerskin are used for soft leather in more expensive apparel. Deerskin is widely used in work gloves and indoor shoes. Reptilian skins, such as alligator (/wiki/Alligator_leather) , crocodile, and snake (/wiki/Snakeskin) , are noted for their distinct patterns that reflect the scales of their species. This has led to hunting and farming of these species in part for their skins. The Argentine black and white tegu (/wiki/Argentine_black_and_white_tegu) is one of the most exploited reptile species in the world in the leather trade. However, it is not endangered and while monitored, trade is legal in most South American countries. [22] (#cite_note-22) Kangaroo leather (/wiki/Kangaroo_leather) is used to make items that must be strong and flexible. It is the material most commonly used in bullwhips (/wiki/Bullwhip) . Some motorcyclists (/wiki/Motorcycle) favor kangaroo leather for motorcycle leathers (/wiki/Motorcycle_safety_clothing#Leathers) because of its light weight and abrasion resistance. [23] (#cite_note-23) Kangaroo leather is also used for falconry jesses, soccer footwear, [24] (#cite_note-24) (e.g. Adidas Copa Mundial (/wiki/Adidas_Copa_Mundial) [25] (#cite_note-25) ) and boxing speed bags. [26] (#cite_note-26) Phone cases in ostrich leather (/wiki/Ostrich_leather) Although originally raised for their feathers in the 19th century, ostriches (/wiki/Ostrich) are now more popular for both meat and leather. [27] (#cite_note-27) Ostrich leather (/wiki/Ostrich_leather) has a characteristic "goose bump" look because of the large follicles where the feathers grew. Different processes produce different finishes for many applications, including upholstery, footwear, automotive products, accessories, and clothing. In Thailand (/wiki/Thailand) , stingray (/wiki/Stingray) leather is used in wallets (/wiki/Wallets) and belts. Stingray leather is tough and durable. The leather is often dyed black and covered with tiny round bumps in the natural pattern of the back ridge of an animal. These bumps are then usually dyed white to highlight the decoration. Stingray rawhide is also used as grips on Chinese swords, Scottish basket hilted swords, and Japanese katanas (/wiki/Katana) . Stingray leather is also used for high abrasion areas in motorcycle racing leathers (especially in gloves, where its high abrasion resistance helps prevent wear through in the event of an accident). For a given thickness, fish leather is typically much stronger due to its criss-crossed fibers. [28] (#cite_note-28) Environmental impact 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 (/wiki/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 Leather produces some environmental impact, most notably due to: The carbon footprint of cattle rearing (see environmental impact of meat production (/wiki/Environmental_impact_of_meat_production) ) Use of chemicals in the tanning process (e.g., chromium (/wiki/Chromium) , phthalate esters (/wiki/Phthalate) , nonyl phenol ethoxylate soaps (/wiki/Nonoxynols) , pentachlorophenol (/wiki/Pentachlorophenol) and solvents (/wiki/Solvent) ) Air pollution due to the transformation process ( hydrogen sulfide (/wiki/Hydrogen_sulfide) is formed during mixing with acids and ammonia (/wiki/Ammonia) liberated during deliming, solvent vapors) Carbon footprint Estimates of the carbon footprint (/wiki/Carbon_footprint) of bovine leather range from 65 to 150 kg of CO 2 equivalent per square meter of production. [29] (#cite_note-29) Water footprint One ton of hide or skin generally produces 20 to 80 m 3 of waste water, including chromium levels of 100–400 mg/L, sulfide levels of 200–800 mg/L, high levels of fat and other solid wastes, and notable pathogen contamination. Producers often add pesticides to protect hides during transport. With solid wastes representing up to 70% of the wet weight of the original hides, the tanning process represents a considerable strain on water treatment installations. [30] (#cite_note-30) Disposal Leather biodegrades (/wiki/Biodegrade) slowly—taking 25 to 40 years to decompose (/wiki/Decompose) . [31] (#cite_note-31) [ failed verification ] However, vinyl and petrochemical-derived materials take 500 or more years to decompose. [32] (#cite_note-32) Chemical waste disposal Rajasthani-style leather jooti (/wiki/Jutti) , Jaipur, India Tanning is especially polluting in countries where environmental regulations are lax, such as in India, the world's third-largest producer and exporter of leather. To give an example of an efficient pollution prevention system, chromium loads per produced tonne are generally abated from 8 kg to 1.5 kg. VOC (/wiki/Volatile_organic_compounds) emissions are typically reduced from 30 kg/t to 2 kg/t in a properly managed facility. A review of the total pollution load decrease achievable according to the United Nations Industrial Development Organization (/wiki/United_Nations_Industrial_Development_Organization) [33] (#cite_note-33) posts precise data on the abatement achievable through industrially proven low-waste advanced methods, while noting, "even though the chrome pollution load can be decreased by 94% on introducing advanced technologies, the minimum residual load 0.15 kg/t raw hide can still cause difficulties when using landfills and composting sludge from wastewater treatment on account of the regulations currently in force in some countries." In Kanpur (/wiki/Kanpur) , the self-proclaimed "Leather City of World"—with 10,000 tanneries as of 2011 and a city of three million on the banks of the Ganges (/wiki/Ganges) —pollution levels were so high, that despite an industry crisis, the pollution control board decided to shut down 49 high-polluting tanneries out of 404 in July 2009. [34] (#cite_note-34) In 2003 for instance, the main tanneries' effluent disposal unit was dumping 22 tonnes of chromium-laden solid waste per day in the open. [35] (#cite_note-35) In the Hazaribagh neighborhood of Dhaka in Bangladesh (/wiki/Bangladesh) , chemicals from tanneries end up in Dhaka's main river. Besides the environmental damage, the health of both local factory workers and the end consumer is also negatively affected. [36] (#cite_note-36) After approximately 15 years of ignoring high court rulings, the government shut down more than 100 tanneries the weekend of 8 April 2017 in the neighborhood. [37] (#cite_note-37) The higher cost associated with the treatment of effluents than to untreated effluent discharging leads to illegal dumping to save on costs. For instance, in Croatia (/wiki/Croatia) in 2001, proper pollution abatement cost US$70–100 per ton of raw hides processed against $43/t for irresponsible behavior. [38] (#cite_note-38) In November 2009, one of Uganda's main leather making companies was caught directly dumping waste water into a wetland adjacent to Lake Victoria (/wiki/Lake_Victoria) . [39] (#cite_note-39) Role of enzymes Main article: Bating (leather) (/wiki/Bating_(leather)) Enzymes (/wiki/Enzyme) like proteases (/wiki/Protease) , lipases (/wiki/Lipase) , and amylases (/wiki/Amylase) have an important role in the soaking, dehairing, degreasing, and bating operations of leather manufacturing. Proteases are the most commonly used enzymes in leather production. The enzyme must not damage or dissolve collagen (/wiki/Collagen) or keratin (/wiki/Keratin) , but should hydrolyze casein (/wiki/Casein) , elastin (/wiki/Elastin) , albumin (/wiki/Albumin) , globulin (/wiki/Globulin) -like proteins, and nonstructural proteins that are not essential for leather making. This process is called bating. [40] (#cite_note-40) Lipases are used in the degreasing operation to hydrolyze fat particles embedded in the skin. [41] (#cite_note-41) Amylases are used to soften skin, to bring out the grain, and to impart strength and flexibility to the skin. These enzymes are rarely used. Preservation and conditioning The natural fibers of leather break down with the passage of time. Acidic leathers are particularly vulnerable to red rot (/wiki/Red_rot) , which causes powdering of the surface and a change in consistency. Damage from red rot is aggravated by high temperatures and relative humidities. Although it is chemically irreversible, treatments can add handling strength and prevent disintegration of red rotted leather. Exposure to long periods of low relative humidities (below 40%) can cause leather to become desiccated, irreversibly changing the fibrous structure of the leather. Chemical damage can also occur from exposure to environmental factors, including ultraviolet light, ozone, acid from sulfurous and nitrous pollutants in the air, or through a chemical action following any treatment with tallow or oil compounds. Both oxidation and chemical damage occur faster at higher temperatures. There are few methods to maintain and clean leather goods properly such as using damp cloth and avoid using a wet cloth or soaking the leather in water. Various treatments are available such as conditioners (/wiki/Leather_conditioner) . Saddle soap (/wiki/Saddle_soap) is used for cleaning, conditioning, and softening leather. Leather shoes are widely conditioned with shoe polish (/wiki/Shoe_polish) . [42] (#cite_note-cnn-cleaning-42) In modern culture Elize Ryd wearing a leather jacket (/wiki/Leather_jacket) Due to its excellent resistance to abrasion and wind, leather found a use in rugged occupations. The enduring image of a cowboy (/wiki/Cowboy) in leather chaps (/wiki/Chaps) gave way to the leather-jacketed and leather-helmeted aviator (/wiki/Aviator) . [43] (#cite_note-marieclaire-43) When motorcycles (/wiki/Motorcycle) were invented, some riders took to wearing heavy leather jackets (/wiki/Jackets) to protect from road rash (/wiki/Road_rash) and wind blast; some also wear chaps or full leather pants to protect the lower body. Leather's flexibility allows it to be formed and shaped into balls and protective gear. Subsequently, many sports use equipment made with leather, such as baseball gloves (/wiki/Baseball_glove) and the ball used in cricket (/wiki/Cricket_ball) and gridiron football (/wiki/Ball_(gridiron_football)) . Leather fetishism (/wiki/Leather_fetishism) is the name popularly used to describe a fetishistic (/wiki/Sexual_fetishism) attraction to people wearing leather, or in certain cases, to the garments themselves. Many rock groups (/wiki/Rock_group) (particularly heavy metal (/wiki/Heavy_metal_music) and punk (/wiki/Punk_subculture) groups in the 1970s and 80s) are well known for wearing leather clothing. Extreme metal (/wiki/Extreme_metal) bands (especially black metal (/wiki/Black_metal) bands) and Goth rock (/wiki/Goth_rock) groups have extensive black leather clothing. Leather has become less common in the punk community over the last three decades, as there is opposition to the use of leather from punks who support animal rights (/wiki/Punk_ideologies#Animal_rights_and_veganism) . [43] (#cite_note-marieclaire-43) Many cars and trucks come with optional or standard leather or "leather faced" seating. Religious sensitivities In countries with significant populations of individuals observing religions which place restrictions on material choices, vendors typically clarify the source of leather in their products. Such labeling helps facilitate religious observance, so, for example, a Muslim (/wiki/Muslim) will not accidentally purchase pigskin or a Hindu (/wiki/Hindu) can avoid cattleskin. Such taboos (/wiki/Taboo) increase the demand for religiously neutral leathers such as ostrich (/wiki/Ostrich) and deer (/wiki/Deer) . Judaism (/wiki/Judaism) forbids the comfort of wearing leather shoes on Yom Kippur (/wiki/Yom_Kippur) , Tisha B'Av (/wiki/Tisha_B%27Av) , and during mourning. [44] (#cite_note-44) Also, see Leather in Judaism (/wiki/Leather_in_Judaism) , Teffilin (/wiki/Tefillin) and Torah Scroll (/wiki/Sefer_Torah) . Jainism (/wiki/Jainism) prohibits the use of leather, since it is obtained by killing animals. Alternatives Many forms of artificial leather (/wiki/Artificial_leather) have been developed, usually involving polyurethane (/wiki/Polyurethane) or vinyl (/wiki/PVC_clothing) coatings applied to a cloth backing. Many names and brands for such artificial leathers exist, including "pleather", a portmanteau of "plastic leather", and the brand name Naugahyde (/wiki/Naugahyde) . [45] (#cite_note-45) Another alternative is cultured leather which is lab-grown using cell-culture (/wiki/Cell_culture) methods, [46] (#cite_note-46) [47] (#cite_note-47) [48] (#cite_note-48) mushroom-based materials and gelatin-based textile made by upcycling (/wiki/Upcycling) meat industry (/wiki/Meat_industry) waste. [49] (#cite_note-49) [50] (#cite_note-50) Leather made of fungi (/wiki/Fungi) or mushroom-based materials are completely biodegradable. [51] (#cite_note-51) References ^ Jump up to: a b Gillan, Kevin; Murray, Jason (May 2019). Comprehensive Guide to Leather Repair and Restoration: Leather Repair Training Manual . Advanced Leather Solutions, Inc. p. 16. Archived (https://web.archive.org/web/20230523032906/https://books.google.com/books?id=SSOsDwAAQBAJ) from the original on 23 May 2023 . 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Retrieved 2 January 2010 . ^ (#cite_ref-34) "How much time needed to check tanneries' waste" (http://timesofindia.indiatimes.com/city/kanpur/How-much-time-needed-to-check-tanneries-waste-HC-to-govt/articleshow/4767069.cms) . Times of India . 11 July 2009. Archived (https://web.archive.org/web/20101205004609/http://timesofindia.indiatimes.com/city/kanpur/How-much-time-needed-to-check-tanneries-waste-HC-to-govt/articleshow/4767069.cms) from the original on 5 December 2010 . Retrieved 2 January 2010 . ^ (#cite_ref-35) "Kanpur: chromium disaster" (https://web.archive.org/web/20030822012606/http://www.cleanganga.com/articles/june03/chromium.php) . Clean Ganga - Campaign for a cleaner Ganga. June 2003. Archived from the original (http://www.cleanganga.com/articles/june03/chromium.php) on 22 August 2003 . Retrieved 2 January 2010 . ^ (#cite_ref-36) "Hazaribagh neighborhood of Dhaka poisoning staff, local villagers and planet" (https://web.archive.org/web/20170328091609/https://www.hrw.org/news/2012/10/08/bangladesh-tanneries-harm-workers-poison-communities) . Human Rights Watch. 8 October 2012. Archived from the original (https://www.hrw.org/news/2012/10/08/bangladesh-tanneries-harm-workers-poison-communities) on 28 March 2017 . Retrieved 19 November 2016 . ^ (#cite_ref-37) "Bangladesh cuts power to leather district after years of environmental violations" (https://www.pbs.org/newshour/rundown/bangladesh-cuts-power-leather-district-years-health-violations/) . PBS NewsHour . Archived (https://web.archive.org/web/20170412075022/http://www.pbs.org/newshour/rundown/bangladesh-cuts-power-leather-district-years-health-violations/) from the original on 12 April 2017 . Retrieved 11 April 2017 . ^ (#cite_ref-38) "Introduction of Low Pollution Processes in Leather Production" (https://web.archive.org/web/20100119162932/http://archive.rec.org/ecolinks/bestpractices/PDF/croatia_hdko.pdf) (PDF) . EcoLinks. 2001. Archived from the original (http://archive.rec.org/ecolinks/bestpractices/PDF/croatia_hdko.pdf) (PDF) on 19 January 2010 . Retrieved 2 January 2010 . ^ (#cite_ref-39) "Uganda: leather factory faces closure over pollution" (http://allafrica.com/stories/200911050279.html) . The Monitor. 5 November 2009. Archived (https://web.archive.org/web/20110604160403/http://allafrica.com/stories/200911050279.html) from the original on 4 June 2011 . Retrieved 2 January 2010 . ^ (#cite_ref-40) Heidemann, E. (1993). Fundamentals of Leather Manufacture . Eduard Roether KG. p. 211. ISBN (/wiki/ISBN_(identifier)) 3-7929-0206-0 . ^ (#cite_ref-41) Bienkiewicz, K. (1983). Physical Chemistry of Leather Making . Robert E. Krieger. p. 226. ISBN (/wiki/ISBN_(identifier)) 0-89874-304-4 . ^ (#cite_ref-cnn-cleaning_42-0) "How to actually clean leather shoes, bags and more, according to experts" (https://www.cnn.com/cnn-underscored/home/how-to-clean-leather) . CNN (/wiki/CNN) . 10 May 2023. Archived (https://web.archive.org/web/20230707225050/https://www.cnn.com/cnn-underscored/home/how-to-clean-leather) from the original on 7 July 2023 . Retrieved 7 July 2023 . ^ Jump up to: a b "Leather Trousers: A Brief History Of Fashion's Most Rock 'n' Roll Staple" (https://www.marieclaire.co.uk/news/fashion-news/a-brief-history-of-leather-trousers-29270) . Marie Claire (/wiki/Marie_Claire) . 26 July 2017. Archived (https://web.archive.org/web/20230707224812/https://www.marieclaire.co.uk/news/fashion-news/a-brief-history-of-leather-trousers-29270) from the original on 7 July 2023 . Retrieved 7 July 2023 . ^ (#cite_ref-44) "Wearing Shoes - Mourning Observances of Shiva and Sheloshim" (http://www.chabad.org/library/article_cdo/aid/281605/jewish/Wearing-Shoes.htm) . Chabad.org. Archived (https://web.archive.org/web/20091222161125/http://www.chabad.org/library/article_cdo/aid/281605/jewish/Wearing-Shoes.htm) from the original on 22 December 2009 . Retrieved 20 October 2009 . ^ (#cite_ref-45) Jahan, Saurabh; Jahan, Shahnaz (2011). "Artificial Leather- An Eco-friendly Alternative Textile Material For Leather" (https://web.archive.org/web/20151016004331/http://www.ctsti.cn/webtec/upload/2011/7/4/20110704051836492.pdf) (PDF) . China Textile Science . Archived from the original (http://www.ctsti.cn/webtec/upload/2011/7/4/20110704051836492.pdf) (PDF) on 16 October 2015. ^ (#cite_ref-46) Lo, Andrea (4 October 2018). "Would you wear leather that's grown in a lab?" (https://edition.cnn.com/2018/10/04/business/modern-meadow/index.html) . CNN . Archived (https://web.archive.org/web/20210416113325/https://edition.cnn.com/2018/10/04/business/modern-meadow/index.html) from the original on 16 April 2021 . Retrieved 23 March 2019 . ^ (#cite_ref-47) Wicker, Alden (March–April 2018). "The Future of Leather Is Growing in a New Jersey Lab--No Animals Needed" (https://www.inc.com/magazine/201804/alden-wicker/prototype-modern-meadow-lab-grown-leather.html) . Inc. (/wiki/Inc._(magazine)) Archived (https://web.archive.org/web/20210117104607/https://www.inc.com/magazine/201804/alden-wicker/prototype-modern-meadow-lab-grown-leather.html) from the original on 17 January 2021 . Retrieved 23 March 2019 . ^ (#cite_ref-48) Walker, Kenneth T.; Li, Ivy S.; Keane, Jennifer; Goosens, Vivianne J.; Song, Wenzhe; Lee, Koon-Yang; Ellis, Tom (2 April 2024). "Self-pigmenting textiles grown from cellulose-producing bacteria with engineered tyrosinase expression" (https://www.nature.com/articles/s41587-024-02194-3) . Nature Biotechnology : 1–10. doi (/wiki/Doi_(identifier)) : 10.1038/s41587-024-02194-3 (https://doi.org/10.1038%2Fs41587-024-02194-3) . ISSN (/wiki/ISSN_(identifier)) 1546-1696 (https://www.worldcat.org/issn/1546-1696) . Archived (https://web.archive.org/web/20240411102352/https://www.nature.com/articles/s41587-024-02194-3) from the original on 11 April 2024 . Retrieved 12 April 2024 . ^ (#cite_ref-49) Vettese, Sam; Singleton, Ian (13 September 2019). "Could fungi save the fashion world?" (https://theconversation.com/could-fungi-save-the-fashion-world-122894.html) . Inc. (/wiki/Inc._(magazine)) Archived (https://web.archive.org/web/20200804041804/https://theconversation.com/could-fungi-save-the-fashion-world-122894.html) from the original on 4 August 2020 . Retrieved 13 September 2019 . ^ (#cite_ref-50) "Gelatex turns gelatine into eco-friendly leather" (https://www.wtin.com/article/2018/december/101218/gelatex-turns-gelatine-into-eco-friendly-leather/?freeviewlinkid=95506.html) . Inc. (/wiki/Inc._(magazine)) December 2018 . Retrieved 23 March 2019 . [ dead link ] ^ (#cite_ref-51) Newell, Sharon. "Fungi for the Future" (https://www.bbcearth.com/news/fungi-for-the-future) . BBC Earth . Archived (https://web.archive.org/web/20221020041816/https://www.bbcearth.com/news/fungi-for-the-future) from the original on 20 October 2022 . Retrieved 19 October 2022 . Further reading Leather at Wikipedia's sister projects Media (https://commons.wikimedia.org/wiki/Category:Leather) from Commons Quotations (https://en.wikiquote.org/wiki/Leather) from Wikiquote Texts (https://en.wikisource.org/wiki/Special:Search/Leather) from Wikisource Beeby, K.J. The Wonderful Story of Leather (PDF) . UK: Harmatan. Archived (https://web.archive.org/web/20210320234251/https://www.harmatan.co.uk/about/wonderful_story_of_leather.pdf) (PDF) from the original on 20 March 2021 . Retrieved 8 June 2016 . Lefroy, George Alfred (/wiki/George_Lefroy) (1884). The leather-workers of Daryaganj (https://en.wikisource.org/wiki/The_leather-workers_of_Daryaganj) . Delhi: Cambridge Mission to Delhi. Leathers for Bookbinding and Upholstery (PDF) . UK: Harmatan. 2002. Archived (https://web.archive.org/web/20210320234316/https://www.harmatan.co.uk/about/leathers_for_bookbinding.pdf) (PDF) from the original on 20 March 2021 . Retrieved 8 June 2016 . Leather for Libraries (PDF) . UK: Harmatan. Archived (https://web.archive.org/web/20210320234302/https://www.harmatan.co.uk/about/leather_for_libraries.pdf) (PDF) from the original on 20 March 2021 . Retrieved 8 June 2016 . Parsons, F. G. (1911). "Leather" (https://en.wikisource.org/wiki/1911_Encyclop%C3%A6dia_Britannica/Leather) . Encyclopædia Britannica (/wiki/Encyclop%C3%A6dia_Britannica_Eleventh_Edition) . Vol. 16 (11th ed.). pp. 330–345. (includes several diagrams) v t e Leather Types Aniline (/wiki/Aniline_leather) Bicast (/wiki/Bicast_leather) Boiled (/wiki/Boiled_leather) Bonded (/wiki/Bonded_leather) Buckskin (/wiki/Buckskin_(leather)) Chamois (/wiki/Chamois_leather) Corinthian (/wiki/Corinthian_leather) Kidskin (/wiki/Kidskin) Law leather (/wiki/Law_leather) Morocco (/wiki/Morocco_leather) Napa (/wiki/Napa_leather) Nubuck (/wiki/Nubuck) Patent (/wiki/Patent_leather) Russia (/wiki/Russia_leather) Shagreen (/wiki/Shagreen) Shearling (/wiki/Shearling) Shell cordovan (/wiki/Shell_cordovan) Suede (/wiki/Suede) Leather sources Alligator (/wiki/Alligator_leather) Bison (/wiki/Bison) Cattle (/wiki/Cattle) Calfskin (/wiki/Calfskin) Slunk (/wiki/Slunk) Crocodile (/wiki/Crocodile_skin) Deer (/wiki/Deer) Eel (/wiki/Pacific_hagfish) Goat (/wiki/Goat) Horse (/wiki/Horse) Kangaroo (/wiki/Kangaroo_leather) Ostrich (/wiki/Ostrich_leather) Pig (/wiki/Pig) Seal (/wiki/Sealskin) Sheep (/wiki/Sheepskin) Snake (/wiki/Snakeskin) Yak (/wiki/Yak) Processes (/wiki/Leather_production_processes) Liming (/wiki/Liming_(leather_processing)) Deliming (/wiki/Deliming) Bating (/wiki/Bating_(leather)) Tanning (/wiki/Tanning_(leather)) Oiling (/wiki/Oiling_(leather_processing)) Crafting (/wiki/Leather_crafting) Bookbinding (/wiki/Bookbinding) Cuir de Cordoue (/wiki/Cuir_de_Cordoue) Leather carving (/wiki/Leather_carving) Substitutes Artificial leather / Leatherette (/wiki/Artificial_leather) Kirza (/wiki/Kirza) Naugahyde (/wiki/Naugahyde) Presstoff (/wiki/Presstoff) Ultrasuede (/wiki/Ultrasuede) Alcantara (/wiki/Alcantara_(material)) Clarino (/wiki/Clarino) Leather museums German Leather Museum (/wiki/German_Leather_Museum) Igualada Leather Museum (/wiki/Igualada_Leather_Museum) Walsall Leather Museum (/wiki/Walsall_Leather_Museum) Leather Archives and Museum (/wiki/Leather_Archives_and_Museum) British Museum leather dressing (/wiki/British_Museum_leather_dressing) Related History of hide materials (/wiki/History_of_hide_materials) Leather subculture (/wiki/Leather_subculture) Rawhide (/wiki/Rawhide_(material)) v t e Clothing materials and parts Garment structures Armscye (/wiki/Armscye) Collar (/wiki/Collar_(clothing)) Clerical collar (/wiki/Clerical_collar) Collar stays (/wiki/Collar_stays) Detachable collar (/wiki/Detachable_collar) Cuff (/wiki/Cuff) Dart (/wiki/Dart_(sewing)) Facing (/wiki/Facing_(sewing)) Fly (/wiki/Fly_(clothing)) Lapel (/wiki/Lapel) Gore (/wiki/Gore_(segment)) Hem (/wiki/Hem) Lining (/wiki/Lining_(sewing)) Placket (/wiki/Placket) Pleat (/wiki/Pleat) Pocket (/wiki/Pocket) Revers (/wiki/Revers) Ruffle (/wiki/Ruffle_(sewing)) Shoulder pad (/wiki/Shoulder_pads_(fashion)) Strap (/wiki/Shoulder_strap) Sleeve (/wiki/Sleeve) Train (/wiki/Train_(clothing)) Waistband (/wiki/Waistband) Yoke (/wiki/Yoke_(clothing)) Textiles (/wiki/Textile) Natural Cotton (/wiki/Cotton) Fur (/wiki/Fur_clothing) Linen (/wiki/Linen) Silk (/wiki/Silk) Wool (/wiki/Wool) Synthetic Artificial leather (/wiki/Artificial_leather) Elastic (/wiki/Elastomer) Nylon (/wiki/Nylon) Polyester (/wiki/Polyester) Rayon (/wiki/Rayon) Spandex (/wiki/Spandex) Animal hides (/wiki/Hide_(skin)) / leather Calf (/wiki/Calfskin) Deer (/wiki/Buckskin_(leather)) Goat (/wiki/Goatskin_(material)) Kangaroo (/wiki/Kangaroo_leather) Ostrich (/wiki/Ostrich_leather) Seal (/wiki/Sealskin) Sheep (/wiki/Sheepskin) Snake (/wiki/Snakeskin) Stingray (/wiki/Shagreen) Fasteners (/wiki/Fastener) Back closure (/wiki/Back_closure) Belt hook (/wiki/Belt_hook) Buckle (/wiki/Buckle) Button (/wiki/Button) Buttonhole (/wiki/Buttonhole) Frog (/wiki/Frog_(fastening)) Shank (/wiki/Shank_(sewing)) Hook-and-eye (/wiki/Hook-and-eye_closure) Hook-and-loop (/wiki/Hook-and-loop_fastener) Velcro (/wiki/Velcro) Snap (/wiki/Snap_fastener) Zipper (/wiki/Zipper) Seams (/wiki/Seam_(sewing)) Neckline (/wiki/Neckline) Bustline (/wiki/Bustline) Waistline (/wiki/Waistline_(clothing)) Hemline (/wiki/Hemline) Authority control databases (/wiki/Help:Authority_control) National France (https://catalogue.bnf.fr/ark:/12148/cb119766770) BnF data (https://data.bnf.fr/ark:/12148/cb119766770) Germany (https://d-nb.info/gnd/4034974-3) Israel (http://olduli.nli.org.il/F/?func=find-b&local_base=NLX10&find_code=UID&request=987007560510605171) United States (https://id.loc.gov/authorities/sh85075573) Japan (https://id.ndl.go.jp/auth/ndlna/00563164) Czech Republic (https://aleph.nkp.cz/F/?func=find-c&local_base=aut&ccl_term=ica=ph122163&CON_LNG=ENG) Other NARA (https://catalog.archives.gov/id/10637881) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐qh6x4 Cached time: 20240720164211 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.836 seconds Real time usage: 1.068 seconds Preprocessor visited node count: 4062/1000000 Post‐expand include size: 148497/2097152 bytes Template argument size: 2920/2097152 bytes Highest expansion depth: 17/100 Expensive parser 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First Lady of the United States and actress (1921–2016) "Nancy Davis" redirects here. For other people with the same name, see Nancy Davis (disambiguation) (/wiki/Nancy_Davis_(disambiguation)) . Nancy Reagan Official portrait, 1983 First Lady of the United States (/wiki/First_Lady_of_the_United_States) In role January 20, 1981 – January 20, 1989 President Ronald Reagan (/wiki/Ronald_Reagan) Preceded by Rosalynn Carter (/wiki/Rosalynn_Carter) Succeeded by Barbara Bush (/wiki/Barbara_Bush) First Lady of California (/wiki/First_Lady_of_California) In role January 2, 1967 – January 6, 1975 Governor Ronald Reagan Preceded by Bernice Brown (/wiki/Bernice_Layne_Brown) Succeeded by Gloria Deukmejian (/wiki/Gloria_Deukmejian) (1983) Personal details Born Anne Frances Robbins ( 1921-07-06 ) July 6, 1921 New York City, U.S. Died March 6, 2016 (2016-03-06) (aged 94) Los Angeles, California, U.S. Resting place Ronald Reagan Presidential Library and Museum (/wiki/Ronald_Reagan_Presidential_Library_and_Museum) Political party Republican (/wiki/Republican_Party_(United_States)) Spouse Ronald Reagan (/wiki/Ronald_Reagan) ( m. 1952 ; died 2004 ) Children Patti (/wiki/Patti_Davis) Ron (/wiki/Ron_Reagan) Parent Edith Luckett Davis (/wiki/Edith_Luckett_Davis) (mother) Education Smith College (/wiki/Smith_College) ( BA (/wiki/Bachelor_of_Arts) ) Signature Nancy Reagan's voice (/wiki/File:Nancy_Reagan_voice.ogg) Duration: 1 minute and 18 seconds. 1:18 Nancy Reagan on the federal drug policy of the United States (/wiki/Federal_drug_policy_of_the_United_States) Recorded October 2, 1982 Nancy Davis Reagan ( / (/wiki/Help:IPA/English) ˈ r eɪ ɡ ən / (/wiki/Help:IPA/English) ; born Anne Frances Robbins ; July 6, 1921 – March 6, 2016) was an American film actress who was the First Lady of the United States (/wiki/First_Lady_of_the_United_States) from 1981 to 1989, as the second wife of President Ronald Reagan (/wiki/Ronald_Reagan) , the 40th president of the United States. Reagan was born in New York City. After her parents separated, she lived in Maryland (/wiki/Maryland) with an aunt and uncle for six years. When her mother remarried in 1929, she moved to Chicago and later was adopted by her mother's second husband. As Nancy Davis , she was a Hollywood actress in the 1940s and 1950s, starring in films such as The Next Voice You Hear... (/wiki/The_Next_Voice_You_Hear...) , Night into Morning (/wiki/Night_into_Morning) , and Donovan's Brain (/wiki/Donovan%27s_Brain_(film)) . In 1952, she married Ronald Reagan, who was then president of the Screen Actors Guild (/wiki/Screen_Actors_Guild) . He had two children from his previous marriage to Jane Wyman (/wiki/Jane_Wyman) [1] (#cite_note-Percha-1) and he and Nancy had two children together. Nancy Reagan was the first lady of California when her husband was governor (/wiki/Governor_of_California) from 1967 to 1975, and she began to work with the Foster Grandparents Program (/wiki/Foster_Grandparents_Program) . Reagan became First Lady of the United States in January 1981, following her husband's victory in the 1980 presidential election (/wiki/1980_United_States_presidential_election) . Early in his first term, she was criticized largely due to her decisions both to replace the White House china (/wiki/White_House_china) , which had been paid for by private donations, and to accept free clothing from fashion designers. She championed opposition to recreational drug use (/wiki/Recreational_drug_use) when she founded the " Just Say No (/wiki/Just_Say_No) " drug awareness campaign, which was considered her major initiative as First Lady. More discussion of her role ensued following a 1988 revelation that she had consulted an astrologer (/wiki/Astrology) to assist in planning the president's schedule after the attempted assassination of her husband in 1981 (/wiki/Attempted_assassination_of_Ronald_Reagan) . She generally had a strong influence on her husband and played a role in a few of his personnel and diplomatic decisions. The couple returned to their home in Bel Air, Los Angeles, California (/wiki/Bel_Air,_Los_Angeles,_California) , after Reagan's time in office. Nancy devoted most of her time to caring for her husband, who was diagnosed with Alzheimer's disease (/wiki/Alzheimer%27s_disease) in 1994, until his death (/wiki/Death_and_state_funeral_of_Ronald_Reagan) at the age of 93 on June 5, 2004. Reagan remained active within the Reagan Library (/wiki/Reagan_Library) and in politics, particularly in support of embryonic stem cell research (/wiki/Embryonic_stem_cell_research) , until her death from congestive heart failure (/wiki/Congestive_heart_failure) at age 94 in 2016. Early life and education [ edit ] Young Reagan with her mother, actress Edith Luckett (/wiki/Edith_Luckett) . Anne Frances Robbins was born on July 6, 1921, at Sloane Hospital for Women (/wiki/Sloane_Hospital_for_Women) in Uptown Manhattan. [1] (#cite_note-Percha-1) [2] (#cite_note-Nancy_Reagan:_Her_Life_&_Times-2) [3] (#cite_note-3) [4] (#cite_note-4) [5] (#cite_note-5) Davis gave her birth date as July 6, 1923, a date cited through most of her life. She was of English descent. She was the only child of Kenneth Seymour Robbins (1892–1972), a farmer [6] (#cite_note-6) turned car salesman who had been born into a once-well-to-do family, [1] (#cite_note-Percha-1) [7] (#cite_note-7) [8] (#cite_note-8) and his actress wife, Edith Prescott Luckett (/wiki/Edith_Luckett_Davis) (1888–1987). [9] (#cite_note-9) [10] (#cite_note-nfll-10) [11] (#cite_note-Luckett-IMDB-11) [12] (#cite_note-IBDB_Luckett-12) [13] (#cite_note-First_Lady_Nancy_Reagan-13) Her godmother was silent-film-star Alla Nazimova (/wiki/Alla_Nazimova) . [14] (#cite_note-14) From birth, she was commonly called Nancy. [15] (#cite_note-Reagan-15) Robbins lived her first two years in Flushing, Queens (/wiki/Flushing,_Queens) , a neighborhood of New York City, in a two-story house on Roosevelt Avenue (/wiki/Roosevelt_Avenue) between 149th and 150th Streets. [16] (#cite_note-nyt041291-16) Her parents separated soon after her birth and were divorced in 1928. [1] (#cite_note-Percha-1) [13] (#cite_note-First_Lady_Nancy_Reagan-13) [17] (#cite_note-nbc-2004-17) After their separation, her mother traveled the country to pursue acting jobs and Robbins was raised in Bethesda, Maryland (/wiki/Bethesda,_Maryland) , for six years by her aunt, Virginia Luckett, and uncle, Audley Gailbraith, where she attended Sidwell Friends School (/wiki/Sidwell_Friends_School) for kindergarten through second grade. [1] (#cite_note-Percha-1) [17] (#cite_note-nbc-2004-17) Nancy later described longing for her mother during those years: "My favorite times were when Mother had a job in New York, and Aunt Virgie would take me by train to stay with her." [18] (#cite_note-18) In 1929, her mother married Loyal Edward Davis (1896–1982), a prominent conservative (/wiki/Conservatism_in_the_United_States) neurosurgeon (/wiki/Neurosurgery) who moved the family to Chicago. [1] (#cite_note-Percha-1) [2] (#cite_note-Nancy_Reagan:_Her_Life_&_Times-2) Nancy and her stepfather got along very well; [19] (#cite_note-nyt-lw-19) she later wrote that he was "a man of great integrity who exemplified old-fashioned values". [20] (#cite_note-20) He formally adopted her in 1938, [2] (#cite_note-Nancy_Reagan:_Her_Life_&_Times-2) and she would always refer to him as her father. [19] (#cite_note-nyt-lw-19) At the time of the adoption, her name was legally changed to Nancy Davis. [15] (#cite_note-Reagan-15) She attended the Girls' Latin School of Chicago (/wiki/Latin_School_of_Chicago) (describing herself as an average student), from 1929, until she graduated in 1939, and later attended Smith College (/wiki/Smith_College) in Massachusetts (/wiki/Massachusetts) , where she majored in English and drama, graduating in 1943. [13] (#cite_note-First_Lady_Nancy_Reagan-13) [21] (#cite_note-21) Acting career [ edit ] Davis, c. 1949–50 In 1940, a young Davis had appeared as a National Foundation for Infantile Paralysis (/wiki/National_Foundation_for_Infantile_Paralysis) volunteer in a memorable short subject film shown in movie theaters to raise donations for the crusade against polio (/wiki/Poliomyelitis) . The Crippler featured a sinister figure spreading over playgrounds and farms, laughing over its victims, until finally dispelled by the volunteer. It was very effective in raising contributions. [22] (#cite_note-22) Following her graduation from college, Davis held jobs in Chicago as a sales clerk in Marshall Field's (/wiki/Marshall_Field%27s) department store and as a nurse's aide. [13] (#cite_note-First_Lady_Nancy_Reagan-13) With the help of her mother's colleagues in theatre, including ZaSu Pitts (/wiki/ZaSu_Pitts) , Walter Huston (/wiki/Walter_Huston) , and Spencer Tracy (/wiki/Spencer_Tracy) , [19] (#cite_note-nyt-lw-19) she pursued a professional career as an actress. She first gained a part in Pitts' 1945 road tour of Ramshackle Inn (/wiki/Ramshackle_Inn) , [2] (#cite_note-Nancy_Reagan:_Her_Life_&_Times-2) [13] (#cite_note-First_Lady_Nancy_Reagan-13) moving to New York City. She landed the role of Si-Tchun, a lady-in-waiting (/wiki/Lady-in-waiting) , [23] (#cite_note-23) in the 1946 Broadway musical about the Orient, Lute Song (/wiki/Lute_Song_(musical)) , starring Mary Martin (/wiki/Mary_Martin) and a pre-fame Yul Brynner (/wiki/Yul_Brynner) . [13] (#cite_note-First_Lady_Nancy_Reagan-13) The show's producer told her, "You look like you could be Chinese." [24] (#cite_note-24) After passing a screen test (/wiki/Screen_test) , [13] (#cite_note-First_Lady_Nancy_Reagan-13) she moved to California and signed a seven-year contract with Metro-Goldwyn-Mayer Studios Inc. (/wiki/Metro-Goldwyn-Mayer) (MGM) in 1949; [2] (#cite_note-Nancy_Reagan:_Her_Life_&_Times-2) she later remarked, "Joining Metro was like walking into a dream world." [25] (#cite_note-25) Her combination of attractive appearance—centered on her large eyes—and somewhat distant and understated manner made her hard at first for MGM to cast and publicize. [26] (#cite_note-metzger-32-26) Davis appeared in eleven feature films, usually typecast (/wiki/Typecasting_(acting)) as a "loyal housewife", [27] (#cite_note-27) "responsible young mother", or "the steady woman". [28] (#cite_note-cannon-gov-28) Jane Powell (/wiki/Jane_Powell) , Debbie Reynolds (/wiki/Debbie_Reynolds) , Leslie Caron (/wiki/Leslie_Caron) , and Janet Leigh (/wiki/Janet_Leigh) were among the actresses with whom she competed for roles at MGM. [26] (#cite_note-metzger-32-26) Davis in 1950 Davis' film career began with small supporting roles in two films that were released in 1949, The Doctor and the Girl (/wiki/The_Doctor_and_the_Girl) with Glenn Ford (/wiki/Glenn_Ford) and East Side, West Side (/wiki/East_Side,_West_Side_(1949_film)) starring Barbara Stanwyck (/wiki/Barbara_Stanwyck) . [29] (#cite_note-The_Films_of_Nancy_Reagan-29) She played a child psychiatrist (/wiki/Child_and_adolescent_psychiatry) in the film noir (/wiki/Film_noir) Shadow on the Wall (/wiki/Shadow_on_the_Wall_(1950_film)) (1950) with Ann Sothern (/wiki/Ann_Sothern) and Zachary Scott (/wiki/Zachary_Scott) ; her performance was called "beautiful and convincing" by New York Times (/wiki/The_New_York_Times) critic A. H. Weiler. [30] (#cite_note-30) She co-starred in 1950's The Next Voice You Hear... (/wiki/The_Next_Voice_You_Hear...) , playing a pregnant housewife who hears the voice of God from her radio. Influential reviewer Bosley Crowther (/wiki/Bosley_Crowther) of The New York Times wrote that "Nancy Davis [is] delightful as [a] gentle, plain, and understanding wife." [31] (#cite_note-31) In 1951, Davis appeared in Night into Morning (/wiki/Night_into_Morning) , her favorite screen role, [32] (#cite_note-32) a study of bereavement starring Ray Milland (/wiki/Ray_Milland) . Crowther said that Davis "does nicely as the fiancée who is widowed herself and knows the loneliness of grief", [33] (#cite_note-33) while another noted critic, The Washington Post (/wiki/The_Washington_Post) 's Richard L. Coe (/wiki/Richard_L._Coe) , said Davis "is splendid as the understanding widow". [34] (#cite_note-34) MGM released Davis from her contract in 1952; [35] (#cite_note-metzger-33-35) she sought a broader range of parts, [36] (#cite_note-36) but also married Reagan, keeping her professional name as Davis, and had her first child that year. [35] (#cite_note-metzger-33-35) She soon starred in the science fiction film Donovan's Brain (/wiki/Donovan%27s_Brain_(film)) (1953); Crowther said that Davis, playing the role of a possessed scientist's "sadly baffled wife", "walked through it all in stark confusion" in an "utterly silly" film. [37] (#cite_note-37) In her next-to-last movie, Hellcats of the Navy (/wiki/Hellcats_of_the_Navy) (1957), she played nurse Lieutenant Helen Blair, and appeared in a film for the only time with her husband, playing what one critic called "a housewife who came along for the ride". [38] (#cite_note-38) Another reviewer, however, stated that Davis plays her part satisfactorily, and "does well with what she has to work with". [39] (#cite_note-39) Nancy and Ronald Reagan aboard a boat, 1964 Author Garry Wills (/wiki/Garry_Wills) has said that Davis was generally underrated as an actress because her constrained part in Hellcats was her most widely seen performance. [28] (#cite_note-cannon-gov-28) In addition, Davis downplayed her Hollywood goals: promotional material from MGM in 1949 said that her "greatest ambition" was to have a "successful happy marriage"; decades later, in 1975, she would say, "I was never really a career woman but [became one] only because I hadn't found the man I wanted to marry. I couldn't sit around and do nothing, so I became an actress." [28] (#cite_note-cannon-gov-28) Ronald Reagan biographer Lou Cannon (/wiki/Lou_Cannon) nevertheless characterized her as a "reliable" and "solid" performer who held her own in performances with better-known actors. [28] (#cite_note-cannon-gov-28) After her final film, Crash Landing (/wiki/Crash_Landing_(1958_film)) (1958), Davis appeared for a brief time as a guest star in television dramas, such as the Zane Grey Theatre (/wiki/Dick_Powell%27s_Zane_Grey_Theatre) episode "The Long Shadow" (1961), where she played opposite Ronald Reagan, as well as Wagon Train (/wiki/Wagon_Train) and The Tall Man (/wiki/The_Tall_Man_(TV_series)) , until she retired as an actress in 1962. [29] (#cite_note-The_Films_of_Nancy_Reagan-29) During her career, Davis served for nearly ten years on the board of directors of the Screen Actors Guild (/wiki/Screen_Actors_Guild) . [40] (#cite_note-40) Decades later, Albert Brooks (/wiki/Albert_Brooks) attempted to coax her out of acting retirement by offering her the title role opposite himself in his 1996 film Mother (/wiki/Mother_(1996_film)) . [41] (#cite_note-peo012797-41) She declined in order to care for her husband, and Debbie Reynolds played the part. [41] (#cite_note-peo012797-41) Marriage and family [ edit ] Newlyweds Ronald and Nancy Reagan, March 4, 1952 During her Hollywood career, Davis dated many actors, including Clark Gable (/wiki/Clark_Gable) , Robert Stack (/wiki/Robert_Stack) , and Peter Lawford (/wiki/Peter_Lawford) ; [35] (#cite_note-metzger-33-35) she later called Gable the nicest of the stars she had met. [19] (#cite_note-nyt-lw-19) On November 15, 1949, she met Ronald Reagan, [42] (#cite_note-cannon-gov-77-42) who was then president of the Screen Actors Guild. She had noticed that her name had appeared on the Hollywood blacklist (/wiki/Hollywood_blacklist) . Davis sought Reagan's help to maintain her employment as a guild actress in Hollywood and for assistance in having her name removed from the list. [19] (#cite_note-nyt-lw-19) Ronald Reagan informed her that she had been confused with another actress of the same name. [19] (#cite_note-nyt-lw-19) The two began dating and their relationship was the subject of many gossip columns; one Hollywood press account described their nightclub-free times together as "the romance of a couple who have no vices". [42] (#cite_note-cannon-gov-77-42) Ronald Reagan was skeptical about marriage, however, following his painful 1949 divorce from Jane Wyman (/wiki/Jane_Wyman) , and he still saw other women. [42] (#cite_note-cannon-gov-77-42) After three years of dating, they eventually decided to marry while discussing the issue in the couple's favorite booth at Chasen's (/wiki/Chasen%27s) , a restaurant in Beverly Hills (/wiki/Beverly_Hills,_California) . [42] (#cite_note-cannon-gov-77-42) The couple wed on March 4, 1952, at the Little Brown Church in the San Fernando Valley (/wiki/San_Fernando_Valley) of Los Angeles, in a simple, hastily arranged ceremony designed to avoid the press; the marriage was her first and his second. [43] (#cite_note-Little_Brown_Church_in_the_Valley-43) The only people in attendance were fellow actor William Holden (/wiki/William_Holden) (the best man) and his wife, actress Brenda Marshall (/wiki/Brenda_Marshall) (the matron of honor). [42] (#cite_note-cannon-gov-77-42) [44] (#cite_note-First_Ladies:_Nancy_Reagan-44) Nancy was likely already pregnant; the couple's first child, Patricia Ann Reagan (later better known by her professional name, Patti Davis (/wiki/Patti_Davis) ), was born less than eight months later on October 21, 1952. Their son, Ronald Prescott Reagan (later better known as Ron Reagan (/wiki/Ron_Reagan) ) was born six years later on May 20, 1958. Reagan also became stepmother to Maureen Reagan (/wiki/Maureen_Reagan) (1941–2001) and Michael Reagan (/wiki/Michael_Reagan) (b. 1945), her husband's children from his marriage to Jane Wyman. Matron of honor Brenda Marshall (/wiki/Brenda_Marshall) and best man William Holden (/wiki/William_Holden) , sole guests at the Reagans' wedding, flank the newlywed couple Observers described Nancy and Ronald's relationship as intimate. [45] (#cite_note-45) As president and first lady, the Reagans were reported to display their affection frequently, with one press secretary noting, "They never took each other for granted. They never stopped courting." [46] (#cite_note-Love_Story-46) [47] (#cite_note-By_Reagan's_Side,_but_her_own_person-47) Ronald often called Nancy "Mommy"; she called him "Ronnie". [47] (#cite_note-By_Reagan's_Side,_but_her_own_person-47) While the president was recuperating in the hospital after the 1981 assassination attempt, Nancy wrote in her diary, "Nothing can happen to my Ronnie. My life would be over." [48] (#cite_note-Beschloss,_Michael_p._284-48) In a letter to Nancy, Ronald wrote, "whatever I treasure and enjoy ... all would be without meaning if I didn't have you." [49] (#cite_note-Reagan_Love_Story-49) In 1998, a few years after her husband had been given a diagnosis of Alzheimer's disease, Nancy told Vanity Fair (/wiki/Vanity_Fair_(magazine)) , "Our relationship is very special. We were very much in love and still are. When I say my life began with Ronnie, well, it's true. It did. I can't imagine life without him." [46] (#cite_note-Love_Story-46) Nancy was known for the focused and attentive look, termed "the Gaze", that she fastened upon her husband during his speeches and appearances. [50] (#cite_note-Up_Next_for_Nancy_Reagan-50) President Reagan's death in June 2004 ended what Charlton Heston (/wiki/Charlton_Heston) called "the greatest love affair in the history of the American Presidency". [46] (#cite_note-Love_Story-46) The Reagan family, c. 1967 Nancy's relationship with her children was not always as close as the bond with her husband. She frequently quarreled with her children and her stepchildren. Her relationship with Patti was the most contentious; Patti flouted American conservatism (/wiki/Conservatism_in_the_United_States) , rebelled against her parents by joining the nuclear freeze (/wiki/Nuclear_disarmament) movement, and authored many anti-Reagan books. [51] (#cite_note-51) The nearly 20 years of family feuding left Patti very much estranged from both her mother and father. [52] (#cite_note-52) Soon after her father's Alzheimer's disease was diagnosed, Patti and her mother reconciled and began to speak on a daily basis. [53] (#cite_note-53) Nancy's disagreements with Michael were also public matters; in 1984, she was quoted as saying that the two were in an "estrangement right now". Michael responded that Nancy was trying to cover up for the fact she had not met his daughter, Ashley, who had been born nearly a year earlier. [54] (#cite_note-54) They too eventually made peace. Nancy was thought to be closest to her stepdaughter Maureen during the White House years, but each of the Reagan children experienced periods of estrangement from their parents. [46] (#cite_note-Love_Story-46) First Lady of California (1967–1975) [ edit ] Reagan as the first lady of California Nancy Reagan was First Lady of California during her husband's two terms as governor. She disliked living in the state capital of Sacramento (/wiki/Sacramento,_California) , which lacked the excitement, social life, and mild climate to which she was accustomed in Los Angeles. [55] (#cite_note-can-gov-233-55) She first attracted controversy early in 1967; after four months' residence in the California Governor's Mansion (/wiki/Governor%27s_Mansion_State_Historic_Park) in Sacramento, she moved her family into a wealthy suburb because fire officials had labelled the mansion as a "firetrap". [56] (#cite_note-nancy-135-56) Though the Reagans had leased the new house at their expense, [55] (#cite_note-can-gov-233-55) the move was viewed as snobbish when the matter was brought to the attention of the general public. Reagan defended her actions as being for the good of her family, a judgment with which her husband readily agreed. [55] (#cite_note-can-gov-233-55) [56] (#cite_note-nancy-135-56) Friends of the family later helped support the cost of the leased house, while Reagan supervised construction of a new ranch-style (/wiki/Ranch-style_house) governor's residence in nearby Carmichael (/wiki/Carmichael,_California) . [57] (#cite_note-nyt111904-57) The new residence was finished just as Ronald Reagan left office in 1975, but his successor, Jerry Brown (/wiki/Jerry_Brown) , refused to live there. It was sold in 1982, and California governors lived in improvised arrangements until Brown moved into the Governor's Mansion in 2015. [57] (#cite_note-nyt111904-57) [58] (#cite_note-58) In 1967, Governor Reagan appointed his wife to the California Arts Commission (/wiki/California_Arts_Commission) , [59] (#cite_note-59) and a year later she was named Los Angeles Times (/wiki/Los_Angeles_Times) Woman of the Year (/wiki/Times_Woman_of_the_Year) ; in its profile, the Times labeled her "A Model First Lady". [60] (#cite_note-60) Her glamour, style, and youthfulness, made her a frequent subject for press photographers (/wiki/Photojournalism) . [61] (#cite_note-fl-ca-61) As first lady, Reagan visited veterans, the elderly, and the disabled, and worked with a number of charities. She became involved with the Foster Grandparents Program (/wiki/Foster_Grandparents_Program) , [62] (#cite_note-Foster_Grandparent's_Program-62) helping to popularize it in the United States and Australia. [63] (#cite_note-63) She later expanded her work with the organization after arriving in Washington, [62] (#cite_note-Foster_Grandparent's_Program-62) and wrote about her experiences in her 1982 book To Love a Child . [64] (#cite_note-64) The Reagans held dinners for former POWs (/wiki/Prisoner_of_war) and Vietnam War (/wiki/Vietnam_War) veterans while governor and first lady. [65] (#cite_note-65) Role in 1976 and 1980 presidential campaigns [ edit ] Main articles: 1976 United States presidential election (/wiki/1976_United_States_presidential_election) and 1980 United States presidential election (/wiki/1980_United_States_presidential_election) Governor Reagan's gubernatorial time in office ended in 1975, and he did not run for a third term; instead, he met with advisors to discuss a possible bid for the 1976 (/wiki/1976_United_States_presidential_election) presidency, challenging incumbent president Gerald Ford (/wiki/Gerald_Ford) . Ronald still needed to convince a reluctant Nancy before running, however. [66] (#cite_note-66) She feared for her husband's health and his career as a whole, though she felt that he was the right man for the job and eventually approved. [67] (#cite_note-lpm64-67) Nancy took on a traditional role in the campaign, holding coffees, luncheons, and talks. [67] (#cite_note-lpm64-67) She also oversaw personnel, monitored her husband's schedule, and occasionally provided press conferences. [68] (#cite_note-Benze,_James_G.,_Jr._(2005),_p._33-68) The 1976 campaign included the so-called "battle of the queens", contrasting Nancy with First Lady Betty Ford (/wiki/Betty_Ford) . They both spoke out over the course of the campaign on similar issues, but with different approaches. [69] (#cite_note-69) Nancy was upset by the warmonger image that the Ford campaign had drawn of her husband. [67] (#cite_note-lpm64-67) Though he lost the 1976 Republican nomination, Ronald Reagan ran for the presidency a second time in 1980 (/wiki/1980_United_States_presidential_election) . He succeeded in winning the nomination and defeated incumbent rival Jimmy Carter (/wiki/Jimmy_Carter) in a landslide. During this second campaign, Nancy played a prominent role, and her management of staff became more apparent. [68] (#cite_note-Benze,_James_G.,_Jr._(2005),_p._33-68) She organized a meeting among feuding campaign managers John Sears (/wiki/John_Sears_(political_strategist)) and Michael Deaver (/wiki/Michael_Deaver) and her husband, which resulted in Deaver leaving the campaign and Sears being given full control. After the Reagan camp lost the Iowa Caucus (/wiki/Iowa_caucuses) and fell behind in New Hampshire (/wiki/New_Hampshire_primary) polls, Nancy organized a second meeting and decided it was time to fire Sears and his associates; she gave Sears a copy of the press release announcing his dismissal. [68] (#cite_note-Benze,_James_G.,_Jr._(2005),_p._33-68) Her influence on her husband became particularly notable; her presence at rallies, luncheons, and receptions increased his confidence. [70] (#cite_note-70) First Lady of the United States (1981–1989) [ edit ] White House glamour [ edit ] Renovation [ edit ] The new president and his wife wave to the crowd during the Inaugural Parade, January 20, 1981, the same day that 52 Americans held hostage (/wiki/Iran_hostage_crisis) by Iran for 444 days were set free Reagan became the first lady of the United States when Ronald Reagan was inaugurated as president in January 1981 (/wiki/First_inauguration_of_Ronald_Reagan) . Early in her husband's presidency, Reagan stated her desire to create a more suitable "first home" in the White House (/wiki/White_House) , as the building had fallen into a state of disrepair following years of neglect. [71] (#cite_note-NR_American-71) White House aide Michael Deaver (/wiki/Michael_Deaver) described the second and third-floor family residence as having "cracked plaster walls, chipped paint [and] beaten up floors"; [72] (#cite_note-md78-72) Rather than use government funds to renovate and redecorate, she sought private donations. [13] (#cite_note-First_Lady_Nancy_Reagan-13) In 1981, Reagan directed a major renovation of several White House rooms, including all of the second and third floors [73] (#cite_note-73) and rooms adjacent to the Oval Office, including the press briefing room (/wiki/James_S._Brady_Press_Briefing_Room) . [74] (#cite_note-74) The renovation included repainting walls, refinishing floors, repairing fireplaces, and replacing antique pipes, windows, and wires. [72] (#cite_note-md78-72) The closet in the master bedroom was converted into a beauty parlor and dressing room, and the West bedroom was made into a small gymnasium. [75] (#cite_note-75) [76] (#cite_note-76) The first lady secured the assistance of renowned interior designer Ted Graber, popular with affluent West Coast social figures, to redecorate the family living quarters. [77] (#cite_note-graber-77) A Chinese-pattern, handpainted wallpaper was added to the master bedroom. [78] (#cite_note-78) Family furniture was placed in the president's private study. [77] (#cite_note-graber-77) The first lady and her designer retrieved several White House antiques, which had been in storage, and placed them throughout the mansion. [77] (#cite_note-graber-77) In addition, many of Reagan's collectibles were put out for display, including around twenty-five Limoges Boxes (/wiki/Limoges_Box) , as well as some porcelain eggs and a collection of plates. [79] (#cite_note-79) The extensive redecoration was paid for by private donations. [13] (#cite_note-First_Lady_Nancy_Reagan-13) [77] (#cite_note-graber-77) Many significant and long-lasting changes occurred as a result of the renovation and refurbishment, of which Reagan said, "This house belongs to all Americans, and I want it to be something of which they can be proud." [77] (#cite_note-graber-77) The renovations received some criticisms for being funded by tax-deductible donations, meaning some of it eventually did indirectly come from the tax-paying public. [80] (#cite_note-80) Fashion [ edit ] Reagan's interest in fashion was another one of her trademarks. While her husband was still president-elect (/wiki/President-elect_of_the_United_States) , press reports speculated about Reagan's social life and interest in fashion. [81] (#cite_note-81) [82] (#cite_note-stylenyt-82) [83] (#cite_note-83) In many press accounts, Reagan's sense of style was favorably compared to that of a previous first lady, Jacqueline Kennedy (/wiki/Jacqueline_Kennedy_Onassis) . [84] (#cite_note-burns-148-84) Friends and those close to her remarked that, while fashionable like Kennedy, she would be different from other first ladies; close friend Harriet Deutsch was quoted as saying, "Nancy has her own imprint." [82] (#cite_note-stylenyt-82) White House photographer Mary Anne Fackelman-Miner (/wiki/Mary_Anne_Fackelman-Miner) , who was assigned to Reagan, said of her, "She always photographed so easily and was at ease in front of the cameras." [85] (#cite_note-tate-85) Reagan's wardrobe consisted of dresses, gowns, and suits made by luxury designers, including James Galanos (/wiki/James_Galanos) , Bill Blass (/wiki/Bill_Blass) , and Oscar de la Renta (/wiki/Oscar_de_la_Renta) . Her white, hand-beaded, one shoulder Galanos 1981 inaugural gown was estimated to cost $10,000, [86] (#cite_note-Nancy's_Closet-86) while the overall price of her inaugural wardrobe was said to cost $25,000. [87] (#cite_note-spbt-87) She favored the color red, calling it "a picker-upper", and wore it accordingly. [86] (#cite_note-Nancy's_Closet-86) Her wardrobe included red so often that the fire-engine shade became known as "Reagan red". [88] (#cite_note-88) She employed two private hairdressers, who would style her hair on a regular basis in the White House. [89] (#cite_note-89) Reagan models for Vogue (/wiki/Vogue_(magazine)) in the Red Room (/wiki/Red_Room_(White_House)) , 1981 Fashion designers were pleased with the emphasis Reagan placed on clothing. [87] (#cite_note-spbt-87) Adolfo (/wiki/Adolfo_(designer)) said the first lady embodied an "elegant, affluent, well-bred, chic American look", [87] (#cite_note-spbt-87) while Bill Blass commented, "I don't think there's been anyone in the White House since Jacqueline Kennedy Onassis who has her flair." [87] (#cite_note-spbt-87) William Fine, president of cosmetic company Frances Denney, noted that she "stays in style, but she doesn't become trendy." [87] (#cite_note-spbt-87) Though her elegant fashions and wardrobe were hailed as a "glamorous paragon of chic", [87] (#cite_note-spbt-87) they were also controversial subjects. In 1982, she revealed that she had accepted thousands of dollars in clothing, jewelry, and other gifts, but defended her actions by stating that she had borrowed the clothes and that they would either be returned or donated to museums, [86] (#cite_note-Nancy's_Closet-86) [90] (#cite_note-90) and that she was promoting the American fashion industry. [91] (#cite_note-nyt021782-91) Facing criticism, she soon said she would no longer accept such loans. [91] (#cite_note-nyt021782-91) While often buying her clothes, she continued to borrow and sometimes keep designer clothes throughout her time as first lady, which came to light in 1988. [92] (#cite_note-time102488-92) None of this had been included on financial disclosure forms; [92] (#cite_note-time102488-92) the non-reporting of loans under $10,000 in liability was in violation of a voluntary agreement the White House had made in 1982, while not reporting more valuable loans or clothes not returned was a possible violation of the Ethics in Government Act (/wiki/Ethics_in_Government_Act) . [92] (#cite_note-time102488-92) [93] (#cite_note-wapo120589-93) [94] (#cite_note-nyt101888-94) Reagan expressed through her press secretary "regrets that she failed to heed counsel's advice" on disclosing them. [94] (#cite_note-nyt101888-94) Despite the controversy, many designers who allowed her to borrow clothing, noted that the arrangement was good for their businesses, [92] (#cite_note-time102488-92) as well as for the American fashion industry overall. [95] (#cite_note-bg101988-95) In 1989, Reagan was honored at the annual gala awards dinner of the Council of Fashion Designers of America (/wiki/Council_of_Fashion_Designers_of_America) , during which she received the council's lifetime achievement award. [96] (#cite_note-honorednyt-96) Barbara Walters (/wiki/Barbara_Walters) said of her, "She has served every day for eight long years the word 'style.'" [96] (#cite_note-honorednyt-96) Extravagance [ edit ] Approximately a year into her husband's first term, Nancy explored the idea of ordering new state china service (/wiki/White_House_china) for the White House. [97] (#cite_note-apchina-97) A full china service had not been purchased since the Truman administration (/wiki/Presidency_of_Harry_S._Truman) in the 1940s, as only a partial service was ordered in the Johnson (/wiki/Lyndon_B._Johnson) administration. [97] (#cite_note-apchina-97) She was quoted as saying, "The White House really badly, badly needs china." [97] (#cite_note-apchina-97) Working with Lenox (/wiki/Lenox_(company)) , the primary porcelain manufacturer in America, the first lady chose a design scheme of a red with etched gold band, bordering the scarlet and cream colored ivory plates with a raised presidential seal etched in gold in the center. [97] (#cite_note-apchina-97) The full service comprised 4,370 pieces, with 19 pieces per individual set. [97] (#cite_note-apchina-97) The service totaled $209,508. [98] (#cite_note-98) Although it was paid for by private donations, some from the private J. P. Knapp Foundation (/wiki/Joseph_P._Knapp) , the purchase generated quite a controversy, for it was ordered at a time when the nation was undergoing an economic recession (/wiki/Early_1980s_recession) . [99] (#cite_note-99) Furthermore, news of the china purchase emerged at the same time that her husband's administration had proposed school lunch regulations that would allow ketchup to be counted as a vegetable (/wiki/Ketchup_as_a_vegetable) . [100] (#cite_note-time-2016-100) President Reagan, First Lady Nancy Reagan and former first lady Jacqueline Kennedy Onassis (/wiki/Jacqueline_Kennedy_Onassis) at a fundraiser for the Kennedy Presidential Library (/wiki/Kennedy_Presidential_Library) , 1985 The new china set, White House renovations, expensive clothing, and her attendance at the wedding of Charles and Diana, Prince and Princess of Wales (/wiki/Wedding_of_Prince_Charles_and_Lady_Diana_Spencer) , [101] (#cite_note-101) gave her an aura of being "out of touch" with the American people during the recession. [13] (#cite_note-First_Lady_Nancy_Reagan-13) This built upon the reputation she had coming to Washington, wherein many people concluded that Reagan was a vain and shallow woman, [100] (#cite_note-time-2016-100) and her taste for splendor inspired the derogatory nickname "Queen Nancy". [13] (#cite_note-First_Lady_Nancy_Reagan-13) While Jacqueline Kennedy had also faced some press criticism for her spending habits, Reagan's treatment was much more consistent and negative. [84] (#cite_note-burns-148-84) In an attempt to deflect the criticism, she self-deprecatingly donned a baglady (/wiki/Baglady) costume at the 1982 Gridiron Dinner (/wiki/Gridiron_Club) and sang "Second-Hand Clothes", mimicking the song "Second-Hand Rose". [102] (#cite_note-Husband's_Past_will_shape_Nancy_Reagan's_future-102) The skit helped to restore her reputation. [103] (#cite_note-103) Reagan reflected on the criticisms in her 1989 autobiography, My Turn (/wiki/My_Turn_(memoir)) . She described lunching with former Democratic National Committee (/wiki/Democratic_National_Committee) chairman Robert S. Strauss (/wiki/Robert_S._Strauss) , wherein Strauss said to her, "When you first came to town, Nancy, I didn't like you at all. But after I got to know you, I changed my mind and said, 'She's some broad!'" Reagan responded, "Bob, based on the press reports I read then, I wouldn't have liked me either!" [104] (#cite_note-104) Vice President George H. W. Bush (/wiki/George_H._W._Bush) , Reagan, and Raisa Gorbacheva (/wiki/Raisa_Gorbacheva) (spouse of Mikhail Gorbachev (/wiki/Mikhail_Gorbachev) ) in Washington, D.C., 1987 After the presidency of Jimmy Carter (/wiki/Jimmy_Carter) (who dramatically reduced the formality of presidential functions), Reagan brought a Kennedy (/wiki/John_F._Kennedy) -esque glamour back into the White House. [86] (#cite_note-Nancy's_Closet-86) [105] (#cite_note-105) She hosted 56 state dinners (/wiki/State_dinner) over eight years. [106] (#cite_note-dinners-106) She remarked that hosting the dinners is "the easiest thing in the world. You don't have to do anything. Just have a good time and do a little business. And that's the way Washington works." [106] (#cite_note-dinners-106) The White House residence staff found Reagan demanding to work for during the preparation for the state dinners, with the first lady overseeing every aspect of meal presentations, and sometimes requesting one dessert after another be prepared, before finally settling on one she approved of. [107] (#cite_note-107) In general, the First Lady's desire for everything to appear just right in the White House led the residence staff to consider her not easy to work for, with tirades following what she perceived as mistakes. [108] (#cite_note-108) One staffer later recalled, "I remember hearing her call for her personal maid one day and it scared the dickens out of me—just her tone. I never wanted to be on the wrong side of her." [109] (#cite_note-109) She did show loyalty and respect to a number of the staff. [110] (#cite_note-110) In particular, she came to the public defense of a maid who was indicted on charges of helping to smuggle ammunition to Paraguay, providing an affidavit to the maid's good character (even though it was politically inopportune to do so at the time of the Iran–Contra affair (/wiki/Iran%E2%80%93Contra_affair) ); charges were subsequently dropped, and the maid returned to work at the White House. [111] (#cite_note-upi-maid-111) [112] (#cite_note-112) In 1987, Mikhail Gorbachev (/wiki/Mikhail_Gorbachev) became the first Soviet leader to visit Washington, D.C., since Nikita Khrushchev (/wiki/Nikita_Khrushchev) made the trip in 1959 at the height of the Cold War (/wiki/Cold_War) . Nancy was in charge of planning and hosting the important and highly anticipated state dinner, with the goal to impress both the Soviet leader and especially his wife Raisa Gorbacheva (/wiki/Raisa_Gorbacheva) . [113] (#cite_note-sj165-113) [114] (#cite_note-114) After the meal, she recruited pianist Van Cliburn (/wiki/Van_Cliburn) to play a rendition of " Moscow Nights (/wiki/Moscow_Nights) " for the Soviet delegation, to which Mikhail and Raisa broke out into song. [115] (#cite_note-115) Secretary of State George P. Shultz (/wiki/George_P._Shultz) later commented on the evening, saying "We felt the ice of the Cold War crumbling." [116] (#cite_note-116) Reagan concluded, "It was a perfect ending for one of the great evenings of my husband's presidency." [117] (#cite_note-117) Just Say No [ edit ] Main article: Just Say No (/wiki/Just_Say_No) The first lady launched the "Just Say No" drug awareness campaign in 1982, which was her primary project and major initiative as first lady. [13] (#cite_note-First_Lady_Nancy_Reagan-13) Reagan first became aware of the need to educate young people about drugs during a 1980 campaign stop in Daytop (/wiki/Daytop) village, New York. [118] (#cite_note-Just_Say_No-118) She remarked in 1981 that "Understanding what drugs can do to your children, understanding peer pressure and understanding why they turn to drugs is ... the first step in solving the problem." [118] (#cite_note-Just_Say_No-118) Her campaign focused on drug education and informing the youth of the danger of drug abuse. [118] (#cite_note-Just_Say_No-118) Reagan gives a speech at a " Just Say No (/wiki/Just_Say_No) " to drugs rally in Los Angeles, 1987 In 1982, Reagan was asked by a schoolgirl what to do when offered drugs (/wiki/Recreational_drug_use) ; Reagan responded: "Just say no." [119] (#cite_note-119) [120] (#cite_note-120) The phrase proliferated in the popular culture of the 1980s, and was eventually adopted as the name of club organizations and school anti-drug programs. [13] (#cite_note-First_Lady_Nancy_Reagan-13) Reagan became actively involved by traveling more than 250,000 miles (400,000 km) throughout the United States and several nations, visiting drug abuse prevention programs and drug rehabilitation (/wiki/Drug_rehabilitation) centers. She also appeared on television talk shows, recorded public service announcements, and wrote guest articles. [13] (#cite_note-First_Lady_Nancy_Reagan-13) She appeared in an episode of the sitcom Diff'rent Strokes (/wiki/Diff%27rent_Strokes) to underscore support for the "Just Say No" campaign, and in a rock music video, " Stop the Madness (/wiki/Stop_the_Madness) " (1985). [121] (#cite_note-121) In 1985, Reagan expanded the campaign to an international level by inviting the First Ladies (/wiki/First_Lady) of various nations to the White House for a conference on drug abuse. [13] (#cite_note-First_Lady_Nancy_Reagan-13) On October 27, 1986, President Reagan signed a drug enforcement bill into law, which granted $1.7 billion in funding to fight the perceived crisis and ensured a mandatory minimum penalty (/wiki/Mandatory_sentencing) for drug offenses (/wiki/Drug-related_crime) . [122] (#cite_note-PBS_Frontline-122) Although the bill was criticized, Reagan considered it a personal victory. [13] (#cite_note-First_Lady_Nancy_Reagan-13) In 1988, she became the first active first lady invited to address the United Nations General Assembly (/wiki/United_Nations_General_Assembly) , where she spoke on international drug interdiction and trafficking laws. [13] (#cite_note-First_Lady_Nancy_Reagan-13) Reagan hosting the first White House Ladies Conference on Drug Abuse, 1985 Critics of Reagan's efforts questioned their purpose, [123] (#cite_note-critics_of_just_say_no-123) labelled Reagan's approach to promoting drug awareness as simplistic, [71] (#cite_note-NR_American-71) and argued that the program did not give adequate attention to various social issues associated with increased rates of drug use, including unemployment, poverty, and family dissolution. [123] (#cite_note-critics_of_just_say_no-123) Her husband's protector [ edit ] Reagan assumed the role of unofficial "protector" for her husband after the attempted assassination of him (/wiki/Attempted_assassination_of_Ronald_Reagan) in 1981. [124] (#cite_note-124) On March 30 of that year, President Reagan and three others were shot by the attempted assassin 25-year old John Hinckley, Jr (/wiki/John_Hinckley,_Jr) as they left the Washington Hilton (/wiki/Washington_Hilton) hotel. Nancy was alerted and arrived at George Washington University Hospital (/wiki/George_Washington_University_Hospital) , where the President was hospitalized. She recalled having seen "emergency rooms before, but I had never seen one like this – with my husband in it." [125] (#cite_note-125) She was escorted into a waiting room, and when granted access to see her husband, he quipped to her, "Honey, I forgot to duck", borrowing the defeated boxer Jack Dempsey (/wiki/Jack_Dempsey) 's jest to his wife. [126] (#cite_note-NoonanPBS-126) An early example of the first lady's protective nature occurred when Senator Strom Thurmond (/wiki/Strom_Thurmond) entered the president's hospital room that day in March, passing the Secret Service (/wiki/United_States_Secret_Service) detail by claiming he was the President's "close friend", presumably to acquire media attention. [127] (#cite_note-127) Nancy was outraged and demanded that he leave. [48] (#cite_note-Beschloss,_Michael_p._284-48) While the President recuperated in the hospital, the first lady slept with one of his shirts to be comforted by the scent. [48] (#cite_note-Beschloss,_Michael_p._284-48) When Ronald Reagan was released from the hospital on April 12, she escorted him back to the White House. Press accounts framed (/wiki/Framing_(social_sciences)) Reagan as her husband's "chief protector", an extension of their general initial framing of her as a helpmate and a Cold War domestic ideal. [128] (#cite_note-128) As it happened, the day after her husband was shot, she fell off a chair while trying to take down a picture to bring to him in the hospital; she suffered several broken ribs, but was determined to not reveal it publicly. [129] (#cite_note-129) Astrological consultations [ edit ] "The Gaze": Reagan watches as her husband is sworn in for a second term by Chief Justice Warren Burger (/wiki/Warren_E._Burger) , on January 20, 1985. During the Reagan administration, Nancy Reagan consulted a San Francisco astrologer (/wiki/Astrology) , Joan Quigley (/wiki/Joan_Quigley) , who provided advice on which days and times would be optimal for the president's safety and success. [13] (#cite_note-First_Lady_Nancy_Reagan-13) [130] (#cite_note-Ivins,_Molly-130) Quigley began her work at the White House after the assassination attempt on President Reagan in 1981. Nancy Reagan was told by Merv Griffin that Quigley had predicted that day would be dangerous for President Reagan, causing her to become a regular astrological consultant for the administration. [131] (#cite_note-131) Quigley previously worked on the Reagan campaign prior to serving as their astrological consultant. She volunteered for their campaign in 1980, as she was impressed by his astrological chart. Private lines were set up in the White House and Camp David to assist in phone calls between Nancy Reagan and Joan Quigley, which occurred multiple times a day, and she was paid $3,000 a month for her work. [132] (#cite_note-:0-132) White House chief of staff (/wiki/White_House_Chief_of_Staff) Donald Regan (/wiki/Donald_Regan) grew frustrated with this regimen, which created friction between him and the first lady. This friction escalated with the revelation of the Iran–Contra affair (/wiki/Iran%E2%80%93Contra_affair) , an administration scandal, in which the first lady felt Regan was damaging the president. [ clarification needed ] [133] (#cite_note-133) She thought he should resign, and expressed this to her husband, although he did not share her view. Regan wanted President Reagan to address the Iran-Contra matter in early 1987 by means of a press conference, though the first lady refused to allow her husband to overexert himself due to a recent prostate surgery and astrological warnings. [134] (#cite_note-134) She became so angry with Regan that he hung up on her during a 1987 telephone conversation. According to the recollections of ABC News (/wiki/ABC_News_(United_States)) correspondent Sam Donaldson (/wiki/Sam_Donaldson) , when the President heard of this treatment, he demanded—and eventually received—Regan's resignation. [135] (#cite_note-135) Vice President George H. W. Bush (/wiki/George_H._W._Bush) is also reported to have suggested to her to have Regan fired. [136] (#cite_note-136) In his 1988 memoir, For the Record: From Wall Street to Washington , Regan wrote the following about Nancy Reagan's consultations with an astrologer: Virtually every major move and decision the Reagans made during my time as White House Chief of Staff was cleared in advance with a woman in San Francisco [Quigley] who drew up horoscopes to make certain that the planets were in a favorable alignment for the enterprise. [137] (#cite_note-137) [138] (#cite_note-peopleast-138) Donald Regan's memoir went on to cause political discourse, as well as scrutiny of the astrological community, as he exposed the "most closely guarded secret" of the Reagan administration. Although he did not know Quigley's name at the time, he wrote extensively on her role in the White House. [132] (#cite_note-:0-132) Regan further claimed that Quigley selected the date of the 1985 Geneva Summit. For her part, Quigley stated in 1998 that she had "'absolutely nothing'" to do with arranging the summit and added that others were "'overemphasizing'" her role; [138] (#cite_note-peopleast-138) however, in 1990, she released a book in which she asserted that she was "in charge" of the President's scheduling during the Reagan administration. [130] (#cite_note-Ivins,_Molly-130) Reagan acknowledged in her memoirs that she altered the President's schedule without his knowledge based on astrological advice, but argues that "no political decision was ever based [on astrology]". [139] (#cite_note-times-139) She added, "Astrology was simply one of the ways I coped with the fear I felt after my husband almost died ... Was astrology one of the reasons [further attempts did not occur]? I don't really believe it was, but I don't really believe it wasn't." [140] (#cite_note-140) Nancy and Ronald Reagan together in the Oval Office, 1985 Influence in the White House [ edit ] Nancy Reagan wielded a powerful influence over President Reagan. [141] (#cite_note-BBC_Nancy's_image-141) In her memoirs, Reagan stated, "I felt panicky every time [Ronald Reagan] left the White House". [142] (#cite_note-142) Following the assassination attempt, she strictly controlled access to the president; [13] (#cite_note-First_Lady_Nancy_Reagan-13) [141] (#cite_note-BBC_Nancy's_image-141) occasionally, she even attempted to influence her husband's decision making. [143] (#cite_note-143) Beginning in 1985, she strongly encouraged her husband to hold "summit" conferences with Soviet general secretary Mikhail Gorbachev (/wiki/Mikhail_Gorbachev) , and suggested they form a personal relationship beforehand. [13] (#cite_note-First_Lady_Nancy_Reagan-13) Both Ronald Reagan and Gorbachev had developed a productive relationship through their summit negotiations. The relationship between Nancy Reagan and Raisa Gorbacheva (/wiki/Raisa_Gorbacheva) was anything but the friendly, diplomatic one between their husbands; Reagan found Gorbacheva hard to converse with and their relationship was described as "frosty". [144] (#cite_note-144) The two women usually had tea and discussed differences between the USSR and the United States. Visiting the United States for the first time in 1987, Gorbacheva irked Reagan with lectures on subjects ranging from architecture to socialism, reportedly prompting the American president's wife to quip, "Who does that dame think she is?" [145] (#cite_note-145) Press framing of Reagan changed from that of just helpmate and protector to someone with hidden power. [146] (#cite_note-burns-power-146) As the image of her as a political interloper grew, she sought to explicitly deny that she was the power behind the throne (/wiki/Power_behind_the_throne) . [146] (#cite_note-burns-power-146) At the end of her time as First Lady, however, she said that her husband had not been well-served by his staff. [146] (#cite_note-burns-power-146) [147] (#cite_note-reut111388-147) She acknowledged her role in reaction in influencing him on personnel decisions, saying "In no way do I apologize for it." [147] (#cite_note-reut111388-147) She wrote in her memoirs, "I don't think I was as bad, or as extreme in my power or my weakness, as I was depicted," [148] (#cite_note-148) but went on, "However the first lady fits in, she has a unique and important role to play in looking after her husband. And it's only natural that she'll let him know what she thinks. I always did that for Ronnie, and I always will." [149] (#cite_note-149) Breast cancer [ edit ] In October 1987, a mammogram (/wiki/Mammography) detected a lesion in Reagan's left breast and she was subsequently diagnosed with breast cancer. She chose to undergo a mastectomy (/wiki/Mastectomy) rather than a lumpectomy (/wiki/Lumpectomy) , [150] (#cite_note-150) and the breast was removed on October 17, 1987. Ten days after the operation, her 99-year-old mother, Edith Luckett Davis (/wiki/Edith_Luckett_Davis) , died in Phoenix, Arizona (/wiki/Phoenix,_Arizona) , leading Reagan to dub the period "a terrible month". [151] (#cite_note-151) After the surgery, more women across the country had mammograms, which exemplified the influence that the first lady possessed. [152] (#cite_note-152) Later life [ edit ] Though Reagan was a controversial first lady, 56 percent of Americans had a favorable opinion of her when her husband left office on January 20, 1989, with 18 percent having an unfavorable opinion, and the balance not giving an opinion. [153] (#cite_note-Nancy_Reagan's_poll_numbers-153) Compared to fellow first ladies when their husbands left office, Reagan's approval was higher than those of Rosalynn Carter (/wiki/Rosalynn_Carter) , Hillary Clinton (/wiki/Hillary_Clinton) and Melania Trump (/wiki/Melania_Trump) . However, she was less popular than Barbara Bush (/wiki/Barbara_Bush) and Michelle Obama (/wiki/Michelle_Obama) , and her disapproval rating was double that of Carter's. [153] (#cite_note-Nancy_Reagan's_poll_numbers-153) Reagan's official White House portrait in the Vermeil Room (/wiki/Vermeil_Room) Upon leaving the White House, the couple returned to California, where wealthy friends purchased them a home at 668 St. Cloud Road (/wiki/668_St._Cloud_Road) in the wealthy East Gate Old Bel Air (/wiki/East_Gate_Bel_Air,_Los_Angeles) neighborhood of Bel Air, Los Angeles (/wiki/Bel_Air,_Los_Angeles) , [154] (#cite_note-154) [155] (#cite_note-155) dividing their time between Bel Air and the Reagan Ranch (/wiki/Rancho_del_Cielo) in Santa Barbara (/wiki/Santa_Barbara,_California) , California. Ronald and Nancy regularly attended the Bel Air Church (/wiki/Bel_Air_Church) as well. [156] (#cite_note-Agenting_for_God-156) After leaving Washington, Reagan made numerous public appearances, many on behalf of her husband. She continued to reside at the Bel Air home, where she lived with her husband until he died on June 5, 2004. [157] (#cite_note-CNNHealth-157) Early post–White House activities [ edit ] In late 1989, the former first lady established the Nancy Reagan Foundation, which aimed to continue to educate people about the dangers of substance abuse. [158] (#cite_note-Nancy_Reagan-158) The Foundation teamed with the BEST Foundation For A Drug-Free Tomorrow in 1994, and developed the Nancy Reagan Afterschool Program. She continued to travel around the United States, speaking out against drug and alcohol abuse. Ronnie's long journey has finally taken him to a distant place where I can no longer reach him. — Nancy Reagan (May 2004) [141] (#cite_note-BBC_Nancy's_image-141) Her memoirs, My Turn: The Memoirs of Nancy Reagan (/wiki/My_Turn_(memoir)) (1989), are an account of her life in the White House, commenting openly about her influence within the Reagan administration, and discussing the myths and controversies that surrounded the couple. [159] (#cite_note-159) In 1991, the author Kitty Kelley (/wiki/Kitty_Kelley) wrote an unauthorized and largely uncited biography about Reagan, repeating accounts of a poor relationship with her children, and introducing rumors of alleged sexual relations with singer Frank Sinatra (/wiki/Frank_Sinatra) . A wide range of sources commented that Kelley's largely unsupported claims are most likely false. [160] (#cite_note-160) [161] (#cite_note-161) [162] (#cite_note-162) [163] (#cite_note-163) In 1989, the IRS (/wiki/IRS) (Internal Revenue Service) began investigating the Reagans over allegations they owed additional tax on the gifts and loans of high-fashion clothes and jewellery to the first lady during their time in the White House [164] (#cite_note-nyt120689-164) (recipients benefiting from the display of such items recognize taxable income even if they are returned). [164] (#cite_note-nyt120689-164) In 1992, the IRS determined the Reagans had failed to include some $3 million worth of fashion items between 1983 and 1988 on their tax returns; [165] (#cite_note-irs-165) they were billed for a large amount of back taxes and interest, which was subsequently paid. [165] (#cite_note-irs-165) After President Reagan revealed that he had been diagnosed with Alzheimer's disease (/wiki/Alzheimer%27s_disease) in 1994, she made herself his primary caregiver, and became actively involved with the National Alzheimer's Association and its affiliate, the Ronald and Nancy Reagan Research Institute (/wiki/Ronald_and_Nancy_Reagan_Research_Institute) in Chicago, Illinois. [13] (#cite_note-First_Lady_Nancy_Reagan-13) In April 1997, Nancy Reagan joined President Bill Clinton (/wiki/Bill_Clinton) and former Presidents Ford and Bush in signing the Summit Declaration of Commitment in advocating for participation by private citizens in solving domestic issues within the United States. [166] (#cite_note-166) Nancy Reagan was awarded the Presidential Medal of Freedom (/wiki/Presidential_Medal_of_Freedom) , the nation's highest civilian honor, by President George W. Bush (/wiki/George_W._Bush) on July 9, 2002. [167] (#cite_note-President_Bush_Honors_Recipients_of_the_Presidential_Medal_of_Freedom_Award-167) President Reagan received his own Presidential Medal of Freedom in January 1993. Reagan and her husband were jointly awarded the Congressional Gold Medal (/wiki/Congressional_Gold_Medal) on May 16, 2002, at the United States Capitol (/wiki/United_States_Capitol) building, and were only the third president and first lady to receive it; she accepted the medal on behalf of both of them. [168] (#cite_note-Congressional_Gold_Medal_History-168) Funeral for President Reagan [ edit ] Further information: Death and state funeral of Ronald Reagan (/wiki/Death_and_state_funeral_of_Ronald_Reagan) Reagan says her last goodbye to President Ronald Reagan following a week-long state funeral (/wiki/Death_and_state_funeral_of_Ronald_Reagan) , 2004 Ronald Reagan died in their Bel Air home on June 5, 2004. [157] (#cite_note-CNNHealth-157) During the seven-day state funeral (/wiki/Death_and_state_funeral_of_Ronald_Reagan) , Nancy, accompanied by her children and military escort, led the nation in mourning. [169] (#cite_note-169) She kept a strong composure, [170] (#cite_note-Nancy_funeral_role-170) traveling from her home to the Reagan Library (/wiki/Reagan_Library) for a memorial service, then to Washington, D.C., where her husband's body lay in state (/wiki/Lying_in_state) for 34 hours prior to a national funeral service in the Washington National Cathedral (/wiki/Washington_National_Cathedral) . [171] (#cite_note-171) She returned to the library in Simi Valley (/wiki/Simi_Valley) for a sunset memorial service and interment, where, overcome with emotion, she lost her composure and cried in public for the first time during the week. [170] (#cite_note-Nancy_funeral_role-170) [172] (#cite_note-172) After receiving the folded flag, she kissed the casket and mouthed "I love you" before leaving. [173] (#cite_note-173) During the week, CNN (/wiki/CNN) journalist Wolf Blitzer (/wiki/Wolf_Blitzer) said, "She's a very, very strong woman, even though she looks frail." [174] (#cite_note-174) She had directed the detailed planning of the funeral, [170] (#cite_note-Nancy_funeral_role-170) which included scheduling all the major events and asking former President George H. W. Bush (/wiki/George_H._W._Bush) , as well as former British Prime Minister Margaret Thatcher (/wiki/Margaret_Thatcher) , former Soviet Union Leader Mikhail Gorbachev (/wiki/Mikhail_Gorbachev) , and former Canadian Prime Minister Brian Mulroney (/wiki/Brian_Mulroney) to speak during the National Cathedral Service. [170] (#cite_note-Nancy_funeral_role-170) She paid very close attention to the details, something she had always done in her husband's life. Betsy Bloomingdale (/wiki/Betsy_Bloomingdale) , one of Reagan's closest friends, stated, "She looks a little frail. But she is very strong inside. She is. She has the strength. She is doing her last thing for Ronnie. And she is going to get it right." [170] (#cite_note-Nancy_funeral_role-170) The funeral marked her first major public appearance since she delivered a speech to the 1996 Republican National Convention (/wiki/1996_Republican_National_Convention) on her husband's behalf. [170] (#cite_note-Nancy_funeral_role-170) The funeral had a great impact on her public image. Following substantial criticism during her tenure as first lady, she was seen somewhat as a national heroine, praised by many for supporting and caring for her husband while he suffered from Alzheimer's disease. [141] (#cite_note-BBC_Nancy's_image-141) U.S. News & World Report (/wiki/U.S._News_%26_World_Report) opined, "after a decade in the shadows, a different, softer Nancy Reagan emerged." [175] (#cite_note-175) Widowhood [ edit ] Following her husband's death, Reagan remained active in politics, particularly relating to stem cell (/wiki/Stem_cell) research. Beginning in 2004, she favored what many consider to be the Democratic Party's (/wiki/Democratic_Party_(United_States)) position, and urged President George W. Bush to support federally funded embryonic stem cell research, in the hope that this science could lead to a cure for Alzheimer's disease. [176] (#cite_note-176) Although she failed to change the president's position, she did support his campaign for a second term. [177] (#cite_note-177) Reagan dedicates the Air Force One Pavilion at the Reagan Library as President Bush and his wife Laura look on, October 2005 In 2005, Reagan was honored at a gala dinner at the Ronald Reagan Building (/wiki/Ronald_Reagan_Building_and_International_Trade_Center) in Washington, D.C., where guests included Dick Cheney (/wiki/Dick_Cheney) , Harry Reid (/wiki/Harry_Reid) , and Condoleezza Rice (/wiki/Condoleezza_Rice) . [178] (#cite_note-dinner-wapo-178) In 2007, she attended the national funeral service for Gerald Ford (/wiki/Death_and_state_funeral_of_Gerald_Ford) in the Washington National Cathedral (/wiki/Washington_National_Cathedral) . Reagan hosted two 2008 Republican presidential debates (/wiki/Republican_Party_presidential_debates_and_forums,_2008) at the Reagan Presidential Library, the first in May 2007 and the second in January 2008. [179] (#cite_note-179) [180] (#cite_note-180) [181] (#cite_note-181) On March 25, she formally endorsed Senator John McCain (/wiki/John_McCain) , then the presumptive Republican party nominee for president, but McCain would go on to lose the election to Barack Obama. [182] (#cite_note-182) Reagan attended the funeral of Lady Bird Johnson (/wiki/Lady_Bird_Johnson) in Austin (/wiki/Austin,_Texas) , Texas, on July 14, 2007, [183] (#cite_note-Reagan_Library_Debate-183) and three days later accepted the highest Polish distinction, the Order of the White Eagle (/wiki/Order_of_the_White_Eagle_(Poland)) , on behalf of Ronald Reagan at the Reagan Library. The Reagan Library opened the temporary exhibit "Nancy Reagan: A First Lady's Style", which displayed over eighty designer dresses belonging to her. [184] (#cite_note-184) [185] (#cite_note-185) Reagan accepts the Order of the White Eagle (/wiki/Order_of_the_White_Eagle_(Poland)) from Polish President Lech Kaczyński (/wiki/Lech_Kaczy%C5%84ski) on behalf of Ronald Reagan, July 15, 2007 Reagan's health and well-being became a prominent concern in 2008. In February, she suffered a fall at her Bel Air home and was taken to Saint John's Health Center (/wiki/Saint_John%27s_Health_Center) in Santa Monica, California (/wiki/Santa_Monica,_California) . Doctors reported that she did not break her hip as feared, and she was released from the hospital two days later. [186] (#cite_note-186) News commentators noted that Reagan's step had slowed significantly, as the following month she walked in very slow strides with John McCain. [187] (#cite_note-msnbc_fall-187) In October 2008, Reagan was admitted to Ronald Reagan UCLA Medical Center (/wiki/Ronald_Reagan_UCLA_Medical_Center) after falling at home. Doctors determined that the 87-year-old had fractured her pelvis (/wiki/Human_pelvis) and sacrum (/wiki/Sacrum) , and could recuperate at home with a regimen of physical therapy (/wiki/Physical_therapy) . [188] (#cite_note-188) As a result of her mishap, medical articles were published containing information on how to prevent falls. [189] (#cite_note-189) In January 2009, Reagan was said to be "improving every day and starting to get out more and more". [190] (#cite_note-190) Reagan with First Lady Michelle Obama (/wiki/Michelle_Obama) at a White House luncheon, June 3, 2009 In March 2009, she praised President Barack Obama (/wiki/Barack_Obama) for reversing the ban on federally funded embryonic stem cell research. [191] (#cite_note-191) She traveled to Washington, D.C. in June 2009 to unveil a statue of her late husband in the Capitol rotunda (/wiki/United_States_Capitol_rotunda) . [192] (#cite_note-192) She was also on hand as President Obama signed the Ronald Reagan Centennial Commission Act, and lunched privately with Michelle Obama. [193] (#cite_note-193) Reagan revealed in an interview with Vanity Fair (/wiki/Vanity_Fair_(magazine)) that Michelle Obama had telephoned her for advice on living and entertaining in the White House. [194] (#cite_note-194) Following the death of Senator Ted Kennedy (/wiki/Ted_Kennedy) in August 2009, she said she was "terribly saddened ... Given our political differences, people are sometimes surprised how close Ronnie and I have been to the Kennedy family ... I will miss him." [195] (#cite_note-195) She attended the funeral of Betty Ford (/wiki/Betty_Ford) in Rancho Mirage, California (/wiki/Rancho_Mirage,_California) , on July 12, 2011. [196] (#cite_note-196) Reagan hosted a 2012 Republican presidential debate (/wiki/2012_Republican_Party_presidential_debates_and_forums) at the Reagan Presidential Library on September 7, 2011. [197] (#cite_note-endorse-197) [198] (#cite_note-198) She suffered a fall in March 2012. [199] (#cite_note-fall-199) Two months later, she endured several broken ribs, which prevented her from attending a speech given by Paul Ryan (/wiki/Paul_Ryan) in the Reagan Presidential Library in May 2012. [199] (#cite_note-fall-199) She endorsed Republican presidential candidate Mitt Romney (/wiki/Mitt_Romney) on May 31, 2012, explaining that her husband would have liked Romney's business background and what she called "strong principles". [197] (#cite_note-endorse-197) Following the death (/wiki/Death_and_funeral_of_Margaret_Thatcher) of former British Prime Minister Margaret Thatcher (/wiki/Margaret_Thatcher) in April 2013, she stated, "The world has lost a true champion of freedom and democracy ... Ronnie and I knew her as a dear and trusted friend, and I will miss her." [200] (#cite_note-200) Death and funeral [ edit ] On March 6, 2016, Nancy Reagan died of congestive heart failure (/wiki/Congestive_heart_failure) at her home in Los Angeles at the age of 94. [201] (#cite_note-Fieldstadt-201) [202] (#cite_note-Cannon-202) [203] (#cite_note-Dunham-203) On March 7, President Barack Obama (/wiki/Barack_Obama) issued a presidential proclamation (/wiki/Presidential_proclamation) ordering the US flag to be flown at half-staff (/wiki/Half-mast#United_States) until sunset on the day of Reagan's interment. [204] (#cite_note-halfstaff-204) External videos Nancy Reagan funeral service, March 11, 2016 (https://www.c-span.org/video/?406302-1/funeral-service-nancy-reagan) , C-SPAN (/wiki/C-SPAN) Her funeral was held on March 11 at the Ronald Reagan Presidential Library (/wiki/Ronald_Reagan_Presidential_Library) in Simi Valley, California (/wiki/Simi_Valley,_California) . [205] (#cite_note-nyt-funeral-205) [206] (#cite_note-206) Representatives from ten first families attended, including former president George W. Bush, First Lady Michelle Obama, former first ladies Laura Bush (/wiki/Laura_Bush) and Rosalynn Carter, and former first lady, secretary of state, and presidential candidate Hillary Clinton. Presidential children Steven Ford (/wiki/Steven_Ford) , Tricia Nixon Cox (/wiki/Tricia_Nixon_Cox) , Luci Baines Johnson (/wiki/Luci_Baines_Johnson) , and Caroline Kennedy (/wiki/Caroline_Kennedy) were also in attendance, as was presidential grandchild Anne Eisenhower Flottl (/wiki/Anne_Eisenhower) . [207] (#cite_note-vf-funeral-207) Other attendees included California governor Jerry Brown (/wiki/Jerry_Brown) , former governors Arnold Schwarzenegger (/wiki/Arnold_Schwarzenegger) and Pete Wilson (/wiki/Pete_Wilson) , former House speakers Nancy Pelosi (/wiki/Nancy_Pelosi) and Newt Gingrich (/wiki/Newt_Gingrich) , and former members of the Reagan administration, including George P. Shultz (/wiki/George_P._Shultz) and Edwin Meese (/wiki/Edwin_Meese) . There were also many attendees from the Hollywood entertainment industry, including Mr. T (/wiki/Mr._T) , Maria Shriver (/wiki/Maria_Shriver) (Schwarzenegger's then-wife), Wayne Newton (/wiki/Wayne_Newton) , Johnny Mathis (/wiki/Johnny_Mathis) , Anjelica Huston (/wiki/Anjelica_Huston) , John Stamos (/wiki/John_Stamos) , Tom Selleck (/wiki/Tom_Selleck) , Bo Derek (/wiki/Bo_Derek) , and Melissa Rivers (/wiki/Melissa_Rivers) . In all there were some 1,000 guests. [207] (#cite_note-vf-funeral-207) Eulogies were given by former prime minister of Canada (/wiki/Prime_Minister_of_Canada) Brian Mulroney (/wiki/Brian_Mulroney) , former secretary of state James Baker (/wiki/James_Baker) , Diane Sawyer (/wiki/Diane_Sawyer) , Tom Brokaw (/wiki/Tom_Brokaw) , and Reagan's children Patti Davis (/wiki/Patti_Davis) and Ron Reagan (/wiki/Ron_Reagan) . After the funeral, Reagan was interred next to her husband. [208] (#cite_note-208) [209] (#cite_note-209) Historical assessments [ edit ] Since 1982 Siena College Research Institute (/wiki/Siena_College_Research_Institute) has conducted occasional surveys asking historians to assess American first ladies according to a cumulative score on the independent criteria of their background, value to the country, intelligence (/wiki/Intelligence) , courage (/wiki/Courage) , accomplishments, integrity (/wiki/Integrity) , leadership (/wiki/Leadership) , being their own women, public image, and value to the president. [210] (#cite_note-Siena2014-210) In terms of cumulative assessment Reagan has been ranked: 39th-best of 42 in 1982 [211] (#cite_note-2008Siena-211) 36th-best of 37 in 1993 [211] (#cite_note-2008Siena-211) 28th-best of 38 in 2003 [211] (#cite_note-2008Siena-211) 15th-best of 38 in 2008 [211] (#cite_note-2008Siena-211) 15th-best of 39 in 2014 [210] (#cite_note-Siena2014-210) In the 1993 Sienna Research Institute survey, the first conducted after Reagan left the White House, Reagan was assessed very poorly by historians, ranking the second-worst, with only Mary Todd Lincoln (/wiki/Mary_Todd_Lincoln) being given a worse assessment. [211] (#cite_note-2008Siena-211) Reagan was ranked the lowest in half of the criteria (background, value to the country, intelligence, courage, and integrity). [212] (#cite_note-212) Regard for Reagan has improved in subsequent iterations of the survey. [211] (#cite_note-2008Siena-211) In the 2008 Siena Research Institute survey, Reagan was ranked the 4th-highest in value to the president, but was ranked the lowest in integrity. [211] (#cite_note-2008Siena-211) In the 2003 survey, Reagan ranked the 5th-highest in value to the president. [213] (#cite_note-213) In the 2014 survey, Reagan and her husband were ranked the 16th-highest out of 39 first couples in terms of being a "power couple". [214] (#cite_note-214) In the 2014 survey, historians ranked Reagan among 20th and 21st century American first ladies as being the 5th greatest in terms of being a "political asset" and 5th greatest in terms of being a strong public communicator. [210] (#cite_note-Siena2014-210) Reagan and her husband have each posthumously experienced continued criticism for having, during their time in the White House, spent years publicly ignoring the HIV/AIDS (/wiki/HIV/AIDS) epidemic, which began during her husband's presidency (/wiki/Ronald_Reagan_and_AIDS) . The epidemic had initially predominantly impacted the male homosexual (/wiki/Homosexual) community. Reagan's great extended public silence on this matter has been contrasted with her coinciding vocalness against drug use. Reagan's extended failure to give significant public acknowledgement of this epidemic has been seen as one of the greatest detractions in her retrospective public regard. [215] (#cite_note-215) [216] (#cite_note-216) [217] (#cite_note-217) [218] (#cite_note-218) However, there has been reporting to suggest that, privately, Reagan did unsuccessfully urge her husband's administration to address the epidemic. [219] (#cite_note-219) Awards and honors [ edit ] Reagan receiving an honorary degree from Eureka College, 2009 As noted earlier, Nancy Reagan was awarded the Presidential Medal of Freedom (/wiki/Presidential_Medal_of_Freedom) in 2002 [167] (#cite_note-President_Bush_Honors_Recipients_of_the_Presidential_Medal_of_Freedom_Award-167) and the Congressional Gold Medal (/wiki/Congressional_Gold_Medal) , in the same year. [168] (#cite_note-Congressional_Gold_Medal_History-168) In 1989, she received the Council of Fashion Designers of America (/wiki/Council_of_Fashion_Designers_of_America) 's lifetime achievement award. [96] (#cite_note-honorednyt-96) As First Lady, Nancy Reagan received an Honorary Doctorate of Laws degree from Pepperdine University (/wiki/Pepperdine_University) in 1983. [220] (#cite_note-220) Later, she received an Honorary Doctor of Humane Letters degree from Eureka College (/wiki/Eureka_College) in Illinois, her husband's alma mater, in 2009. [221] (#cite_note-221) Filmography [ edit ] The Crippler (1940) (Short) Portrait of Jennie (/wiki/Portrait_of_Jennie) (1948) The Doctor and the Girl (/wiki/The_Doctor_and_the_Girl) (1949) East Side, West Side (/wiki/East_Side,_West_Side_(1949_film)) (1949) Shadow on the Wall (/wiki/Shadow_on_the_Wall_(1950_film)) (1950) The Next Voice You Hear... (/wiki/The_Next_Voice_You_Hear...) (1950) Night into Morning (/wiki/Night_into_Morning) (1951) It's a Big Country (/wiki/It%27s_a_Big_Country) (1951) Talk About a Stranger (/wiki/Talk_About_a_Stranger) (1952) Shadow in the Sky (/wiki/Shadow_in_the_Sky) (1952) Donovan's Brain (/wiki/Donovan%27s_Brain_(film)) (1953) The Dark Wave (/wiki/The_Dark_Wave) (1956) (Short) Hellcats of the Navy (/wiki/Hellcats_of_the_Navy) (1957) [29] (#cite_note-The_Films_of_Nancy_Reagan-29) Crash Landing (/wiki/Crash_Landing_(1958_film)) (1958) [222] (#cite_note-222) [223] (#cite_note-223) As Nancy Davis, she also made a number of television appearances from 1953 to 1962, as a guest star in dramatic shows or installments of anthology series. These included Ford Television Theatre (/wiki/Ford_Theatre) (her first appearance with Ronald Reagan came during a 1953 episode titled "First Born"), Schlitz Playhouse of Stars (/wiki/Schlitz_Playhouse_of_Stars) , Dick Powell's Zane Grey Theatre (/wiki/Dick_Powell%27s_Zane_Grey_Theatre) (appearing with Ronald Reagan in the 1961 episode "The Long Shadow"), Wagon Train (/wiki/Wagon_Train) , The Tall Man (/wiki/The_Tall_Man_(TV_series)) , and General Electric Theater (/wiki/General_Electric_Theater) (hosted by Ronald Reagan). References [ edit ] ^ Jump up to: a b c d e f Percha, Julie (March 6, 2016). "Nancy Reagan, Former First Lady, Dies at 94" (https://abcnews.go.com/Politics/nancy-reagan-lady-dies-94/story?id=3349362) . ABC News (/wiki/ABC_News_(United_States)) . Archived (https://web.archive.org/web/20230106193042/https://abcnews.go.com/Politics/nancy-reagan-lady-dies-94/story?id=3349362) from the original on January 6, 2023 . Retrieved March 6, 2016 . ^ Jump up to: a b c d e "Nancy Reagan > Her Life & Times" (https://web.archive.org/web/20061024063625/http://www.reaganlibrary.com/reagan/nancy/nancy_bio.asp) . Ronald Reagan Presidential Foundation. Archived from the original (http://www.reaganlibrary.com/reagan/nancy/nancy_bio.asp) on October 24, 2006 . Retrieved September 22, 2007 . ^ (#cite_ref-3) When Nancy Davis signed with MGM, she gave her birth date as July 6, 1923, shaving two years off her age, a common practice in Hollywood (see Cannon, Governor Reagan , p. 75). This caused subsequent confusion as some sources would continue to use the incorrect birth year. ^ (#cite_ref-4) Powling, Anne; O'Connor, John; Barton, Geoff (1997). New Oxford English . Oxford University Press (/wiki/Oxford_University_Press) . p. 79. ISBN (/wiki/ISBN_(identifier)) 978-0-19-831192-8 . ^ (#cite_ref-5) Some sources and websites erroneously list her as either being born in Flushing or being raised in Manhattan. ^ (#cite_ref-6) National Archives, "World War I draft registration cards", digital image, Ancestry.com , "Kenneth Seymour Robbins, 23, b. Feb 23, 1892, Pittsfield, Mass, farmer, owner, Brainard, NY, married. Registered June 5, 1916." Retrieved October 8, 2016. ^ (#cite_ref-7) "The Sackett Family Association" (http://sackettfamily.info/g128/p128863.htm) . Sakkett Family . Archived (https://web.archive.org/web/20160307101643/http://sackettfamily.info/g128/p128863.htm) from the original on March 7, 2016 . Retrieved March 6, 2016 . ^ (#cite_ref-8) Reagan, Nancy (1989), p. 66. ^ (#cite_ref-9) Luckett gave her year of birth as 1896 to the Social Security Administration, thus shaving off eight years. ^ (#cite_ref-nfll_10-0) "First Lady Biography: Nancy Reagan" (https://web.archive.org/web/20120509085730/http://www.firstladies.org/biographies/firstladies.aspx?biography=41) . National First Ladies Library. Archived from the original (http://www.firstladies.org/biographies/firstladies.aspx?biography=41) on May 9, 2012 . Retrieved March 6, 2016 . ^ (#cite_ref-Luckett-IMDB_11-0) Edith Luckett (https://www.imdb.com/name/nm0524717/) Archived (https://web.archive.org/web/20170217053215/http://www.imdb.com/name/nm0524717/) February 17, 2017, at the Wayback Machine (/wiki/Wayback_Machine) at the Internet Movie Database (/wiki/Internet_Movie_Database) . [ user-generated source ] ^ (#cite_ref-IBDB_Luckett_12-0) Edith Luckett (http://www.ibdb.com/person.php?id=50307) Archived (https://web.archive.org/web/20121024093622/http://www.ibdb.com/person.php?id=50307) October 24, 2012, at the Wayback Machine (/wiki/Wayback_Machine) at the Internet Broadway Database (/wiki/Internet_Broadway_Database) . ^ Jump up to: a b c d e f g h i j k l m n o p q r s t u "First Lady Biography: Nancy Reagan" (https://web.archive.org/web/20120509085730/http://www.firstladies.org/biographies/firstladies.aspx?biography=41) . National First Ladies Library. Archived from the original (http://www.firstladies.org/biographies/firstladies.aspx?biography=41) on May 9, 2012 . Retrieved June 2, 2007 . ^ (#cite_ref-14) Wills (1987), p. 182. ^ Jump up to: a b Reagan, Nancy (1989), p. 67. ^ (#cite_ref-nyt041291_16-0) Gonzalez, David (April 12, 1991). "Talk and More Talk About Nancy (That One!) in Flushing" (https://query.nytimes.com/gst/fullpage.html?res=9D0CE7DE123CF931A25757C0A967958260) . The New York Times . Archived (https://web.archive.org/web/20090210173909/http://query.nytimes.com/gst/fullpage.html?res=9D0CE7DE123CF931A25757C0A967958260) from the original on February 10, 2009 . Retrieved October 29, 2007 . ^ Jump up to: a b "The 'just say no' first lady" (https://www.today.com/news/just-say-no-first-lady-wbna4297405) . Today.com. February 18, 2004. Archived (https://web.archive.org/web/20161117064749/http://www.today.com/id/4297405) from the original on November 17, 2016 . Retrieved October 16, 2007 . ^ (#cite_ref-18) Reagan, Nancy (1989), p. 71. ^ Jump up to: a b c d e f Weymouth, Lally (/wiki/Lally_Weymouth) (October 26, 1980). "The Biggest Role of Nancy's Life" (https://query.nytimes.com/gst/abstract.html?res=9805EED81238E232A25755C2A9669D94619FD6CF&legacy=true) (fee required) . The New York Times Magazine (/wiki/The_New_York_Times_Magazine) . Archived (https://web.archive.org/web/20170223130900/https://query.nytimes.com/gst/abstract.html?res=9805EED81238E232A25755C2A9669D94619FD6CF&legacy=true) from the original on February 23, 2017 . Retrieved October 20, 2007 . ^ (#cite_ref-20) Reagan, Nancy (1989), p. 74. ^ (#cite_ref-21) Reagan, Nancy (1989), p. 82. ^ (#cite_ref-22) Oshinsky, David M. (2005). Polio: An American Story . New York: Oxford University Press. p. 68 (https://archive.org/details/polioamericansto00oshi/page/68) . ISBN (/wiki/ISBN_(identifier)) 978-0-19-515294-4 . ^ (#cite_ref-23) "Lute Song" (http://www.ibdb.com/production.php?id=1771) . Internet Broadway Database (/wiki/Internet_Broadway_Database) . Archived (https://web.archive.org/web/20150924142823/http://www.ibdb.com/production.php?id=1771) from the original on September 24, 2015 . Retrieved October 18, 2007 . ^ (#cite_ref-24) Reagan, Nancy (1989), p. 85. ^ (#cite_ref-25) Reagan, Nancy (1989), p. 88. ^ Jump up to: a b Metzger, Robert Paul (1989), pp. 31–32. ^ (#cite_ref-27) "Biography for Nancy Davis" (http://www.tcm.com/tcmdb/participant.jsp?participantId=45332%7C115968&afiPersonalNameId=null) . Turner Broadcasting System, Inc. 2007 . Retrieved October 17, 2007 . ^ Jump up to: a b c d Cannon, Lou (2003), pp. 75–76. ^ Jump up to: a b c "Nancy Reagan > Her Films" (https://web.archive.org/web/20070812232914/http://www.reaganfoundation.org/reagan/nancy/films.asp) . Ronald Reagan Foundation. Archived from the original (http://www.reaganfoundation.org/reagan/nancy/films.asp) on August 12, 2007 . Retrieved March 8, 2007 . ^ (#cite_ref-30) A. H. Weiler (credited as "A. W.") (May 19, 1950). "Another View of Psychiatrist's Task" (https://www.nytimes.com/1950/05/19/archives/another-view-of-psychiatrists-task.html) . The New York Times (/wiki/The_New_York_Times) . Archived (https://web.archive.org/web/20160306195150/http://query.nytimes.com/gst/abstract.html?res=9805EED91539E13BBC4152DFB366838B649EDE) from the original on March 6, 2016 . Retrieved October 18, 2007 . ^ (#cite_ref-31) Bosley Crowther (/wiki/Bosley_Crowther) (June 30, 1950). " (https://www.nytimes.com/1950/06/30/archives/the-screen-in-review-the-next-voice-you-hear-dore-schary-production.html) 'The Next Voice You Hear ... ', Dore Schary Production, Opens at Music Hall" (https://www.nytimes.com/1950/06/30/archives/the-screen-in-review-the-next-voice-you-hear-dore-schary-production.html) . The New York Times . Archived (https://web.archive.org/web/20160307015633/http://query.nytimes.com/gst/abstract.html?res=9401E5D81638E73ABC4850DFB066838B649EDE) from the original on March 7, 2016 . Retrieved October 18, 2007 . ^ (#cite_ref-32) Reagan, Nancy (1989), p. 91. ^ (#cite_ref-33) Bosley Crowther (/wiki/Bosley_Crowther) (June 11, 1951). " (https://www.nytimes.com/1951/06/11/archives/the-screen-in-review-night-into-morning-starring-ray-milland-as-a.html) 'Night Into Morning,' Starring Ray Milland as a Bereaved Professor, at Loew's State" (https://www.nytimes.com/1951/06/11/archives/the-screen-in-review-night-into-morning-starring-ray-milland-as-a.html) . The New York Times . Archived (https://web.archive.org/web/20211128163225/https://www.nytimes.com/1951/06/11/archives/the-screen-in-review-night-into-morning-starring-ray-milland-as-a.html) from the original on November 28, 2021 . Retrieved October 18, 2007 . ^ (#cite_ref-34) Richard L. Coe (/wiki/Richard_L._Coe) (June 9, 1951). " 'Night Into Morning' Is Almost Excellent". The Washington Post (/wiki/The_Washington_Post) . ^ Jump up to: a b c Metzger, Robert Paul (1989), p. 33. ^ (#cite_ref-36) Wills (1987), p. 184. ^ (#cite_ref-37) Bosley Crowther (/wiki/Bosley_Crowther) (January 21, 1954). " (https://www.nytimes.com/1954/01/21/archives/the-screen-in-review-donovans-brain-sciencefiction-thriller-has.html) ' Donovan's Brain,' Science-Fiction Thriller, Has Premiere at the Criterion Theatre" (https://www.nytimes.com/1954/01/21/archives/the-screen-in-review-donovans-brain-sciencefiction-thriller-has.html) . The New York Times . Archived (https://web.archive.org/web/20160205191956/http://query.nytimes.com/gst/abstract.html?res=9F00E3DD113EE43ABC4951DFB766838F649EDE) from the original on February 5, 2016 . Retrieved October 20, 2007 . ^ (#cite_ref-38) Erickson, Glenn (2003). "Hellcats of the Navy, review one" (https://web.archive.org/web/20170510134001/http://www.toptenreviews.com/scripts/eframe/url.htm?u=http%3A%2F%2Fwww.dvdtalk.com%2Fdvdsavant%2Fs808hell.html) . Kleinman.com Inc. Archived from the original (http://www.toptenreviews.com/scripts/eframe/url.htm?u=http%3A%2F%2Fwww.dvdtalk.com%2Fdvdsavant%2Fs808hell.html) on May 10, 2017 . Retrieved October 17, 2007 . ^ (#cite_ref-39) Harper, Erick (2003). "Hellcats Of The Navy, review two" (https://web.archive.org/web/20080218212614/http://www.dvdverdict.com/reviews/hellcatsnavy.php) . DVDVerdict. Archived from the original (http://www.dvdverdict.com/reviews/hellcatsnavy.php) on February 18, 2008 . Retrieved October 17, 2007 . ^ (#cite_ref-40) "Screen Actors Guild Presidents" (http://www.sag.org/ronald-reagan) . Screen Actors Guild. Archived (https://web.archive.org/web/20081121222013/http://www.sag.org/ronald-reagan) from the original on November 21, 2008 . Retrieved March 8, 2007 . ^ Jump up to: a b Lambert, Pat (January 27, 1997). "To The Top" (https://web.archive.org/web/20120707005647/http://www.albertbrooks.com/1997/01/to-the-top/) . People (/wiki/People_(American_magazine)) . Archived from the original (http://www.albertbrooks.com/1997/01/to-the-top/) on July 7, 2012 . 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[ permanent dead link ] [ dead link ] ^ (#cite_ref-196) "After Funeral Service, Betty Ford Buried Next to Husband" (http://www.nbcnews.com/id/43755302) . NBC News (/wiki/NBC_News) . July 14, 2011. Archived (https://web.archive.org/web/20200730200139/http://www.nbcnews.com/id/43755302) from the original on July 30, 2020 . Retrieved December 20, 2013 . ^ Jump up to: a b "Nancy Reagan endorses Romney's bid for president" (https://web.archive.org/web/20171116171152/http://usatoday30.usatoday.com/news/politics/story/2012-05-31/nancy-reagan-mitt-romney/55319818/1) . USA Today (/wiki/USA_Today) . Associated Press (/wiki/Associated_Press) . May 31, 2012. Archived from the original (http://usatoday30.usatoday.com/news/politics/story/2012-05-31/nancy-reagan-mitt-romney/55319818/1) on November 16, 2017 . Retrieved December 20, 2013 . ^ (#cite_ref-198) "GOP debate at the Ronald Reagan presidential library" (https://www.washingtonpost.com/politics/gop-debate-at-the-ronald-reagan-presidential-library/2011/09/07/gIQAmBJQAK_gallery.html#photo=1) . The Washington Post . September 7, 2011. Archived (https://web.archive.org/web/20180106032728/https://www.washingtonpost.com/politics/gop-debate-at-the-ronald-reagan-presidential-library/2011/09/07/gIQAmBJQAK_gallery.html#photo=1) from the original on January 6, 2018 . Retrieved December 20, 2013 . ^ Jump up to: a b "Nancy Reagan still recovering from fall" (http://www.cnn.com/2012/05/23/politics/nancy-reagan-fall/) . CNN. May 23, 2012. Archived (https://web.archive.org/web/20170115213711/http://www.cnn.com/2012/05/23/politics/nancy-reagan-fall) from the original on January 15, 2017 . Retrieved December 20, 2013 . ^ (#cite_ref-200) "Nancy Reagan: 'Ronnie and Margaret were political soul mates' (https://web.archive.org/web/20160503014936/http://politicalticker.blogs.cnn.com/2013/04/08/nancy-reagan-ronnie-and-margaret-were-political-soul-mates/) " (https://web.archive.org/web/20160503014936/http://politicalticker.blogs.cnn.com/2013/04/08/nancy-reagan-ronnie-and-margaret-were-political-soul-mates/) . CNN. April 8, 2013. Archived from the original (http://politicalticker.blogs.cnn.com/2013/04/08/nancy-reagan-ronnie-and-margaret-were-political-soul-mates/) on May 3, 2016 . Retrieved December 20, 2013 . ^ (#cite_ref-Fieldstadt_201-0) Fieldstadt, Elisha; Gittens, Hasani (March 6, 2016). "Former First Lady Nancy Reagan Dead at 94" (https://www.nbcnews.com/news/us-news/nancy-reagan-dead-94-n532871) . NBC News (/wiki/NBC_News) . Archived (https://web.archive.org/web/20160306200649/http://www.nbcnews.com/news/us-news/nancy-reagan-dead-94-n532871) from the original on March 6, 2016 . Retrieved March 6, 2016 . ^ (#cite_ref-Cannon_202-0) Cannon, Lou (March 6, 2016). "Nancy Reagan, a Stylish and Influential First Lady, Dies at 94" (https://web.archive.org/web/20170827000912/https://www.nytimes.com/2016/03/07/us/nancy-reagan-a-stylish-and-influential-first-lady-dies-at-94.html) . The New York Times . Archived from the original (https://www.nytimes.com/2016/03/07/us/nancy-reagan-a-stylish-and-influential-first-lady-dies-at-94.html) on August 27, 2017 . Retrieved March 6, 2016 . ^ (#cite_ref-Dunham_203-0) Dunham, Will (March 6, 2016). "Former First Lady Nancy Reagan dies at 94" (https://www.reuters.com/article/us-people-reagan-idUSKCN0W80S4) . Reuters (/wiki/Reuters) . Washington D.C. Archived (https://web.archive.org/web/20160306170933/http://www.reuters.com/article/us-people-reagan-idUSKCN0W80S4) from the original on March 6, 2016 . Retrieved March 6, 2016 . ^ (#cite_ref-halfstaff_204-0) "Presidential Proclamation – Nancy Reagan" (https://obamawhitehouse.archives.gov/the-press-office/2016/03/07/presidential-proclamation-nancy-reagan) (Press release). The White House (/wiki/The_White_House) Office of the Press Secretary (/wiki/White_House_Office_of_the_Press_Secretary) . March 7, 2016. Archived (https://web.archive.org/web/20170201213220/https://obamawhitehouse.archives.gov/the-press-office/2016/03/07/presidential-proclamation-nancy-reagan) from the original on February 1, 2017 . Retrieved March 7, 2016 . ^ (#cite_ref-nyt-funeral_205-0) Stanley, Alessandra (March 11, 2016). "At Nancy Reagan's Funeral, Honoring the Queen of a Republican Camelot" (https://www.nytimes.com/2016/03/12/us/politics/nancy-reagan-funeral.html) . The New York Times . Archived (https://web.archive.org/web/20160615211216/http://www.nytimes.com/2016/03/12/us/politics/nancy-reagan-funeral.html) from the original on June 15, 2016 . Retrieved May 21, 2016 . ^ (#cite_ref-206) Casket Carrying Former First Lady Nancy Reagan Arrives at Reagan Library . Inside Edition (/wiki/Inside_Edition) (News). March 9, 2016. Archived (https://ghostarchive.org/varchive/youtube/20211114/xgnocfYKrH8) from the original on November 14, 2021 . Retrieved August 16, 2019 . ^ Jump up to: a b Colacello, Bob (March 17, 2016). "Nancy Reagan's Funeral: 'God Bless America,' White Roses, and a Red Adolfo Suit" (http://www.vanityfair.com/news/2016/03/nancy-reagan-funeral#15) . Vanity Fair . Archived (https://web.archive.org/web/20160529014037/http://www.vanityfair.com/news/2016/03/nancy-reagan-funeral#15) from the original on May 29, 2016 . Retrieved May 21, 2016 . ^ (#cite_ref-208) Keneally, Meghan (March 12, 2016). "Nancy Reagan Laid to Rest Beside Her Late Husband" (http://6abc.com/news/nancy-reagan-laid-to-rest-beside-her-late-husband/1241887/) . 6abc Philadelphia . Archived (https://web.archive.org/web/20160313080445/http://6abc.com/news/nancy-reagan-laid-to-rest-beside-her-late-husband/1241887/) from the original on March 13, 2016 . Retrieved March 12, 2016 . ^ (#cite_ref-209) "WDIO.com – Former First Lady Nancy Reagan Laid to Rest" (https://web.archive.org/web/20160312132120/http://www.wdio.com/news/nancy-reagan-funeral-underway/4071767/) . WDIO.com. Archived from the original (http://www.wdio.com/news/nancy-reagan-funeral-underway/4071767/) on March 12, 2016 . Retrieved March 12, 2016 . ^ Jump up to: a b c "Eleanor Roosevelt Retains Top Spot as America's Best First Lady Michelle Obama Enters Study as 5th, Hillary Clinton Drops to 6th Clinton Seen First Lady Most as Presidential Material; Laura Bush, Pat Nixon, Mamie Eisenhower, Bess Truman Could Have Done More in Office Eleanor & FDR Top Power Couple; Mary Drags Lincolns Down in the Ratings" (https://scri.siena.edu/wp-content/uploads/2018/08/FirstLadies2014Release_Final.pdf) (PDF) . scri.siena.edu . Siena Research Institute. February 15, 2014. Archived (https://web.archive.org/web/20230327181939/https://scri.siena.edu/wp-content/uploads/2018/08/FirstLadies2014Release_Final.pdf) (PDF) from the original on March 27, 2023 . Retrieved May 16, 2022 . ^ Jump up to: a b c d e f g "Ranking America's First Ladies Eleanor Roosevelt Still #1 Abigail Adams Regains 2nd Place Hillary moves from 5 th to 4 th; Jackie Kennedy from 4th to 3rd Mary Todd Lincoln Remains in 36th" (https://scri.siena.edu/wp-content/uploads/2018/08/FL_2008Release.pdf) (PDF) . Siena Research Institute. December 18, 2008. Archived (https://web.archive.org/web/20211222164606/https://scri.siena.edu/wp-content/uploads/2018/08/FL_2008Release.pdf) (PDF) from the original on December 22, 2021 . Retrieved May 16, 2022 . ^ (#cite_ref-212) "Eleanor Roosevelt, Hillary Clinton Top First Lady Poll" (https://scri.siena.edu/wp-content/uploads/2018/08/Press-Release-1.10.94.pdf) (PDF) . scri.siena.edu . Sienna College. January 10, 1994. Archived (https://web.archive.org/web/20221108043708/https://scri.siena.edu/wp-content/uploads/2018/08/Press-Release-1.10.94.pdf) (PDF) from the original on November 8, 2022 . Retrieved October 23, 2022 . ^ (#cite_ref-213) "Ranking America's First Ladies Eleanor Roosevelt Still #1 Abigail Adams Regains 2nd Place Hillary moves from 2nd to 5th; Jackie Kennedy from 7th to 4th Mary Todd Lincoln Up From Usual Last Place" (https://scri.siena.edu/wp-content/uploads/2018/08/ranking20americas20first20ladies.pdf) (PDF) . scri.siena.edu . Sienna College Research Center. September 29, 2003. Archived (https://web.archive.org/web/20221208161720/https://scri.siena.edu/wp-content/uploads/2018/08/ranking20americas20first20ladies.pdf) (PDF) from the original on December 8, 2022 . Retrieved October 23, 2022 . ^ (#cite_ref-214) "2014 Power Couple Score" (https://scri.siena.edu/wp-content/uploads/2018/08/Appendix_C_Power_Couples.pdf) (PDF) . scri.siena.edu/ . Siena Research Institute/C-SPAN Study of the First Ladies of the United States. Archived (https://web.archive.org/web/20230327132048/https://scri.siena.edu/wp-content/uploads/2018/08/Appendix_C_Power_Couples.pdf) (PDF) from the original on March 27, 2023 . Retrieved October 9, 2022 . ^ (#cite_ref-215) Zak, Dan (March 13, 2016). "On drugs, Nancy Reagan just said no. On AIDS, she said nothing" (https://www.washingtonpost.com/lifestyle/style/on-drugs-nancy-reagan-just-said-no-on-aids-she-said-nothing/2016/03/11/3f9d59e8-e483-11e5-a6f3-21ccdbc5f74e_story.html) . Washington Post . Archived (https://web.archive.org/web/20220810183555/https://www.washingtonpost.com/lifestyle/style/on-drugs-nancy-reagan-just-said-no-on-aids-she-said-nothing/2016/03/11/3f9d59e8-e483-11e5-a6f3-21ccdbc5f74e_story.html) from the original on August 10, 2022 . Retrieved October 9, 2022 . ^ (#cite_ref-216) L. La Ganga, Maria (March 11, 2016). "The first lady who looked away: Nancy and the Reagans' troubling Aids legacy" (https://www.theguardian.com/us-news/2016/mar/11/nancy-ronald-reagan-aids-crisis-first-lady-legacy) . The Guardian . Retrieved October 9, 2022 . ^ (#cite_ref-217) Davis, Wynne (June 9, 2022). "Here's why the new Nancy Reagan stamp prompted backlash from the LGBTQ+ community" (https://www.npr.org/2022/06/09/1103575533/nancy-reagan-stamp-hiv-aids-pride-backlash-lgbtq) . NPR . Archived (https://web.archive.org/web/20220609133451/https://www.npr.org/2022/06/09/1103575533/nancy-reagan-stamp-hiv-aids-pride-backlash-lgbtq) from the original on June 9, 2022 . Retrieved October 9, 2022 . ^ (#cite_ref-218) Mosendz, Polly (March 9, 2016). "Former First Lady Nancy Reagan Watched Thousands of LGBTQ People Die of AIDS" (https://www.teenvogue.com/story/nancy-reagan-death-hiv-aids-legacy) . Teen Vogue . Archived (https://web.archive.org/web/20221009202328/https://www.teenvogue.com/story/nancy-reagan-death-hiv-aids-legacy) from the original on October 9, 2022 . Retrieved October 9, 2022 . ^ (#cite_ref-219) Tumulty, Karen (April 12, 2021). "Nancy Reagan's Real Role in the AIDS Crisis" (https://www.theatlantic.com/politics/archive/2021/04/full-story-nancy-reagan-and-aids-crisis/618552/) . The Atlantic . Archived (https://web.archive.org/web/20221009202323/https://www.theatlantic.com/politics/archive/2021/04/full-story-nancy-reagan-and-aids-crisis/618552/) from the original on October 9, 2022 . Retrieved October 9, 2022 . ^ (#cite_ref-220) "Gets Honorary Degree" (https://www.nytimes.com/1983/05/02/us/gets-honorary-degree-nancy-reagan-after-receiving-law-degree-yesterday.html) . The New York Times . Associated Press. May 2, 1983. Archived (https://web.archive.org/web/20170812173507/http://www.nytimes.com/1983/05/02/us/gets-honorary-degree-nancy-reagan-after-receiving-law-degree-yesterday.html) from the original on August 12, 2017 . Retrieved September 5, 2017 . ^ (#cite_ref-221) "Eureka College Awards Nancy Reagan Honorary Doctorate" (http://chronicleillinois.com/news/local-news/eureka-college-awards-nancy-reagan-honorary-doctorate/) . Chronicle Media. April 8, 2009. Archived (https://web.archive.org/web/20170812210834/http://chronicleillinois.com/news/local-news/eureka-college-awards-nancy-reagan-honorary-doctorate/) from the original on August 12, 2017 . Retrieved August 12, 2017 . ^ (#cite_ref-222) Pryor, Thomas M. (August 3, 1957). "Universal Plans 7 Films in Month" (https://www.nytimes.com/1957/08/03/archives/universal-plans-7-films-in-month-studio-has-busiest-august-in-5.html) . The New York Times . Archived (https://web.archive.org/web/20170510121620/http://www.nytimes.com/1957/08/03/archives/universal-plans-7-films-in-month-studio-has-busiest-august-in-5.html) from the original on May 10, 2017 . Retrieved March 8, 2010 . ^ (#cite_ref-223) "Of Local Origin" (https://www.nytimes.com/1958/01/31/archives/of-local-origin.html) . The New York Times . January 31, 1958. Archived (https://web.archive.org/web/20170510121607/http://www.nytimes.com/1958/01/31/archives/of-local-origin.html) from the original on May 10, 2017 . Retrieved March 8, 2010 . Further reading [ edit ] Further information: Bibliography of Ronald Reagan (/wiki/Bibliography_of_Ronald_Reagan) Anthony, Carl Sferrazza (2003). America's Most Influential First Ladies . The Oliver Press. ISBN (/wiki/ISBN_(identifier)) 978-1-881508-69-4 . Anthony, Carl Sferrazza (1991). First Ladies: The Saga of the Presidents' Wives and Their Power; 1961–1990 (Volume II) . New York: William Morrow and Co. Benze, James G. Jr. (2005). Nancy Reagan: On the White House Stage . Lawrence, Kansas: University Press of Kansas. ISBN (/wiki/ISBN_(identifier)) 978-0-7006-1401-1 . Beschloss, Michael (/wiki/Michael_Beschloss) (2007). Presidential Courage: Brave Leaders and How They Changed America . New York: Simon & Schuster. ISBN (/wiki/ISBN_(identifier)) 978-0-684-85705-3 . Brower, Kate Andersen (2015). The Residence: Inside the Private World of The White House . New York: Harper. ISBN (/wiki/ISBN_(identifier)) 978-0-06-230519-0 . Burns, Lisa M. (2008). First Ladies and the Fourth Estate: Press Framing of Presidential Wives . DeKalb, Illinois: Northern Illinois University Press. ISBN (/wiki/ISBN_(identifier)) 978-0-87580-391-3 . Cannon, Lou (/wiki/Lou_Cannon) (2003). Governor Reagan: His Rise to Power . Public Affairs. ISBN (/wiki/ISBN_(identifier)) 978-1-58648-030-1 . Deaver, Michael K. (/wiki/Michael_Deaver) (2004). Nancy: A Portrait of My Years with Nancy Reagan . New York: William Morrow. ISBN (/wiki/ISBN_(identifier)) 978-0-06-078095-1 . Gale Literature. "Nancy Reagan." in Gale Literature: Contemporary Authors (Gale, 2016) online (https://link.gale.com/apps/doc/H1000081481/GPS?u=wikipedia&sid=GPS&xid=83770ddb) Kelley, Kitty (1991). Nancy Reagan: The Unauthorized Biography . Simon and Schuster. ISBN (/wiki/ISBN_(identifier)) 978-0671646462 . Klapthor, Margaret Brown (1999). Official White House China: 1789 to the Present . Harry N. Abrams. ISBN (/wiki/ISBN_(identifier)) 978-0-8109-3993-6 . Leamer, Laurence. Make-Believe: The Story of Nancy and Ronald Reagan (Harper, 1983). Loizeau, Pierre-Marie (2004). Nancy Reagan: The Woman Behind the Man . Nova Publishers. ISBN (/wiki/ISBN_(identifier)) 978-1-59033-759-2 . Loizeau, Pierre-Marie (2005). Nancy Reagan in Perspective . Nova Publishers. ISBN (/wiki/ISBN_(identifier)) 978-0-7425-2970-0 . Metzger, Robert Paul (1989). Reagan, American Icon . Bucknell University, Center Gallery. ISBN (/wiki/ISBN_(identifier)) 978-0-916279-05-9 . Nyberg, Ferdinand. "Nancy Reagan in the ghetto. On space as mediator between structure and event." InterDisciplines. Journal of History and Sociology 7.2 (2016). online (https://www.inter-disciplines.org/index.php/indi/article/download/1030/1138) Archived (https://web.archive.org/web/20200604094015/https://www.inter-disciplines.org/index.php/indi/article/download/1030/1138) June 4, 2020, at the Wayback Machine (/wiki/Wayback_Machine) Reagan, Nancy; Reagan, Ronald (2000). I Love You, Ronnie: The Letters of Ronald Reagan to Nancy Reagan . New York: Random House. ISBN (/wiki/ISBN_(identifier)) 978-0-375-50554-6 . Reagan, Nancy; Novak, William (1989). My Turn: The Memoirs of Nancy Reagan . New York: Random House. ISBN (/wiki/ISBN_(identifier)) 978-0-394-56368-8 . H. W. Brands Reagan: The Life (2015) p. 743 says "she wrote one of the most candid and at times self-critical memoirs in recent American political history." Reagan, Nancy; Libby, Bill (1980). Nancy: The Autobiography of America's First Lady . United States: HarperCollins (/wiki/HarperCollins) . ISBN (/wiki/ISBN_(identifier)) 978-0-688-03533-4 . Reagan, Nancy; Wilkie, Jane (1982). To Love a Child . United States: Bobbs-Merrill (/wiki/Bobbs-Merrill_Company) . ISBN (/wiki/ISBN_(identifier)) 978-0-672-52711-1 . Roberts, Jason. "Nancy Reagan." in Katherine A.S. Sibley, ed., A Companion to First Ladies (2016): 585–603. Schifando, Peter; Joseph, J. Jonathan (2007). Entertaining at the White House with Nancy Reagan . New York: William Morrow. ISBN (/wiki/ISBN_(identifier)) 978-0-06-135012-2 . Wertheimer, Molly Meijer (2004). Nancy Reagan in Perspective . Rowman & Littlefield Publishers. ISBN (/wiki/ISBN_(identifier)) 978-0-7425-2970-0 . Wills, Garry (/wiki/Garry_Wills) (1987). Reagan's America: Innocents at Home . Doubleday. ISBN (/wiki/ISBN_(identifier)) 978-0-385-18286-7 . External links [ edit ] Wikimedia Commons has media related to Nancy Reagan . Wikiquote has quotations related to Nancy Reagan (https://en.wikiquote.org/wiki/Special:Search/Nancy_Reagan) . First Lady profile (https://web.archive.org/web/20140801211341/http://www.whitehouse.gov/about/first-ladies/nancyreagan) at WhiteHouse.gov (/wiki/WhiteHouse.gov) Profile (https://web.archive.org/web/20110217032856/http://www.reaganlibrary.com/nancy-reagan-life-and-times.aspx) at the Ronald Reagan Presidential Library (/wiki/Ronald_Reagan_Presidential_Library) Appearances (https://www.c-span.org/person/?nancyreagan) on C-SPAN (/wiki/C-SPAN) Nancy Reagan (http://firstladies.c-span.org/FirstLady/42/Nancy-Reagan.aspx) Archived (https://web.archive.org/web/20141103003822/http://firstladies.c-span.org/FirstLady/42/Nancy-Reagan.aspx) November 3, 2014, at the Wayback Machine (/wiki/Wayback_Machine) at C-SPAN (/wiki/C-SPAN) 's First Ladies: Influence & Image (/wiki/First_Ladies:_Influence_%26_Image) First Ladies of California (http://governors.library.ca.gov/firstladies/31-Reagan.html) Archived 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Skin modification using ink to create designs For other uses, see Tattoo (disambiguation) (/wiki/Tattoo_(disambiguation)) . Not to be confused with the lacemaking technique Tatting (/wiki/Tatting) . Duration: 6 seconds. 0:06 A short video recorded during the making of a tattoo. Nitrile gloves (/wiki/Nitrile_rubber) are used during the process, this is to avoid infections while perforating the skin. A sailor's forearm tattooed with a rope-and-anchor drawing, against the original sketch of the design; see sailor tattoos (/wiki/Sailor_tattoos) . An example of a tattoo design Application of a tattoo to a woman's foot A tattoo is a form of body modification (/wiki/Body_modification) made by inserting tattoo ink (/wiki/Tattoo_ink) , dyes, and/or pigments (/wiki/Pigments) , either indelible or temporary, into the dermis (/wiki/Dermis) layer of the skin (/wiki/Human_skin) to form a design. Tattoo artists (/wiki/Tattoo_artist) create these designs using several tattooing processes and techniques (/wiki/Process_of_tattooing) , including hand-tapped traditional tattoos and modern tattoo machines (/wiki/Tattoo_machine) . The history of tattooing (/wiki/History_of_tattooing) goes back to Neolithic (/wiki/Neolithic) times, practiced across the globe by many cultures, and the symbolism and impact of tattoos varies in different places and cultures. Tattoos may be decorative (with no specific meaning), symbolic (with a specific meaning to the wearer), pictorial (a depiction of a specific person or item), or textual (words or pictographs from written languages). Many tattoos serve as rites of passage (/wiki/Rite_of_passage) , marks of status and rank, symbols of religious and spiritual devotion, decorations for bravery, marks of fertility (/wiki/Fertility) , pledges of love, amulets (/wiki/Amulet) and talismans, protection, and as punishment, like the marks of outcasts, slaves and convicts. Extensive decorative tattooing has also been part of the work of performance artists such as tattooed ladies (/wiki/Tattooed_lady) . Although tattoo art has existed at least since the first known tattooed person, Ötzi (/wiki/%C3%96tzi) , lived around the year 3330 BC, the way society perceives tattoos has varied immensely throughout history. In the 20th century, tattoo art throughout most of the world was associated with a limited selection of specific "rugged" lifestyles, notably sailors and prisoners. Today, [ when? ] people choose to be tattooed for artistic, cosmetic, sentimental/ memorial (/wiki/Memorial) , religious (/wiki/Religion) , and spiritual reasons, or to symbolize their belonging to or identification with particular groups, including criminal gangs (see criminal tattoos (/wiki/Criminal_tattoo) ) or a particular ethnic group or law-abiding subculture. Tattoos may show how a person feels about a relative (commonly a parent or child) or about an unrelated person. [1] (#cite_note-1) Tattoos can also be used for functional purposes, such as identification, permanent makeup (/wiki/Permanent_makeup) , and medical purposes (/wiki/Medical_tattoo) . Terminology [ edit ] Spanish (/wiki/Spanish_Empire) depiction of the tattoos ( patik ) of the Visayan (/wiki/Visayans) Pintados (/wiki/Pintados) ("the painted ones") of the Philippines (/wiki/Philippines) in the Boxer Codex (/wiki/Boxer_Codex) ( c. 1590 ), one of the earliest depictions of native Austronesian (/wiki/Austronesian_people) tattoos by European explorers The word tattoo (https://en.wiktionary.org/wiki/tattoo) , or tattow in the 18th century, is a loanword (/wiki/Loanword) from the Samoan (/wiki/Samoan_language) word tatau , meaning "to strike", [2] (#cite_note-covered-2) [3] (#cite_note-samoa2-3) from Proto-Oceanic (/wiki/Proto-Oceanic_language) * sau ₃ referring to a wingbone (/wiki/Wingbone) from a flying fox (/wiki/Flying_fox) used as an instrument for the tattooing process. [4] (#cite_note-4) The Oxford English Dictionary (/wiki/Oxford_English_Dictionary) gives the etymology (/wiki/Etymology) of tattoo as "In 18th c. tattaow, tattow. From Polynesian (/wiki/Polynesian_languages) (Samoan, Tahitian (/wiki/Tahitian_language) , Tongan (/wiki/Tongan_language) , etc.) tatau. In Marquesan (/wiki/Marquesan_language) , tatu." Before the importation of the Polynesian word, the practice of tattooing had been described in the West as painting, scarring, or staining. [5] (#cite_note-Abington_2010-5) The etymology of the body modification term is not to be confused with the origins of the word for the military drumbeat (/wiki/Military_tattoo) or performance. In this case, the English word tattoo is derived from the Dutch word taptoe . [6] (#cite_note-6) Copyrighted tattoo designs that are mass-produced and sent to tattoo artists are known as " flash (/wiki/Flash_(tattoo)) ". [7] (#cite_note-cloakanddagger-7) Flash sheets are prominently displayed in many tattoo parlors for the purpose of providing both inspiration and ready-made tattoo images to customers. The Japanese word irezumi (/wiki/Irezumi) means "insertion of ink" and can mean tattoos using tebori , the traditional Japanese hand method, a Western-style machine or any method of tattooing using insertion of ink. The most common word used for traditional Japanese tattoo designs is horimono (/wiki/Horimono) . [8] (#cite_note-onitattoo-8) Japanese may use the word Western tattoo as a loan word (/wiki/Loan_word) meaning any non-Japanese styles of tattooing. [ citation needed ] British anthropologist Ling Roth (/wiki/Henry_Ling_Roth) in 1900 described four methods of skin marking and suggested they be differentiated under the names "tatu", " moko (/wiki/T%C4%81_moko) ", " cicatrix (/wiki/Scarification) " and " keloid (/wiki/Keloid) ". [9] (#cite_note-9) The first is by pricking that leaves the skin smooth as found in places including the Pacific Islands. The second is a tattoo combined with chiseling to leave furrows in the skin as found in places including New Zealand. The third is scarification using a knife or chisel as found in places including West Africa. The fourth and the last is scarification by irritating and re-opening a preexisting wound, and re-scarification to form a raised scar as found in places including Tasmania, Australia, [ clarification needed ] Melanesia and Central Africa. [10] (#cite_note-Roth-10) Types [ edit ] The American Academy of Dermatology (/wiki/American_Academy_of_Dermatology) distinguishes five types of tattoos: traumatic tattoos that result from injuries, such as asphalt from road injuries or pencil lead; amateur tattoos; professional tattoos, both via traditional methods and modern tattoo machines; cosmetic tattoos, also known as " permanent makeup (/wiki/Permanent_makeup) "; and medical tattoos (/wiki/Medical_tattoos) . [11] (#cite_note-11) Traumatic tattoos [ edit ] A traumatic tattoo occurs when a substance such as asphalt or gunpowder is rubbed into a wound (/wiki/Wound) as the result of some kind of accident or trauma. [12] (#cite_note-traumatic-12) When this involves carbon (/wiki/Carbon) , dermatologists may call the mark a carbon stain (/wiki/Carbon_stain) instead of a tattoo. [13] (#cite_note-Andrews-13) : 47 Coal miners (/wiki/Coal_mining) could develop characteristic marks owing to coal dust (/wiki/Coal_dust) getting into wounds. [14] (#cite_note-14) These are particularly difficult to remove as they tend to be spread across several layers of skin, and scarring or permanent discoloration can be almost unavoidable depending on the location. [ citation needed ] An amalgam tattoo (/wiki/Amalgam_tattoo) is when amalgam (/wiki/Amalgam_(dentistry)) particles are implanted in to the soft tissues of the mouth, usually the gums, during dental filling placement or removal. [15] (#cite_note-amalgam-15) Another example of such accidental tattoos is the result of a deliberate or accidental stabbing with a pencil or pen, leaving graphite or ink beneath the skin. Identification [ edit ] Forcible tattooing for identification [ edit ] An identification tattoo on a survivor of the Auschwitz concentration camp (/wiki/Auschwitz_concentration_camp) A well-known example is the Nazi (/wiki/Nazi_Germany) practice of forcibly tattooing concentration camp (/wiki/Nazi_concentration_camps) inmates with identification numbers during the Holocaust (/wiki/The_Holocaust) as part of the Nazis' identification system (/wiki/Identification_in_Nazi_camps#Numbers) , beginning in fall 1941. [16] (#cite_note-16) The SS (/wiki/SS) introduced the practice at Auschwitz concentration camp (/wiki/Auschwitz_concentration_camp) in order to identify the bodies of registered prisoners in the concentration camps. During registration, guards would tattoo each prisoner with a number, usually on the left forearm, but sometimes on the chest [17] (#cite_note-:2-17) or stomach. [18] (#cite_note-:3-18) Of the Nazi concentration camps, only Auschwitz put tattoos on inmates. [19] (#cite_note-19) Prisoners found with tattoos in Mauthausen concentration camp (/wiki/Mauthausen_concentration_camp) [17] (#cite_note-:2-17) and Buchenwald concentration camp (/wiki/Buchenwald_concentration_camp) [18] (#cite_note-:3-18) upon liberation were presumably transported from Auschwitz by death march (/wiki/Death_marches_during_the_Holocaust) . The tattoo was the prisoner's camp number, sometimes with a special symbol added: some Jews (/wiki/Jew) had a triangle, and Romani (/wiki/Romani_people) had the letter "Z" (from German Zigeuner (https://en.wiktionary.org/wiki/Zigeuner) for 'Gypsy'). In May 1944, Jewish men received the letters "A" or "B" to indicate a particular series of numbers. As early as the Zhou (/wiki/Zhou_dynasty) , Chinese authorities would employ facial tattoos as a punishment for certain crimes or to mark prisoners or slaves. During the Roman Empire (/wiki/Roman_Empire) , gladiators and slaves were tattooed: exported slaves were tattooed with the words "tax paid", and it was a common practice to tattoo "fugitive" (denoted by the letters "FUG") on the foreheads of runaway slaves. [20] (#cite_note-20) Owing to the Biblical (/wiki/Bible) strictures against the practice, [21] (#cite_note-21) Emperor Constantine I (/wiki/Constantine_the_Great) banned tattooing the face around AD 330, and the Second Council of Nicaea (/wiki/Second_Council_of_Nicaea) banned all body markings as a pagan (/wiki/Paganism) practice in AD 787. [22] (#cite_note-Mayor-22) In criminal investigations [ edit ] These markings can potentially provide a wealth of information about an individual. Simple visual examinations, as well as more advanced digital recognition technologies, are employed to assist in identifying or providing clues about suspects or victims of crimes. [23] (#cite_note-23) Postmortem identification [ edit ] Tattoo marking a deserter (/wiki/Desertion) from the British Army (/wiki/British_Army) ; skin removed post-mortem Tattoos are sometimes used by forensic pathologists (/wiki/Forensic_pathologist) to help them identify burned, putrefied, or mutilated bodies. As tattoo pigment lies encapsulated deep in the skin, tattoos are not easily destroyed even when the skin is burned. [24] (#cite_note-24) Identification of animals [ edit ] See also: Animal tattoo (/wiki/Animal_tattoo) Pets, show animals, thoroughbred (/wiki/Thoroughbred) horses, and livestock (/wiki/Livestock) are sometimes tattooed with animal identification (/wiki/Animal_identification) marks. Ear tattoos are a method of identification for beef cattle (/wiki/Beef_cattle) . [25] (#cite_note-25) Tattooing with a 'slap mark' on the shoulder or on the ear is the standard identification method in commercial pig farming. Branding (/wiki/Livestock_branding) is used for similar reasons and is often performed without anesthesia, but is different from tattooing as no ink or dye is inserted during the process, the mark instead being caused by permanent scarring of the skin. [26] (#cite_note-FAnGRC-26) Pet dogs and cats are sometimes tattooed with a serial number (usually in the ear, or on the inner thigh) via which their owners can be identified. However, the use of a microchip has become an increasingly popular choice and since 2016 is a legal requirement for all 8.5 million pet dogs in the UK. [27] (#cite_note-UKGov_microchip2016-27) In Australia, desexed (/wiki/Desexed) cats and dogs are marked with a tattoo on the inside of the ear (/wiki/Ear) . [28] (#cite_note-28) Cosmetic [ edit ] Main article: Permanent makeup (/wiki/Permanent_makeup) Tattooed lip makeup (/wiki/Permanent_makeup) Permanent makeup is the use of tattoos to create long-lasting eyebrows, lips (liner and/or lip blushing), eyes (permanent eyeliner), and even moles (/wiki/Mole_(skin_marking)) definition. Natural colors are used to mimic eyebrows and freckles, while diverse pigments for lips and eyeliner for a look akin to traditional makeup. [29] (#cite_note-29) A growing trend [ when? ] in the US and UK is to place artistic tattoos over the surgical scars of a mastectomy (/wiki/Mastectomy) . "More women are choosing not to reconstruct after a mastectomy and tissue instead... The mastectomy tattoo or areola tattoo will become just another option for post cancer patients and a truly personal way of regaining control over post cancer bodies..." [30] (#cite_note-30) However, the tattooing of nipples on reconstructed breasts remains in high demand. [31] (#cite_note-31) Medical [ edit ] Main article: Medical tattoo (/wiki/Medical_tattoo) Medical tattoos are used to ensure instruments are properly located for repeated application of radiotherapy and for the areola in some forms of breast reconstruction. Tattooing has also been used to convey medical information about the wearer (e.g., blood group, medical condition, etc.). Alzheimer (/wiki/Alzheimer) patients may be tattooed with their names, so they may be easily identified if they go missing. [32] (#cite_note-32) Additionally, tattoos are used in skin tones to cover vitiligo (/wiki/Vitiligo) , a skin pigmentation disorder. [33] (#cite_note-33) Medical tattoo: blood type (/wiki/Blood_type) SS blood group tattoos (/wiki/SS_blood_group_tattoo) ( German (/wiki/German_language) : Blutgruppentätowierung ) were worn by members of the Waffen-SS (/wiki/Waffen-SS) in Nazi Germany during World War II to identify the individual's blood type (/wiki/Blood_type) . After the war, the tattoo was taken to be prima facie (/wiki/Prima_facie) , if not perfect, evidence of being part of the Waffen-SS, leading to potential arrest and prosecution. This led a number of ex-Waffen-SS to shoot themselves through the arm with a gun, removing the tattoo and leaving scars like the ones resulting from pox inoculation, making the removal less obvious. [34] (#cite_note-lepre-34) Tattoos were probably also used in ancient medicine as part of the treatment of the patient. In 1898, Daniel Fouquet, a medical doctor, wrote an article on "medical tattooing" practices in Ancient Egypt (/wiki/Ancient_Egypt) , in which he describes the tattooed markings on the female mummies found at the Deir el-Bahari (/wiki/Deir_el-Bahari) site. He speculated that the tattoos and other scarifications (/wiki/Scarification) observed on the bodies may have served a medicinal or therapeutic purpose: "The examination of these scars, some white, others blue, leaves in no doubt that they are not, in essence, ornament, but an established treatment for a condition of the pelvis, very probably chronic pelvic peritonitis (/wiki/Pelvic_peritonitis) ." [35] (#cite_note-35) Ötzi the iceman (/wiki/%C3%96tzi#Skeletal_details_and_tattooing) had a total of 61 tattoos, which may have been a form of acupuncture (/wiki/Acupuncture) used to relieve pain. [36] (#cite_note-36) Radiological (/wiki/Radiological) examination of Ötzi's bones showed "age-conditioned or strain-induced degeneration" corresponding to many tattooed areas, including osteochondrosis (/wiki/Osteochondrosis) and slight spondylosis (/wiki/Spondylosis) in the lumbar spine and wear-and-tear degeneration in the knee and especially in the ankle joints. [37] (#cite_note-37) If so, this is at least 2,000 years before acupuncture's previously known earliest use in China (/wiki/Acupuncture#History) ( c. 100 BCE ). History [ edit ] Main article: History of tattooing (/wiki/History_of_tattooing) Whang-od (/wiki/Whang-od) , the last mambabatok (traditional Kalinga tattooist) of the Kalinga (/wiki/Kalinga_(province)) in the Philippines (/wiki/Philippines) , performing a traditional batek tattoo Preserved tattoos on ancient mummified (/wiki/Mummies) human remains reveal that tattooing has been practiced throughout the world for thousands of years. [38] (#cite_note-Oldest_Tattoos-38) In 2015, scientific re-assessment of the age of the two oldest known tattooed mummies identified Ötzi (/wiki/%C3%96tzi) as the oldest example then known. This body, with 61 tattoos, was found embedded in glacial ice in the Alps (/wiki/Alps) , and was dated to 3250 BCE. [38] (#cite_note-Oldest_Tattoos-38) [39] (#cite_note-39) In 2018, the oldest figurative (/wiki/Figurative_art) tattoos in the world were discovered on two mummies from Egypt which are dated between 3351 and 3017 BCE. [40] (#cite_note-40) Ancient tattooing was most widely practiced among the Austronesian people (/wiki/Austronesian_people) . It was one of the early technologies developed by the Proto-Austronesians in Taiwan (/wiki/Taiwan) and coastal South China (/wiki/South_China) prior to at least 1500 BCE, before the Austronesian expansion into the islands of the Indo-Pacific (/wiki/Indo-Pacific) . [41] (#cite_note-kirch-41) [42] (#cite_note-fuery-42) It may have originally been associated with headhunting (/wiki/Headhunting) . [43] (#cite_note-bald-43) Tattooing traditions, including facial tattooing, can be found among all Austronesian subgroups, including Taiwanese indigenous peoples (/wiki/Taiwanese_indigenous_peoples) , Islander Southeast Asians (/wiki/Maritime_Southeast_Asia) , Micronesians (/wiki/Micronesian_people) , Polynesians (/wiki/Polynesians) , and the Malagasy people (/wiki/Malagasy_people) . Austronesians used the characteristic hafted skin-puncturing technique, using a small mallet and a piercing implement made from Citrus (/wiki/Citrus) thorns, fish bone, bone, and oyster shells. [2] (#cite_note-covered-2) [42] (#cite_note-fuery-42) [44] (#cite_note-Maori.com-44) Ancient tattooing traditions have also been documented among Papuans (/wiki/Papuans) and Melanesians (/wiki/Melanesians) , with their use of distinctive obsidian (/wiki/Obsidian) skin piercers. Some archeological sites with these implements are associated with the Austronesian migration into Papua New Guinea (/wiki/Papua_New_Guinea) and Melanesia (/wiki/Melanesia) . But other sites are older than the Austronesian expansion, being dated to around 1650 to 2000 BCE, suggesting that there was a preexisting tattooing tradition in the region. [42] (#cite_note-fuery-42) Among other ethnolinguistic groups, tattooing was also practiced among the Ainu people (/wiki/Ainu_people) of Japan; some Austroasians (/wiki/Austroasian) of Indochina (/wiki/Indochina) ; Berber (/wiki/Berber_people) women of Tamazgha (/wiki/Tamazgha) (North Africa); [45] (#cite_note-berber-45) the Yoruba (/wiki/Yoruba_people) , Fulani (/wiki/Fulani_people) and Hausa (/wiki/Hausa_people) people of Nigeria (/wiki/Nigeria) ; [46] (#cite_note-46) Native Americans (/wiki/Indigenous_peoples_of_the_Americas) of the Pre-Columbian Americas (/wiki/Pre-Columbian_era) ; [47] (#cite_note-Evans-47) and Picts (/wiki/Picts) of Iron Age Britain (/wiki/British_Iron_Age) . [48] (#cite_note-carr-48) China [ edit ] A Yue (/wiki/Baiyue) ("barbarian") statue of a tattooed man with short hair from the para-Austronesian (/wiki/Para-Austronesian) cultures of southern China, from the Zhejiang Provincial Museum (/wiki/Zhejiang_Provincial_Museum) Cemeteries throughout the Tarim Basin (/wiki/Tarim_Basin) ( Xinjiang (/wiki/Xinjiang) of western China) including the sites of Qäwrighul (/wiki/Q%C3%A4wrighul) , Yanghai (/wiki/Yanghai) , Shengjindian (/wiki/Shengjindian) , Zaghunluq, and Qizilchoqa have revealed several tattooed mummies (/wiki/Tarim_mummies) with Western Asian/Indo-European physical traits and cultural materials. These date from between 2100 and 550 BC. [38] (#cite_note-Oldest_Tattoos-38) In ancient China, tattoos were considered a barbaric practice associated with the Yue (/wiki/Baiyue) peoples of southeastern and southern China. Tattoos were often referred to in literature depicting bandits and folk heroes. As late as the Qing dynasty (/wiki/Qing_dynasty) , [ when? ] it was common practice to tattoo characters (/wiki/Chinese_characters) such as 囚 ("Prisoner") on convicted criminals' faces. Although relatively rare during most periods of Chinese history, slaves (/wiki/Slavery_in_China) were also sometimes marked to display ownership. However, tattoos seem to have remained a part of southern culture. Marco Polo (/wiki/Marco_Polo) wrote of Quanzhou (/wiki/Quanzhou) , "Many come hither from Upper India to have their bodies painted with the needle in the way we have elsewhere described, there being many adepts at this craft in the city". At least three of the main characters – Lu Zhishen (/wiki/Lu_Zhishen) , Shi Jin (史進), and Yan Ching (燕青) – in the classic novel Water Margin (/wiki/Water_Margin) are described as having tattoos covering nearly all of their bodies. Wu Song (/wiki/Wu_Song) was sentenced to a facial tattoo describing his crime after killing Xi Menqing (西門慶) to avenge his brother. In addition, Chinese legend (/wiki/Chinese_mythology) claimed the mother of Yue Fei (/wiki/Yue_Fei) (a famous Song (/wiki/Song_dynasty) general) tattooed the words "Repay the Country with Pure Loyalty" ( 精忠報國 , jing zhong bao guo ) down her son's back before he left to join the army. Europe [ edit ] Giolo (real name Jeoly) of Miangas (/wiki/Miangas) , who became enslaved in Mindanao (/wiki/Mindanao) and bought by the English William Dampier (/wiki/William_Dampier) together with Jeoly's mother, who died at sea. Jeoly was exhibited in London in a human zoo (/wiki/Human_zoo) in 1691 to large crowds, until he died of smallpox (/wiki/Smallpox) three months later. Throughout the time he was exhibited, Dampier gained a fortune. [49] (#cite_note-49) [50] (#cite_note-Etching_of_Prince_Giolo-50) [51] (#cite_note-auto-51) [52] (#cite_note-52) In 1566, French sailors abducted an Inuit woman and her child in modern-day Labrador (/wiki/Labrador) and brought her to the city of Antwerp (/wiki/Antwerp) in modern-day Belgium (/wiki/Belgium) . The mother was tattooed while the child was unmarked. In Antwerp, the two were put on display at a local tavern at least until 1567, with handbills promoting the event being distributed in the city. In 1577, English privateer (/wiki/Privateer) Martin Frobisher (/wiki/Martin_Frobisher) captured two Inuit and brought them back to England for display. One of the Inuit was a tattooed woman from Baffin Island (/wiki/Baffin_Island) , who was illustrated by the English cartographer John White (/wiki/John_White_(colonist_and_artist)) . [53] (#cite_note-Krutak2-53) In 1691, William Dampier (/wiki/William_Dampier) brought to London a Filipino man named Jeoly (/wiki/Jeoly) or Giolo from the island of Mindanao (/wiki/Mindanao) (Philippines) who had a tattooed body. Dampier exhibited Jeoly in a human zoo (/wiki/Human_zoo) to make a fortune and falsely branded him as a "prince" to draw large crowds. At the time of exhibition, Jeoly was still grieving his mother, who Dampier also enslaved and had died at sea during their exploitation to Europe. Dampier claimed that he became friends with Jeoly, but with the intention to make money, he continued to exploit his "friend" by exhibiting him in a human zoo, where Jeoly died three months later. Jeoly's dead body was afterwards skinned, and his skinless body was disposed, while the tattooed skin was sold and displayed at Oxford. [54] (#cite_note-54) A portrait of Omai (/wiki/Omai) , a tattooed Raiatean (/wiki/Raiatea) man brought back to Europe by Captain James Cook (/wiki/James_Cook) It is commonly held that the modern popularity of tattooing stems from Captain James Cook (/wiki/James_Cook) 's three voyages to the South Pacific in the late 18th century. Certainly, Cook's voyages and the dissemination of the texts and images from them brought more awareness about tattooing (and, as noted above, imported the word "tattow" into Western languages). [55] (#cite_note-55) On Cook's first voyage in 1768, his science officer and expedition botanist, Sir Joseph Banks (/wiki/Joseph_Banks) , as well as artist Sydney Parkinson (/wiki/Sydney_Parkinson) and many others of the crew, returned to England with a keen interest in tattoos with Banks writing about them extensively [56] (#cite_note-56) and Parkinson is believed to have gotten a tattoo himself in Tahiti (/wiki/Tahiti) . [57] (#cite_note-57) Banks was a highly regarded member of the English aristocracy who had acquired his position with Cook by co-financing the expedition with ten thousand pounds, a very large sum at the time. In turn, Cook brought back with him a tattooed Raiatean (/wiki/Raiatea) man, Omai (/wiki/Omai) , whom he presented to King George and the English Court. On subsequent voyages other crew members, from officers, such as American John Ledyard, to ordinary seamen, were tattooed. [58] (#cite_note-58) The first documented professional tattooist in Britain was Sutherland Macdonald (/wiki/Sutherland_Macdonald) , who operated out of a salon in London beginning in 1894. [59] (#cite_note-59) In Britain, tattooing was still largely associated with sailors [60] (#cite_note-60) and the lower or even criminal class, [61] (#cite_note-61) but by the 1870s had become fashionable among some members of the upper classes, including royalty, [5] (#cite_note-Abington_2010-5) [62] (#cite_note-62) and in its upmarket form it could be an expensive [63] (#cite_note-63) and sometimes painful [64] (#cite_note-64) process. A marked class division (/wiki/Class_division) on the acceptability of the practice continued for some time in Britain. [65] (#cite_note-65) A 19th-century drawing of a tattooed Bosnian Croat (/wiki/Bosnian_Croat) woman Tattooing of Catholic women in Bosnia and Herzegovina (/wiki/Christian_tattooing_in_Bosnia_and_Herzegovina) became widespread during the Ottoman rule (/wiki/Ottoman_Empire) and continued to the mid 20th century. Among the Catholic population, there was a widespread tradition of tattooing crosses on the hands, arms, chest, and forehead of girls between the ages of 6 and 16. [66] (#cite_note-Medić_Bošnjak-66) This was done in order to prevent kidnapping by the Ottoman Turks and conversion to Islam. [67] (#cite_note-Jukić-67) Ethnographers believe that its origins predate both the Slavic migration to the Balkans (/wiki/Slavic_migration_to_the_Balkans) and spread of Christianity (/wiki/Christianity) , with evidence pointing far back to the prehistoric Illyrian (/wiki/Illyria) tribes. [67] (#cite_note-Jukić-67) North America [ edit ] Many Indigenous peoples of North America (/wiki/Indigenous_people_of_North_America) practice tattooing. [68] (#cite_note-68) European explorers and traders who met Native Americans noticed these tattoos and wrote about them, and a few Europeans chose to be tattooed by Native Americans. [69] (#cite_note-Friedman2012-69) See history of tattooing in North America (/wiki/History_of_tattooing#North_America) . By the time of the American Revolution (/wiki/American_Revolution) , tattoos were already common among American sailors (see sailor tattoos (/wiki/Sailor_tattoos) ). [70] (#cite_note-Dye-70) Tattoos were listed in protection papers (/wiki/Protection_papers) , an identity certificate issued to prevent impressment (/wiki/Impressment) into the British Royal Navy (/wiki/Royal_Navy) . [70] (#cite_note-Dye-70) Because protection papers were proof of American citizenship, Black sailors used them to show that they were freemen. [71] (#cite_note-71) Sailor being tattooed (/wiki/Sailor_tattoos) by a fellow sailor aboard USS (/wiki/USS_New_Jersey_(BB-62)) New Jersey in 1944 The first recorded professional tattoo shop in the U.S. was established in the early 1870s by a German immigrant, Martin Hildebrandt (/wiki/Martin_Hildebrandt) . [72] (#cite_note-72) [73] (#cite_note-:0-73) He had served as a Union soldier in the Civil War and tattooed many other soldiers. [73] (#cite_note-:0-73) Soon after the Civil War, tattoos became fashionable among upper-class young adults. [74] (#cite_note-74) This trend lasted until the beginning of World War I. The invention of the electric tattoo machine caused popularity of tattoos among the wealthy to drop off. The machine made the tattooing procedure both much easier and cheaper, thus, eliminating the status symbol tattoos previously held, as they were now affordable for all socioeconomic classes. The status symbol of a tattoo shifted from a representation of wealth to a mark typically seen on rebels and criminals. Despite this change, tattoos remained popular among military servicemen, a tradition that continues today. In 1975, there were only 40 tattoo artists in the U.S.; in 1980, there were more than 5,000 self-proclaimed tattoo artists, [75] (#cite_note-Think_before_you_ink:_Tattoo_risks-75) appearing in response to sudden demand. [76] (#cite_note-76) Many studies have been done of the tattooed population and society's view of tattoos. In June 2006, the Journal of the American Academy of Dermatology (/wiki/American_Academy_of_Dermatology) published the results of a telephone survey of 2004: it found that 36% of Americans ages 18–29, 24% of those 30–40, and 15% of those 41–51 had a tattoo. [77] (#cite_note-77) In September 2006, the Pew Research Center (/wiki/Pew_Research_Center) conducted a telephone survey that found that 36% of Americans ages 18–25, 40% of those 26–40 and 10% of those 41–64 had a tattoo. They concluded that Generation X (/wiki/Generation_X) and Millennials (/wiki/Millennials) express themselves through their appearance, and tattoos are a popular form of self-expression. [78] (#cite_note-78) In January 2008, a survey conducted online by Harris Interactive (/wiki/Harris_Insights_%26_Analytics) estimated that 14% of all adults in the United States have a tattoo, slightly down from 2003, when 16% had a tattoo. Among age groups, 9% of those ages 18–24, 32% of those 25–29, 25% of those 30–39 and 12% of those 40–49 have tattoos, as do 8% of those 50–64. Men are slightly more likely to have a tattoo than women. Since the 1970s, tattoos have become a mainstream part of Western fashion, common both for men and women, and among all economic classes [79] (#cite_note-79) and to age groups from the later teen years to middle age. For many young Americans, the tattoo has taken on a decidedly different meaning than for previous generations. The tattoo has undergone "dramatic redefinition" and has shifted from a form of deviance to an acceptable form of expression. [80] (#cite_note-80) As of 1 November 2006, Oklahoma (/wiki/Oklahoma) became the last state to legalize tattooing, having banned it since 1963. [81] (#cite_note-81) Australia [ edit ] Scarring was practised widely amongst the Indigenous peoples of Australia, now only really found in parts of Arnhem Land (/wiki/Arnhem_Land) . Each "deliberately placed scar tells a story of pain, endurance, identity, status, beauty, courage, sorrow or grief." [82] (#cite_note-:1-82) Barramoyokjarlukkugarr walang bolhminy now bolitj. They put it on the wound and then it comes up as an adornment scar. ( Bob Burruwal (/wiki/Bob_Burruwal) , Rembarrnga (/wiki/Rembarrnga) , Arnhem Land) [82] (#cite_note-:1-82) The European history of the use of tattoo in Australia is that branding was used by European authorities for marking criminals throughout the seventeenth and eighteenth centuries. [83] (#cite_note-83) The practice was also used by British authorities to mark army deserters and military personnel court-martialed in Australia. In nineteenth century Australia tattoos were generally the result of personal rather than official decisions but British authorities started to record tattoos along with scars and other bodily markings to describe and manage convicts assigned for transportation. [51] (#cite_note-auto-51) The practice of tattooing appears to have been a largely non-commercial enterprise during the convict period in Australia. For example, James Ross in the Hobart Almanac of 1833 describes how the convicts on board ship commonly spent time tattooing themselves with gunpowder. [51] (#cite_note-auto-51) Out of a study of 10,180 convict records that were transported to then Van Diemen's Land (now Tasmania) between 1823 and 1853 about 37% of all men and about 15% of all women arrived with tattoos, making Australia at the time the most heavily tattooed English-speaking country. [84] (#cite_note-84) Fred Harris, Tattoo Studio, Sydney, 1937 By the beginning of the twentieth century, there were tattoo studios in Australia but they do not appear to have been numerous. For example, the Sydney tattoo studio of Fred Harris was touted as being the only tattoo studio in Sydney between 1916 and 1943. [85] (#cite_note-85) Tattoo designs often reflected the culture of the day and in 1923 Harris's small parlour experienced an increase in the number of women getting tattoos. Another popular trend was for women to have their legs tattooed so the designs could be seen through their stockings. [86] (#cite_note-86) By 1937 Harris was one of Sydney's best-known tattoo artists and was inking around 2000 tattoos a year in his shop. Sailors provided most of the canvases for his work but among the more popular tattoos in 1938 were Australian flags and kangaroos for sailors of the visiting American Fleet. [87] (#cite_note-87) In modern-day Australia a popular tattoo design is the Southern Cross motif, or variations of it. [75] (#cite_note-Think_before_you_ink:_Tattoo_risks-75) There are currently over 2000 official tattoo practitioners in Australia and over 100 registered parlours and clinics, with the number of unregistered parlours and clinics are estimated to be double that amount. The demand over the last decade for tattoos in Australia has risen over 440%, making it an in demand profession in the country. [88] (#cite_note-88) [ better source needed ] There are several large tattoo conventions (/wiki/Tattoo_convention) held in Australia, some of which are considered the biggest in the southern hemisphere, with the best artists from around Oceania attending. [89] (#cite_note-89) [90] (#cite_note-90) A Māori (/wiki/M%C4%81ori_people) chief with tattoos ( moko (/wiki/T%C4%81_moko) ) seen by Cook and his crew (drawn by Sydney Parkinson (/wiki/Sydney_Parkinson) 1769), engraved for A Journal of a Voyage to the South Seas (/wiki/A_Journal_of_a_Voyage_to_the_South_Seas) by Thomas Chambers Latin America [ edit ] Of the three best-known Pre-Columbian civilizations in the Americas, the Mayas and the Aztecs of Central America were known to wear tattoos while the Incas of South America were not. [91] (#cite_note-91) However, there is evidence that the Chimu (/wiki/Chimor) people who preceded the Incas did wear tattoos for magic and medical purposes. The diverse tribes of the Amazon have also worn tattoos for millennia and continue to do so to this day, including facial tattoos and notably, the people of the Xingu River (/wiki/Xingu_River) in the North (/wiki/North_Region,_Brazil) of Brazil and the Putumayo River (/wiki/Putumayo_River) between Peru, Brazil, and Colombia [92] (#cite_note-92) São Paulo, Brazil is largely regarded as one of the most tattooed cities in the world. [93] (#cite_note-93) New Zealand [ edit ] The Māori people (/wiki/M%C4%81ori_people) of New Zealand have historically practiced tattooing. Amongst these are facial designs worn to indicate lineage, social position, and status within the tribe (/wiki/Iwi) called tā moko (/wiki/T%C4%81_moko) . The tattoo art was a sacred marker of identity among the Māori and also referred to as a vehicle for storing one's tapu (/wiki/Tapu_(Polynesian_culture)) , or spiritual being, in the afterlife. [94] (#cite_note-google1-94) One practice was after death to preserve the skin-covered skull known as Toi moko or mokomokai (/wiki/Mokomokai) . In the period of early contact between Māori and Europeans these heads were traded especially for firearms. Many of these are now being repatriated back to New Zealand led by the national museum Te Papa (/wiki/Te_Papa) . [95] (#cite_note-95) [96] (#cite_note-96) [97] (#cite_note-97) Process [ edit ] Main articles: Process of tattooing (/wiki/Process_of_tattooing) and Tattoo ink (/wiki/Tattoo_ink) Man getting a tattoo Tattooing involves the placement of pigment into the skin's dermis, the layer of dermal tissue underlying the epidermis (/wiki/Epidermis_(skin)) . After initial injection, pigment is dispersed throughout a homogenized (/wiki/Homogenization_(biology)) damaged layer down through the epidermis and upper dermis, in both of which the presence of foreign material activates the immune system (/wiki/Immune_system) 's phagocytes (/wiki/Phagocyte) to engulf the pigment particles. As healing proceeds, the damaged epidermis flakes away (eliminating surface pigment) while deeper in the skin granulation tissue (/wiki/Granulation_tissue) forms, which is later converted to connective tissue by collagen (/wiki/Collagen) growth. This mends the upper dermis, where pigment remains trapped within successive generations of macrophages (/wiki/Macrophage) , ultimately concentrating in a layer just below the dermis/epidermis boundary. Its presence there is stable, but in the long term (decades) the pigment tends to migrate deeper into the dermis, accounting for the degraded detail of old tattoos. [98] (#cite_note-kilmer-98) An alternative and painless method of permanent tattooing is to use patches covered by microneedles made of tattoo ink. The patch is pressed onto the skin the same way a temporary tattoo paper is applied to the body. The microneedles then dissolve, and after a few minutes the ink sinks into the skin. [99] (#cite_note-99) [100] (#cite_note-100) Equipment [ edit ] A two coil tattoo machine Some tribal cultures traditionally created tattoos by cutting designs into the skin and rubbing the resulting wound with ink, ashes or other agents; some cultures continue this practice, which may be an adjunct to scarification (/wiki/Scarification) . Some cultures create tattooed marks by hand-tapping the ink into the skin using sharpened sticks or animal bones (made into needles) with clay formed disks or, in modern times, actual needles. The most common method of tattooing in modern times is the electric tattoo machine (/wiki/Tattoo_machine) , which inserts ink into the skin via a single needle or a group of needles that are soldered (/wiki/Solder) onto a bar, which is attached to an oscillating unit. The unit rapidly and repeatedly drives the needles in and out of the skin, usually 80 to 150 times a second. The needles are single-use needles that come packaged individually, or manufactured by artists, on-demand, as groupings dictate on a per-piece basis. In modern tattooing, an artist may use thermal stencil paper or hectograph (/wiki/Hectograph) ink/stencil paper to first place a printed design on the skin before applying a tattoo design. Practice regulation and health risk certification [ edit ] Cleaning work space with Madacide, a powerful hospital germicidal solution Tattooing is regulated in many countries because of the associated health risks to client and practitioner, specifically local infections and virus transmission. Disposable plastic aprons and eye protection can be worn depending on the risk of blood or other secretions splashing into the eyes or clothing of the tattooist. Hand hygiene, assessment of risks and appropriate disposal of all sharp objects and materials contaminated with blood are crucial areas. The tattoo artist's hands must be washed, as must the area of the client's body that will be tattooed. Gloves must be worn at all times and the wound must be wiped frequently with a wet disposable towel of some kind. All equipment must be sterilized in a certified autoclave (/wiki/Autoclave) before and after every use. It is good practice to provide clients with a printed consent form that outlines risks and complications as well as instructions for after care. [101] (#cite_note-CIEH2013-101) Associations [ edit ] Historical associations [ edit ] See also: Religious perspectives on tattooing (/wiki/Religious_perspectives_on_tattooing) Mrs. M. Stevens Wagner (/wiki/Maud_Wagner) with arms and chest covered in tattoos, 1907 Among Austronesian (/wiki/Austronesian_peoples) societies, tattoos had various functions. Among men, they were strongly linked to the widespread practice of head-hunting (/wiki/Head-hunting) raids. In head-hunting societies, like the Ifugao (/wiki/Ifugao_people) and Dayak people (/wiki/Dayak_people) , tattoos were records of how many heads the warriors had taken in battle, and were part of the initiation rites (/wiki/Initiation_rite) into adulthood. The number, design, and location of tattoos, therefore, were indicative of a warrior's status and prowess. They were also regarded as magical wards against various dangers like evil spirits and illnesses. [102] (#cite_note-102) Among the Visayans (/wiki/Visayans) of the pre-colonial Philippines (/wiki/Pre-colonial_Philippines) , tattoos were worn by the tumao (/wiki/Maginoo) nobility and the timawa (/wiki/Timawa) warrior class as permanent records of their participation and conduct in maritime raids known as mangayaw (/wiki/Mangayaw) . [103] (#cite_note-scott2-103) [104] (#cite_note-arcilla-104) In Austronesian women, like the facial tattoos among the women of the Tayal (/wiki/Tayal_people) and Māori people (/wiki/M%C4%81ori_people) , they were indicators of status, skill, and beauty. [105] (#cite_note-105) [106] (#cite_note-lach-106) Tattoos were part of the ancient Wu culture (/wiki/Wu_culture) of the Yangtze River Delta (/wiki/Yangtze_River_Delta) but had negative connotations in traditional Han culture (/wiki/Han_culture) in China (/wiki/China) . The Zhou (/wiki/Predynastic_Zhou) refugees Wu Taibo (/wiki/Wu_Taibo) and his brother Zhongyong (/wiki/Zhongyong_of_Wu) were recorded cutting their hair and tattooing themselves to gain acceptance before founding the state (/wiki/Ancient_Chinese_state) of Wu (/wiki/Wu_(state)) , but Zhou and imperial Chinese (/wiki/Imperial_China) culture tended to restrict tattooing as a punishment for marking criminals. [107] (#cite_note-dem7-61-107) [108] (#cite_note-108) The association of tattoos with criminals (/wiki/Criminal) was transmitted from China to influence Japan. [107] (#cite_note-dem7-61-107) Today, tattoos remain generally disfavored in Chinese society. [109] (#cite_note-109) Tattooing of criminals and slaves was commonplace in the Roman Empire (/wiki/Roman_Empire) . [110] (#cite_note-110) In the 19th century, released convicts from the U.S. and Australia, as well as British military deserters were identified by tattoos. [111] (#cite_note-111) Prisoners in Nazi concentration camps (/wiki/Nazi_concentration_camps) were tattooed with an identification number. Today, many prison inmates still tattoo themselves as an indication of time spent in prison. [5] (#cite_note-Abington_2010-5) An 1888 Japanese woodblock print (/wiki/Woodblock_printing_in_Japan) ( ukiyo-e (/wiki/Ukiyo-e) ) of a prostitute biting her handkerchief in pain as her arm is tattooed. Based on historical practice, the tattoo is likely the name of her lover. printed by Tsukioka Yoshitoshi (/wiki/Tsukioka_Yoshitoshi) . The Government of Meiji Japan (/wiki/Government_of_Meiji_Japan) had outlawed tattoos in the 19th century, a prohibition that stood for 70 years before being repealed in 1948. [112] (#cite_note-112) As of 6 June 2012, all new tattoos are forbidden for employees of the city of Osaka (/wiki/Osaka) . Existing tattoos are required to be covered with proper clothing. The regulations were added to Osaka's ethical codes, and employees with tattoos were encouraged to have them removed. This was done because of the strong connection of tattoos with the yakuza (/wiki/Yakuza) , or Japanese organized crime, after an Osaka official in February 2012 threatened a schoolchild by showing his tattoo. Native Americans (/wiki/Indigenous_peoples_of_the_Americas) also used tattoos to represent their tribe. [113] (#cite_note-113) Catholic Croats (/wiki/Croats_of_Bosnia_and_Herzegovina) of Bosnia (/wiki/Bosnia) used religious Christian tattooing (/wiki/Christian_tattooing_in_Bosnia_and_Herzegovina) , especially of children and women, for protection against conversion to Islam (/wiki/Islam) during the Ottoman rule in the Balkans. [114] (#cite_note-114) Modern associations [ edit ] Wilfrid Derome (/wiki/Wilfrid_Derome) Tattoo Collection, 1925 Tattoos are strongly associated with deviance (/wiki/Deviance_(sociology)) , personality disorders (/wiki/Personality_disorders) and criminality. [115] (#cite_note-Wesley-115) [116] (#cite_note-Adams-116) Although the general acceptance of tattoos is on the rise in Western society, they still carry a heavy stigma among certain social groups. [117] (#cite_note-117) Tattoos are generally considered an important part of the culture of the Russian mafia (/wiki/Russian_criminal_tattoos) . [118] (#cite_note-118) Current cultural understandings of tattoos in Europe and North America have been greatly influenced by long-standing stereotypes based on deviant social groups in the 19th and 20th centuries. Particularly in North America, tattoos have been associated with stereotypes, folklore (/wiki/Folklore) and racism. [94] (#cite_note-google1-94) Not until the 1960s and 1970s did people associate tattoos with such societal outcasts as bikers (/wiki/Outlaw_motorcycle_club) and prisoners. [119] (#cite_note-119) Today, in the United States many prisoners and criminal gangs use distinctive tattoos to indicate facts about their criminal behavior, prison sentences (/wiki/Prison_tattooing) and organizational affiliation. [120] (#cite_note-120) A teardrop tattoo (/wiki/Teardrop_tattoo) , for example, can be symbolic of murder, or each tear represents the death of a friend. At the same time, members of the U.S. military (/wiki/United_States_Armed_Forces) have an equally well-established and longstanding history of tattooing (/wiki/History_of_tattooing) to indicate military units, battles, kills, etc., an association that remains widespread among older Americans. In Japan, tattoos are associated with yakuza (/wiki/Yakuza) criminal groups, but there are non-yakuza groups such as Fukushi Masaichi (/wiki/Fukushi_Masaichi) 's tattoo association that sought to preserve the skins of dead Japanese who have extensive tattoos. Tattooing is also common in the British Armed Forces (/wiki/British_Armed_Forces) . Depending on vocation, tattoos are accepted in a number of professions in America. Companies across many fields are increasingly focused on diversity and inclusion. [121] (#cite_note-121) Mainstream art galleries hold exhibitions of both conventional and custom tattoo designs, such as Beyond Skin , at the Museum of Croydon (/wiki/Museum_of_Croydon) . [122] (#cite_note-croydon-122) Latin Kings (/wiki/Latin_Kings_(gang)) gang member showing his gang tattoo In Britain, there is evidence of women with tattoos, concealed by their clothing, throughout the 20th century, and records of women tattooists such as Jessie Knight (/wiki/Jessie_Knight_(tattoo_artist)) from the 1920s. [123] (#cite_note-Mifflin2013-123) A study of "at-risk" (as defined by school absenteeism and truancy) adolescent girls showed a positive correlation between body modification and negative feelings towards the body and low self-esteem; however, the study also demonstrated that a strong motive for body modification is the search for "self and attempts to attain mastery and control over the body in an age of increasing alienation". [124] (#cite_note-124) The prevalence of women in the tattoo industry in the 21st century, along with larger numbers of women bearing tattoos, appears to be changing negative perceptions. In Covered in Ink by Beverly Yuen Thompson, she interviews heavily tattooed women in Washington, Miami, Orlando, Houston, Long Beach, and Seattle from 2007 to 2010 using participant observation (/wiki/Participant_observation) and in-depth interviews of 70 women. Younger generations are typically more unbothered by heavily tattooed women, while older generation including the participants parents are more likely to look down on them, some even go to the extreme of disowning their children for getting tattoos. [125] (#cite_note-125) Typically how the family reacts is an indicator of their relationship in general. Reports were given that family members who were not accepting of tattoos wanted to scrub the images off, pour holy water on them or have them surgically removed. Families who were emotionally accepting of their family members were able to maintain close bonds after tattooing. [126] (#cite_note-126) Advertising and marketing [ edit ] Tattoos have also been used in marketing and advertising with companies paying people to have logos of brands like HBO (/wiki/HBO) , Red Bull (/wiki/Red_Bull) , ASOS.com (/wiki/ASOS.com) and Sailor Jerry (/wiki/Sailor_Jerry) 's rum tattooed in their bodies. [127] (#cite_note-127) This practice is known as "skinvertising". [128] (#cite_note-128) B.T.'s Smokehouse (/wiki/B.T.%27s_Smokehouse) , a barbecue restaurant located in Massachusetts, offered customers free meals for life if they had the logo of the establishment tattooed on a visible part of their bodies. Nine people took the business up on the offer. [129] (#cite_note-129) Health risks [ edit ] Main article: Health effects of tattoos (/wiki/Health_effects_of_tattoos) The pain of tattooing can range from uncomfortable to excruciating depending on the location of the tattooing the body. With the use of modern numbing creams, pain may be eliminated or reduced. Fainting can occur during tattoo procedures, but is not considered very likely. Because it requires breaking the immunologic barrier formed by the skin, tattooing carries health risks including infection and allergic reactions. Modern tattooists reduce health risks by following universal precautions working with single-use items and sterilizing their equipment after each use. Many jurisdictions require that tattooists have blood-borne pathogen (/wiki/Blood-borne_disease) training such as that provided through the Red Cross (/wiki/Red_Cross) and OSHA (/wiki/Occupational_Safety_and_Health_Administration) . As of 2009 (in the United States) there have been no reported cases of HIV contracted from tattoos. [130] (#cite_note-130) In amateur tattooing, such as the practice in prisons, there is an elevated risk of infection. Infections that can theoretically be transmitted by the use of unsterilized tattoo equipment or contaminated ink include surface infections of the skin, fungal infections, some forms of hepatitis (/wiki/Hepatitis) , herpes simplex virus (/wiki/Herpes_simplex_virus) , HIV (/wiki/HIV) , staph (/wiki/Staph) , tetanus (/wiki/Tetanus) , and tuberculosis (/wiki/Tuberculosis) . [131] (#cite_note-131) Keloid (/wiki/Keloid) formation at the site of a tattoo Tattoo inks have been described as "remarkably nonreactive histologically". [98] (#cite_note-kilmer-98) However, cases of allergic reactions to tattoo inks, particularly certain colors, have been medically documented. This is sometimes due to the presence of nickel in an ink pigment, which triggers a common metal allergy. Occasionally, when a blood vessel (/wiki/Blood_vessel) is punctured during the tattooing procedure, a bruise (/wiki/Bruise) / hematoma (/wiki/Hematoma) may appear. At the same time, a number of tattoo inks may contain hazardous substances, and a proposal has been submitted by the European Chemicals Agency (/wiki/European_Chemicals_Agency) (ECHA) to restrict the intentional use or concentration limit of approximately 4000 substances when contained in tattoo inks. [132] (#cite_note-132) According to a study by the European Union Observatory for Nanomaterials (EUON (https://euon.echa.europa.eu/) ), a number of modern-day tattoo inks contain nanomaterials. [133] (#cite_note-133) These engender significant nanotoxicological (/wiki/Nanotoxicology) concerns. Certain colours – red or similar colours such as purple, pink, and orange – tend to cause more problems and damage compared to other colours. [134] (#cite_note-134) Red ink has even caused skin (/wiki/Human_skin) and flesh (/wiki/Flesh) damages so severe that the amputation (/wiki/Amputation) of a leg or an arm has been necessary. If part of a tattoo (especially if red) begins to cause even minor troubles, like becoming itchy or worse, lumpy, then Danish experts strongly suggest to remove the red parts. [135] (#cite_note-135) In 2017, researchers from the European Synchrotron Radiation Facility (/wiki/European_Synchrotron_Radiation_Facility) in France say the chemicals in tattoo ink can travel in the bloodstream and accumulate in the lymph nodes, obstructing their ability to fight infections. However, the authors noted in their paper that most tattooed individuals including the donors analyzed do not suffer from chronic inflammation. [136] (#cite_note-136) Tattoo artists frequently recommend sun protection of skin to prevent tattoos from fading and to preserve skin integrity to make future tattooing easier. [137] (#cite_note-137) [138] (#cite_note-138) Removal [ edit ] Main article: Tattoo removal (/wiki/Tattoo_removal) While tattoos are considered permanent, it is sometimes possible to remove them, fully or partially, with laser treatments. Typically, carbon based pigments, or iron-oxide-based pigments, as well as some colored inks can be removed more completely than inks of other colors. The expense and pain associated with removing tattoos are typically greater than the expense and pain associated with applying them. Methods other than laser tattoo removal methods include dermabrasion (/wiki/Dermabrasion) , salabrasion (scrubbing the skin with salt (/wiki/Salt) ), reduction techniques, cryosurgery (/wiki/Cryosurgery) and excision (https://en.wiktionary.org/wiki/excision) —which is sometimes still used along with skin grafts (/wiki/Skin_graft) for larger tattoos. These older methods, however, have been nearly completely replaced by laser removal treatment options. [139] (#cite_note-139) Temporary tattoos [ edit ] See also: Mehndi (/wiki/Mehndi) and Ballpoint pen artwork (/wiki/Ballpoint_pen_artwork) Decal (/wiki/Decal) temporary ambigram (/wiki/Ambigram) tattoo Love (/wiki/Love) / eros (/wiki/Eros_(concept)) , on wrists A temporary tattoo is a non-permanent image on the skin resembling a permanent tattoo. As a form of body painting (/wiki/Body_painting) , temporary tattoos can be drawn, painted, or airbrushed. [140] (#cite_note-140) [141] (#cite_note-141) Types [ edit ] Decal-style temporary tattoos [ edit ] Decal (/wiki/Decal) (press-on) temporary tattoos are used to decorate any part of the body. They may last for a day or for more than a week. [142] (#cite_note-142) Metallic jewelry tattoos [ edit ] Foil temporary tattoos are a variation of decal-style temporary tattoos, printed using a foil stamping technique instead of using ink. [143] (#cite_note-143) The foil design is printed as a mirror image in order to be viewed in the right direction once it is applied to the skin. Each metallic tattoo is protected by a transparent protective film. Airbrush temporary tattoos [ edit ] Although they have become more popular and usually require a greater investment, airbrush temporary tattoos are less likely to achieve the look of a permanent tattoo, and may not last as long as press-on temporary tattoos. An artist sprays on airbrush tattoos using a stencil with alcohol-based cosmetic inks. Like decal tattoos, airbrush temporary tattoos also are easily removed with rubbing alcohol or baby oil (/wiki/Baby_oil) . Henna temporary tattoos [ edit ] A henna (/wiki/Henna) temporary tattoo being applied Another tattoo alternative is henna (/wiki/Henna) -based tattoos, which generally contain no additives. Henna is a plant-derived substance which is painted on the skin, staining it a reddish-orange-to-brown color. Because of the semi-permanent nature of henna, they lack the realistic colors typical of decal temporary tattoos. Due to the time-consuming application process, it is a relatively poor option for children. Dermatological publications report that allergic reactions to natural henna are very rare and the product is generally considered safe for skin application. Serious problems can occur, however, from the use of henna with certain additives. The FDA and medical journals report that painted black henna temporary tattoos are especially dangerous. Safety [ edit ] Decal-style temporary tattoo safety [ edit ] Decal temporary tattoos, when legally sold in the United States, have had their color additives approved by the U.S. Food and Drug Administration (FDA) as cosmetics – the FDA has determined these colorants are safe for "direct dermal contact". While the FDA has received some accounts of minor skin irritation, including redness and swelling, from this type of temporary tattoo, the agency has found these symptoms to be "child specific" and not significant enough to support warnings to the public. Unapproved pigments, however, which are sometimes used by non-US manufacturers, can provoke allergic reactions in anyone. Airbrush tattoo safety [ edit ] The types of airbrush paints manufactured for crafting, creating art or decorating clothing should never be used for tattooing. These paints can be allergenic or toxic. Henna tattoo safety [ edit ] Dermatitis (/wiki/Dermatitis) due to a temporary tattoo (dolphin) made with black henna (/wiki/Black_henna) The FDA (/wiki/FDA) regularly issues warnings to consumers about avoiding any temporary tattoos labeled as black henna or pre-mixed henna as these may contain potentially harmful ingredients including silver nitrate (/wiki/Silver_nitrate) , carmine (/wiki/Carmine) , pyrogallol (/wiki/Pyrogallol) , disperse orange dye (/w/index.php?title=Disperse_orange_dye&action=edit&redlink=1) and chromium (/wiki/Chromium) . Black henna gets its color from paraphenylenediamine (/wiki/Paraphenylenediamine) (PPD), a textile dye (/w/index.php?title=Textile_dye&action=edit&redlink=1) approved by the FDA for human use only in hair coloring. [144] (#cite_note-144) In Canada, the use of PPD on the skin, including hair dye, is banned. Research has linked these and other ingredients to a range of health problems including allergic reactions, chronic inflammatory reactions, and late-onset allergic reactions to related clothing and hairdressing dyes. They can cause these reactions long after application. Neither black henna nor pre-mixed henna are approved for cosmetic use by the FDA. Religious views [ edit ] Main article: Religious perspectives on tattooing (/wiki/Religious_perspectives_on_tattooing) Left/Top: A Hindu (/wiki/Hindu) bride's feet decorated with temporary tattoos; Right/Bottom: Christian (/wiki/Christianity) couple with matching cross symbol tattoos. Ancient Egyptians (/wiki/Ancient_Egyptians) used tattoos to show dedication to a deity, and the tattoos were believed to convey divine protection. In Hinduism (/wiki/Hinduism) , Buddhism, and Neopaganism, tattoos are accepted. [145] (#cite_note-ferguson-145) Southeast Asia has a tradition of protective tattoos variously known as sak yant or yantra tattoos (/wiki/Yantra_tattooing) that include Buddhist images, prayers, and symbols. Images of the Buddha or other religious figures have caused controversy in some Buddhist countries when incorporated into tattoos by Westerners who do not follow traditional customs regarding respectful display of images of Buddhas or deities. Judaism (/wiki/Judaism) generally prohibits tattoos among its adherents based on the commandments in Leviticus 19 (/wiki/Leviticus_19) . Jews tend to believe this commandment only applies to Jews and not to gentiles (/wiki/Gentiles) . However, an increasing number of young Jews are getting tattoos either for fashion, or an expression of their faith. [146] (#cite_note-torgovnivk-146) There is no specific teaching in the New Testament (/wiki/New_Testament) prohibiting tattoos. Most Christian (/wiki/Christianity) denominations believe that the Old Covenant (/wiki/Old_Covenant) ceremonial laws in Leviticus were abrogated (/wiki/Abrogation_of_Old_Covenant_laws) with the coming of the New Covenant (/wiki/New_Covenant) ; that the prohibition of various cultural practices, including tattooing, was intended to distinguish the Israelites (/wiki/Israelites) from neighbouring peoples for a limited period of time, and was not intended as a universal law to apply to the gentiles for all time. Many Coptic Christians (/wiki/Coptic_Christians) in Egypt have a cross tattoo on their right wrist to differentiate themselves from Muslims. [147] (#cite_note-147) However, some Evangelical (/wiki/Evangelical) and fundamentalist (/wiki/Christian_fundamentalism) Protestant (/wiki/Protestant) denominations believe the commandment applies today for Christians and believe it is a sin (/wiki/Sin) to get a tattoo. In Catholic (/wiki/Catholic) teaching, what is said in Leviticus (19:28) is taught not binding upon Christians for the same reason that the verse "nor shall there come upon you a garment of cloth made of two kinds of stuff" (Lev. 19:19) is not binding upon Christians. It is a matter of what the tattoo depicts. The Catholic Church says the images should not be immoral, such as sexually explicit, Satanic, or in any way opposed to the truths and teachings of Christianity. [148] (#cite_note-Catholic_Answers-148) Tattoos are considered to be haram (/wiki/Haram) for many Sunni Muslims (/wiki/Sunni_Muslims) , based on rulings from scholars and passages in the Sunni Hadith (/wiki/Hadith) . Shia Islam (/wiki/Shia_Islam) does not prohibit tattooing, [149] (#cite_note-149) [150] (#cite_note-muslimversity.com-150) and many Shia Muslims (Lebanese, Iraqis, Yemenis, Iranians) have tattoos, specifically with religious themes. [150] (#cite_note-muslimversity.com-150) In popular culture [ edit ] Inked (magazine) (/wiki/Inked_(magazine)) , a tattoo lifestyle digital media company that bills itself as the outsiders' insider media See List of tattoo TV shows (/wiki/List_of_tattoo_TV_shows) See also [ edit ] Fashion portal (/wiki/Portal:Fashion) Visual arts portal (/wiki/Portal:Visual_arts) Styles [ edit ] Black-and-gray (/wiki/Black-and-gray) – Style of tattooing that uses only black ink in varying shades Borneo traditional tattooing (/wiki/Borneo_traditional_tattooing) Chinese calligraphy tattoos (/wiki/Chinese_calligraphy_tattoos) Christian tattooing in Bosnia and Herzegovina (/wiki/Christian_tattooing_in_Bosnia_and_Herzegovina) Deq (tattoo) (/wiki/Deq_(tattoo)) – Traditional Kurdish tattoos Irezumi – Several forms of traditional Japanese tattooing New school (tattoo) (/wiki/New_school_(tattoo)) Old school (tattoo) (/wiki/Old_school_(tattoo)) Peʻa (/wiki/Pe%CA%BBa) – Traditional male tatau of Samoa Prison tattooing (/wiki/Prison_tattooing) Sak Yant (/wiki/Sak_Yant) Sailor tattoos (/wiki/Sailor_tattoos) Scarification (/wiki/Scarification) Sleeve tattoo (/wiki/Sleeve_tattoo) Soot tattoo (/wiki/Soot_tattoo) Location [ edit ] Body suit (tattoo) (/wiki/Body_suit_(tattoo)) Genital tattooing (/wiki/Genital_tattooing) Lower back tattoo (/wiki/Lower_back_tattoo) Scleral tattooing (/wiki/Scleral_tattooing) Others [ edit ] Biomechanical art (/wiki/Biomechanical_art) – the style of H. R. Giger and tattoo Pages displaying wikidata descriptions as a fallback Blackout tattoo (/wiki/Blackout_tattoo) Trash polka (/wiki/Trash_polka) Body art (/wiki/Body_art) Body painting (/wiki/Body_painting) Mehndi (/wiki/Mehndi) (also called henna (/wiki/Henna) ) Foreign body granuloma (/wiki/Foreign_body_granuloma) – response of biological tissue to foreign material Pages displaying wikidata descriptions as a fallback Legal status of tattooing in European countries (/wiki/Legal_status_of_tattooing_in_European_countries) Legal status of tattooing in the United States (/wiki/Legal_status_of_tattooing_in_the_United_States) List of tattoo artists (/wiki/List_of_tattoo_artists) Lucky Diamond Rich (/wiki/Lucky_Diamond_Rich) – world's most tattooed person Tattoo convention (/wiki/Tattoo_convention) Tattooed lady (/wiki/Tattooed_lady) References [ edit ] Citations [ edit ] ^ (#cite_ref-1) Johnson, Frankie J (2007). "Tattooing: Mind, Body And Spirit. The Inner Essence Of The Art". Sociological Viewpoints . 23 : 45–61. ^ Jump up to: a b Thompson, Beverly Yuen (2015). " (https://cpb-us-west-2-juc1ugur1qwqqqo4.stackpathdns.com/hawksites.newpaltz.edu/dist/1/2245/files/2018/01/Yuen-Thompson_Heavily-Tattooed-Women-1cyuu89.pdf) "I Want to Be Covered": Heavily Tattooed Women Challenge the Dominant Beauty Culture" (https://cpb-us-west-2-juc1ugur1qwqqqo4.stackpathdns.com/hawksites.newpaltz.edu/dist/1/2245/files/2018/01/Yuen-Thompson_Heavily-Tattooed-Women-1cyuu89.pdf) (PDF) . Covered in Ink: Tattoos, Women and the Politics of the Body . New York, New York USA: New York University Press (/wiki/New_York_University_Press) . pp. 35–64. ISBN (/wiki/ISBN_(identifier)) 978-0-8147-8920-9 . ^ (#cite_ref-samoa2_3-0) "Meaning of Tatau 1" (https://pasefika.com/Culture/Article/19/sa/Meaning-of-Tatau-1) . Pasefika Design. ^ (#cite_ref-4) Blust, Robert (/wiki/Robert_Blust) ; Trussel, Stephen (2010). "*sau₃ wingbone of flying fox, used in tattooing; tattoo" (https://acd.clld.org/cognatesets/31345#3/-11.94/168.74) . Austronesian Comparative Dictionary . Max Planck Institute for Evolutionary Anthropology . Retrieved 8 November 2022 . ^ Jump up to: a b c "tattoo". The Hutchinson Unabridged Encyclopedia with Atlas and Weather guide (Credo Reference. Web. ed.). Helicon. July 2021. ^ (#cite_ref-6) OED (/wiki/Oxford_English_Dictionary) ^ (#cite_ref-cloakanddagger_7-0) "Tattoo History: Flash Art" (https://www.cloakanddaggerlondon.co.uk/tattoo-history-flash-art/) . Cloak and Dagger . Retrieved 17 August 2018 . ^ (#cite_ref-onitattoo_8-0) "History Of Irezumi/Horimono" (https://irezumihorimonodesign.weebly.com/history-of-irezumihorimono.html) . Oni Tattoo Design . Retrieved 17 August 2018 . ^ (#cite_ref-9) Roth, H. Ling (11 September 1900). On Permanent Artificial Skin Marks: a definition of terms . Bradford: Anthropological Section of the British Association for the Advancement of Science. ^ (#cite_ref-Roth_10-0) McDougall, Russell and Davidson, Iain; eds. (2016). The Roth Family, Anthropology, and Colonial Administration (https://books.google.com/books?id=ZalJDAAAQBAJ&pg=PA97) , p.97. Routledge. ISBN (/wiki/ISBN_(identifier)) 9781315417288 (/wiki/Special:BookSources/9781315417288) . ^ (#cite_ref-11) "Tattoos, Body Piercings, and Other Skin Adornments" (https://web.archive.org/web/20101223231358/http://www.aad.org/public/Publications/pamphlets/cosmetic_tattoos.html) . Aad.org. Archived from the original (http://www.aad.org/public/Publications/pamphlets/cosmetic_tattoos.html) on 23 December 2010 . Retrieved 5 April 2012 . ^ (#cite_ref-traumatic_12-0) "10.18 Traumatic Tattoos and Abrasions" (https://web.archive.org/web/20170907093923/http://www.ncemi.org/cse/cse1018.htm) . Emergency Medicine Informatics . 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U.S. Army Signal Corps. ^ (#cite_ref-19) "Tattoos and Numbers: The System of Identifying Prisoners at Auschwitz" (https://encyclopedia.ushmm.org/content/en/article/tattoos-and-numbers-the-system-of-identifying-prisoners-at-auschwitz) . encyclopedia.ushmm.org . Retrieved 11 October 2019 . ^ (#cite_ref-20) "Pitt Rivers Museum Body Arts | Prisoner's tag" (http://web.prm.ox.ac.uk/bodyarts/index.php/body-arts-and-lifecycles/adulthood/105-prisoners-tag.html) . web.prm.ox.ac.uk . ^ (#cite_ref-21) Leviticus 19 (/wiki/Leviticus_19) :28 ^ (#cite_ref-Mayor_22-0) Mayor, Adrienne (March–April 1999). "People Illustrated" (http://www.archaeology.org/9903/abstracts/tattoo.html) . Archaeological Institute of America . Vol. 52, no. 2. ^ (#cite_ref-23) "Tattoo Recognition Technology Gaining Acceptance as a Crime-Solving Technique" (https://www2.law.temple.edu/10q/tattoo-recognition-technology-gaining-acceptance-as-a-crime-solving-technique/#:~:text=Tattoos%20are%20also%20helpful%20in,attempt%20to%20mutilate%20the%20body) . 31 August 2022. ^ (#cite_ref-24) Khunger, Niti; Molpariya, Anupama; Khunger, Arjun (2015). "Complications of Tattoos and Tattoo Removal: Stop and Think Before you ink" (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4411590) . Journal of Cutaneous and Aesthetic Surgery . 8 (1): 30–36. doi (/wiki/Doi_(identifier)) : 10.4103/0974-2077.155072 (https://doi.org/10.4103%2F0974-2077.155072) . ISSN (/wiki/ISSN_(identifier)) 0974-2077 (https://www.worldcat.org/issn/0974-2077) . PMC (/wiki/PMC_(identifier)) 4411590 (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4411590) . 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"Archeological Evidence for Tattooing in Polynesia and Micronesia" (https://books.google.com/books?id=RKZGDwAAQBAJ&pg=PT171) . In Lars Krutak & Aaron Deter-Wolf (ed.). Ancient Ink: The Archaeology of Tattooing . University of Washington Press (/wiki/University_of_Washington_Press) . pp. 159–184. ISBN (/wiki/ISBN_(identifier)) 978-0-295-74284-7 . ^ (#cite_ref-bald_43-0) Baldick, Julian (2013). Ancient Religions of the Austronesian World: From Australasia to Taiwan . I.B.Tauris. p. 3. ISBN (/wiki/ISBN_(identifier)) 978-1-78076-366-8 . ^ (#cite_ref-Maori.com_44-0) "Maori Tattoo" (https://web.archive.org/web/20150720220252/http://www.maori.com/tattoo) . Maori.com . Maori Tourism Limited. Archived from the original (http://www.maori.com/tattoo) on 20 July 2015 . Retrieved 17 July 2015 . ^ (#cite_ref-berber_45-0) Corbett, Sarah (6 February 2016). "Facial Tattooing of Berber Women" (http://ethnicjewelsmagazine.com/facial-tattooing-of-berber-women-by-sarah-corbett/) . Ethnic Jewels Magazine . Retrieved 18 May 2018 . ^ (#cite_ref-46) Wilson-Fall, Wendy (Spring 2014). "The Motive of the Motif Tattoos of Fulbe Pastoralists". African Arts . 47 (1): 54–65. doi (/wiki/Doi_(identifier)) : 10.1162/AFAR_a_00122 (https://doi.org/10.1162%2FAFAR_a_00122) . S2CID (/wiki/S2CID_(identifier)) 53477985 (https://api.semanticscholar.org/CorpusID:53477985) . ^ (#cite_ref-Evans_47-0) Evans, Susan, Toby. 2013. Ancient Mexico and Central America: Archaeology and Culture History. 3rd Edition. ^ (#cite_ref-carr_48-0) Carr, Gillian (2005). "Woad, tattoing, and identity in later Iron Age and Early Roman Britain". Oxford Journal of Archaeology . 24 (3): 273–292. doi (/wiki/Doi_(identifier)) : 10.1111/j.1468-0092.2005.00236.x (https://doi.org/10.1111%2Fj.1468-0092.2005.00236.x) . ^ (#cite_ref-49) Mangubat, Lio (2 November 2017). "The True Story of the Mindanaoan Slave Whose Skin Was Displayed at Oxford" (https://www.esquiremag.ph/long-reads/features/the-true-story-of-the-mindanaoan-slave-whose-skin-was-displayed-at-oxford-a00029-20171102-lfrm2) . Esquire Philippines . Archived (https://web.archive.org/web/20230530221346/https://www.esquiremag.ph/long-reads/features/the-true-story-of-the-mindanaoan-slave-whose-skin-was-displayed-at-oxford-a00029-20171102-lfrm2) from the original on 30 May 2023. ^ (#cite_ref-Etching_of_Prince_Giolo_50-0) Savage, John (c. 1692). "Etching of Prince Giolo" (http://acms.sl.nsw.gov.au/item/itemDetailPaged.aspx?itemID=153334) . State Library of New South Wales. ^ Jump up to: a b c Maxwell-Stewart, Hamish, in Caplan, J. (2000). Written on the body: The tattoo in European and American history / edited by Jane Caplan. London: Reaktion. ISBN (/wiki/ISBN_(identifier)) 1-86189-062-1 (/wiki/Special:BookSources/1-86189-062-1) ^ (#cite_ref-52) Barnes, Geraldine (2006). "Curiosity, Wonder, and William Dampier's Painted Prince". Journal for Early Modern Cultural Studies . 6 (1): 31–50. doi (/wiki/Doi_(identifier)) : 10.1353/jem.2006.0002 (https://doi.org/10.1353%2Fjem.2006.0002) . S2CID (/wiki/S2CID_(identifier)) 159686056 (https://api.semanticscholar.org/CorpusID:159686056) . ^ (#cite_ref-Krutak2_53-0) Krutak, Lars (22 August 2013). "Myth Busting Tattoo (Art) History" (https://www.larskrutak.com/myth-busting-tattoo-art-history/) . Lars Krutak: Tattoo Anthropologist . Retrieved 25 February 2020 . ^ (#cite_ref-54) Mangubat (2017). The True Story of the Mindanaoan Slave Whose Skin Was Displayed at Oxford. Esquire. ^ (#cite_ref-55) "Captain Cook, Sir Joseph Banks and tattoos in Tahiti" (https://www.rmg.co.uk/discover/explore/captain-cook-sir-joseph-banks-and-tattoos-tahiti) . Royal Museums Greenwich . 25 August 2015 . Retrieved 3 April 2020 . ^ (#cite_ref-56) Knows, The Dear (6 June 2010). "Sir Joseph Banks and the Art of Tattoo" (https://thedearsurprise.com/sir-joseph-banks-and-the-art-of-tattoo/) . The Dear Surprise . Retrieved 3 April 2020 . ^ (#cite_ref-57) Gallacher, Stevie (6 August 2018). "The story of Scots explorer and artist Sydney Parkinson, who joined Captain Cook's expedition armed with pencils and paint" (https://www.sundaypost.com/fp/forgotten-scots-explorer-and-artist-who-sketched-for-captain-cook-expedition-hailed/) . The Sunday Post . Retrieved 3 April 2020 . ^ (#cite_ref-58) "The Cook Myth: Common Tattoo History Debunked" (http://tattoohistorian.com/2014/04/05/the-cook-myth-common-tattoo-history-debunked/) . tattoohistorian.com . 5 April 2014. ^ (#cite_ref-59) "The man who started the tattoo craze in Britain is coming to a museum near you" (https://www.independent.co.uk/arts-entertainment/art/news/sutherland-macdonald-britains-first-professional-tattoo-artist-celebrated-in-new-exhibition-at-the-a6804396.html) . The Independent . Archived (https://ghostarchive.org/archive/20220526/https://www.independent.co.uk/arts-entertainment/art/news/sutherland-macdonald-britains-first-professional-tattoo-artist-celebrated-in-new-exhibition-at-the-a6804396.html) from the original on 26 May 2022 . Retrieved 20 July 2018 . ^ (#cite_ref-60) Some days after a shipwreck divers recovered the bodies. Most were unrecognisable, but that of a crew member was readily identified by his tattoos: "The reason why sailors tattoo themselves has often been asked." The Times (London), 30 January 1873, p. 10 ^ (#cite_ref-61) The Times (London), 3 April 1879, p. 9: "Crime has a ragged regiment in its pay so far as the outward ... qualities are concerned ... they tattoo themselves indelibly ... asserting the man's identity with the aid of needles and gunpowder. This may be the explanation of the Mermaids, the Cupid's arrows, the name of MARY, the tragic inscription to the memory of parents, the unintended pathos of the appeal to liberty." ^ (#cite_ref-62) Broadwell, Albert H. (27 January 1900). "Sporting pictures on the human skin". Country Life . Article describing work of society tattooist Sutherland Macdonald (http://www.tattooarchive.com/tattoo_history/macdonald_sutherland.html) Archived (https://web.archive.org/web/20131103145504/http://www.tattooarchive.com/tattoo_history/macdonald_sutherland.html) 3 November 2013 at the Wayback Machine (/wiki/Wayback_Machine) refers to his clientele including "members of our Royal Family, among them H.R.H. the Duke of York, H.I.M. the Czarevitch, and Imperial and Royal members of Russian, German and Spanish courts...." ^ (#cite_ref-63) The Times (London), 18 April 1889, p. 12: "A Japanese Professional Tattooer". Article describes the activities of an unnamed Japanese tattooist based in Hong Kong. He charged £4 for a dragon, which would take 5 hours to do. The article ends "The Hong-Kong operator tattooed the arm of an English Prince, and, in Kioto, was engaged for a whole month reproducing on the trunk and limbs of an English peer a series of scenes from Japanese history. For this he was paid about £100. He has also tattooed ladies.... His income from tattooing in Hong Kong is about £1,200 per annum." ^ (#cite_ref-64) Broadwell, Albert H. (27 January 1900). "Sporting pictures on the human skin". Country Life . "In especially sensitive cases a mild solution of cocaine is injected under the skin, ... and no sensation whatever is felt, while the soothing solution is so mild that it has no effect ... except locally." ^ (#cite_ref-65) In 1969 the House of Lords debated a bill to ban the tattooing of minors, on grounds it had become "trendy" with the young in recent years but was associated with crime, 40 per cent of young criminals having tattoos. Lord Teynham (/wiki/Baron_Teynham) and the Marquess of Aberdeen and Temair (/wiki/Dudley_Gordon,_3rd_Marquess_of_Aberdeen_and_Temair) however rose to object that they had been tattooed as youngsters, with no ill effects. The Times (London), 29 April 1969, p. 4: "Saving young from embarrassing tattoos". ^ (#cite_ref-Medić_Bošnjak_66-0) Medić Bošnjak, Marija (20 February 2018). "Stari običaj 'križićanje' ili "sicanje" izumire" (https://www.ljportal.com/stari-obicaj-krizicanje-sicanje-izumire-10727/) . ljportal.com . ^ Jump up to: a b Jukić, Monika. "Tradicionalno tetoviranje Hrvata u Bosni i Hercegovini – bocanje kao način zaštite od Osmanlija" (https://www.academia.edu/18927069) . academia.edu . ^ (#cite_ref-68) Root, Leeanne (13 September 2018). "How Native American Tattoos Influenced the Body Art Industry" (https://indiancountrytoday.com/archive/native-american-tattoos-influenced-body-art-industry) . Ict News . Retrieved 12 June 2022 . ^ (#cite_ref-Friedman2012_69-0) Friedman Herlihy, Anna Felicity (June 2012). Tattooed Transculturites: Western Expatriates among Amerindian and Pacific Islander Societies, 1500–1900 (PhD). Chicago, IL: University of Chicago. ^ Jump up to: a b Dye, Ira (1989). "The Tattoos of Early American Seafarers, 1796–1818" (https://www.jstor.org/stable/986875) . Proceedings of the American Philosophical Society . 133 (4): 520–554. ISSN (/wiki/ISSN_(identifier)) 0003-049X (https://www.worldcat.org/issn/0003-049X) . JSTOR (/wiki/JSTOR_(identifier)) 986875 (https://www.jstor.org/stable/986875) . ^ (#cite_ref-71) Law in American History: Volume 1: From the Colonial Years Through the Civil War. (https://books.google.com/books?id=fDsHKydL67kC&q=%22protection%20papers%22%20slavery&pg=PA305) Page 305. ^ (#cite_ref-72) Nyssen, Carmen. "New York City's 1800s Tattoo Shops" (https://buzzworthytattoo.com/saloon-tattoo-shops-of-new-york-citys-4th-ward/) . Buzzworthy Tattoo History . Retrieved 6 June 2022 . ^ Jump up to: a b Amer, Aïda; Laskow, Sarah (13 August 2018). "Tattooing in the Civil War Was a Hedge Against Anonymous Death" (http://www.atlasobscura.com/articles/civil-war-tattoos) . Atlas Obscura . Retrieved 5 June 2022 . ^ (#cite_ref-74) Namra, Inbar (5 May 2023). "Victorian Tattoos – Yes, They Were a Thing" (https://greatest.ink/blog/victorian-tattoos-yes-they-were-a-thing/) . Greatest Ink . Retrieved 5 May 2023 . ^ Jump up to: a b "Think before you ink: Tattoo risks" (https://www.mayoclinic.org/healthy-lifestyle/adult-health/in-depth/tattoos-and-piercings/art-20045067) . Mayo Clinic . Retrieved 26 April 2022 . ^ (#cite_ref-76) "Original Tattoo Artist: Times Changing" (https://www.washingtonpost.com/archive/local/1980/11/09/original-tattoo-artist-times-changing/99616353-ba75-477d-822c-4aeaf062d17a/) . The Washington Post (/wiki/The_Washington_Post) . 9 November 1980. ISSN (/wiki/ISSN_(identifier)) 0190-8286 (https://www.worldcat.org/issn/0190-8286) . Retrieved 5 March 2019 . ^ (#cite_ref-77) Kirby, David (2012). Inked Well . Patterns for College Writing: A Rhetorical Reader and Guide: Bedford/St. Martins. pp. 685–689 (https://archive.org/details/patternsforcolle0000unse/page/685) . ISBN (/wiki/ISBN_(identifier)) 978-0-312-67684-1 . ^ (#cite_ref-78) "A Portrait of 'Generation Next' (http://people-press.org/report/300/a-portrait-of-generation-next) " (http://people-press.org/report/300/a-portrait-of-generation-next) . The Pew Research Center for the People and the Press (/wiki/Pew_Research_Center) . 9 January 2007 . Retrieved 5 April 2012 . ^ (#cite_ref-79) "History, Ink – The Valentine" (https://artsandculture.google.com/exhibit/history-ink/wQx72HUG) . Google Arts & Culture . Retrieved 20 April 2020 . ^ (#cite_ref-80) Roberts, D. J. (2012). "Secret Ink: Tattoo's Place in Contemporary American Culture". Journal of American Culture . 35 (2): 153–65. doi (/wiki/Doi_(identifier)) : 10.1111/j.1542-734x.2012.00804.x (https://doi.org/10.1111%2Fj.1542-734x.2012.00804.x) . PMID (/wiki/PMID_(identifier)) 22737733 (https://pubmed.ncbi.nlm.nih.gov/22737733) . ^ (#cite_ref-81) "State last to legalize tattoo artists, parlors" (https://www.chicagotribune.com/news/ct-xpm-2006-05-11-0605110139-story.html) . Chicago Tribune (/wiki/Chicago_Tribune) . 11 May 2006 . Retrieved 6 June 2019 . ^ Jump up to: a b "Aboriginal Scarification" (https://australian.museum/about/history/exhibitions/body-art/aboriginal-scarification/) . The Australian Museum . Retrieved 21 May 2023 . ^ (#cite_ref-83) Clare Andersen in Caplan, J. (2000). Written on the body: The tattoo in European and American history / edited by Jane Caplan. London: Reaktion. ISBN (/wiki/ISBN_(identifier)) 1-86189-062-1 (/wiki/Special:BookSources/1-86189-062-1) ^ (#cite_ref-84) "Tattoo trend goes back to Tasmania's convict era, author finds" (https://www.abc.net.au/news/2016-08-30/convict-tattoos-tasmanias-inked-history-explored-in-book/7798044) . ABC News . 30 August 2016. ^ (#cite_ref-85) PIX MAgazine, Vol. 1 No. 4 (19 February 1938) ^ (#cite_ref-86) SYDNEY WOMEN'S CRAZE. (6 October 1923). Maryborough Chronicle, Wide Bay and Burnett Advertiser (Qld. : 1860–1947), p. 11 ^ (#cite_ref-87) Fred Harris Tattoo Studio Sydney, 1916–1943, State Library of New South Wales ^ (#cite_ref-88) "Tattoo Removal Stats and Facts" (https://noink.com.au/no-ink-articles/tattoo-removal-stats#:~:text=With%20over%202000%20official%20tattoo,estimated%20to%20be%20almost%20double.) . 26 November 2019. ^ (#cite_ref-89) "Rites Of Passage Tattoo Festival | Melbourne & Sydney" (https://ritesofpassagefestival.com/) . ritesofpassagefestival.com . Retrieved 18 July 2022 . ^ (#cite_ref-90) "Australian Tattoo Expo | 300+ Tattoo Artists Under One Roof" (https://www.tattooexpo.com.au/) . www.tattooexpo.com.au . Retrieved 18 July 2022 . ^ (#cite_ref-91) "Pre-Columbian Tattoos of Western South America" (https://www.larskrutak.com/pre-columbian-tattoos-of-western-south-america/) . 6 July 2020. ^ (#cite_ref-92) "The Kayabi: Tattooers of the Brazilian Amazon" (https://www.larskrutak.com/the-kayabi-tattooers-of-the-brazilian-amazon/) . 25 May 2013. ^ (#cite_ref-93) "20 interesting facts about Sao Paulo" (https://100-facts.com/interesting-facts-about-sao-paulo/) . 22 May 2022. ^ Jump up to: a b Atkinson, Michael (2003). Tattooed: the sociogenesis of a body art . University of Toronto Press. ISBN (/wiki/ISBN_(identifier)) 978-0-8020-8568-9 . Retrieved 5 April 2012 . ^ (#cite_ref-95) "Toi moko « Trafficking Culture" (https://traffickingculture.org/encyclopedia/case-studies/toimoko/,%20https://traffickingculture.org/encyclopedia/case-studies/toimoko/) . Retrieved 21 May 2023 . ^ (#cite_ref-96) "A Strange Trade — Deals in Maori Heads — Pioneer Artists" (http://nzetc.victoria.ac.nz/tm/scholarly/tei-RobMoko-t1-front-d2.html) . victoria.ac.nz . ^ (#cite_ref-97) "The headhunters" (https://www.abc.net.au/news/2020-12-14/mokomokai-maori-heads-stuff-the-british-stole-repatriations/12771180) . ABC News . Marc Fennell and Monique Ross. 13 December 2020 . Retrieved 21 May 2023 . {{ cite news (/wiki/Template:Cite_news) }} : CS1 maint: others ( link (/wiki/Category:CS1_maint:_others) ) ^ Jump up to: a b "Tattoo Lasers: Overview, Histology, Tattoo Removal Techniques" (https://emedicine.medscape.com/article/1121212-overview) . Medscape (/wiki/Medscape) . 13 September 2017. ^ (#cite_ref-99) Researchers Develop Painless Tattoos That Can Be Self-Administered (https://research.gatech.edu/researchers-develop-painless-tattoos-can-be-self-administered) ^ (#cite_ref-100) Li, Song; Kim, Youngeun; Lee, Jeong Woo; Prausnitz, Mark R. (21 October 2022). "Microneedle patch tattoos" (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC9617462) . iScience . 25 (10): 105014. Bibcode (/wiki/Bibcode_(identifier)) : 2022iSci...25j5014L (https://ui.adsabs.harvard.edu/abs/2022iSci...25j5014L) . doi (/wiki/Doi_(identifier)) : 10.1016/j.isci.2022.105014 (https://doi.org/10.1016%2Fj.isci.2022.105014) . PMC (/wiki/PMC_(identifier)) 9617462 (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC9617462) . PMID (/wiki/PMID_(identifier)) 36317159 (https://pubmed.ncbi.nlm.nih.gov/36317159) . ^ (#cite_ref-CIEH2013_101-0) "Tattooing and body piercing guidance: Toolkit" (https://www.cieh.org/media/1261/tattooing-and-body-piercing-guidance-toolkit-july-2013.pdf) (PDF) . Chartered Institute of Environmental Health . Retrieved 17 March 2017 . ^ (#cite_ref-102) DeMello, Margo (2014). Inked: Tattoos and Body Art around the World . ABC-CLIO. ISBN (/wiki/ISBN_(identifier)) 978-1-61069-076-8 . ^ (#cite_ref-scott2_103-0) William Henry Scott (1994). Barangay: sixteenth-century Philippine culture and society . Ateneo de Manila University Press (/wiki/Ateneo_de_Manila_University_Press) . ^ (#cite_ref-arcilla_104-0) José S. Arcilla (1998). An Introduction to Philippine History . Ateneo de Manila University Press. pp. 14–16. ISBN (/wiki/ISBN_(identifier)) 9789715502610 . ^ (#cite_ref-105) Major-General Robley (1896). "Moko and Mokamokai – Chapter I – How Moko First Became Knows to Europeans" (https://nzetc.victoria.ac.nz/tm/scholarly/tei-RobMoko-t1-body-d1-d2.html) . Moko; or Maori Tattooing . Chapman and Hall Limited. p. 5 . Retrieved 26 September 2009 . ^ (#cite_ref-lach_106-0) Lach, Donald F. & Van Kley, Edwin J. (1998). Asia in the Making of Europe, Volume III: A Century of Advance. Book 3: Southeast Asia . University of Chicago Press (/wiki/University_of_Chicago_Press) . p. 1499. ISBN (/wiki/ISBN_(identifier)) 978-0-226-46768-9 . ^ Jump up to: a b DeMello, Margo (2007). Encyclopedia of body adornment . Westport: Greenwood Press. p. 61. ISBN (/wiki/ISBN_(identifier)) 978-0-313-33695-9 . ^ (#cite_ref-108) Dutton, Michael (1998). Streetlife China . Cambridge: Cambridge University Press (/wiki/Cambridge_University_Press) . pp. 163 & 180 (https://archive.org/details/streetlifechina0000unse/page/163) . ISBN (/wiki/ISBN_(identifier)) 978-0-521-63141-9 . ^ (#cite_ref-109) Dutton, Michael (1998). Streetlife China . Cambridge: Cambridge University Press. p. 180 (https://archive.org/details/streetlifechina0000unse/page/180) . ISBN (/wiki/ISBN_(identifier)) 978-0-521-63141-9 . ^ (#cite_ref-110) "Tattoos and the Romans..." (https://ancientworlds.net/aworlds_direct/app_main.php?pageData=Post/55599) ancientworlds.net . Retrieved 16 April 2024 . ^ (#cite_ref-111) "A Military Deserter Marking Instrument, 1842" (https://www.bada.org/object/military-deserter-marking-instrument-1842) . BADA . Retrieved 16 April 2024 . ^ (#cite_ref-112) Ito, Masami, " Whether covered or brazen, tattoos make a statement (http://search.japantimes.co.jp/cgi-bin/nn20100608i1.html) ", Japan Times (/wiki/Japan_Times) , 8 June 2010, p. 3 ^ (#cite_ref-113) "Native American Tattoos" (https://www.cloakanddaggerlondon.co.uk/native-american-tattoos/) . Cloak and Dagger Tattoo London . 30 September 2020 . Retrieved 26 April 2022 . ^ (#cite_ref-114) Truhelka, Ciro. Wissenschaftliche Mittheilungen Aus Bosnien und der Hercegovina : "Die Tätowirung bei den Katholiken Bosniens und der Hercegovina." Sarajevo; Bosnian National Museum, 1896. ^ (#cite_ref-Wesley_115-0) Wesley G. Jennings; Bryanna Hahn Fox; David P. Farrington (14 January 2014). "Inked into Crime? An Examination of the Causal Relationship between Tattoos and Life-Course Offending among Males from the Cambridge Study in Delinquent Development". Journal of Criminal Justice . 42 (1, January–February 2014): 77–84. doi (/wiki/Doi_(identifier)) : 10.1016/j.jcrimjus.2013.12.006 (https://doi.org/10.1016%2Fj.jcrimjus.2013.12.006) . ^ (#cite_ref-Adams_116-0) Adams, Joshua (2012). "The Relationship between Tattooing and Deviance in Contemporary Society". Deviance Today : 137–145. ^ (#cite_ref-117) "Society And Tattoos" (https://www.huffingtonpost.co.uk/kevin-bailey/society-and-tattoos_b_15788552.html) . HuffPost UK . 4 April 2017 . Retrieved 26 May 2019 . ^ (#cite_ref-118) Hodgkinson, Will (26 October 2010). "Russian criminal tattoos: breaking the code" (https://www.theguardian.com/artanddesign/2010/oct/26/russian-criminal-tattoos) . The Guardian . Retrieved 21 September 2018 . ^ (#cite_ref-119) Bodies of Inscription: A Cultural History of the Modern Tattoo Community . Margo DeMello. Durham, NC: Duke University Press (/wiki/Duke_University_Press) , 2000. vii + 222 pp., photographs, notes, bibliography, index. ^ (#cite_ref-120) Lichtenstein, Andrew. "Texas Prison Tattoos" (https://www.foto8.com/issue01/dprisontattoos/prisontattoos1.html) . Foto8 . Retrieved 8 December 2007 . ^ (#cite_ref-121) Hennessey, Rachel (8 March 2013). "Tattoos No Longer A Kiss Of Death In The Workplace" (https://web.archive.org/web/20130504133148/http://smallbusiness.yahoo.com/advisor/tattoos-no-longer-kiss-death-workplace-163214544.html) . Yahoo! Small Business Advisor. Forbes. Archived from the original (http://smallbusiness.yahoo.com/advisor/tattoos-no-longer-kiss-death-workplace-163214544.html) on 4 May 2013 . Retrieved 15 March 2013 . ^ (#cite_ref-croydon_122-0) "Beyond Skin" (https://web.archive.org/web/20180817125017/http://www.museumofcroydon.com/beyondskin) . Museum of Croydon . Archived from the original (http://www.museumofcroydon.com/beyondskin) on 17 August 2018 . Retrieved 17 August 2018 . ^ (#cite_ref-Mifflin2013_123-0) Mifflin, Margot (2013). Bodies of Subversion: A secret history of women and tattoo (3rd ed.). Powerhouse Books. p. 192. ISBN (/wiki/ISBN_(identifier)) 978-1-57687-613-8 . ^ (#cite_ref-124) Carroll, L.; Anderson, R. (2002). "Body piercing, tattooing, self-esteem, and body investment in adolescent girls". Adolescence . 37 (147): 627–37. PMID (/wiki/PMID_(identifier)) 12458698 (https://pubmed.ncbi.nlm.nih.gov/12458698) . ^ (#cite_ref-125) Thompson, Beverly Yuen (24 July 2015). Covered in Ink . New York University Press. doi (/wiki/Doi_(identifier)) : 10.18574/nyu/9780814760000.001.0001 (https://doi.org/10.18574%2Fnyu%2F9780814760000.001.0001) . ISBN (/wiki/ISBN_(identifier)) 978-0-8147-6000-0 . ^ (#cite_ref-126) Thompson, Beverly Yuen (2015). Covered in Ink: Tattoos, Women and the Politics of the Body . New York University Press (/wiki/New_York_University_Press) . pp. 87–88. ^ (#cite_ref-127) Allen, Kevin (25 June 2013). " (https://web.archive.org/web/20130627202025/http://www.prdaily.com/Main/Articles/Your_ad_here_Marketers_turn_to_tattoos_14716.aspx) 'Your ad here?' Marketers turn to tattoos" (https://web.archive.org/web/20130627202025/http://www.prdaily.com/Main/Articles/Your_ad_here_Marketers_turn_to_tattoos_14716.aspx) . PR Daily . Ragan Communications, Inc. Archived from the original (http://www.prdaily.com/Main/Articles/Your_ad_here_Marketers_turn_to_tattoos_14716.aspx#) on 27 June 2013 . Retrieved 18 April 2014 . ^ (#cite_ref-128) Hines, Alice (30 May 2013). "The Tattoo As Corporate Branding Tool" (http://www.details.com/blogs/daily-details/2013/05/the-tattoo-as-corporate-branding-tool.html) . Details . Condé Nast . Retrieved 18 April 2014 . ^ (#cite_ref-129) Boynton, Donna (19 February 2013). "B.T.'s Smokehouse logo tattoo earns patrons free meals for life" (http://www.telegram.com/article/20130219/NEWS/102199933/0) . Telegram.com . Worcester Telegram (/wiki/Worcester_Telegram) & Gazette Corp . Retrieved 18 April 2014 . ^ (#cite_ref-130) "HIV and Its Transmission" (https://web.archive.org/web/20100304131732/http://cdc.gov/hiv/resources/factsheets/transmission.htm) . CDC. July 1999. Archived from the original (https://www.cdc.gov/hiv/resources/factsheets/transmission.htm) on 4 March 2010. ^ (#cite_ref-131) "Tattoos: Risks and precautions to know first" (http://www.mayoclinic.com/health/tattoos-and-piercings/MC00020) . MayoClinic.com. 20 March 2012 . Retrieved 5 April 2012 . ^ (#cite_ref-132) "Proposal to restrict hazardous substances in tattoo inks and permanent make-up – All news – ECHA" (https://echa.europa.eu/-/proposal-to-restrict-hazardous-substances-in-tattoo-inks-and-permanent-make-up) . echa.europa.eu . Retrieved 26 October 2018 . ^ (#cite_ref-133) "Literature study on the uses and risks of nanomaterials as pigments in the European Union" (https://euon.echa.europa.eu/documents/23168237/24095696/070918_euon_nanopigments_literature_study_report_en.pdf/58977ab1-1059-4b41-f003-18ae9d7a157c) . European Union Observatory for Nanomaterials (EUON) . ^ (#cite_ref-134) "Gode råd om tatoveringer: De her farver skal du undgå" (http://livsstil.tv2.dk/kropogsundhed/2014-03-26-gode-r%C3%A5d-om-tatoveringer-de-her-farver-skal-du-undg%C3%A5) . 26 March 2014. ^ (#cite_ref-135) Danish TV programme " Min krop til andres forfærdelse " or "My body to the dismay of others" aired on DR 3 1. July 9pm CEST. A man who at a younger age had competed with his older brother to obtain the largest tattoos, experienced an infection years later originating in the red portions of the tattoos, resulting in his left leg being amputated piece by piece. Also, a woman with incipient problems at her two formerly red roses was followed as her skin was removed. ^ (#cite_ref-136) "Tattoo Ink Nanoparticles Persist in Lymph Nodes" (http://www.the-scientist.com/?articles.view/articleNo/50307/title/Tattoo-Ink-Nanoparticles-Persist-in-Lymph-Nodes/) . The Scientist . ^ (#cite_ref-137) "Re: Cutaneous melanoma attributable to sunbed use: systematic review and meta-analysis" (https://www.bmj.com/content/345/bmj.e4757/rr/615167) . The BMJ : e4757. 18 September 2018. ^ (#cite_ref-138) Rosenbaum, Brooke E.; Milam, Emily C.; Seo, Lauren; Leger, Marie C. (2016). "Skin Care in the Tattoo Parlor: A Survey of Tattoo Artists in New York City" (https://doi.org/10.1159%2F000446345) . Dermatology . 232 (4): 484–489. doi (/wiki/Doi_(identifier)) : 10.1159/000446345 (https://doi.org/10.1159%2F000446345) . ISSN (/wiki/ISSN_(identifier)) 1018-8665 (https://www.worldcat.org/issn/1018-8665) . PMID (/wiki/PMID_(identifier)) 27287431 (https://pubmed.ncbi.nlm.nih.gov/27287431) . ^ (#cite_ref-139) "Images of Tattoo removal procedure" (https://www.tattoo-bewertung.de/content/aktuelle-laserbehandlung) (in German) . Retrieved 12 January 2011 . ^ (#cite_ref-140) "Temporary Vs. Permanent Tattoos: Which One Should You Get? - Saved Tattoo" (https://www.savedtattoo.com/temporary-vs-permanent-tattoos/) . 2 March 2021 . Retrieved 26 April 2022 . ^ (#cite_ref-141) "How to remove temporary tattoos" (https://web.archive.org/web/20220815134614/https://emotionified.com/how-to-remove-temporary-tattoos/) . 15 July 2021. Archived from the original (https://emotionified.com/how-to-remove-temporary-tattoos) on 15 August 2022 . Retrieved 22 July 2021 . ^ (#cite_ref-142) "Temporary Tattoos, Henna/Mehndi, and "Black Henna" (https://www.fda.gov/Cosmetics/ProductsIngredients/Products/ucm108569.htm) " (https://www.fda.gov/Cosmetics/ProductsIngredients/Products/ucm108569.htm) . FDA . Retrieved 3 August 2015 . ^ (#cite_ref-143) Baldwin, Pepper (5 April 2016). DIY Temporary Tattoos: Draw It, Print It, Ink It . Macmillan. p. 28. ISBN (/wiki/ISBN_(identifier)) 978-1-250-08770-6 . ^ (#cite_ref-144) "FDA warns consumers about dangers of temporary tattoos" (http://www.foxnews.com/health/2013/03/26/fda-warns-consumers-about-dangers-temporary-tattoos/) . Fox News . 26 March 2013 . Retrieved 3 August 2015 . ^ (#cite_ref-ferguson_145-0) Ferguson, Matthew (31 October 2018). "Opinions on tattoos differ by religion" (http://websterjournal.com/2018/10/31/opinions-on-tattoos-differ-by-religion/) . Webster Journal . Retrieved 13 April 2019 . ^ (#cite_ref-torgovnivk_146-0) Torgovnick, Kate (17 July 2008). "For Some Jews, It Only Sounds Like 'Taboo' (https://www.nytimes.com/2008/07/17/fashion/17SKIN.html) " (https://www.nytimes.com/2008/07/17/fashion/17SKIN.html) . New York Times (/wiki/New_York_Times) . Retrieved 17 August 2018 . ^ (#cite_ref-147) Campo, Juan E.; Iskander, John (26 October 2006). The Coptic Community . doi (/wiki/Doi_(identifier)) : 10.1093/oxfordhb/9780195137989.001.0001 (https://doi.org/10.1093%2Foxfordhb%2F9780195137989.001.0001) . ISBN (/wiki/ISBN_(identifier)) 978-0-19-513798-9 . ^ (#cite_ref-Catholic_Answers_148-0) Catholic Answers, Matt. "What does the Church Teach about Tattoos?" (https://www.catholic.com/magazine/online-edition/what-does-the-church-teach-about-tattoos) . catholic.com . Retrieved 16 May 2021 . ^ (#cite_ref-149) Velasco, Pia (23 March 2021). "My Muslim Culture Says Tattoos Are Haram-But Are They?" (https://hellogiggles.com/beauty/are-tattoos-haram/) . HelloGiggles (/wiki/HelloGiggles) . Retrieved 26 April 2022 . ^ Jump up to: a b "Are Tattoos Haram? - A Complete Guide" (https://muslimversity.com/are-tattoos-haram/) . Muslimversity . 30 March 2020 . Retrieved 26 April 2022 . General sources [ edit ] Anthropological Buckland, A. W. (1887). "On Tattooing", in Journal of the Royal Anthropological Institute of Great Britain and Ireland , 1887/12, p. 318–328 Caplan, Jane (ed.) (2000): Written on the Body: the Tattoo in European and American History , Princeton University Press (/wiki/Princeton_University_Press) DeMello, Margo (2000) Bodies of Inscription: a Cultural History of the Modern Tattoo Community , California. Durham NC: Duke University Press Fisher, Jill A. (2002). "Tattooing the Body, Marking Culture". Body & Society . 8 (4): 91–107. CiteSeerX (/wiki/CiteSeerX_(identifier)) 10.1.1.602.5897 (https://citeseerx.ist.psu.edu/viewdoc/summary?doi=10.1.1.602.5897) . doi (/wiki/Doi_(identifier)) : 10.1177/1357034x02008004005 (https://doi.org/10.1177%2F1357034x02008004005) . S2CID (/wiki/S2CID_(identifier)) 145369916 (https://api.semanticscholar.org/CorpusID:145369916) . Gell, Alfred (1993) Wrapping in Images: Tattooing in Polynesia , Oxford: Clarendon Press Gilbert, Stephen G. (2001) Tattoo History: a Source Book , New York: Juno Books Gustafson, Mark (1997) " Inscripta in fronte : Penal Tattooing in Late Antiquity", in Classical Antiquity , April 1997, Vol. 16/No. 1, pp. 79–105 Hambly, Wilfrid Dyson (1925) The History of Tattooing and Its Significance: With Some Account of Other Forms of Corporal Marking , London: H. F. & G. Witherby (/wiki/H._F._%26_G._Witherby) (reissued: Detroit 1974) Hesselt van Dinter, Maarten (2005) The World of Tattoo; An Illustrated History . Amsterdam, KIT Publishers Jones, C. P. (1987) "Stigma: Tattooing and Branding in Graeco–Roman Antiquity", in Journal of Roman Studies , 77/1987, pp. 139–155 Juno, Andrea. Modern Primitives . Re/Search (/wiki/Re/Search) #12 (October 1989) ISBN (/wiki/ISBN_(identifier)) 0-9650469-3-1 (/wiki/Special:BookSources/0-9650469-3-1) Kächelen, Wolf-Peter (2004): Tatau und Tattoo – Eine Epigraphik der Identitätskonstruktion. Shaker Verlag (/wiki/Shaker_Verlag) , Aachen, ISBN (/wiki/ISBN_(identifier)) 3-8322-2574-9 (/wiki/Special:BookSources/3-8322-2574-9) . Kächelen, Wolf-Peter (2020): "Tatau und Tattoo Revisited: Tattoo pandemic: A harbinger of global economic and social collapse." In: Wolf-Peter Kächelen – Tatau und Tattoo (https://www.shaker.de/de/content/catalogue/index.asp?lang=de&ID=8&ISBN=978-3-8322-2574-2) , abstract pp. 4–6 Lombroso, Cesare (1896) "The Savage Origin of Tattooing", in Popular Science Monthly , Popular Science (/wiki/Popular_Science) Vol. IV., 1896 Pang, Joey (2008) "Tattoo Art Expressions" (https://web.archive.org/web/20100827000158/http://tattootemple.hk/) Raviv, Shaun (2006) "Marked for Life: Jews and Tattoos" ( Moment Magazine (/wiki/Moment_Magazine) ; June 2006) "Comparative study about Ötzi's therapeutic tattoos" (L. Renaut, 2004, French and English abstract) (http://www.sciencedirect.com/science?_ob=GatewayURL&_origin=AUGATEWAY&_method=citationSearch&_piikey=S0003552103000840&_version=1&md5=f6dd58d559c19d58799b93a66225b038) Robley, Horatio (1896) Moko, or, Maori tattooing . London: Chapman and Hall Roth, H. Ling (1901) "Maori tatu and moko". In: Journal of the Anthropological Institute vol. 31, January–June 1901 Rubin, Arnold (ed.) (1988) Marks of Civilization: Artistic Transformations of the Human Body , Los Angeles: UCLA Museum of Cultural History (/w/index.php?title=UCLA_Museum_of_Cultural_History&action=edit&redlink=1) Sanders, Clinton R. (1989) Customizing the Body: the Art and Culture of Tattooing . Philadelphia: Temple University Press Sinclair, A. T. (1909) "Tattooing of the North American Indians", in American Anthropologist (/wiki/American_Anthropologist) 1909/11, No. 3, p. 362–400 Thompson, Beverly Yuen (2015) Covered in Ink: Tattoos, Women and the Politics of the Body (https://nyupress.org/books/978-0-8147-8920-9/) Archived (https://web.archive.org/web/20180927122609/https://nyupress.org/books/978-0-8147-8920-9/) 27 September 2018 at the Wayback Machine (/wiki/Wayback_Machine) , New York University Press (/wiki/New_York_University_Press) . ISBN (/wiki/ISBN_(identifier)) 9780814789209 (/wiki/Special:BookSources/9780814789209) Wianecki, Shannon (2011) "Marked" (https://web.archive.org/web/20110712031242/http://www.mauimagazine.net/Maui-Magazine/July-August-2011/Marked/) Maui No Ka 'Oi Magazine (/wiki/Maui_No_Ka_%27Oi_Magazine) . Popular and artistic Green, Terisa. Ink: The Not-Just-Skin-Deep Guide to Getting a Tattoo New York: New American Library (/wiki/New_American_Library) ISBN (/wiki/ISBN_(identifier)) 0-451-21514-1 (/wiki/Special:BookSources/0-451-21514-1) Green, Terisa. The Tattoo Encyclopedia: A Guide to Choosing Your Tattoo New York: New American Library ISBN (/wiki/ISBN_(identifier)) 0-7432-2329-2 (/wiki/Special:BookSources/0-7432-2329-2) Kraków, Amy. Total Tattoo Book New York: Warner Books (/wiki/Warner_Books) ISBN (/wiki/ISBN_(identifier)) 0-446-67001-4 (/wiki/Special:BookSources/0-446-67001-4) Medical "CDC's Position on Tattooing and HCV Infection" (https://www.cdc.gov/hepatitis/C/cFAQ.htm#cFAQ10) . Centers for Disease Control and Prevention (/wiki/Centers_for_Disease_Control_and_Prevention) . Retrieved 12 June 2006 . "Body Art (workplace hazards)" (https://www.cdc.gov/niosh/topics/body_art/) . National Institute for Occupational Safety and Health (/wiki/National_Institute_for_Occupational_Safety_and_Health) . Retrieved 15 September 2008 . "Tattoos and Permanent Makeup" (https://www.fda.gov/Cosmetics/ProductandIngredientSafety/ProductInformation/ucm108530.htm) . CFSAN/Office of Cosmetics and Colors (2000; updated 2004, 2006) . United States Food and Drug Administration (/wiki/United_States_Food_and_Drug_Administration) . Retrieved 12 June 2006 . Haley, R. W.; Fischer, R. P. (March 2000). "Commercial tattooing as a potential source of hepatitis C infection" (https://doi.org/10.1097%2F00005792-200103000-00006) . Medicine . 80 (2): 134–151. doi (/wiki/Doi_(identifier)) : 10.1097/00005792-200103000-00006 (https://doi.org/10.1097%2F00005792-200103000-00006) . PMID (/wiki/PMID_(identifier)) 11307589 (https://pubmed.ncbi.nlm.nih.gov/11307589) . S2CID (/wiki/S2CID_(identifier)) 42897920 (https://api.semanticscholar.org/CorpusID:42897920) . Paola Piccinini, Laura Contor, Ivana Bianchi, Chiara Senaldi, Sazan Pakalin: Safety of tattoos and permanent make-up , Joint Research Centre (/wiki/Joint_Research_Centre) , 2016, ISBN (/wiki/ISBN_(identifier)) 978-92-79-58783-2 (/wiki/Special:BookSources/978-92-79-58783-2) , doi:10.2788/011817 (//doi.org/10.2788/011817) . Further reading [ edit ] Library resources (/wiki/Wikipedia:The_Wikipedia_Library) about Tattoo Resources in your library (https://ftl.toolforge.org/cgi-bin/ftl?st=wp&su=tattoo) Resources in other libraries (https://ftl.toolforge.org/cgi-bin/ftl?st=wp&su=tattoo&library=0CHOOSE0) van Dinter, Maarten Hesselt (2000). Tribal tattoo designs (Hardcover) . Amsterdam: Pepin Press. ISBN (/wiki/ISBN_(identifier)) 9789054960737 . Lodder, Matt (2022). Painted People – Humanity in 21 Tattoos (Hardcover) . London: Harper Collins Publ. ISBN (/wiki/ISBN_(identifier)) 978-0-00-840206-8 . External links [ edit ] Quotations related to Tattoo (https://en.wikiquote.org/wiki/Special:Search/Tattoo) at Wikiquote Media related to Tattoos (https://commons.wikimedia.org/wiki/Category:Tattoos) at Wikimedia Commons Works related to Tattooing (https://en.wikisource.org/wiki/Tattooing) at Wikisource Tattoos, The Permanent Art (http://video.pbs.org/video/2219469018) , documentary produced by Off Book (/wiki/Off_Book_(web_series)) History, Ink (https://web.archive.org/web/20150201142150/https://www.google.com/culturalinstitute/exhibit/history-ink/wQx72HUG?hl=en) , article produced by Meghan Glass Hughes for The Valentine Richmond History Center v t e Tattoos and tattooing Topics Body art (/wiki/Body_art) Body modification (/wiki/Body_modification) Conventions (/wiki/Tattoo_convention) Flash (/wiki/Flash_(tattoo)) Health effects (/wiki/Health_effects_of_tattoos) History (/wiki/History_of_tattooing) Religious perspectives (/wiki/Religious_perspectives_on_tattooing) Removal (/wiki/Tattoo_removal) Types LED (/wiki/LED_tattoo) Medical (/wiki/Medical_tattoo) Permanent makeup (/wiki/Permanent_makeup) Temporary (/wiki/Temporary_tattoo) Process and technique Artist (/wiki/Tattoo_artist) Cover-up (/wiki/Cover-up_tattoo) Ink (/wiki/Tattoo_ink) UV (/wiki/UV_tattoo) Machine (/wiki/Tattoo_machine) Microblading (/wiki/Microblading) Process of tattooing (/wiki/Process_of_tattooing) Traditions and practices Austronesian (/wiki/Austronesian_peoples#Tattooing) Atayal ( Ptasan (/wiki/Atayal_people#Facial_tattoos) ) Bornean (/wiki/Bornean_traditional_tattooing) Filipino ( Batok (/wiki/Batok) ) Māori ( Tā moko (/wiki/T%C4%81_moko) ) Marquesan (/wiki/Culture_of_the_Marquesas_Islands#Tatu) Mentawai (/wiki/Mentawai_people#Culture_and_lifestyle) Rapa Nui (/wiki/Rapa_Nui_tattooing) Samoan ( Malu (/wiki/Malu) , Peʻa (/wiki/Pe%CA%BBa) ) European Bosnia and Herzegovina ( Sicanje (/wiki/Sicanje) code: hrv promoted to code: hr ) Mainland Asian Burmese ( Htoe kwin (/wiki/Tattooing_in_Myanmar) code: mya promoted to code: my ) Chinese (/wiki/Tattooing_in_China) Khmer/Laos/Thai ( Yantra (/wiki/Yantra_tattooing) ) South Korean (/wiki/Tattooing_in_South_Korea) Japanese Ainu ( Anchi-piri (/wiki/Anchi-piri) ) Yamato ( Irezumi (/wiki/Irezumi) , Horimono (/wiki/Horimono) ) Ryukyuan ( Hajichi (/wiki/Hajichi) ) Middle Eastern Kurdish/Yazidi ( Deq (/wiki/Deq_(tattoo)) ) Native American (/wiki/History_of_tattooing#Americas) Inuit ( Kakiniit (/wiki/Kakiniit) code: iku promoted to code: iu , Tavlugun (/wiki/Tavlugun) code: ipk promoted to code: ik ) Osage (/wiki/History_of_tattooing#Osage_Nation) Haudenosaunee (/wiki/History_of_tattooing#Haudenosaunee_Confederation) North African (/wiki/History_of_tattooing#North_Africa) Ancient Egyptian/Nubian (/wiki/History_of_tattooing#Egypt_and_Nubia) Berber (/wiki/Culture_of_Morocco#Tattooing) Coptic (/wiki/History_of_tattooing#Copts) Other contexts Animal (/wiki/Animal_tattoo) Branding (/w/index.php?title=Branding_tattoo&action=edit&redlink=1) (sex trafficking) Criminal (/wiki/Criminal_tattoo) Nazi concentration camps (/wiki/Identification_of_inmates_in_Nazi_concentration_camps) Prison (/wiki/Prison_tattooing) Sailor (/wiki/Sailor_tattoos) Tattooed lady (/wiki/Tattooed_lady) Styles and designs Black-and-gray (/wiki/Black-and-gray) Blackout (/wiki/Blackout_tattoo) Chinese calligraphy (/wiki/Chinese_calligraphy_tattoos) Five dots (/wiki/Five_dots_tattoo) Nautical star (/wiki/Nautical_star) New school (/wiki/New_school_(tattoo)) Old school (/wiki/American_traditional) Soundwave (/wiki/Soundwave_tattoos) Teardrop (/wiki/Teardrop_tattoo) Trash polka (/wiki/Trash_polka) Bodily location Body suit (/wiki/Body_suit_(tattoo)) Cornea (/wiki/Corneal_tattooing) Face (/wiki/Face_tattoo) Genital (/wiki/Genital_tattooing) Knuckle (/wiki/Knuckle_tattoo) Lower-back (/wiki/Lower-back_tattoo) Scalp (/wiki/Hair_tattoo) Sclera (/wiki/Scleral_tattooing) Sleeve (/wiki/Sleeve_tattoo) Legal status in... European countries (/wiki/Legal_status_of_tattooing_in_European_countries) the United States (/wiki/Legal_status_of_tattooing_in_the_United_States) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐pxps7 Cached time: 20240720163118 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 1.445 seconds Real time usage: 1.824 seconds Preprocessor visited node count: 11991/1000000 Post‐expand include size: 290882/2097152 bytes Template argument size: 6480/2097152 bytes Highest expansion depth: 16/100 Expensive parser function count: 24/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 533928/5000000 bytes Lua time usage: 0.868/10.000 seconds Lua memory usage: 17749452/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 1536.612 1 -total 44.59% 685.242 1 Template:Reflist 16.08% 247.092 68 Template:Cite_web 10.88% 167.206 19 Template:Cite_journal 6.92% 106.404 28 Template:Cite_book 6.91% 106.150 6 Template:Annotated_link 6.73% 103.393 2 Template:Navbox 6.38% 98.109 1 Template:Lang-de 5.94% 91.277 1 Template:Tattoo 4.62% 70.977 1 Template:Short_description Saved in parser cache with key enwiki:pcache:idhash:30555-0!canonical and timestamp 20240720163118 and revision id 1230402581. 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Craft of making lace with loops and knots using a small shuttle Not to be confused with Tattooing (/wiki/Tattooing) . Pine pattern collar in tatting Tatting is a technique for handcrafting a particularly durable lace (/wiki/Lace) from a series of knots (/wiki/Knot) and loops (/wiki/Loop_(knot)) . [1] (#cite_note-1) Tatting can be used to make lace edging as well as doilies (/wiki/Doilies) , collars (/wiki/Collar_(clothing)) , accessories such as earrings, necklaces, waist beads, and other decorative pieces. The lace is formed by a pattern of rings and chains formed from a series of cow hitch (/wiki/Cow_hitch) or half-hitch (/wiki/Half-hitch) knots, called double stitches (/wiki/Holbein_stitch) , over a core thread (/wiki/Yarn) . Gaps can be left between the stitches to form picots (/wiki/Picot) , which are used for practical construction as well as decorative effect. In German (/wiki/German_language) , tatting is usually known by the Italian-derived word Occhi or as Schiffchenarbeit , which means "work of the little boat", referring to the boat-shaped shuttle (/wiki/Shuttle_(weaving)) ; in Italian (/wiki/Italian_language) , tatting is called chiacchierino , which means "chatty". [2] (#cite_note-2) Technique and materials [ edit ] Shuttle tatting [ edit ] Vintage tatting shuttles from the early twentieth century Newer type of shuttle with hook Tatting with a shuttle is the earliest method of creating tatted lace. A tatting shuttle facilitates tatting by holding a length of wound thread (/wiki/Yarn) and guiding it through loops to make the requisite knots. Historically, it was a metal or ivory pointed-oval shape less than 3 inches (76 mm) long, but shuttles come in a variety of shapes and materials. Shuttles often have a point or hook on one end to aid in the construction of the lace. Antique shuttles and unique shuttles have become sought after by collectors — even those who do not tat. To make the lace, the tatter wraps the thread around one hand and manipulates the shuttle with the other hand. No tools other than the thread, the hands and the shuttle are used, though a crochet (/wiki/Crochet) hook may be necessary if the shuttle does not have a point or hook. Needle tatting [ edit ] Needle tatting in progress. A completed closed ring of 5ds segments with a picot loop between each is shown. Another uncompleted loop is still on the needle. Tatting pin Traditional shuttle tatting may be simulated using a tatting needle or doll needle instead of a shuttle. There are two basic techniques for needle tatting. With the more widely disseminated technique, a double thread passes through the stitches. [ citation needed ] The result is similar to shuttle tatting but is slightly thicker and looser. [ citation needed ] The second technique more closely approximates shuttle tatting because a single thread passes through the stitches. The earliest evidence for needle tatting dates from April 1917, in an article by M.E. Rozella, published in The Modern Priscilla. [3] (#cite_note-3) A tatting needle is a long, blunt needle that does not change thickness at the eye of the needle. The needle used must match the thickness of the thread chosen for the project. Rather than winding the shuttle, the needle is threaded with a length of thread. To work with a second color, a second needle is used. Although needle tatting looks similar to shuttle tatting, it differs in structure and is slightly thicker and looser because both the needle and the thread must pass through the stitches. However, it may be seen that the Victorian tatting pin would function as a tatting needle. As well, Florence Hartley (/wiki/Florence_Hartley) refers in The Ladies' Hand Book of Fancy and Ornamental Work (1859) to the use of the tatting needle, so it must have originated prior to the mid-1800s. In the late 20th century, tatting needles became commercially available in a variety of sizes, from fingering yarn (/wiki/Yarn_weight) down to size 80 tatting thread. Few patterns are written specifically for needle tatting; some shuttle tatting patterns may be used without modification. Cro-tatting [ edit ] Cro-tatting combines needle tatting with crochet. The cro-tatting tool is a tatting needle with a crochet hook (/wiki/Crochet_hook) at the end. One can also cro-tat with a bullion crochet hook or a very straight crochet hook. In the 19th century, "crochet tatting" patterns were published which simply called for a crochet hook. One of the earliest patterns is for a crocheted afghan (/wiki/Afghan_(blanket)) with tatted rings forming a raised design. [4] (#cite_note-4) Patterns are available in English and are equally divided between yarn and thread. In its most basic form, the rings are tatted with a length of plain thread between them, as in single-shuttle tatting. In modern patterns, beginning in the early 20th century, the rings are tatted and the arches or chains are crocheted. Many people consider cro-tatting more difficult than crochet or needle tatting. Some tatting instructors recommend using a tatting needle and a crochet hook to work cro-tatting patterns. Stitches of cro-tatting (and needle tatting before a ring is closed) unravel easily, unlike tatting made with a shuttle. A form of tatting called Takashima Tatting, invented by Toshiko Takashima, exists in Japan. Takashima Tatting uses a custom needle with a hook on one end. [5] (#cite_note-5) It is not that widespread however (in Japan the primary form of tatting is shuttle tatting, and needle tatting is virtually unknown.). Materials [ edit ] Older designs, especially through the early 1900s, tend to use fine white or ivory thread (50 to 100 widths to the inch) and intricate designs. Often they were constructed of small pieces 10 cm or less in diameter, which were then tied to each other to form a larger piece — a shawl, veil or umbrella, for example. This thread was either made of silk or a silk blend, to allow for improper stitches to be easily removed. [ citation needed ] The mercerization (/wiki/Mercerised_cotton) process strengthened cotton threads and spread their use in tatting. Newer designs from the 1920s and onward often use thicker thread in one or more colors, as well as newer joining methods, to reduce the number of thread ends to be hidden. The best thread for tatting is a "hard" thread that does not untwist readily. Cordonnet thread (/wiki/Gimp_(thread)) is a common tatting thread; Perl cotton is an example of a beautiful cord that is nonetheless a bit loose for tatting purposes. Some tatting designs incorporate ribbons (/wiki/Ribbon) and beads (/wiki/Bead) . Patterns [ edit ] The Modern Priscilla September 1912 04 Older patterns use a longhand notation to describe the stitches needed, while newer patterns tend to make extensive use of abbreviations such as "ds" to mean "double stitch," and an almost mathematical-looking notation. The following examples describe the same small piece of tatting (the first ring in the Hen and Chicks pattern) Ring five ds, three picots separated by five ds, five ds, close, turn, space R 5ds, 3 p sep by 5ds, 5ds, cl, turn, sp R 5-5-5-5 cl rw sp Some tatters prefer a visual pattern where the design is drawn schematically with annotations indicating the number of double stitches and order of construction. This can either be used on its own or alongside a written pattern. Books with tatting patterns are widely available. Anne Orr (/w/index.php?title=Anne_Orr&action=edit&redlink=1) , a notable needlework editor, quilt designer, and textile artist, [6] (#cite_note-6) was recognized for the quality of her work and her work has been reprinted for contemporary tatters. [7] (#cite_note-7) Modern tatting pattern books sometimes include jewelry items that can be adorned with beads. [8] (#cite_note-8) [9] (#cite_note-9) History [ edit ] Old catalog of samples on command. Top left sample is tatted lace. Tatting may have developed from netting (/wiki/Net_(textile)) and decorative ropework as sailors (/wiki/Sailor) and fishermen (/wiki/Fishing) would put together motifs for girlfriends and wives at home. Decorative ropework employed on ships includes techniques (esp. coxcombing (/wiki/Coxcombing) ) that show striking similarity with tatting. A good description of this can be found in Knots, Splices and Fancywork . [10] (#cite_note-10) Some believe tatting originated over 200 years ago, often citing shuttles seen in 18th-century paintings of women such as Charlotte of Mecklenburg-Strelitz (/wiki/Charlotte_of_Mecklenburg-Strelitz) , Princess Marie Adélaïde of France (/wiki/Princess_Marie_Ad%C3%A9la%C3%AFde_of_France) , and Anne, Countess of Albemarle (/wiki/Anne_van_Keppel,_Countess_of_Albemarle) . A close inspection of those paintings, however, shows that the shuttles in question are too large to be tatting shuttles, and that they are actually knotting shuttles. There is no documentation of or examples of tatted lace that dates prior to 1800. All available evidence shows that tatting originated in the early 19th century. [11] (#cite_note-11) However, recent research by Cary Karp demonstrates some potential connections between the two fiber arts. According to Karp, "Knotting and tatting did appear sequentially in the historical record and can reasonably be regarded separately...the demarcation between the structures that characterise knotting, and the central elements of tatting, was not as clear cut as is often maintained." [12] (#cite_note-12) As most fashion magazines (/wiki/List_of_fashion_magazines) and home economics (/wiki/Family_and_consumer_science) magazines from the first half of the 20th century attest, tatting had a substantial following. When fashion included feminine touches such as lace collars and cuffs, and inexpensive yet nice baby shower (/wiki/Baby_shower) gifts were needed, this creative art flourished. As the fashion moved to a more modern look and technology made lace an easy and inexpensive commodity to purchase, hand-made lace began to decline. [ citation needed ] Tatting has been used in occupational therapy to keep convalescent patients' hands and minds active during recovery, as documented, for example, in Betty MacDonald (/wiki/Betty_MacDonald) 's The Plague & I . [ citation needed ] Workshops and competitions in tatting continue to be available from lace guilds and organizations. [13] (#cite_note-13) Gallery [ edit ] Butterfly-shaped handiwork in tatting technique Anillos y arcos. Frivolité Bizuteria frywolitkowa Border (ST397) MoMu Antwerp Border (ST561) MoMu Antwerp Frywolitki koroneczka Naszyjnik frywolitkowy Occhi by Iota Swiss Frivolité a Jabot-Priscilla Tatting Book No2, 1915 Notes [ edit ] ^ (#cite_ref-1) "Tatting" (http://www.thefreedictionary.com/tatting) . The Free Dictionary By Farlex . Retrieved 2012-05-23 . ^ (#cite_ref-2) "Tatting supplies and history" (https://web.archive.org/web/20120525013546/http://www.navarroriverknits.com/tatting.html) . Navarro River Knits. Archived from the original (http://www.navarroriverknits.com/tatting.html) on 2012-05-25 . Retrieved 2012-05-23 . ^ (#cite_ref-3) Foster, Barbara (1 May 2014). "Needle Tatting: An Almost Forgotten Art". PieceWork : 15 – via EBSCO Host. ^ (#cite_ref-4) Caulfeild, S.F.A (1972). Encyclopedia of Victorian Needlework (Dictionary of Needlework) . New York, New York: Dover. ^ (#cite_ref-5) "Takashima Tatting" (http://www.takashima-tatting.com/english/englishindex.html) . Retrieved 2015-12-18 . ^ (#cite_ref-6) "Anne Orr – The Quilters Hall of Fame" (https://quiltershalloffame.net/anne-orr/) . Retrieved 2024-03-19 . ^ (#cite_ref-7) Orr, Anne Champe (1989). Tatting with Anne Orr . Dover needlework series. New York: Dover. ISBN (/wiki/ISBN_(identifier)) 978-0-486-25982-6 . ^ (#cite_ref-8) Morimoto, Tomoko (2014). New tatting : modern lace motifs & projects . Miho Atsumi. Loveland, CO. ISBN (/wiki/ISBN_(identifier)) 978-1-59668-745-5 . OCLC (/wiki/OCLC_(identifier)) 852831087 (https://www.worldcat.org/oclc/852831087) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) ^ (#cite_ref-9) Ciotti, Donatella (2015). Tatted lace accessories . Burravoe Translation Services. Tunbridge Wells, Kent, Great Britain. ISBN (/wiki/ISBN_(identifier)) 978-1-78221-229-4 . OCLC (/wiki/OCLC_(identifier)) 908088316 (https://www.worldcat.org/oclc/908088316) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) ^ (#cite_ref-10) Spencer, Charles Louis (1935). Knots, splices and fancy work . Kennedy Bros; 2nd edition. ^ (#cite_ref-11) Palmer, Pam (2008-03-04). Tatting . Princes Risborough England: Shire. ISBN (/wiki/ISBN_(identifier)) 9780747803126 . ^ (#cite_ref-12) Karp, Cary. "Knotting and Tatting: The Dual Role of the Shuttle as a Fashion Accessory and Instrument of Decoration". Journal of Dress History . 5 : 8–47. ^ (#cite_ref-13) "Lace lovers unite in Iowa" (https://www.thegazette.com/news/lace-lovers-unite-in-iowa/) . www.thegazette.com . Retrieved 2023-01-19 . External links [ edit ] Wikimedia Commons has media related to Tatting (https://commons.wikimedia.org/wiki/Category:Tatting) . Tatting Bibliography (http://somethingunderthebed.com/) Bibliography of tatting patterns published in craft magazines v t e Lace (/wiki/Lace) types Needle lace (/wiki/Needle_lace) Filet lace (/wiki/Filet_lace) Punto in Aria (/wiki/Punto_in_Aria) Point de Venise (/wiki/Point_de_Venise) Point de France (/wiki/Point_de_France) Alençon (/wiki/Alen%C3%A7on_lace) Aemilia Ars (/w/index.php?title=Aemilia_Ars&action=edit&redlink=1) Argentan (/wiki/Argentan_lace) Argentella (/wiki/Argentella) Armenian (/wiki/Armenian_needlelace) Burano (https://it.wikipedia.org/wiki/Merletto%20di%20Burano) Halas lace (/wiki/Halas_lace) Hedebo embroidery (/wiki/Hedebo_embroidery) Hollie Point (/wiki/Hollie_Point) Nallıhan (/wiki/Nall%C4%B1han_silk_needlelace) Point de Gaze (/wiki/Point_de_Gaze) Kenmare Lace (/wiki/Kenmare_lace) Ñandutí (/wiki/%C3%91andut%C3%AD) Oya (/wiki/Oya_(lace)) Pag (/wiki/Pag_lace) Puncetto Valsesiano (/w/index.php?title=Puncetto_Valsesiano&action=edit&redlink=1) Tenerife 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Women's undergarments including sleepwear For other uses, see Lingerie (disambiguation) (/wiki/Lingerie_(disambiguation)) . This article needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/Lingerie) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed. Find sources: "Lingerie" (https://www.google.com/search?as_eq=wikipedia&q=%22Lingerie%22) – news (https://www.google.com/search?tbm=nws&q=%22Lingerie%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Lingerie%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Lingerie%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Lingerie%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Lingerie%22&acc=on&wc=on) ( January 2012 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Lingerie displayed on women's mannequins. Lingerie ( UK (/wiki/British_English) : / (/wiki/Help:IPA/English) ˈ l æ̃ ʒ ər i , (/wiki/Help:IPA/English) ˈ l ɒ n -/ (/wiki/Help:IPA/English) , US (/wiki/American_English) : / (/wiki/Help:IPA/English) ˌ l ɒ n ʒ ə ˈ r eɪ , (/wiki/Help:IPA/English) ˌ l æ n ʒ ə ˈ r iː / (/wiki/Help:IPA/English) , [1] (#cite_note-1) French: [lɛ̃ʒʁi] (/wiki/Help:IPA/French) ⓘ (/wiki/File:LL-Q150_(fra)-VictorDtmtc-lingerie.wav) ) is a category of primarily women's clothing (/wiki/Clothing) including undergarments (/wiki/Undergarment) (mainly brassieres (/wiki/Brassiere) ), sleepwear (/wiki/Sleepwear) , and lightweight robes (/wiki/Robes) . The choice of the word is often motivated by an intention to imply that the garments are alluring, fashionable, or both. [ citation needed ] In a 2015 US survey, 75% of women reported having worn "sexy lingerie" in their lifetime. [2] (#cite_note-2) Lingerie is made of lightweight, stretchy, smooth, sheer or decorative fabrics such as silk (/wiki/Silk) , satin (/wiki/Satin) , Lycra (/wiki/Lycra) , charmeuse (/wiki/Charmeuse) , chiffon (/wiki/Chiffon_(fabric)) , or (especially and traditionally) lace (/wiki/Lace) . These fabrics can be made of various natural fibres like silk, cotton or of various synthetic fibres such as polyester or nylon. Etymology [ edit ] Women's panties (/wiki/Panties) The word lingerie is a word taken directly from the French language, meaning undergarments, and used exclusively for more lightweight items of female undergarments. [3] (#cite_note-3) The French word in its original form derives from the French word linge (https://en.wiktionary.org/wiki/linge#French) , meaning ' linen (/wiki/Linen) ' or ' clothes (/wiki/Clothes) '. [4] (#cite_note-4) Informal usage suggests visually appealing or even erotic (/wiki/Eroticism) clothing. Although most lingerie is designed to be worn by women, some manufacturers now design lingerie for men. Origins [ edit ] The concept of lingerie as a visually appealing undergarment was developed during the late nineteenth century. Lady Duff-Gordon (/wiki/Lucy,_Lady_Duff-Gordon) of Lucile was a pioneer in developing lingerie that freed women from more restrictive corsets (/wiki/Corset) . Through the first half of the 20th century, women wore underwear for three primary reasons: to alter their outward shape (first with corsets and later with girdles (/wiki/Girdle) or brassieres (/wiki/Brassiere) ), for hygienic (/wiki/Hygiene) reasons and for modesty (/wiki/Modesty) . Before the invention of crinoline (/wiki/Crinoline) , women's underwear was often very large and bulky. During the late 19th century, corsets became smaller, less bulky and more constricting and were gradually supplanted by the brassiere, first patented in the 20th century by Caresse Crosby (/wiki/Caresse_Crosby) . When the First World War (/wiki/World_War_I) broke out, women found themselves filling in men's work roles, creating a demand for more practical undergarments. Manufacturers began to use lighter and more breathable fabrics. In 1935, brassières were updated with padded cups to flatter small breasts and three years later underwire bras (/wiki/Underwire_bra) were introduced that gave a protruding bustline (/wiki/Bustline) . There was also a return to a small waist achieved with girdles. The 1940s woman was thin, but had curvaceous hips and breasts that were pointy and shapely. In the 1960s, the female silhouette was liberated along with social mores. The look was adolescent breasts, slim hips, and extreme thinness. André Courrèges (/wiki/Andr%C3%A9_Courr%C3%A8ges) was the first to make a fashion statement out of the youth culture when his 1965 collection presented androgynous figures and the image of a modern woman comfortable with her own body. [5] (#cite_note-5) As the 20th century progressed, underwear became smaller and more form fitting. In the 1960s, lingerie manufacturers such as Frederick's of Hollywood (/wiki/Frederick%27s_of_Hollywood) begin to glamorise lingerie. The lingerie industry expanded in the 21st century with designs that doubled as outerwear. The French refer to this as 'dessous-dessus,' meaning something akin to innerwear as outerwear. [6] (#cite_note-6) Market structure [ edit ] Kelly Gale (/wiki/Kelly_Gale) at the 2014 Victoria's Secret Fashion Show (/wiki/2014_Victoria%27s_Secret_Fashion_Show) The global lingerie market in 2003 was estimated at $29 billion, while in 2005, bras accounted for 56 per cent of the lingerie market and briefs (/wiki/Briefs) represented 29 per cent. The United States (/wiki/United_States) 's largest lingerie retailer, Victoria's Secret (/wiki/Victoria%27s_Secret) , [7] (#cite_note-auto-7) operates almost exclusively in North America, but the European market is fragmented, with Triumph International (/wiki/Triumph_International) and DB Apparel (/wiki/DBApparel) predominant. [8] (#cite_note-8) Also prominent are French lingerie houses, including Chantelle (/wiki/Chantelle_(underwear)) and Aubade (/wiki/Aubade) . In March 2020 The Guardian (/wiki/The_Guardian) reported a trend for male lingerie on the catwalk and predictions as to the likelihood of it successfully extending to the high street (/wiki/High_street) fashion stores. [9] (#cite_note-9) Legality [ edit ] See also: Sumptuary law (/wiki/Sumptuary_law) This section needs expansion . You can help by adding to it (https://en.wikipedia.org/w/index.php?title=Lingerie&action=edit§ion=) . ( April 2024 ) The Iranian regime regularly bans vendors who procure and sell imported lingerie dresses. [10] (#cite_note-10) Typology [ edit ] Babydoll (/wiki/Babydoll) , a short nightgown, or negligee, intended as nightwear for women. A shorter style, it is often worn with panties. Babydolls are typically loose-fitting with an empire waist (/wiki/Empire_silhouette) and thin straps. Basque (/wiki/Basque_(clothing)) , a tight, form-fitting bodice or coat. Bloomers (/wiki/Bloomers_(clothing)) , baggy underwear that extends to just below or above the knee. Bloomers were worn for several decades during the first part of the 20th century, but are not widely worn today. Bodystocking (/wiki/Bodystocking) , a unitard. Bodystockings may be worn over the torso, or they may be worn over the thighs and abdomen. Bodice (/wiki/Bodice) , covers the body from the neck to the waist. Bodices are often low cut in the front and high in the back, and are often connected with laces or hooks. Bodices may also be reinforced with steel or bone to provide greater breast support. Model wearing lingerie at a fashion show Brassiere (/wiki/Brassiere) , more commonly referred to as a bra, a close-fitting garment that is worn to help lift and support a woman's breasts Bustier (/wiki/Bustier) , a form fitting garment used to push up the bust and to shape the waist. Camisole (/wiki/Camisole) , sleeveless and covering the top part of the body. Camisoles are typically constructed of light materials and feature thin spaghetti straps (/wiki/Spaghetti_straps) . Chemise (/wiki/Chemise) , a one-piece undergarment that is the same in shape as a straight-hanging sleeveless dress. It is similar to the babydoll, but it is fitted more closely around the hips. Corset (/wiki/Corset) , a bodice worn to mould and shape the torso. This effect is typically achieved through boning (/wiki/Bone_(corsetry)) , either of bone or steel. Corselet (/wiki/Corselet) , or merry widow , combined brassiere and girdle (/wiki/Girdle) . The corselet is considered to be a type of foundation garment (/wiki/Foundation_garment) , and the modern corselet is most commonly known as a shaping slip. G-string (/wiki/G-string) , or thong (/wiki/Thong) , a type of panty, characterised by a narrow piece of cloth that passes between the buttocks and is attached to a band around the hips. A G-string or thong may be worn as a bikini bottom or as underwear. Garter (/wiki/Garter_(stockings)) / Garter belt / Suspender belt , used to keep stockings (/wiki/Stockings) up. Girdle (/wiki/Girdle_(undergarment)) , a type of foundation garment. Historically, the girdle extended from the waist to the upper thigh, though modern styles more closely resemble a tight pair of athletic shorts. Hosiery (/wiki/Hosiery) , close-fitting, elastic garments that cover the feet and legs. Negligee (/wiki/Negligee) , a dressing gown. It is usually floor length, though it can be knee length as well. Nightgown (/wiki/Nightgown) , or nightie , a loosely hanging item of nightwear, may vary from hip-length (babydoll) to floor-length ( peignoir (/wiki/Peignoir) ). Nightshirt (/wiki/Nightshirt) , a shirt meant to be worn while sleeping. It is usually longer and looser than the average T-shirt, and it is typically made of softer material. Panties (/wiki/Panties) or knickers , a generic term for underwear covering the genitals and sometimes buttocks that come in all shapes, fabrics and colours, offering varying degrees of coverage. Petticoat (/wiki/Petticoat) , an underskirt. Petticoats were prominent throughout the 16th to 20th centuries. Today, petticoats are typically worn to add fullness to skirts in the Gothic (/wiki/Gothic_fashion) and Lolita (/wiki/Lolita_fashion) subcultures. Pettipants (/wiki/Pettipants) , a type of bloomer featuring ruffles, resembling petticoats. Pettipants are most commonly worn by square dancers and people participating in historical reenactment. Tanga (/wiki/Thong) , a type of panty featuring full back and front coverage, but string-like sides that are typically thicker than those found on a string bikini. Tap pants (/wiki/Tap_pants) , a type of short typically made of lace, silk or satin. Teddy (/wiki/Teddy_(lingerie)) , an undergarment that resembles the shape of a one-piece bathing suit because it is typically sleeveless, and sometimes even strapless. Undergarment (/wiki/Undergarment) , a garment which one wears underneath clothes. Also known as "underwear." See also [ edit ] Fashion portal (/wiki/Portal:Fashion) Ring, slide and hook (/wiki/Ring,_slide_and_hook) References [ edit ] ^ (#cite_ref-1) "Lingerie | Define Lingerie at Dictionary.com" (http://www.dictionary.com/browse/lingerie?s=t) . Dictionary.com . Archived (https://web.archive.org/web/20171018070933/http://www.dictionary.com/browse/lingerie?s=t) from the original on 2017-10-18 . Retrieved 17 Oct 2017 . ^ (#cite_ref-2) Herbenick, Debby; Bowling, Jessamyn; Fu, Tsung-Chieh (Jane); Dodge, Brian; Guerra-Reyes, Lucia; Sanders, Stephanie (2017-07-20). "Sexual diversity in the United States: Results from a nationally representative probability sample of adult women and men" (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5519052) . PLOS ONE . 12 (7): e0181198. Bibcode (/wiki/Bibcode_(identifier)) : 2017PLoSO..1281198H (https://ui.adsabs.harvard.edu/abs/2017PLoSO..1281198H) . doi (/wiki/Doi_(identifier)) : 10.1371/journal.pone.0181198 (https://doi.org/10.1371%2Fjournal.pone.0181198) . ISSN (/wiki/ISSN_(identifier)) 1932-6203 (https://www.worldcat.org/issn/1932-6203) . PMC (/wiki/PMC_(identifier)) 5519052 (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5519052) . PMID (/wiki/PMID_(identifier)) 28727762 (https://pubmed.ncbi.nlm.nih.gov/28727762) . ^ (#cite_ref-3) Oxford English-French Dictionary ^ (#cite_ref-4) Berry, Cheree (2006). Hooray for the bra: A perky peek at the history of the brassiere . New York: Tabori & Chang. pp. 4–10. ISBN (/wiki/ISBN_(identifier)) 1584795271 . ^ (#cite_ref-5) Lingerie , Parkstone Press International, New York, USA, 2003. ISBN (/wiki/ISBN_(identifier)) 9781780421872 (/wiki/Special:BookSources/9781780421872) ^ (#cite_ref-6) May, Gareth (21 June 2012). Man of the World . Random House. ISBN (/wiki/ISBN_(identifier)) 9781409041887 . Retrieved 16 July 2017 – via Google Books. ^ (#cite_ref-auto_7-0) Snyder, Benjamin (2 December 2014). "7 surprising facts about the Victoria's Secret business" (http://fortune.com/2014/12/02/7-surprising-facts-about-the-victorias-secret-business/) . Fortune . Archived (https://web.archive.org/web/20170718200613/http://fortune.com/2014/12/02/7-surprising-facts-about-the-victorias-secret-business/) from the original on 18 July 2017 . Retrieved 16 July 2017 . ^ (#cite_ref-8) "Lingerie Market: Focus on Design & Fashion Trends" (https://web.archive.org/web/20170818091458/https://www.researchandmarkets.com/reports/591022/lingerie_market_focus_on_design_and_fashion.pdf) (PDF) . Research and Markets . Archived from the original (https://www.researchandmarkets.com/reports/591022/lingerie_market_focus_on_design_and_fashion.pdf) (PDF) on 18 August 2017 . Retrieved 19 June 2017 . ^ (#cite_ref-9) Elan, Priya (28 March 2020). "Victor's secret: male lingerie is coming to a bloke near you" (https://www.theguardian.com/fashion/2020/mar/28/victors-secret-male-lingerie-is-coming-to-a-bloke-near-you) . The Guardian . Retrieved 4 March 2021 . ^ (#cite_ref-10) "پلمب ۱۱ واحد صنفی در اصفهان به دلیل عرضه لباسهای خارجی غیرمتعارف" (https://ir.voanews.com/a/iran-eleven-clothes-shops-shut-down-in-esfahan/7435605.html) . 11 January 2024. Bibliography [ edit ] Carter, Alison J. (1992). Underwear: the fashion history . Batsford. ISBN (/wiki/ISBN_(identifier)) 0-7134-6222-1 (/wiki/Special:BookSources/0-7134-6222-1) . Cox, Caroline (2000). Lingerie: a lexicon of style (//archive.org/details/lingerielexicono0000coxc) . Scriptum Editions. ISBN (/wiki/ISBN_(identifier)) 1-902686-08-X (/wiki/Special:BookSources/1-902686-08-X) . External links [ edit ] The dictionary definition of lingerie at Wiktionary Media related to Lingerie (https://commons.wikimedia.org/wiki/Category:Lingerie) at Wikimedia Commons v t e Lingerie Upper torso Types (/wiki/List_of_bra_designs) of bras (/wiki/Bra) History (/wiki/History_of_bras) Bandeau (/wiki/Bandeau) Bralette (/wiki/Bralette) Nursing bra (/wiki/Nursing_bra) Sports bra (/wiki/Sports_bra) Training bra (/wiki/Training_bra) Underwire bra (/wiki/Underwire_bra) Male bra (/wiki/Male_bra) Other garments Babydoll (/wiki/Babydoll) Bustier (/wiki/Bustier) Camisole (/wiki/Camisole) Dudou (/wiki/Dudou) Negligee (/wiki/Negligee) Nightgown (/wiki/Nightgown) Torsolette (/wiki/Torsolette) Yếm (/wiki/Y%E1%BA%BFm) Lower torso Bikini (/wiki/Bikini) Boyshorts (/wiki/Boyshorts) French knickers (/wiki/French_knickers) Fundoshi (/wiki/Fundoshi) Girdle (/wiki/Girdle_(undergarment)) Girl boxers (/wiki/Girl_boxers) Panties (/wiki/Panties) Period underwear (/wiki/Period_underwear) Tanga (/wiki/Thong) Tap pants (/wiki/Tap_pants) Thong (/wiki/Thong) ( G-string (/wiki/G-string) ) Bloomers (/wiki/Bloomers) Full torso Bodice (/wiki/Bodice) Corset (/wiki/Corset) Corselet (/wiki/Corselet) Foundation garment (/wiki/Foundation_garment) Nightshirt (/wiki/Nightshirt) Playsuit (/wiki/Playsuit_(lingerie)) Slip (/wiki/Slip_(clothing)) Teddy (/wiki/Teddy_(garment)) Hosiery (/wiki/Hosiery) Bodystocking (/wiki/Bodystocking) Garter (/wiki/Garter) Hold-ups (/wiki/Hold-ups) Knee highs (/wiki/Knee_highs) Pantyhose (/wiki/Pantyhose) Stocking (/wiki/Stocking) Tights (/wiki/Tights) Historical Basque (/wiki/Basque_(clothing)) Boudoir cap (/wiki/Boudoir_cap) Bustle (/wiki/Bustle) Chemise (/wiki/Chemise) Crinoline (/wiki/Crinoline) Farthingale (/wiki/Farthingale) Hoop skirt (/wiki/Hoop_skirt) Liberty bodice (/wiki/Liberty_bodice) Pannier (/wiki/Pannier_(clothing)) Pantalettes (/wiki/Pantalettes) Petticoat (/wiki/Petticoat) Pettipants (/wiki/Pettipants) Waist cincher (/wiki/Waist_cincher) Accessories Falsies (/wiki/Falsies) Lingerie tape (/wiki/Lingerie_tape) Brands List of lingerie brands (/wiki/List_of_lingerie_brands) Retail Bras N Things (/wiki/Bras_N_Things) Cosmo Lady (/wiki/Cosmo_Lady) Figleaves (/wiki/Figleaves) HerRoom (/wiki/HerRoom) Journelle (/wiki/Journelle) True & Co. (/wiki/True_%26_Co.) 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Rendering was triggered because: unknown esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Lingerie&oldid=1234766752 (https://en.wikipedia.org/w/index.php?title=Lingerie&oldid=1234766752) " Categories (/wiki/Help:Category) : Lingerie (/wiki/Category:Lingerie) Undergarments (/wiki/Category:Undergarments) Women's clothing (/wiki/Category:Women%27s_clothing) Hidden categories: Pages using the Phonos extension (/wiki/Category:Pages_using_the_Phonos_extension) 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 needing additional references from January 2012 (/wiki/Category:Articles_needing_additional_references_from_January_2012) All articles needing additional references (/wiki/Category:All_articles_needing_additional_references) Use British English from October 2017 (/wiki/Category:Use_British_English_from_October_2017) Pages with French IPA (/wiki/Category:Pages_with_French_IPA) Pages including recorded pronunciations (/wiki/Category:Pages_including_recorded_pronunciations) All articles with unsourced statements (/wiki/Category:All_articles_with_unsourced_statements) Articles with unsourced statements from April 2020 (/wiki/Category:Articles_with_unsourced_statements_from_April_2020) Articles to be expanded from April 2024 (/wiki/Category:Articles_to_be_expanded_from_April_2024) All articles to be expanded (/wiki/Category:All_articles_to_be_expanded) Articles using small message boxes (/wiki/Category:Articles_using_small_message_boxes) Commons category link from Wikidata (/wiki/Category:Commons_category_link_from_Wikidata) Articles with BNE identifiers (/wiki/Category:Articles_with_BNE_identifiers) Articles with BNF identifiers (/wiki/Category:Articles_with_BNF_identifiers) Articles with BNFdata identifiers (/wiki/Category:Articles_with_BNFdata_identifiers) Articles with GND identifiers (/wiki/Category:Articles_with_GND_identifiers) Articles with J9U identifiers (/wiki/Category:Articles_with_J9U_identifiers) Articles with LCCN identifiers (/wiki/Category:Articles_with_LCCN_identifiers) Articles with LNB identifiers (/wiki/Category:Articles_with_LNB_identifiers) |
Objects worn to cover a portion of the body "Outfit" redirects here. For other uses, see Outfit (disambiguation) (/wiki/Outfit_(disambiguation)) . "Garment" redirects here. For other uses, see Garment (disambiguation) (/wiki/Garment_(disambiguation)) . "Clothes" redirects here. For the films, see Clothes (1914 film) (/wiki/Clothes_(1914_film)) and Clothes (1920 film) (/wiki/Clothes_(1920_film)) . Clothing in history (/wiki/History_of_clothing_and_textiles) , showing (from top) Egyptians, Ancient Greeks, Romans; Byzantines, Franks; and thirteenth through fifteenth century Europeans A kanga (/wiki/Kanga_(African_garment)) , worn throughout the African Great Lakes (/wiki/African_Great_Lakes) region Clothing (also known as clothes , garments , dress , apparel , or attire ) is any item worn on the body (/wiki/Human_body) . Typically, clothing is made of fabrics or textiles (/wiki/Textile) , but over time it has included garments made from animal skin and other thin sheets of materials and natural products found in the environment, put together. The wearing of clothing is mostly restricted to human beings (/wiki/Human_being) and is a feature of all human societies. The amount and type of clothing worn depends on gender, body type, social factors, and geographic considerations. Garments cover the body, footwear (/wiki/Footwear) covers the feet, gloves (/wiki/Gloves) cover the hands, while hats (/wiki/Hats) and headgear (/wiki/Headgear) cover the head, and underwear (/wiki/Underwear) covers the private parts (/wiki/Intimate_part) . Clothing serves many purposes: it can serve as protection from the elements, rough surfaces, sharp stones, rash-causing plants, and insect bites, by providing a barrier between the skin and the environment. Clothing can insulate against cold or hot conditions, and it can provide a hygienic (/wiki/Hygienic) barrier, keeping infectious and toxic materials away from the body. It can protect feet from injury and discomfort or facilitate navigation in varied environments. Clothing also provides protection from ultraviolet radiation (/wiki/Ultraviolet) . It may be used to prevent glare or increase visual acuity in harsh environments, such as brimmed hats. Clothing is used for protection against injury in specific tasks and occupations, sports, and warfare. Fashioned with pockets, belts (/wiki/Belt_(clothing)) , or loops, clothing may provide a means to carry things while freeing the hands. Clothing has significant social factors as well. Wearing clothes is a variable social norm (/wiki/Dress_code) . It may connote modesty (/wiki/Modesty) . Being deprived of clothing in front of others may be embarrassing (/wiki/Embarrassment) . In many parts of the world, not wearing clothes in public so that genitals (/wiki/Sex_organ#Mammals) , breast (/wiki/Breast) , or buttocks (/wiki/Buttocks) are visible could be considered indecent exposure (/wiki/Indecent_exposure) . Pubic area or genital coverage is the most frequently encountered minimum found cross-culturally and regardless of climate, implying social convention (/wiki/Social_convention) as the basis of customs. Clothing also may be used to communicate social status, wealth, group identity, and individualism. Some forms of personal protective equipment (/wiki/Personal_protective_equipment) amount to clothing, such as coveralls (/wiki/Coveralls) , chaps (/wiki/Chaps) or a doctor's white coat (/wiki/White_coat) , with similar requirements for maintenance and cleaning (/wiki/Laundry) as other textiles ( boxing gloves (/wiki/Boxing_glove) function both as protective equipment and as a sparring (/wiki/Sparring) weapon (/wiki/Weapon) , so the equipment aspect rises above the glove aspect). More specialized forms of protective equipment, such as face shields (/wiki/Face_shield) are classified as protective accessories. At the far extreme, self-enclosing diving suits (/wiki/Diving_suit) or space suits (/wiki/Space_suit) are form-fitting (/wiki/Form-fitting_garment) body covers, and amount to a form of dress, without being clothing per se, while containing enough high technology to amount to more of a tool than a garment. This line will continue to blur as wearable technology (/wiki/Wearable_technology) embeds assistive devices directly into the fabric itself; the enabling innovations are ultra low power consumption (/wiki/Low-power_electronics) and flexible electronic substrates (/wiki/Flexible_electronics) . Clothing also hybridizes into a personal transportation system ( ice skates (/wiki/Ice_skates) , roller skates (/wiki/Roller_skates) , cargo pants (/wiki/Cargo_pants) , other outdoor survival gear (/wiki/Survival_kit) , one-man band (/wiki/One-man_band) ) or concealment (/wiki/Concealment_device) system ( stage magicians (/wiki/Stage_magician) , hidden linings or pockets (/wiki/Pockets) in tradecraft (/wiki/Tradecraft) , integrated holsters for concealed carry (/wiki/Concealed_carry) , merchandise (/wiki/Merchandise) -laden trench coats (/wiki/Trench_coat) on the black market (/wiki/Black_market) — where the purpose of the clothing often carries over into disguise (/wiki/Disguise) ). A mode of dress fit to purpose, whether stylistic or functional, is known as an outfit or ensemble. Origin and history [ edit ] Main article: History of clothing and textiles (/wiki/History_of_clothing_and_textiles) See also: History of Western fashion (/wiki/History_of_Western_fashion) , Category:History of clothing (/wiki/Category:History_of_clothing) , and Evolution of hair (/wiki/Evolution_of_hair) Early use [ edit ] Estimates of when humans began wearing clothes vary from 40,000 to as many as 3 million years ago, but recent studies suggest humans were wearing clothing at least 100,000 years ago. Recent studies by Ralf Kittler, Manfred Kayser and Mark Stoneking— anthropologists (/wiki/Anthropology) at the Max Planck Institute for Evolutionary Anthropology (/wiki/Max_Planck_Institute_for_Evolutionary_Anthropology) —have attempted to constrain the most recent date of the introduction of clothing with an indirect method relying on lice (/wiki/Louse) . The rationale for this method of dating stems from the fact that the human body louse cannot live outside of clothing, dying after only a few hours without shelter. This strongly implies that the date of the body louse's speciation from its parent, Pediculus humanus (/wiki/Pediculus_humanus) , can have taken place no earlier than the earliest human adoption of clothing. This date, at which the body louse ( P. humanus corporis (/wiki/Body_louse) ) diverged from both its parent species and its sibling subspecies, the head louse ( P. humanus capitis (/wiki/Head_louse) ), can be determined by the number of mutations each has developed during the intervening time. Such mutations occur at a known rate and the date of last-common-ancestor for two species can therefore be estimated from their frequency. These studies have produced dates from 40,000 to 170,000 years ago, with a greatest likelihood of speciation lying at about 107,000 years ago. [1] (#cite_note-1) Kittler, Kayser and Stoneking suggest that the invention of clothing may have coincided with the northward migration of modern Homo sapiens (/wiki/Homo_sapiens) away from the warm climate (/wiki/Climate) of Africa, which is thought to have begun between 100,000 and 50,000 years ago. A second group of researchers, also relying on the genetic clock, estimate that clothing originated between 30,000 and 114,000 years ago. [2] (#cite_note-2) Dating with direct archeological evidence produces dates consistent with those of lice. In September 2021, scientists reported evidence of clothes being made 120,000 years ago based on findings in deposits in Morocco (/wiki/Morocco) . [3] (#cite_note-iSC-20210916-3) [4] (#cite_note-TG-20210916-4) According to Anthropologists and Archaeologists, the earliest clothing likely consisted of fur (/wiki/Fur) , leather, leaves, or grass that was draped, wrapped, or tied around the body. Knowledge of such clothing remains inferential, as clothing materials (/wiki/Clothing_material) deteriorate quickly compared with stone, bone, shell, and metal artifacts. Archeologists have identified very early sewing needles (/wiki/Sewing_needle) of bone and ivory from about 30,000 BC, found near Kostenki (/wiki/Kostenki) , Russia in 1988, [5] (#cite_note-5) and in 2016 a needle at least 50,000 years old from Denisova Cave in Siberia [6] (#cite_note-6) made by Denisovans (/wiki/Denisovan) . Dyed flax (/wiki/Flax) fibers that date back to 34,000 BC and could have been used in clothing have been found in a prehistoric cave in Georgia (/wiki/Georgia_(country)) . [7] (#cite_note-7) [8] (#cite_note-8) Making clothing [ edit ] See also: Clothing industry (/wiki/Clothing_industry) , knitting (/wiki/Knitting) , and weaving (/wiki/Weaving) Several distinct human cultures, including those residing in the Arctic Circle, have historically crafted their garments exclusively from treated and adorned animal furs and skins. In contrast, numerous other societies have complemented or substituted leather and skins with textiles woven, knitted, or twined from a diverse array of animal and plant fibers, such as wool, linen, cotton, silk, hemp, and ramie. Hindu (/wiki/Hindu) lady wearing sari (/wiki/Sari) , one of the most ancient and popular pieces of clothing in the Indian subcontinent (/wiki/Indian_subcontinent) , painting by Raja Ravi Varma (/wiki/Raja_Ravi_Varma) Although modern consumers may take the production of clothing for granted, making fabric by hand is a tedious and labor-intensive process involving fiber making, spinning, and weaving. The textile industry was the first to be mechanized – with the powered loom (/wiki/Power_loom) – during the Industrial Revolution (/wiki/Industrial_Revolution) . Different cultures have evolved various ways of creating clothes out of cloth. One approach involves draping the cloth. Many people wore, and still wear, garments consisting of rectangles of cloth wrapped to fit – for example, the dhoti (/wiki/Dhoti) for men and the sari (/wiki/Sari) for women in the Indian subcontinent (/wiki/Indian_subcontinent) , the Scottish kilt (/wiki/Kilt) , and the Javanese sarong (/wiki/Sarong) . The clothes may be tied up (dhoti and sari) or implement pins or belts to hold the garments in place (kilt and sarong). The cloth remains uncut, and people of various sizes (/wiki/Clothing_sizes) can wear the garment. Another approach involves measuring, cutting, and sewing the cloth by hand or with a sewing machine (/wiki/Sewing_machine) . Clothing can be cut from a sewing pattern (/wiki/Sewing_pattern) and adjusted by a tailor to the wearer's measurements. An adjustable sewing mannequin or dress form (/wiki/Dress_form) is used to create form-fitting clothing. If the fabric is expensive, the tailor tries to use every bit of the cloth rectangle in constructing the clothing; perhaps cutting triangular pieces from one corner of the cloth, and adding them elsewhere as gussets (/wiki/Gusset) . Traditional European patterns for shirts and chemises (/wiki/Chemise) take this approach. These remnants can also be reused to make patchwork pockets, hats, vests (/wiki/Vests) , and skirts (/wiki/Skirt) . Modern European fashion treats cloth much less conservatively, typically cutting in such a way as to leave various odd-shaped cloth remnants. Industrial sewing operations sell these as waste; domestic sewers may turn them into quilts (/wiki/Quilt) . In the thousands of years that humans have been making clothing, they have created an astonishing array of styles, many of which have been reconstructed from surviving garments, photographs, paintings, mosaics (/wiki/Mosaic) , etc., as well as from written descriptions. Costume history can inspire current fashion designers, as well as costumiers for plays, films, television, and historical reenactment (/wiki/Historical_reenactment) . Clothing as comfort [ edit ] A young woman wearing t-shirt (/wiki/T-shirt) and shorts (/wiki/Shorts) at the warm summer in Åland (/wiki/%C3%85land) Comfort (/wiki/Comfort) is related to various perceptions, physiological, social, and psychological needs, and after food, it is clothing that satisfies these comfort needs. Clothing provides aesthetic, tactile, thermal, moisture, and pressure comfort. [9] (#cite_note-9) Aesthetic comfort Visual perception is influenced by color (/wiki/Color_of_clothing) , fabric construction, style, garment fit, fashion compatibility, and finish of clothing material. Aesthetic comfort is necessary for psychological and social comfort. [10] (#cite_note-10) [11] (#cite_note-11) [12] (#cite_note-12) Thermoregulation (/wiki/Thermoregulation_in_humans) and thermophysiological comfort Thermophysiological comfort is the capacity of the clothing material that makes the balance of moisture and heat between the body and the environment. It is a property of textile materials that creates ease by maintaining moisture and thermal levels in a human's resting and active states. The selection of textile material significantly affects the comfort of the wearer. Different textile fibers have unique properties that make them suitable for use in various environments. Natural fibers are breathable and absorb moisture, and synthetic fibers are hydrophobic; they repel moisture and do not allow air to pass. :: Different environments demand a diverse selection of clothing materials. Hence, the appropriate choice is important. [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) The major determinants that influence thermophysiological comfort are permeable construction, heat, and moisture transfer rate. [20] (#cite_note-20) Thermal comfort One primary criterion for our physiological needs is thermal comfort. The heat dissipation effectiveness of clothing gives the wearer a neither very hot nor very cold feel. The optimum temperature for thermal comfort of the skin surface is between 28 and 30 °C (82 and 86 °F), i.e., a neutral temperature. Thermophysiology reacts whenever the temperature falls below or exceeds the neutral point on either side; it is discomforting below 28 and above 30 degrees. [21] (#cite_note-21) Clothing maintains a thermal balance; it keeps the skin dry and cool. It helps to keep the body from overheating while avoiding heat from the environment. [22] (#cite_note-:022-22) [23] (#cite_note-23) Moisture comfort Moisture comfort is the prevention of a damp sensation. According to Hollies' research, it feels uncomfortable when more than "50% to 65% of the body is wet." [24] (#cite_note-24) Tactile (/wiki/Touch) comfort Tactile comfort is a resistance to the discomfort related to the friction created by clothing against the body. It is related to the smoothness, roughness, softness, and stiffness of the fabric used in clothing. The degree of tactile discomfort may vary between individuals, which is possible due to various factors including allergies, tickling, prickling, skin abrasion, coolness, and the fabric's weight, structure, and thickness. There are specific surface finishes (mechanical and chemical) that can enhance tactile comfort. Fleece sweatshirts and velvet clothing, for example. Soft, clingy, stiff, heavy, light, hard, sticky, scratchy, prickly are all terms used to describe tactile sensations. [25] (#cite_note-25) [26] (#cite_note-26) [27] (#cite_note-27) [28] (#cite_note-28) Pressure comfort The comfort of the human body's pressure receptors' (present in the skin) sensory response towards clothing. Fabric with lycra feels more comfortable because of this response and superior pressure comfort. The sensation response is influenced by the material's structure: snugging, looseness, heavy, light, soft, or stiff structuring. [29] (#cite_note-29) [30] (#cite_note-30) Functions [ edit ] A baby (/wiki/Infant) wearing many items of winter clothing: headband (/wiki/Headband) , cap (/wiki/Cap) , fur-lined coat (/wiki/Coat_(clothing)) , scarf, and sweater (/wiki/Sweater) A video on social expression through dress The most obvious function of clothing is to protect the wearer from the elements. It serves to prevent wind damage and provides protection from sunburn (/wiki/Sunburn) . In the cold, it offers thermal insulation (/wiki/Thermal_insulation) . Shelter can reduce the functional need for clothing. For example, coats (/wiki/Coat_(clothing)) , hats, gloves, and other outer layers are normally removed when entering a warm place. Similarly, clothing has seasonal and regional aspects so that thinner materials and fewer layers of clothing generally are worn in warmer regions and seasons than in colder ones. Boots, hats, jackets, ponchos, and coats designed to protect from rain and snow are specialized clothing items. Clothing has been made from a wide variety of materials, ranging from leather and furs (/wiki/Fur) to woven fabrics, to elaborate and exotic natural and synthetic fabrics (/wiki/Synthetic_fiber) . Not all body coverings are regarded as clothing. Articles carried rather than worn normally are considered accessories (/wiki/Fashion_accessory) rather than clothing (such as Handbags (/wiki/Handbags) ), items worn on a single part of the body and easily removed ( scarves (/wiki/Scarves) ), worn purely for adornment (jewelry), or items that do not serve a protective function. For instance, corrective eyeglasses (/wiki/Eyeglasses) , Arctic goggles (/wiki/Snow_goggles) , and sunglasses (/wiki/Sunglasses) would not be considered an accessory because of their protective functions. Clothing protects against many things that might injure or irritate the naked human body, including rain, snow, wind, and other weather, as well as from the sun. Garments that are too sheer, thin, small, or tight offer less protection. Appropriate clothes can also reduce risk during activities such as work or sport. Some clothing protects from specific hazards, such as insects, toxic chemicals, weather, weapons (/wiki/Armor) , and contact with abrasive substances. Humans have devised clothing solutions to environmental or other hazards: such as space suits (/wiki/Space_suits) , armor (/wiki/Armor) , diving suits (/wiki/Diving_suits) , swimsuits (/wiki/Swimsuits) , bee-keeper gear (/wiki/Beekeeping#Protective_clothing) , motorcycle leathers (/wiki/Motorcycle_leathers) , high-visibility clothing (/wiki/High-visibility_clothing) , and other pieces of protective clothing (/wiki/Protective_clothing) . The distinction between clothing and protective equipment is not always clear-cut since clothes designed to be fashionable often have protective value, and clothes designed for function often have corporate fashion in their design. The choice of clothes also has social implications. They cover parts of the body that social norms require to be covered, act as a form of adornment, and serve other social purposes. Someone who lacks the means to procure appropriate clothing due to poverty or affordability, or lack of inclination, sometimes is said to be worn, ragged, or shabby. [31] (#cite_note-31) Clothing performs a range of social and cultural (/wiki/Culture) functions, such as individual, occupational, gender differentiation, and social status. [32] (#cite_note-Flugel1930-32) In many societies, norms about clothing reflect standards of modesty (/wiki/Modesty) , religion, gender (/wiki/Gender) , and social status (/wiki/Social_status) . Clothing may also function as adornment and an expression of personal taste or style. Scholarship [ edit ] Function of clothing [ edit ] "The Real and Its Ideal", 1898 illustration by E. J. Sullivan (/wiki/E._J._Sullivan) for Thomas Carlyle (/wiki/Thomas_Carlyle) 's Sartor Resartus (/wiki/Sartor_Resartus) (1833–34) Serious books on clothing and its functions appear from the nineteenth century as European colonial powers (/wiki/History_of_colonialism) interacted with new environments such as tropical ones in Asia. [33] (#cite_note-Jeffreys1858-33) Some scientific research into the multiple functions of clothing in the first half of the twentieth century, with publications such as J.C. Flügel (/w/index.php?title=J.C._Fl%C3%BCgel&action=edit&redlink=1) 's Psychology of Clothes in 1930, [32] (#cite_note-Flugel1930-32) and Newburgh's seminal Physiology of Heat Regulation and The Science of Clothing in 1949. [34] (#cite_note-Newburgh1968-34) By 1968, the field of Environmental Physiology had advanced and expanded significantly, but the science of clothing in relation to environmental physiology had changed little. [35] (#cite_note-Hertig1969-35) There has since been considerable research, and the knowledge base has grown significantly, but the main concepts remain unchanged, and indeed, Newburgh's book continues to be cited by contemporary authors, including those attempting to develop thermoregulatory models of clothing development. [36] (#cite_note-Gilligan2010-36) History of clothing [ edit ] Clothing of the Napir Asu (/wiki/Napir_Asu) held in Louvre museum, c. 1300 BC Clothing reveals much about human history. According to Professor Kiki Smith of Smith College, garments preserved in collections are resources for study similar to books and paintings. [37] (#cite_note-Should_These_Clothes_Be_Saved-37) Scholars around the world have studied a wide range of clothing topics, including the history of specific items of clothing, [38] (#cite_note-38) [39] (#cite_note-39) clothing styles in different cultural groups, [40] (#cite_note-40) and the business of clothing and fashion. [41] (#cite_note-41) The textile curator Linda Baumgarten writes that "clothing provides a remarkable picture of the daily lives, beliefs, expectations, and hopes of those who lived in the past. [42] (#cite_note-42) Clothing presents a number of challenges to historians. Clothing made of textiles or skins is subject to decay, and the erosion of physical integrity may be seen as a loss of cultural information. [43] (#cite_note-43) Costume collections often focus on important pieces of clothing considered unique or otherwise significant, limiting the opportunities scholars have to study everyday clothing. [37] (#cite_note-Should_These_Clothes_Be_Saved-37) Cultural aspects [ edit ] Gender differentiation [ edit ] Men and women gathered at sporting event in Sweden (1938) A Hindu (/wiki/Hindu) North Indian wedding, the groom wearing a sherwani (/wiki/Sherwani) and pagri turban (/wiki/Pagri_(turban)) and the bride wearing a sari (/wiki/Sari) Japanese PM (/wiki/Japanese_Prime_Minister) Shinzō Abe (/wiki/Shinz%C5%8D_Abe) and Ivanka Trump (/wiki/Ivanka_Trump) (right) wearing Western-style gender-differentiated business suits (/wiki/Business_suit) (2017) Italian actors Gabriel Garko (/wiki/Gabriel_Garko) in a suit (/wiki/Suit_(clothing)) and Laura Torrisi (/wiki/Laura_Torrisi) in a gown (/wiki/Gown) , considered Red carpet fashion (/wiki/Red_carpet_fashion) by designer dress code (/wiki/Dress_code) (2009) 3rd Duke of Fife wearing a traditional Scottish kilt (/wiki/Scottish_kilt) (1984) In most cultures, gender differentiation of clothing is considered appropriate. The differences are in styles, colors, fabrics, and types. In contemporary Western societies, skirts (/wiki/Skirt) , dresses (/wiki/Dress_(garment)) , and high-heeled shoes (/wiki/High-heeled_shoe) are usually seen as women's clothing, while neckties usually are seen as men's clothing. Trousers (/wiki/Trousers) were once seen as exclusively men's clothing, but nowadays are worn by both genders. Men's clothes are often more practical (that is, they can function well under a wide variety of situations), but a wider range of clothing styles is available for women. Typically, men are allowed to bare their chests (/wiki/Bare_chested) in a greater variety of public places. It is generally common for a woman to wear clothing perceived as masculine, while the opposite is seen as unusual. Contemporary men may sometimes choose to wear men's skirts (/wiki/Men%27s_skirts) such as togas (/wiki/Togas) or kilts (/wiki/Kilt) in particular cultures, especially on ceremonial occasions. In previous times, such garments often were worn as normal daily clothing by men. In some cultures, sumptuary laws (/wiki/Sumptuary_law) regulate what men and women are required to wear. Islam (/wiki/Islam) requires women to wear certain forms of attire, usually hijab (/wiki/Hijab) . What items required varies in different Muslim societies; however, women are usually required to cover more of their bodies than men. Articles of clothing Muslim women wear under these laws or traditions range from the head-scarf (/wiki/Headscarf) to the burqa (/wiki/Burqa) . Some contemporary clothing styles designed to be worn by either gender, such as T-shirts, have started out as menswear, but some articles, such as the fedora (/wiki/Fedora) , originally were a style for women. Social status [ edit ] Achkan (/wiki/Achkan) sherwani (/wiki/Sherwani) and churidar (/wiki/Churidar) (lower body) worn by Arvind Singh Mewar (/wiki/Arvind_Singh_Mewar) and his kin during a Hindu wedding (/wiki/Hindu_wedding) in Rajasthan, India (/wiki/Rajasthan,_India) , are items traditionally worn by the elites of the Indian subcontinent (/wiki/Indian_subcontinent) A barong tagalog (/wiki/Barong_tagalog) made for a wedding ceremony Alim Khan (/wiki/Mohammed_Alim_Khan) 's bemedaled robe (/wiki/Robe) conveys a social message about his wealth, status, and power During the early modern period (/wiki/Early_modern_period) , individuals utilized their attire as a significant method of conveying and asserting their social status. Individuals employed the utilization of high-quality fabrics and trendy designs as a means of communicating their wealth and social standing, as well as an indication of their knowledge and understanding of current fashion trends to the general public. As a result, clothing played a significant role in making the social hierarchy perceptible to all members of society. [44] (#cite_note-44) In some societies, clothing may be used to indicate rank or status (/wiki/Social_status) . In ancient Rome (/wiki/Ancient_Rome) , for example, only senators could wear garments dyed with Tyrian purple (/wiki/Tyrian_purple) . In traditional Hawaiian (/wiki/Native_Hawaiians) society, only high-ranking chiefs could wear feather cloaks (/wiki/Feather_cloak) and palaoa, or carved whale teeth. In China, before establishment of the republic (/wiki/Republic_of_China) , only the emperor could wear yellow. History provides many examples of elaborate sumptuary laws (/wiki/Sumptuary_law) that regulated what people could wear. In societies without such laws, which includes most modern societies, social status is signaled by the purchase of rare or luxury items that are limited by cost to those with wealth or status. In addition, peer pressure (/wiki/Peer_pressure) influences clothing choice. Religion [ edit ] Main article: Religious clothing (/wiki/Religious_clothing) The Buddha (/wiki/Gautama_Buddha) wearing kāṣāya (/wiki/Kasaya_(clothing)) robes, originating from ancient India (/wiki/Ancient_India) , these robes were worn by fully ordained Buddhist monks and nuns Clerical clothing (/wiki/Clerical_clothing) worn by Catholic priests (/wiki/Clergy#Christianity) Some religious clothing might be considered a special case of occupational clothing. Sometimes it is worn only during the performance of religious ceremonies. However, it may be worn every day as a marker for special religious status. Sikhs wear a turban as it is a part of their religion. In some religions such as Hinduism (/wiki/Hinduism) , Sikhism (/wiki/Sikhism) , Buddhism (/wiki/Buddhism) , and Jainism (/wiki/Jainism) the cleanliness of religious dresses is of paramount importance and considered to indicate purity. Jewish ritual requires rending (tearing) of one's upper garment as a sign of mourning. The Quran says about husbands and wives, regarding clothing: "...They are clothing/covering (Libaas) for you; and you for them" (chapter 2:187). Christian clergy (/wiki/Clergy#Christianity) members wear religious vestments (/wiki/Vestments) during liturgical (/wiki/Liturgy) services and may wear specific non-liturgical clothing (/wiki/Clerical_clothing) at other times. Clothing appears in numerous contexts in the Bible. The most prominent passages are: the story of Adam and Eve (/wiki/Adam_and_Eve) who made coverings for themselves out of fig leaves (/wiki/Fig_leaf) , Joseph (/wiki/Joseph_(son_of_Jacob)) 's coat of many colors (/wiki/Coat_of_many_colors) , and the clothing of Judah (/wiki/Judah_(Bible)) and Tamar (/wiki/Tamar_(Genesis)) , Mordecai (/wiki/Mordecai) and Esther (/wiki/Esther) . Furthermore, the priests officiating in the Temple in Jerusalem had very specific garments, the lack of which made one liable to death. Contemporary clothing [ edit ] Part of a series (/wiki/Category:Formal_wear) on Western dress codes (/wiki/Western_dress_codes) and corresponding attires Formal (/wiki/Formal_wear) ( full dress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) ) White tie (/wiki/White_tie) Morning dress (/wiki/Morning_dress) Full dress uniform (/wiki/Full_dress_uniform) Frock coat (/wiki/Frock_coat) Evening gown (/wiki/Evening_gown) Ball gown (/wiki/Ball_gown) Semi-formal (/wiki/Semi-formal_wear) ( half dress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) ) Black tie (/wiki/Black_tie) Black lounge suit (/wiki/Black_lounge_suit) Mess dress uniform (/wiki/Mess_dress_uniform) Evening gown (/wiki/Evening_gown) Cocktail dress (/wiki/Cocktail_dress) Informal (/wiki/Informal_wear) ( undress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) , "dress clothes") Suit (/wiki/Suit) Service dress uniform (/wiki/Service_dress_uniform) Cocktail dress (/wiki/Cocktail_dress) Pantsuit (/wiki/Pantsuit) Casual (/wiki/Casual_wear) (anything not above) Business casual (/wiki/Business_casual) Casual Friday (/wiki/Casual_Friday) Combat uniform (/wiki/Combat_uniform) Smart casual (/wiki/Smart_casual) Workwear (/wiki/Workwear) Streetwear (/wiki/Streetwear) Sportswear (/wiki/Sportswear) known as Sportswear (fashion) (/wiki/Sportswear_(fashion)) and Athleisure (/wiki/Athleisure) Undress (/wiki/Undress_code) Supplementary alternatives Ceremonial dress (/wiki/Ceremonial_dress) law courts (/wiki/Court_dress) royal courts (/wiki/Court_uniform_and_dress_in_the_United_Kingdom) diplomatic (/wiki/Diplomatic_uniform) academic (/wiki/Academic_dress) , etc. Religious clothing (/wiki/Religious_clothing) cassock (/wiki/Cassock) , habit (/wiki/Religious_habit) , etc. Folk costume (/wiki/Folk_costume) Distinctions Orders (/wiki/Order_(distinction)) medals (/wiki/Medal) , etc. Legend: = Day (before 6 p.m.) = Evening (after 6 p.m.) = Bow tie (/wiki/Bow_tie) colour = Ladies = Gentlemen Fashion portal (/wiki/Portal:Fashion) v t e Western dress code [ edit ] The Western dress code (/wiki/Dress_code) has changed over the past 500+ years. The mechanization of the textile industry (/wiki/Textile_industry) made many varieties of cloth widely available at affordable prices. Styles have changed, and the availability of synthetic fabrics (/wiki/Synthetic_fabric) has changed the definition of what is "stylish". In the latter half of the twentieth century, blue jeans (/wiki/Jeans) became very popular, and are now worn to events that normally demand formal attire. Activewear (/wiki/Activewear) has also become a large and growing market. Jacket by Guy Laroche, from a woman's suit with a black skirt and blouse (1960) In the Western dress code, jeans are worn by both men and women. There are several unique styles of jeans found that include: high rise jeans, mid rise jeans, low rise jeans, bootcut jeans, straight jeans, cropped jeans, skinny jeans, cuffed jeans, boyfriend jeans, and capri jeans. The licensing of designer names was pioneered by designers such as Pierre Cardin (/wiki/Pierre_Cardin) , Yves Saint Laurent (/wiki/Yves_Saint_Laurent_(designer)) , and Guy Laroche (/wiki/Guy_Laroche) in the 1960s and has been a common practice within the fashion industry (/wiki/Fashion_industry) from about the 1970s. Among the more popular include Marc Jacobs (/wiki/Marc_Jacobs) and Gucci (/wiki/Gucci) , named for Marc Jacobs Guccio Gucci respectively. Spread of western styles [ edit ] University students in casual clothes (/wiki/Casual_clothes) in the U.S. By the early years of the twenty-first century, western clothing styles had, to some extent, become international styles. This process began hundreds of years earlier, during the periods of European colonialism (/wiki/Colonialism) . The process of cultural dissemination has been perpetuated over the centuries, spreading Western culture and styles, most recently as Western media corporations have penetrated markets throughout the world. Fast fashion (/wiki/Fast_fashion) clothing has also become a global phenomenon. These garments are less expensive, mass-produced Western clothing. Also, donated used (/wiki/Used_good) clothing from Western countries is delivered to people in poor countries by charity organizations. Ethnic and cultural heritage [ edit ] People may wear ethnic or national dress (/wiki/National_costume) on special occasions or in certain roles or occupations. For example, most Korean men and women have adopted Western-style dress for daily wear, but still wear traditional hanboks (/wiki/Hanbok) on special occasions, such as weddings and cultural holidays. Also, items of Western dress (/wiki/Western_wear) may be worn or accessorized in distinctive, non-Western ways. A Tongan man may combine a used T-shirt (/wiki/T-shirt) with a Tongan wrapped skirt, or tupenu (/wiki/Tupenu) . Sport and activity [ edit ] Main articles: Sportswear (/wiki/Sportswear) and Sportswear (fashion) (/wiki/Sportswear_(fashion)) A woman wearing sports bra (/wiki/Sports_bra) and boyshorts (/wiki/Boyshorts) , conventionally women's sportswear (/wiki/Sportswear) , but now worn as casuals (/wiki/Casual_attire) or athleisure (/wiki/Athleisure) by women in the West For practical, comfort or safety reasons, most sports and physical activities are practised wearing special clothing. Common sportswear garments include shorts (/wiki/Shorts) , T-shirts (/wiki/T-shirt) , tennis shirts (/wiki/Tennis_shirt) , leotards (/wiki/Leotard) , tracksuits (/wiki/Tracksuit) , and trainers (/wiki/Athletic_shoe) . Specialized garments include wet suits (/wiki/Wet_suit) (for swimming, diving (/wiki/Underwater_diving) , or surfing (/wiki/Surfing) ), salopettes (/wiki/Salopettes) (for skiing (/wiki/Skiing) ), and leotards (/wiki/Leotards) (for gymnastics). Also, spandex (/wiki/Spandex) materials often are used as base layers to soak up sweat. Spandex is preferable for active sports that require form fitting garments, such as volleyball, wrestling, track and field, dance, gymnastics, and swimming. Fashion shows (/wiki/Fashion_show) often are the source of the latest trends in clothing/ fashions. Photograph of a model in a modern gown (/wiki/Gown) reflecting the current fashion trend (/wiki/Fashion_trend) at an Haute couture (/wiki/Haute_couture) fashion show Fashion [ edit ] Main articles: Fashion (/wiki/Fashion) and 2020s in fashion (/wiki/2020s_in_fashion) Paris set the 1900–1940 fashion trends for Europe and North America. [45] (#cite_note-45) In the 1920s the goal was all about getting loose. Women wore dresses all day, every day. Day dresses had a drop waist, which was a sash or belt around the low waist or hip and a skirt that hung anywhere from the ankle on up to the knee, never above. Day wear had sleeves (long to mid-bicep) and a skirt that was straight, pleated, hank hemmed, or tiered. Jewelry was not conspicuous. [46] (#cite_note-46) Hair was often bobbed, giving a boyish look. [47] (#cite_note-47) In the early twenty-first century a diverse range of styles exists in fashion, varying by geography, exposure to modern media, economic conditions, and ranging from expensive haute couture (/wiki/Haute_couture) , to traditional garb, to thrift store (/wiki/Thrift_store) grunge (/wiki/Grunge) . Fashion shows (/wiki/Fashion_show) are events for designers to show off new and often extravagant designs. Political issues [ edit ] Working conditions in the garments industry [ edit ] Further information: Clothing industry (/wiki/Clothing_industry) Garments factory in Bangladesh (/wiki/Bangladesh) Safety garb for women was designed to prevent occupational accidents among war workers, Los Angeles display ( c. 1943 ) Although mechanization (/wiki/Mechanization) transformed most aspects of human clothing industry (/wiki/Clothing_industry) , by the mid-twentieth century, garment workers have continued to labor under challenging conditions that demand repetitive manual labor. Often, mass-produced (/wiki/Mass-produced) clothing is made in what are considered by some to be sweatshops (/wiki/Sweatshops) , typified by long work hours, lack of benefits, and lack of worker representation. While most examples of such conditions are found in developing countries (/wiki/Developing_countries) , clothes made in industrialized nations (/wiki/Industrialized_nation) may also be manufactured under similar conditions. [48] (#cite_note-48) Coalitions of NGOs, designers (including Katharine Hamnett, American Apparel (/wiki/American_Apparel) , Veja (/wiki/Veja_Sneakers) , Quiksilver (/wiki/Quiksilver) , eVocal, and Edun), and campaign groups such as the Clean Clothes Campaign (/wiki/Clean_Clothes_Campaign) (CCC) and the Institute for Global Labour and Human Rights (/wiki/Institute_for_Global_Labour_and_Human_Rights) as well as textile and clothing trade unions (/wiki/Textile_and_clothing_trade_unions) have sought to improve these conditions by sponsoring awareness-raising events, which draw the attention of both the media and the general public to the plight of the workers. Outsourcing production to low wage countries such as Bangladesh (/wiki/Bangladesh) , China, India, Indonesia (/wiki/Indonesia) , Pakistan (/wiki/Pakistan) , and Sri Lanka (/wiki/Sri_Lanka) became possible when the Multi Fibre Agreement (/wiki/Multi_Fibre_Agreement) (MFA) was abolished. The MFA, which placed quotas on textiles imports, was deemed a protectionist (/wiki/Protectionist) measure. [49] (#cite_note-49) Although many countries recognize treaties such as the International Labour Organization (/wiki/International_Labour_Organization) , which attempt to set standards for worker safety and rights, many countries have made exceptions to certain parts of the treaties or failed to thoroughly enforce them. India for example has not ratified sections 87 and 92 of the treaty. The production of textiles (/wiki/Textile_industry) has functioned as a consistent industry for developing nations, providing work and wages, whether construed as exploitative or not, to millions of people. [50] (#cite_note-50) Fur [ edit ] Main article: Fur clothing (/wiki/Fur_clothing) The use of animal fur in clothing dates to prehistoric times. Currently, although fur is still used by indigenous people in arctic zones and higher elevations for its warmth and protection, in developed countries it is associated with expensive, designer clothing. [51] (#cite_note-51) [52] (#cite_note-52) Once uncontroversial, recently it has been the focus of campaigns on the grounds that campaigners consider it cruel and unnecessary. PETA (/wiki/PETA) and other animal (/wiki/Animal_rights) and animal liberation (/wiki/Animal_liberation_movement) groups have called attention to fur farming (/wiki/Fur_farming) and other practices they consider cruel. Real fur in fashion is contentious, with Copenhagen (2022) [53] (#cite_note-53) and London (2018) [54] (#cite_note-54) fashion weeks banning real fur in its runway shows following protests and government attention to the issue. Fashion houses such as Gucci (/wiki/Gucci) and Chanel (/wiki/Chanel) have banned the use of fur in its garments. [55] (#cite_note-55) Versace (/wiki/Versace) and Furla (/wiki/Furla) also stopped using fur in their collections in early 2018. In 2020, the outdoor brand Canada Goose (/wiki/Canada_Goose_(clothing)) announced it would discontinue the use of new coyote fur on parka trims following protests. [56] (#cite_note-56) Governing bodies have issued legislation banning the sale of new real fur garments. In 2021, Israel was the first government to ban the sale of real fur garments, with the exception of those worn as part of a religious faith. [57] (#cite_note-57) In 2019, the state of California banned fur trapping, with a total ban on the sale of all new fur garments except those made of sheep, cow, and rabbit fur going into effect on January 1, 2023. [58] (#cite_note-58) Life cycle [ edit ] Clothing maintenance [ edit ] Clothing suffers assault both from within and without. The human body sheds skin cells and body oils, and it exudes sweat, urine, and feces that may soil clothing. From the outside, sun damage, moisture, abrasion, and dirt assault garments. Fleas and lice can hide in seams. If not cleaned and refurbished, clothing becomes worn and loses its aesthetics (/wiki/Aesthetics_(textile)) and functionality (as when buttons (/wiki/Button_(clothing)) fall off, seams come undone, fabrics thin or tear, and zippers (/wiki/Zipper) fail). Often, people wear an item of clothing until it falls apart. Some materials present problems. Cleaning leather is difficult, and bark cloth (tapa) cannot be washed without dissolving it. Owners may patch tears and rips, and brush off surface dirt, but materials such as these inevitably age. Most clothing consists of cloth, however, and most cloth can be laundered (/wiki/Laundry) and mended (patching, darning (/wiki/Darning) , but compare felt (/wiki/Felt) ). Laundry, ironing, storage [ edit ] Laundromat in Walden, New York (/wiki/Walden,_New_York) , United States Humans have developed many specialized methods for laundering clothing, ranging from early methods of pounding clothes against rocks in running streams, to the latest in electronic washing machines (/wiki/Washing_machine) and dry cleaning (/wiki/Dry_cleaning) (dissolving dirt in solvents (/wiki/Solvents) other than water). Hot water washing (boiling), chemical cleaning, and ironing are all traditional methods of sterilizing (/wiki/Sterilization_(microbiology)) fabrics for hygiene (/wiki/Hygiene) purposes. Many kinds of clothing are designed to be ironed (/wiki/Ironing) before they are worn to remove wrinkles. Most modern formal and semi-formal clothing is in this category (for example, dress shirts (/wiki/Dress_shirt) and suits (/wiki/Suit_(clothing)) ). Ironed clothes are believed to look clean, fresh, and neat. Much contemporary casual clothing is made of knit materials that do not readily wrinkle, and do not require ironing. Some clothing is permanent press (/wiki/Permanent_press) , having been treated with a coating (such as polytetrafluoroethylene (/wiki/Polytetrafluoroethylene) ) that suppresses wrinkles and creates a smooth appearance without ironing. Excess lint or debris may end up on the clothing in between launderings. In such cases, a lint remover (/wiki/Lint_remover) may be useful. Once clothes have been laundered and possibly ironed, usually they are hung on clothes hangers (/wiki/Clothes_hanger) or folded, to keep them fresh until they are worn. Clothes are folded to allow them to be stored compactly, to prevent creasing, to preserve creases, or to present them in a more pleasing manner, for instance, when they are put on sale in stores. Certain types of insects and larvae feed on clothing and textiles, such as the black carpet beetle (/wiki/Black_carpet_beetle) and clothing moths (/wiki/Clothing_Moth) . To deter such pests, clothes may be stored in cedar-lined closets or chests, [59] (#cite_note-59) or placed in drawers or containers with materials having pest repellent properties, such as lavender (/wiki/Lavandula#Other_uses) or mothballs (/wiki/Mothball) . Airtight containers (such as sealed, heavy-duty plastic bags) may deter insect pest damage to clothing materials as well. Non-iron [ edit ] Main article: Permanent press (/wiki/Permanent_press) A resin used for making non-wrinkle shirts releases formaldehyde (/wiki/Formaldehyde) , which could cause contact dermatitis for some people; no disclosure requirements exist, and in 2008 the U.S. Government Accountability Office (/wiki/Government_Accountability_Office) tested formaldehyde in clothing and found that generally the highest levels were in non-wrinkle shirts and pants. [60] (#cite_note-60) In 1999, a study of the effect of washing on the formaldehyde levels found that after six months of routine washing, 7 of 27 shirts still had levels in excess of 75 ppm (the safe limit for direct skin exposure). [61] (#cite_note-61) Mending [ edit ] When the raw material – cloth – was worth more than labor, it made sense to expend labor in saving it. In past times, mending was an art. A meticulous tailor or seamstress (/wiki/Seamstress) could mend rips with thread raveled from hems (/wiki/Hem) and seam edges so skillfully that the tear was practically invisible. Today clothing is considered a consumable item. Mass-manufactured clothing is less expensive than the labor required to repair it. Many people buy a new piece of clothing rather than spend time mending. The thrifty still replace zippers (/wiki/Zipper) and buttons (/wiki/Button_(clothing)) and sew up ripped hems, however. Other mending techniques include darning (/wiki/Darning) and invisible mending (/wiki/Invisible_mending) or upcycling (/wiki/Upcycling) through visible mending (/wiki/Visible_mending) inspired in Japanese Sashiko (/wiki/Sashiko) . Recycling [ edit ] Clothing salvage centre at the General Engineering Company (Canada) munitions factory during the Second World War It is estimated that 80 billion to 150 billion garments are produced annually. [62] (#cite_note-62) Used, unwearable clothing can be repurposed for quilts (/wiki/Quilt) , rags (https://en.wiktionary.org/wiki/rag) , rugs (/wiki/Carpet) , bandages (/wiki/Bandage) , and many other household uses. Neutral colored or undyed cellulose (/wiki/Cellulose) fibers can be recycled into paper. In Western societies, used clothing is often thrown out or donated to charity (such as through a clothing bin (/wiki/Clothing_bin) ). It is also sold to consignment shops, dress agencies, flea markets (/wiki/Flea_market) , and in online auctions (/wiki/Online_auction) . Also, used clothing often is collected on an industrial scale to be sorted and shipped for re-use in poorer countries. Globally, used clothes are worth $4 billion, with the U.S. as the leading exporter at $575 million. [63] (#cite_note-63) [64] (#cite_note-64) Synthetics, which come primarily from petrochemicals, are not renewable or biodegradable. [65] (#cite_note-65) Excess inventory of clothing is sometimes destroyed to preserve brand value. [66] (#cite_note-66) Global trade [ edit ] EU member states imported €166 billion of clothes in 2018; 51% came from outside the EU (€84 billion). [67] (#cite_note-67) [68] (#cite_note-68) EU member states exported €116 billion of clothes in 2018, including 77% to other EU member states. [69] (#cite_note-69) [70] (#cite_note-70) According to the World Trade Organization (/wiki/World_Trade_Organization) (WTO) report, the value of global clothing exports in 2022 reached US$790.1 billion, up 10.6% from 2021. China (/wiki/China) is the world's largest clothing exporter, with a value of US$178.4 billion, accounting for 22.6% of the global market share. Next are Bangladesh (/wiki/Bangladesh) (US$40.8 billion), Vietnam (/wiki/Vietnam) (US$39.8 billion), India (/wiki/India) (US$36.1 billion), and Turkey (/wiki/Turkey) (US$29.7 billion). In Vietnam (/wiki/Vietnam) , clothing exports continue to be one of the leading export sectors, contributing significantly to the export turnover and economic growth of the country. [71] (#cite_note-71) [72] (#cite_note-72) According to the General Department of Customs of Vietnam, the value of Vietnam's clothing exports in 2022 reached US$39.8 billion, up 14.2% from 2021. [73] (#cite_note-73) [74] (#cite_note-74) Of which, clothing exports to the United States (/wiki/United_States) reached US$18.8 billion, [75] (#cite_note-75) [76] (#cite_note-76) accounting for 47.3% of the market share; exports to the EU (/wiki/European_Union) reached US$9.8 billion, accounting for 24.6% of the market share. [77] (#cite_note-77) See also [ edit ] Clothing portal (/wiki/Portal:Clothing) Fashion portal (/wiki/Portal:Fashion) Children's clothing (/wiki/Children%27s_clothing) Clothing fetish (/wiki/Clothing_fetish) Clothing laws by country (/wiki/Clothing_laws_by_country) Cotton recycling (/wiki/Cotton_recycling) Global trade of secondhand clothing (/wiki/Global_trade_of_secondhand_clothing) Higg Index (/wiki/Higg_Index) List of individual dresses (/wiki/List_of_individual_dresses) Organic cotton (/wiki/Organic_cotton) Reconstructed clothing (/wiki/Reconstructed_clothing) Right to clothing (/wiki/Right_to_clothing) Sustainable fashion (/wiki/Sustainable_fashion) Textile recycling (/wiki/Textile_recycling) Vintage clothing (/wiki/Vintage_clothing) Zero-waste fashion (/wiki/Zero-waste_fashion) References [ edit ] ^ (#cite_ref-1) Priest, Tyler (2018-01-26). "How shall we save the planet? 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Further reading [ edit ] Finnane, Antonia (2008), Changing Clothes in China: Fashion, History, Nation , New York: Columbia University Press (/wiki/Columbia_University_Press) , ISBN (/wiki/ISBN_(identifier)) 978-0-231-14350-9 , retrieved 8 September 2010 ebook ISBN (/wiki/ISBN_(identifier)) 978-0-231-51273-2 (/wiki/Special:BookSources/978-0-231-51273-2) Forsberg, Krister; Mansdorf, S.Z (2007), Quick Selection Guide to Chemical Protective Clothing (5th ed.), Hoboken, New Jersey: John Wiley & Sons (/wiki/John_Wiley_%26_Sons) , ISBN (/wiki/ISBN_(identifier)) 978-0-470-14681-1 , retrieved 8 September 2010 Gavin, Timothy P (2003), "Clothing and Thermoregulation During Exercise" (https://web.archive.org/web/20110707083519/http://adisonline.com/sportsmedicine/Abstract/2003/33130/Clothing_and_Thermoregulation_During_Exercise.1.aspx) , Sports Medicine , 33 (13): 941–947, doi (/wiki/Doi_(identifier)) : 10.2165/00007256-200333130-00001 (https://doi.org/10.2165%2F00007256-200333130-00001) , PMID (/wiki/PMID_(identifier)) 14606923 (https://pubmed.ncbi.nlm.nih.gov/14606923) , S2CID (/wiki/S2CID_(identifier)) 37755781 (https://api.semanticscholar.org/CorpusID:37755781) , archived from the original (http://adisonline.com/sportsmedicine/Abstract/2003/33130/Clothing_and_Thermoregulation_During_Exercise.1.aspx) on 2011-07-07 , retrieved 8 September 2010 Hollander, Anne L (1993), Seeing Through Clothes , Berkeley: University of California Press (/wiki/University_of_California_Press) , ISBN (/wiki/ISBN_(identifier)) 0-520-08231-1 , retrieved 8 September 2010 Montain, Scott J; Sawaka, Michael N; Cadarett, Bruce S; Quigley, Mark D; McKay, James M (1994), "Physiological tolerance to uncompensable heat stress: effects of exercise intensity, protective clothing, and climate" (https://web.archive.org/web/20110628235053/http://www.dtic.mil/cgi-bin/GetTRDoc?AD=ADA283851&Location=U2&doc=GetTRDoc.pdf) (PDF) , Journal of Applied Physiology , 77 (1): 216–222, doi (/wiki/Doi_(identifier)) : 10.1152/jappl.1994.77.1.216 (https://doi.org/10.1152%2Fjappl.1994.77.1.216) , PMID (/wiki/PMID_(identifier)) 7961236 (https://pubmed.ncbi.nlm.nih.gov/7961236) , archived from the original (http://www.dtic.mil/cgi-bin/GetTRDoc?AD=ADA283851&Location=U2&doc=GetTRDoc.pdf) (PDF) on 28 June 2011 , retrieved 8 September 2010 Ross, Robert (2008), Clothing, a Global History: or, The Imperialist's New Clothes , Cambridge, UK: Polity Press (/wiki/Polity_Press) , ISBN (/wiki/ISBN_(identifier)) 978-0-7456-3186-8 , retrieved 8 September 2010 Paperback ISBN (/wiki/ISBN_(identifier)) 978-0-7456-3187-5 (/wiki/Special:BookSources/978-0-7456-3187-5) Tochihara, Yutaka; Ohnaka, Tadakatsu, eds. (2005), Environmental Ergonomics: The Ergonomics of Human Comfort, Health and Performance in the Thermal Environment , Elsevier Ergonomics Book Series, vol. 3, Amsterdam & Boston: Elsevier (/wiki/Elsevier) , pp. 315–320, ISBN (/wiki/ISBN_(identifier)) 0-08-044466-0 , retrieved 8 September 2010 (see especially sections 5 – 'Clothing' – & 6 – 'Protective clothing'). Yarborough, Portia; Nelson, Cherilyn N, eds. (2005), Performance of Protective Clothing: Global Needs and Emerging Markets: 8th Symposium , West Conshohocken, PA: ASTM International (/wiki/ASTM_International) , ISBN (/wiki/ISBN_(identifier)) 0-8031-3488-6 , ISSN (/wiki/ISSN_(identifier)) 1040-3035 (https://www.worldcat.org/issn/1040-3035) , retrieved 8 September 2010 External links [ edit ] clothing at Wikipedia's sister projects Definitions (https://en.wiktionary.org/wiki/Special:Search/clothing) from Wiktionary Media (https://commons.wikimedia.org/wiki/Clothing) from Commons News (https://en.wikinews.org/wiki/Special:Search/clothing) from Wikinews Quotations (https://en.wikiquote.org/wiki/Clothing) from Wikiquote Texts (https://en.wikisource.org/wiki/Special:Search/clothing) from Wikisource Textbooks (https://en.wikibooks.org/wiki/Special:Search/clothing) from Wikibooks Resources (https://en.wikiversity.org/wiki/Special:Search/clothing) from Wikiversity Official website (https://web.archive.org/web/20080216110508/http://www.itaaonline.org/template.asp?intPageId=1) of the Textile and Apparel Association – scholarly publications (archived 16 February 2008) 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) Justacorps (/wiki/Justacorps) Paenula (/wiki/Paenula) Peplos (/wiki/Peplos) Stola (/wiki/Stola) Toga (/wiki/Toga) Tunic (/wiki/Tunic) Xout lao (/wiki/Xout_lao) Tops (/wiki/Top_(clothing)) Basque (/wiki/Basque_(clothing)) Bedgown (/wiki/Bedgown) Bodice (/wiki/Bodice) Doublet (/wiki/Doublet_(clothing)) Peascod belly (/wiki/Peascod_belly) Poet shirt (/wiki/Poet_shirt) Sbai (/wiki/Sbai) Suea pat (/wiki/Suea_pat) Trousers (/wiki/Trousers) Braccae (/wiki/Braccae) Breeches (/wiki/Breeches) Sompot Chong Kben (/wiki/Sompot_Chong_Kben) Culottes (/wiki/Culottes) Harem (/wiki/Harem_pants) Knickerbockers (/wiki/Knickerbockers_(clothing)) Pedal pushers (/wiki/Pedal_pushers) Saragüells (/w/index.php?title=Sarag%C3%BCells&action=edit&redlink=1) [ ca (https://ca.wikipedia.org/wiki/Sarag%C3%BCells) ] Skirts (/wiki/Skirt) Hobble (/wiki/Hobble_skirt) Poodle (/wiki/Poodle_skirt) Safeguard (/wiki/Safeguard_(costume)) Sompot (/wiki/Sompot) Sinh (/wiki/Sinh_(clothing)) Train (/wiki/Train_(clothing)) Dresses (/wiki/Dress) Bliaut (/wiki/Bliaut) Close-bodied gown (/wiki/Close-bodied_gown) Debutante (/wiki/Debutante_dress) Gown (/wiki/Gown) Kirtle (/wiki/Kirtle) Mantua (/wiki/Mantua_(clothing)) Polonaise (/wiki/Polonaise_(clothing)) Robe de cour (/wiki/Robe_de_cour) Sack-back gown (/wiki/Sack-back_gown) Sailor (/wiki/Sailor_dress) Tea gown (/wiki/Tea_gown) Zaju chuishao fu (/wiki/Zaju_chuishao_fu) Outerwear (/wiki/List_of_outerwear) Capote (/wiki/Capote_(garment)) Car coat (/wiki/Car_coat) Caraco (/wiki/Caraco) Cardinal cloak (/wiki/Cardinal_cloak) Chamail (/wiki/Chamail_(clothing)) Chlamys (/wiki/Chlamys) Cloak (/wiki/Cloak) Kinsale cloak (/wiki/Kinsale_cloak) Dolman (/wiki/Dolman) Doublet (/wiki/Doublet_(clothing)) Duster (/wiki/Duster_(clothing)) Exomis (/wiki/Exomis) Greatcoat (/wiki/Greatcoat) Himation (/wiki/Himation) Houppelande (/wiki/Houppelande) Inverness cape (/wiki/Inverness_cape) Jerkin (/wiki/Jerkin) Kandys (/wiki/Kandys) Mackinaw jacket (/wiki/Mackinaw_jacket) Nadiri (/wiki/Nadiri) Norfolk jacket (/wiki/Norfolk_jacket) Overfrock (/wiki/Over-frock_coat) Pañuelo (/wiki/Pa%C3%B1uelo) Palla (/wiki/Palla_(garment)) Pallium (/wiki/Pallium_(Roman_cloak)) Pelisse (/wiki/Pelisse) Poncho (/wiki/Poncho) Shadbelly (/wiki/Shadbelly) Shawl (/wiki/Shawl) Galway shawl (/wiki/Galway_shawl) Kullu (/wiki/Kullu_shawl) Smock-frock (/wiki/Smock-frock) Spencer (/wiki/Spencer_(clothing)) Surcoat (/wiki/Surcoat) Surtout (/wiki/Surtout) Ulster coat (/wiki/Ulster_coat) Visite (/wiki/Visite) Witzchoura (/wiki/Witzchoura) Underwear (/wiki/Undergarment) Basque (/wiki/Basque_(clothing)) Bustle (/wiki/Bustle) Chausses (/wiki/Chausses) Chemise (/wiki/Chemise) Codpiece (/wiki/Codpiece) Corselet (/wiki/Corselet) Corset (/wiki/Corset) Waist cincher (/wiki/Waist_cincher) Dickey (/wiki/Dickey_(garment)) Garter (/wiki/Garter) Hoop skirt (/wiki/Hoop_skirt) Crinoline (/wiki/Crinoline) Farthingale (/wiki/Farthingale) Pannier (/wiki/Pannier_(clothing)) Hose (/wiki/Hose_(clothing)) Liberty bodice (/wiki/Liberty_bodice) Loincloth (/wiki/Loincloth) Open drawers (/wiki/Open_drawers) Pantalettes (/wiki/Pantalettes) Petticoat (/wiki/Petticoat) Peignoir (/wiki/Peignoir) Pettipants (/wiki/Pettipants) Union suit (/wiki/Union_suit) Yếm (/wiki/Y%E1%BA%BFm) Headwear (/wiki/Headgear) Anthony Eden (/wiki/Anthony_Eden_hat) Apex (/wiki/Apex_(headdress)) Arakhchin (/wiki/Arakhchin) Attifet (/wiki/Attifet) Aviator (/wiki/Aviator_hat) Ba tầm (/wiki/Ba_t%E1%BA%A7m) Bergère (/wiki/Berg%C3%A8re_hat) Blessed hat (/wiki/Blessed_sword_and_hat) Bonnet (/wiki/Bonnet_(headgear)) Capotain (/wiki/Capotain) Caubeen (/wiki/Caubeen) Cavalier (/wiki/Cavalier_hat) Coif (/wiki/Coif) Coonskin (/wiki/Coonskin_cap) Cornette (/wiki/Cornette) Dunce (/wiki/Dunce_cap) Fillet (/wiki/Fillet_(clothing)) French hood (/wiki/French_hood) Fontange (/wiki/Fontange) Futou (/wiki/Futou) Gable hood (/wiki/Gable_hood) Hennin (/wiki/Hennin) Jeongjagwan (/wiki/Jeongjagwan) Jewish (/wiki/Jewish_hat) Kausia (/wiki/Kausia) Kokoshnik (/wiki/Kokoshnik) Llawt'u (/wiki/Llawt%27u) Malahai (/wiki/Malahai) Matron's badge (/wiki/Matron%27s_badge) Miner's (/wiki/Miner%27s_cap) Mob (/wiki/Mobcap) Modius (/wiki/Modius_(headdress)) Monmouth (/wiki/Monmouth_cap) Mooskappe (/wiki/Mooskappe) Motoring hood (/wiki/Motoring_hood) Mounteere (/wiki/Mounteere_Cap) Nemes (/wiki/Nemes) Nightcap (/wiki/Nightcap_(garment)) Ochipok (/wiki/Ochipok) Pahlavi (/wiki/Pahlavi_hat) Petasos (/wiki/Petasos) Phrygian (/wiki/Phrygian_cap) Pileus (/wiki/Pileus_(hat)) Printer's (/wiki/Printer%27s_hat) Pudding (/wiki/Baby_bumper_headguard_cap) Qeleshe (/wiki/Qeleshe) Qing (/wiki/Qing_official_headwear) Salakot (/wiki/Salakot) Snood (/wiki/Snood_(headgear)) Smoking (/wiki/Smoking_cap) Tainia (/wiki/Tainia_(costume)) Taranga (/wiki/Taranga_(clothing)) Welsh Wig (/wiki/Welsh_Wig) Wimple (/wiki/Wimple) Footwear (/wiki/Footwear) Buskins (/wiki/Buskin) Calcei (/wiki/Calcei) Caligae (/wiki/Caligae) Carbatina (/wiki/Carbatina) Chinese styles (/wiki/Hanfu_footwear) Chopines (/wiki/Chopine) Duckbills (/wiki/Duckbill_shoe) Episcopal sandals (/wiki/Episcopal_sandals) Hessian (/wiki/Hessian_(boot)) Lotus shoes (/wiki/Lotus_shoes) Manchu platform shoes (/wiki/Manchu_platform_shoes) Pampooties (/wiki/Pampootie) Pattens (/wiki/Patten_(shoe)) Pigaches (/wiki/Pigache) Poulaines (/wiki/Poulaine) Socci (/wiki/Socci) Tiger-head shoes (/wiki/Tiger-head_shoes) Turnshoes (/wiki/Turnshoe) Accessories (/wiki/Fashion_accessory) Ascot tie (/wiki/Ascot_tie) Belt hook (/wiki/Belt_hook) Cointoise (/wiki/Cointoise) Cravat (early) (/wiki/Cravat_(early)) Hairpin (/wiki/Hairpin) Hatpin (/wiki/Hatpin) Jabot (/wiki/Jabot_(neckwear)) Lavallière (/wiki/Pussy_bow) Muff (/wiki/Muff_(handwarmer)) Oes (/wiki/Oes) Partlet (/wiki/Partlet) Perfumed gloves (/wiki/Perfumed_gloves) Ruff (/wiki/Ruff_(clothing)) Shoe buckle (/wiki/Shoe_buckle) Visard (/wiki/Visard) Clothing portal (/wiki/Portal:Clothing) v t e 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 (/wiki/High-rise_(fashion)) Lowrise (/wiki/Low-rise_(fashion)) Jeans (/wiki/Jeans) Jodhpurs (/wiki/Jodhpurs) Overalls (/wiki/Overalls) Palazzo (/wiki/Palazzo_pants) Parachute (/wiki/Parachute_pants) Pedal pushers (/wiki/Pedal_pushers) Phat (/wiki/Phat_pants) Shorts (/wiki/Shorts) Bermuda (/wiki/Bermuda_shorts) dycling (/wiki/Cycling_shorts) dolphin (/wiki/Dolphin_shorts) gym (/wiki/Gym_shorts) hotpants (/wiki/Hotpants) running (/wiki/Running_shorts) Slim-fit (/wiki/Slim-fit_pants) Sweatpants (/wiki/Sweatpants) Windpants (/wiki/Windpants) Yoga pants (/wiki/Yoga_pants) Suits (/wiki/Suit) and uniforms (/wiki/Uniform) Ceremonial dress (/wiki/Ceremonial_dress) academic (/wiki/Academic_dress) court (/wiki/Court_dress) diplomatic (/wiki/Diplomatic_uniform) Folk (/wiki/Folk_costume) Jodhpuri (/wiki/Jodhpuri) Jumpsuit (/wiki/Jumpsuit) Military (/wiki/Military_uniform) full (/wiki/Full_dress_uniform) mess (/wiki/Mess_dress_uniform) service (/wiki/Service_dress_uniform) sailor (/wiki/Sailor_suit) combat (/wiki/Combat_uniform) Pantsuit (/wiki/Pantsuit) Religious (/wiki/Religious_clothing) cassock (/wiki/Cassock) clerical (/wiki/Clerical_clothing) vestment (/wiki/Vestment) School (/wiki/School_uniform) Prison (/wiki/Prison_uniform) Workwear (/wiki/Workwear) boilersuit (/wiki/Boilersuit) cleanroom (/wiki/Cleanroom_suit) hazmat (/wiki/Hazmat_suit) space (/wiki/Space_suit) scrubs (/wiki/Scrubs_(clothing)) Dresses (/wiki/Dress) and gowns (/wiki/Gown) Formal, semi- formal, informal Backless (/wiki/Backless_dress) Bouffant gown (/wiki/Bouffant_gown) Coatdress (/wiki/Coatdress) Cocktail (/wiki/Cocktail_dress) little black (/wiki/Little_black_dress) Evening (/wiki/Evening_gown) ball gown (/wiki/Ball_gown) debutante (/wiki/Debutante_dress) Plain (/wiki/Plain_dress) Prairie (/wiki/Prairie_dress) Princess line (/wiki/Princess_line) Strapless (/wiki/Strapless_dress) Wedding (/wiki/Wedding_dress) Wrap (/wiki/Wrap_dress) Casual House (/wiki/House_dress) Jumper (/wiki/Jumper_(dress)) Romper suit (/wiki/Romper_suit) Sheath (/wiki/Sheath_dress) Shirtdress (/wiki/Shirtdress) Slip (/wiki/Slip_dress) Sundress (/wiki/Sundress) Skirts (/wiki/Skirt) A-line (/wiki/A-line_(clothing)) Ballerina (/wiki/Ballerina_skirt) Denim (/wiki/Denim_skirt) Men's (/wiki/Men%27s_skirts) Miniskirt (/wiki/Miniskirt) Pencil (/wiki/Pencil_skirt) Prairie (/wiki/Prairie_skirt) Rah-rah (/wiki/Rah-rah_skirt) Sarong (/wiki/Sarong) Skort (/wiki/Skort) Tutu (/wiki/Tutu_(clothing)) Wrap (/wiki/Wrap_(clothing)) Underwear (/wiki/Underwear) and lingerie (/wiki/Lingerie) Top Bra (/wiki/Bra) Camisole (/wiki/Camisole) Undershirt (/wiki/Undershirt) Bottom Diaper (/wiki/Diaper) Training pants (/wiki/Training_pants) Leggings (/wiki/Leggings) Panties (/wiki/Panties) Plastic pants (/wiki/Plastic_pants) Slip (/wiki/Slip_(clothing)) Thong (/wiki/Thong) Underpants (/wiki/Underpants) boxer briefs (/wiki/Boxer_briefs) boxer shorts (/wiki/Boxer_shorts) briefs (/wiki/Briefs) Full Bodysuit, adult (/wiki/Bodysuit) Bodysuit, infant (/wiki/Infant_bodysuit) Long underwear (/wiki/Long_underwear) See-through (/wiki/See-through_clothing) Teddy (/wiki/Teddy_(garment)) Coats (/wiki/Coat) and outerwear (/wiki/List_of_outerwear) Overcoats (/wiki/Overcoat) Car (/wiki/Car_coat) Chesterfield (/wiki/Chesterfield_coat) Covert (/wiki/Covert_coat) Duffel (/wiki/Duffel_coat) Duster (/wiki/Duster_(clothing)) Greatcoat (/wiki/Greatcoat) British Warm (/wiki/British_Warm) Guards Coat (/wiki/Guards_Coat) Greca (/wiki/Greca_(clothing)) Over-frock (/wiki/Over-frock_coat) Riding (/wiki/Riding_coat) shadbelly (/wiki/Shadbelly) Trench (/wiki/Trench_coat) Ulster (/wiki/Ulster_coat) Cloak (/wiki/Cloak) opera (/wiki/Opera_cloak) Paletot (/wiki/Paletot) Pea (/wiki/Pea_coat) Polo (/wiki/Polo_coat) Raincoat (/wiki/Raincoat) Mackintosh (/wiki/Mackintosh) Suit coats Frock coat (/wiki/Frock_coat) bekishe (/wiki/Bekishe) rekel (/wiki/Rekel) Mess jacket (/wiki/Mess_jacket) Suit jacket (/wiki/Suit_jacket) Blazer (/wiki/Blazer) smoking (/wiki/Smoking_jacket) sports (/wiki/Sport_coat) Teba (/wiki/Teba_jacket) Tailcoat (/wiki/Tailcoat) dress (/wiki/White_tie#Dress_coat) morning (/wiki/Morning_dress#Morning_coat) Other Apron (/wiki/Apron) pinafore (/wiki/Pinafore) Blouson (/wiki/Blouson) Cagoule (/wiki/Cagoule) Cape (/wiki/Cape) ferraiolo (/wiki/Ferraiolo) Inverness (/wiki/Inverness_cape) Mantle (/wiki/Mantle_(clothing)) monastic (/wiki/Mantle_(monastic_vesture)) royal (/wiki/Mantle_(royal_garment)) mozzetta (/wiki/Mozzetta) pellegrina (/wiki/Pellegrina) Coatee (/wiki/Coatee) Cut-off (/wiki/Cut-off) Gilet (/wiki/Gilet) Jacket (/wiki/Jacket) down (/wiki/Down_jacket) flight (/wiki/Flight_jacket) goggle (/wiki/Goggle_jacket) Harrington (/wiki/Harrington_jacket) leather (/wiki/Leather_jacket) mackinaw (/wiki/Mackinaw_jacket) Norfolk (/wiki/Norfolk_jacket) safari (/wiki/Safari_jacket) Jerkin (/wiki/Jerkin_(garment)) Lab coat (/wiki/White_coat) Parka (/wiki/Parka) Poncho (/wiki/Poncho) Robe (/wiki/Robe) bathrobe (/wiki/Bathrobe) dressing gown (/wiki/Dressing_gown) Shawl (/wiki/Shawl) Ski suit (/wiki/Ski_suit) Sleeved blanket (/wiki/Sleeved_blanket) Windbreaker (/wiki/Windbreaker) Nightwear (/wiki/Nightwear) Babydoll (/wiki/Babydoll) Babygrow (/wiki/Babygrow) Blanket sleeper (/wiki/Blanket_sleeper) Negligee (/wiki/Negligee) Nightgown (/wiki/Nightgown) Nightshirt (/wiki/Nightshirt) Pajamas (/wiki/Pajamas) Swimwear (/wiki/Swimsuit) Bikini (/wiki/Bikini) Burkini (/wiki/Burkini) Boardshorts (/wiki/Boardshorts) Dry suit (/wiki/Dry_suit) Monokini (/wiki/Monokini) One-piece (/wiki/One-piece_swimsuit) Rash guard (/wiki/Rash_guard) Sling (/wiki/Sling_swimsuit) Square leg suit (/wiki/Square_leg_suit) Swim briefs (/wiki/Swim_briefs) Swim diaper (/wiki/Swim_diaper) Trunks (/wiki/Trunks_(clothing)) Wetsuit (/wiki/Wetsuit) Footwear (/wiki/Footwear) Boot (/wiki/Boot) Court shoe (/wiki/Court_shoe) Dress boot (/wiki/Dress_boot) Dress shoe (/wiki/Dress_shoe) Flip-flops (/wiki/Flip-flops) Sandal (/wiki/Sandal) Shoe (/wiki/Shoe) Slipper (/wiki/Slipper) Sneaker (/wiki/Sneaker) Legwear (/wiki/Hosiery) Sock (/wiki/Sock) Hold-ups (/wiki/Hold-ups) Garter (/wiki/Garter) Pantyhose (/wiki/Pantyhose) Stocking (/wiki/Stocking) Tights (/wiki/Tights) Accessories (/wiki/Fashion_accessory) Belt (/wiki/Belt_(clothing)) Boutonnière (/wiki/Boutonni%C3%A8re) Coin purse (/wiki/Coin_purse) Cufflink (/wiki/Cufflink) Cummerbund (/wiki/Cummerbund) Gaiters (/wiki/Gaiters) Glasses (/wiki/Glasses) Gloves (/wiki/Glove) Headband (/wiki/Headband) Handbag (/wiki/Handbag) Jewellery (/wiki/Jewellery) Livery (/wiki/Livery) Muff (/wiki/Muff_(handwarmer)) Pocket protector (/wiki/Pocket_protector) Pocket watch (/wiki/Pocket_watch) Sash (/wiki/Sash) Spats (/wiki/Spats_(footwear)) Sunglasses (/wiki/Sunglasses) Suspenders (/wiki/Suspenders) Umbrella (/wiki/Umbrella) Wallet (/wiki/Wallet) Watch (/wiki/Watch) Dress codes (/wiki/Dress_code) Western (/wiki/Western_dress_codes) Formal (/wiki/Formal_wear) morning dress (/wiki/Morning_dress) white tie (/wiki/White_tie) Semi-formal (/wiki/Semi-formal_wear) black lounge suit (/wiki/Black_lounge_suit) black tie (/wiki/Black_tie) Informal (/wiki/Informal_wear) Casual (/wiki/Casual_wear) Related Clothing fetish (/wiki/Clothing_fetish) Clothing swap (/wiki/Clothing_swap) Costume (/wiki/Costume) creature suit (/wiki/Creature_suit) Halloween costume (/wiki/Halloween_costume) Cross-dressing (/wiki/Cross-dressing) Environmental impact (/wiki/Environmental_impact_of_fashion) Fashion (/wiki/Fashion) haute couture (/wiki/Haute_couture) made-to-measure (/wiki/Made-to-measure) ready-to-wear (/wiki/Ready-to-wear) Fur clothing (/wiki/Fur_clothing) types (/wiki/List_of_types_of_fur) Fursuit (/wiki/Fursuit) Global trade of secondhand clothing (/wiki/Global_trade_of_secondhand_clothing) Laws (/wiki/Clothing_laws_by_country) List of individual dresses (/wiki/List_of_individual_dresses) Reconstructed clothing (/wiki/Reconstructed_clothing) Right to clothing (/wiki/Right_to_clothing) Vintage clothing (/wiki/Vintage_clothing) Clothing portal (/wiki/Portal:Clothing) Authority control databases (/wiki/Help:Authority_control) National France (https://catalogue.bnf.fr/ark:/12148/cb11963612g) 2 (https://catalogue.bnf.fr/ark:/12148/cb11936165s) BnF data (https://data.bnf.fr/ark:/12148/cb11963612g) 2 (https://data.bnf.fr/ark:/12148/cb11936165s) Germany (https://d-nb.info/gnd/4031011-5) Israel (http://olduli.nli.org.il/F/?func=find-b&local_base=NLX10&find_code=UID&request=987007283923205171) United States (https://id.loc.gov/authorities/sh85027160) Latvia (https://kopkatalogs.lv/F?func=direct&local_base=lnc10&doc_number=000055194&P_CON_LNG=ENG) Japan (https://id.ndl.go.jp/auth/ndlna/00564006) Czech Republic (https://aleph.nkp.cz/F/?func=find-c&local_base=aut&ccl_term=ica=ph115566&CON_LNG=ENG) 2 (https://aleph.nkp.cz/F/?func=find-c&local_base=aut&ccl_term=ica=ph115567&CON_LNG=ENG) Other Historical Dictionary of Switzerland (https://hls-dhs-dss.ch/fr/articles/016302) NARA (https://catalog.archives.gov/id/10636632) NewPP limit report Parsed by mw‐api‐ext.codfw.main‐c85b9bc65‐t6742 Cached time: 20240720163040 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 1.290 seconds Real time usage: 1.591 seconds Preprocessor visited node count: 6770/1000000 Post‐expand include size: 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Garments worn on feet Sneakers (/wiki/Sneakers) are a type of footwear A pair of long socks Footwear refers to garments (/wiki/Garment) worn on the feet, which typically serve the purpose of protection (/wiki/Protective_clothing) against adversities of the environment such as wear from rough ground; stability on slippery ground; and temperature. Shoes and similar garments ease locomotion and prevent injuries. Such footwear can also be used for fashion (/wiki/Fashion) and adornment (/wiki/Adornment) , as well as to indicate the status or rank of the person within a social structure (/wiki/Social_structure) . Socks (/wiki/Sock) and other hosiery (/wiki/Hosiery) are typically worn additionally between the feet and other footwear for further comfort and relief. Cultures have different customs regarding footwear. These include not using any in some situations, usually bearing a symbolic meaning. This can however also be imposed on specific individuals to place them at a practical disadvantage against shod people, if they are excluded from having footwear available or are prohibited from using any. This usually takes place in situations of captivity, such as imprisonment (/wiki/Imprisonment) or slavery (/wiki/Slavery) , where the groups are among other things distinctly divided by whether or not footwear is being worn. In some cultures, people remove their shoes before entering a home. Bare feet are also seen as a sign of humility and respect, and adherents of many religions worship or mourn while barefoot. Some religious communities explicitly require people to remove shoes before they enter holy buildings, such as temples. In several cultures people remove their shoes as a sign of respect towards someone of higher standing. Similarly, deliberately forcing other people to go barefoot while being shod oneself has been used to clearly showcase and convey one's superiority within a setting of power disparity. Practitioners of the craft of shoemaking (/wiki/Shoemaking) are called shoemakers, cobblers, or cordwainers (/wiki/Cordwainer) . History [ edit ] Footwear has been used by humans since prehistoric times (/wiki/Prehistory) , with paleoclimatology (/wiki/Paleoclimatology) suggesting that they would have been needed in some areas of human settlement (/wiki/List_of_first_human_settlements) by at least 50,000 years ago (/wiki/Before_Present) during the Last Glacial Period (/wiki/Last_Glacial_Period) . Osteologists (/wiki/Osteology) have found evidence of the effect of footwear on human remains by around 40,000 years ago. [1] (#cite_note-eb-1) The oldest shoes so far recovered were found by a team under Luther Cressman (/wiki/Luther_Cressman) in Fort Rock Cave (/wiki/Fort_Rock_Cave) , Oregon, US, in 1938. They had been preserved under the Mazama Ash (/wiki/Mazama_Ash) deposited c. 5025 BC during the volcanic eruption (/wiki/Volcanic_eruption) that formed Crater Lake (/wiki/Crater_Lake) . [2] (#cite_note-2) In 1999, they were dated (/wiki/Radiocarbon_dating) to around 10,500– 9,300 BP (/wiki/Before_Present) . [3] (#cite_note-3) The Fort Rock sagebrush (/wiki/Sagebrush) sandals from the United States (/wiki/United_States) ( c. 7300 BC ) Neolithic esparto (/wiki/Esparto) sandals from Spain (/wiki/Spain) ( c. 5000 BC ) The Areni-1 shoe (/wiki/Areni-1_shoe) from Armenia (/wiki/Armenia) ( c. 3500 BC ) Ötzi (/wiki/%C3%96tzi) 's shoe, made from bearskin (/wiki/Bearskin) , deer (/wiki/Deer) hide, and tree bark (/wiki/Tree_bark) ( c. 3200 BC ) Footwraps (/wiki/Footwrap) were the common undershoe until the industrial era (2006) Egyptian butchers (/wiki/Butcher) sometimes wore platform sandals (/wiki/Platform_sandals) with thicker soles than usual to raise their feet out of the gore. Wealthier Egyptians (/wiki/Ancient_Egyptians) also sometimes wore platforms. [4] (#cite_note-4) [5] (#cite_note-5) The Greeks (/wiki/Ancient_Greeks) distinguished a great variety of footwear, particularly different styles of sandals (/wiki/Sandals) . The heeled cothurnus (/wiki/Cothurnus) was part of the standard costume for tragedians (/wiki/Ancient_Greek_tragedy) , and the effeminate soccus (/wiki/Soccus) for comedians (/wiki/Ancient_Greek_comedy) . Going barefoot (/wiki/Barefoot) , however, was frequently lauded: Spartan (/wiki/Ancient_Spartans) boys undergoing military training, [6] (#cite_note-smith-6) Socrates (/wiki/Socrates) , [7] (#cite_note-7) and Olympic athletes (/wiki/Ancient_Olympic_Games) [8] (#cite_note-ancient_olympics-8) all went without shoes most of the time. Similarly, ancient China (/wiki/Ancient_China) considered footwear (/wiki/Hanfu_footwear) an important aspect of civilization—particularly embroidered slippers (/wiki/Xiuhuaxie) —but often depicted Taoist immortals (/wiki/Taoist_immortal) and gods (/wiki/Chinese_mythology) like Xuanwu (/wiki/Xuanwu_(god)) barefoot. The Book of Exodus (/wiki/Book_of_Exodus) records Moses reverentially removing his shoes (/wiki/Tradition_of_removing_shoes_in_the_home_and_houses_of_worship) at Mount Sinai (/wiki/Mount_Sinai) and the priests (/wiki/Kohanim) likewise went barefoot at the Temple (/wiki/Temple_of_Solomon) of Solomon (/wiki/Solomon) before Babylonian (/wiki/Babylonia) customs prevailed and entering houses of worship in footwear became common in Judaism (/wiki/Judaism) [9] (#cite_note-9) [10] (#cite_note-10) and Christianity (/wiki/Christianity) . Egyptian (/wiki/Ancient_Egypt) sandals ( c. 2500 BC to c. 500 BC ) The Jotunheimen shoe (/wiki/Jotunheimen_shoe) from Norway (/wiki/Norway) ( c. 1800–1100 BC ) Greek aryballos (/wiki/Aryballos) of a sandaled foot ( c. 500 BC ) Rhodian (/wiki/Ancient_Rhodes) aryballos of a shod foot ( c. 500 BC ) Moses (/wiki/Moses) removing his shoes at Sinai (/wiki/Mount_Sinai) ( c. 1465 ) The Etruscans (/wiki/Etruscan_civilization) experienced several footwear trends, including the prominently pointed shoe or boot now known as the calceus repandus (/wiki/Calceus_repandus) . [11] (#cite_note-11) The Romans (/wiki/Ancient_Romans) saw clothing and footwear as unmistakable signs of power and status in society (/wiki/Social_class_in_ancient_Rome) . Patricians (/wiki/Patrician_(ancient_Rome)) typically wore dyed and ornamented shoes (/wiki/Calceus_patricius) of tanned leather (/wiki/Leather_tanning) with their togas (/wiki/Toga) or armor (/wiki/Roman_armor) , while plebeians (/wiki/Plebeians) wore rawhide or hobnail boots (/wiki/Caliga) [6] (#cite_note-smith-6) and slaves (/wiki/Slavery_in_ancient_Rome) were usually required to be barefoot (/wiki/Barefoot) . [12] (#cite_note-DeMello2009-12) These class distinctions in footwear seem to have lessened during the imperial period (/wiki/Roman_Empire) , however, as the emperors (/wiki/List_of_Roman_emperors) appropriated more and more symbols of high status for themselves. [13] (#cite_note-13) [14] (#cite_note-krt-14) The Romans were the earliest people currently known to have shaped their right and left shoes distinctly during creation, [1] (#cite_note-eb-1) rather than pulling them tight and allowing them to wear into shape. The Catholic patron saints (/wiki/Patron_saint) of shoemaking— Crispin and Crispinian (/wiki/Crispin_and_Crispinian) —were martyred (/wiki/Martyrdom) during the Diocletianic (/wiki/Diocletian) Persecution (/wiki/Diocletianic_Persecution) . [15] (#cite_note-15) The carbatina (/wiki/Carbatina) of the bog body Damendorf Man (/wiki/Damendorf_Man) ( c. 300 BC ) Patrician calceus (/wiki/Calceus_patricius) on the feet of the Emperor Tiberius (/wiki/Tiberius) ( c. 37 ) Caligae (/wiki/Caliga) , the hobnailed (/wiki/Hobnail) sandal-boot of Roman legionaries (/wiki/Roman_legionaries) (1st cent.) Equestrian calceus (/wiki/Calceus_equester) from a Roman statue in France (/wiki/Roman_Gaul) Crispin and Crispinian (/wiki/Crispin_and_Crispinian) in an Italian print (18th cent.) In medieval Europe (/wiki/Medieval_Europe) , leather shoes and boots became more common. At first most were simply pieces of leather sewn together and then held tight around the foot with a toggle or drawstring. This developed into the turnshoe (/wiki/Turnshoe) , where the sole and upper were sewn together and then turned inside-out to hide and protect the seam and improve water resistance. From the reign of Charlemagne (/wiki/Charlemagne) , Byzantine fashions (/wiki/Culture_of_the_Byzantine_Empire) began to influence the west and the pontificalia (/wiki/Pontificalia) of the popes (/wiki/List_of_popes) and other bishops (/wiki/Bishop_(Catholic_Church)) began to feature greater luxury, including embroidered silk and velvet slippers (/wiki/Episcopal_sandals) . By the High Middle Ages (/wiki/High_Middle_Ages) , fashion trends periodically prompted sumptuary taxes (/wiki/Sumptuary_tax) or regulations (/wiki/Sumptuary_laws) and church (/wiki/Medieval_Christianity) condemnation for vanity (/wiki/Vanity) . The 12th-century pigache (/wiki/Pigache) and 14th- and 15th-century poulaine (/wiki/Poulaine) had elongated toes, often stuffed to maintain their shape. Around the same time, several mendicant orders (/wiki/Mendicant_orders) began practicing discalceation (/wiki/Discalceation) as an aspect of their vows of humility and poverty (/wiki/Vow_of_poverty) , going entirely barefoot at all times or only wearing sandals (/wiki/Sandals) in any weather. From the 1480s, the poulaine was replaced by the duckbill (/wiki/Duckbill_shoe) , which had a flat front but soon became impractically wide. The stiff hose (/wiki/Hosiery) of the era usually required fairly soft footwear, which in turn was easier to damage in the dirt and muck of the street and outdoors. This led many people to use wooden-soled calopedes (/wiki/Calopedes) , pattens (/wiki/Patten_(shoe)) , or galoshes (/wiki/Galosh) , overshoes that served as a platform while walking. [16] (#cite_note-16) Particularly in Venice (/wiki/Republic_of_Venice) , these platforms were combined with the shoe to make chopines (/wiki/Chopine) , sometimes so awkwardly high that the wearer required servants to help support them. ( Turkish (/wiki/Turkish_people) sources, meanwhile, credit the chopines directly to the nalins (/wiki/Turkish_clogs) worn in Ottoman baths (/wiki/Turkish_bath) and whose height was considered to be a marker of status.) [17] (#cite_note-17) Byzantine Egyptian (/wiki/Byzantine_Egypt) slippers decorated in gold (6th cent.) Medieval turnshoes (/wiki/Turnshoes) being made on modern lasts (/wiki/Last) (2016) The arms (/wiki/Coat_of_arms) of Poulaines (/wiki/Poulaines,_France) , a French village (/wiki/Villages_of_France) named for the long-toed medieval shoe (/wiki/Poulaines) The sabatons (/wiki/Sabatons) of Emperor (/wiki/List_of_Holy_Roman_emperors) Maximilian I (/wiki/Maximilian_I,_Holy_Roman_Emperor) , done in the poulaine (/wiki/Poulaine) style (1485) The French ambassador (/wiki/Jean_de_Dinteville) 's duckbill shoes (/wiki/Duckbill_shoes) in Hans Holbein (/wiki/Hans_Holbein_the_Younger) 's The Ambassadors (/wiki/The_Ambassadors) (1533) German sabatons (/wiki/Sabatons) done in the duckbill (/wiki/Duckbill_shoes) style (16th cent.) Modern reconstruction of a Venetian chopine (/wiki/Chopine) from the 16th cent. By the early modern period (/wiki/Early_modern_period) , the development of better socks (/wiki/Socks) and less stiff hose allowed European footwear to become firmer and more durable. Welting (/wiki/Welting_(shoe)) was developed, using a narrow band of leather between the uppers and sole to improve appearance and comfort, increase water resistance, and simplify repair, particularly resoling worn shoes. Beginning with the 1533 marriage of the 14-year-old Florentine Catherine de Medici (/wiki/Catherine_de_Medici) to Prince Henry (/wiki/Henry_II_of_France) of France (/wiki/Kingdom_of_France) , [14] (#cite_note-krt-14) both male and female royalty and nobles began wearing high heels (/wiki/High_heels) , giving rise to the expression "well heeled". [18] (#cite_note-18) [19] (#cite_note-19) This was done sometimes for display or appearance and sometimes as an aid to riding in stirrups (/wiki/Stirrups) . For the most part, male footwear was more ornate and expensive because women's feet were usually covered by the large dresses of the era (/wiki/1600-1650_in_fashion) . [1] (#cite_note-eb-1) Shoe fetishism (/wiki/Shoe_fetishism) was first publicized in the work of Nicolas-Edme Rétif (/wiki/Nicolas-Edme_R%C3%A9tif) in prerevolutionary France (/wiki/Ancien_R%C3%A9gime) . [20] (#cite_note-20) 17th-century Cavalier boots (/wiki/Cavalier_boot) developed into upper-class fashion and into sailing boots prized by fishermen and pirates (/wiki/Golden_Age_of_Piracy) before being replaced as military gear by the 18th-century Hessian (/wiki/Hessian_(boot)) and 19th-century Wellington boot (/wiki/Wellington_boot) . In Ming (/wiki/Ming_Empire) and Qing China (/wiki/Qing_Empire) , foot binding (/wiki/Foot_binding) led to the development of lotus shoes (/wiki/Lotus_shoes) for Han women (/wiki/Han_people) and then flowerpot shoes (/wiki/Manchu_platform_shoes) for the Manchu women (/wiki/Manchu_people) who wanted to emulate the characteristic walk of women with bound feet without undergoing the process themselves. In Africa (/wiki/Early_modern_Africa) , North America (/wiki/British_North_America) , and Spanish (/wiki/Spanish_Empire) and Portuguese South America (/wiki/Portuguese_Brazil) , slave codes (/wiki/Slave_codes) often mandated slaves should be barefoot at all times without exception. [21] (#cite_note-Frazine_Richard-21) Following its independence (/wiki/American_Revolution) , the American South (/wiki/American_South) was an exception. Its demand for masses of low-quality shoes for its slaves was met by workshops around Boston (/wiki/Boston) , Philadelphia (/wiki/Philadelphia) , and New York (/wiki/New_York_City) , a dependence that later hobbled the Confederate Army (/wiki/Confederate_Army) during the Civil War (/wiki/American_Civil_War) [22] (#cite_note-22) and was responsible in legend for the decisive Battle of Gettysburg (/wiki/Battle_of_Gettysburg) . [23] (#cite_note-23) Louis XIV (/wiki/Louis_XIV_of_France) of France (/wiki/Kingdom_of_France) in chunky heels (/wiki/Chunky_heels) ( c. 1700 ) The mule (/wiki/Mule_(shoe)) flying from the woman's foot in Fragonard (/wiki/Jean-Honor%C3%A9_Fragonard) 's Happy Accidents of the Swing (/wiki/The_Swing_(Fragonard)) ( c. 1768 ) 19th-century Moccasins (/wiki/Moccasin) of the Cree (/wiki/Cree) and Blackfoot (/wiki/Blackfoot_(Lakota)) , partially modified following first contact (/wiki/First_contact_(anthropology)) with Europeans Qing-era lotus shoes (/wiki/Lotus_shoes) , worn by Han women (/wiki/Han_Chinese) with bound feet (/wiki/Bound_feet) Manchu flowerpot shoes (/wiki/Manchu_platform_shoe) intended to mimic the same gait Brogans (/wiki/Brogan_(shoes)) of the type worn by both sides of the American Civil War (/wiki/American_Civil_War) Boots supposedly worn by Abraham Lincoln (/wiki/Abraham_Lincoln) at his assassination (/wiki/Assassination_of_Abraham_Lincoln) (1930s/40s) Amid the Industrial Revolution (/wiki/Industrial_Revolution) , John Adam Dagyr's introduction of assembly line production [14] (#cite_note-krt-14) [24] (#cite_note-mulligan-24) and tight quality control [25] (#cite_note-25) to the "ten-footer" workshops [26] (#cite_note-26) in Lynn, Massachusetts (/wiki/Lynn,_Massachusetts) , US, around 1760 is sometimes credited as the first shoe factory (/wiki/Shoe_factory) . [1] (#cite_note-eb-1) However, although mechanized textile mills greatly reduced the price of proper socks (/wiki/Sock) , each step of the shoemaking process still needed to be done by hand in a slowly optimized putting-out system (/wiki/Putting-out_system) . [24] (#cite_note-mulligan-24) [27] (#cite_note-27) The first mechanized systems—developed by Marc Isambard Brunel (/wiki/Marc_Isambard_Brunel) in 1810 to supply boots to the British Army (/wiki/British_Army) amid the Napoleonic Wars (/wiki/Napoleonic_Wars) —failed commercially as soon as the wars were over because the demobilized soldiers reduced the price of manual labor. [28] (#cite_note-28) John Brooks Nichols (/w/index.php?title=John_Brooks_Nichols&action=edit&redlink=1) 's 1850 adaptation of Howe (/wiki/Elias_Howe) and Singer (/wiki/Isaac_Merritt_Singer) 's sewing machines (/wiki/Sewing_machine) to handle binding uppers to soles [29] (#cite_note-29) and the Surinamese (/wiki/Suriname) immigrant Jan Ernst Matzeliger (/wiki/Jan_Ernst_Matzeliger) 's 1880 invention of an automatic lasting machine (/wiki/Automatic_lasting_machine) finally allowed true industrialization, taking the productivity of individual workers from 20 or 50 pairs a day to as many as 700, halving prices, [24] (#cite_note-mulligan-24) [30] (#cite_note-30) and briefly making Lynn the center of world shoe production. [31] (#cite_note-FOOTNOTEComputer_Images2016-31) [32] (#cite_note-32) As late as 1865, most men in the industry identified in the census (/wiki/US_census) and city directory as general purpose "cordwainers" or "shoemakers"; by 1890, they were almost universally described as "shoe workers" or—more often—by the specific name of their work within the industry: "edgesetter", "heel trimmer", " McKay machine (/wiki/Gordon_McKay) operator". [24] (#cite_note-mulligan-24) Many were replaced by cheaper immigrants (/wiki/Immigration_into_the_United_States) ; [24] (#cite_note-mulligan-24) the Czech Tomáš Baťa (/wiki/Tom%C3%A1%C5%A1_Ba%C5%A5a) joined these workers at Lynn in 1904 and then returned to his own factory (/wiki/Bata_Corporation) in Zlín (/wiki/Zl%C3%ADn) , Moravia, mechanizing and rationalizing its production while guiding the factory town (/wiki/Factory_town) that developed into a garden city (/wiki/Garden_city_movement) . A preserved "ten footer" in Stoneham, Massachusetts (/wiki/Stoneham,_Massachusetts) (2013) Lynn, Massachusetts (/wiki/Lynn,_Massachusetts) , in 1849 American shoemakers demonstrating machinery to visiting Chinese (/wiki/Qing_Empire) in 1870 Lynn in 1879 Matzeliger (/wiki/Jan_Ernst_Matzeliger) 's automated laster (/wiki/Automatic_lasting_machine) Women creating uppers in Lynn in 1895 Bata (/wiki/Bata_Corporation) advertisement for their half-price response to the 1920 Depression (/wiki/Depression_of_1920%E2%80%931921) By the early 20th century, vulcanization (/wiki/Vulcanization) had led to the development of plimsolls (/wiki/Plimsoll_shoes) , deck shoes (/wiki/Deck_shoes) , rubber boots (/wiki/Rubber_boot) , galoshes (/wiki/Galosh) , and waders (/wiki/Wader_(footwear)) . The prevalence of trench foot (/wiki/Trench_foot) in World War I (/wiki/World_War_I) focused attention on the importance of providing of adequate footwear in following conflicts, although this was not always possible. Millions of Chinese soldiers in both the NRA (/wiki/National_Revolutionary_Army) and PLA (/wiki/People%27s_Liberation_Army) were obliged to use straw and rope shoes (/wiki/Cailu) to allow easy replacement on long marches during both World War II (/wiki/Second_Sino-Japanese_War) and the following civil war (/wiki/Chinese_Civil_War) , [33] (#cite_note-33) contributing to disease (/wiki/Casualty_(person)) and desertion (/wiki/Desertion) , particularly among the Nationalists (/wiki/Kuomintang) . [34] (#cite_note-34) [35] (#cite_note-35) Following the world wars, the increasing importance of professional sports (/wiki/Professional_sports) greatly popularized a variety of athletic shoes (/wiki/Athletic_shoes) , particularly sneakers (/wiki/Sneakers) . Major brands such as Converse (/wiki/Converse_(brand)) , Adidas (/wiki/Adidas) , and Nike (/wiki/Nike_(brand)) used celebrity endorsements (/wiki/Celebrity_endorsement) from Chuck Taylor (/wiki/Chuck_Taylor_All-Stars) , Michael Jordan (/wiki/Air_Jordan) , Lionel Messi (/wiki/Adidas_Nemeziz) , and others to promote their products. Fashion houses (/wiki/Fashion_house) periodically prompted new trends in women's and high-end fashion. In particular, while working for Christian Dior (/wiki/Christian_Dior) , Roger Vivier (/wiki/Roger_Vivier) popularized the stiletto heel (/wiki/Stiletto_heel) in 1954. (Men's dress shoes (/wiki/Dress_shoes) have tended to retain 19th-century British looks such as the Oxford shoe (/wiki/Oxford_shoe) and loafers (/wiki/Loafers) .) Various subcultures (/wiki/Subculture) have employed distinctive footwear as part of their identity, including winklepickers (/wiki/Winklepickers) , Doc Martens (/wiki/Doc_Martens) , and skate shoes (/wiki/Skate_shoes) . Rubber boots (/wiki/Rubber_boots) ready for shipment in 1917 People's Liberation Army straw sandals (/wiki/Cailu) at the Museum of the People's Revolution (/wiki/Military_Museum_of_the_Chinese_People%27s_Revolution) (2017) Tossed (/wiki/Sneaker_tossing) Chuck Taylor All-Stars in Italy (2018) Ballet shoes (/wiki/Ballet_shoe) (2013) Soccer cleats (/wiki/Soccer_cleats) , known in British (/wiki/British_English) as "football boots" (2018) Stiletto heels (/wiki/Stiletto_heel) at Cannes (/wiki/Cannes_Film_Festival) (2016) Platform heels (/wiki/Platform_heel) and Japanese getas (/wiki/Geta_(shoe)) on the London Underground (/wiki/London_Underground) (2006) The international trade (/wiki/International_trade) in footwear was at first chiefly restricted to American exports to Europe and Europe's exports to its various colonial empires (/wiki/New_Imperialism) . [36] (#cite_note-FOOTNOTEClothier_&_al.20056-36) Assisted by the Marshall Plan (/wiki/Marshall_Plan) after World War II (/wiki/World_War_II) , Italy became the major shoe exporting country in the 1950s. [36] (#cite_note-FOOTNOTEClothier_&_al.20056-36) [37] (#cite_note-37) It was joined in the 1960s by Japan (/wiki/Japan) , which offshored (/wiki/Offshoring) its production to Taiwan (/wiki/Taiwan) , South Korea (/wiki/South_Korea) , and Hong Kong (/wiki/Hong_Kong) as its own labor became too expensive. [36] (#cite_note-FOOTNOTEClothier_&_al.20056-36) In their turn, the Hong Kong manufacturers began moving production to Guangdong (/wiki/Guangdong) in mainland China (/wiki/Mainland_China) almost immediately after the establishment of Deng Xiaoping (/wiki/Deng_Xiaoping) 's Opening Up Policy (/wiki/Opening_Up_Policy) in the early 1980s. [36] (#cite_note-FOOTNOTEClothier_&_al.20056-36) Competitors were soon forced to follow suit, including removal of Taiwanese and Korean [38] (#cite_note-FOOTNOTEClothier_&_al.200511-38) production to Fujian (/wiki/Fujian) and to Wenzhou (/wiki/Wenzhou) in southern Zhejiang (/wiki/Zhejiang) . [36] (#cite_note-FOOTNOTEClothier_&_al.20056-36) Similarly, amid Perestroika (/wiki/Perestroika) and the Fall of Communism (/wiki/Fall_of_Communism) , Italy dismantled its domestic industry, outsourcing its work to Eastern Europe (/wiki/Eastern_Europe) , which proved less dependable than the Chinese and further eroded their market share. [39] (#cite_note-FOOTNOTEClothier_&_al.200530-39) Beginning around the year 2000, China has constantly produced more than half of the world's shoes. [40] (#cite_note-40) As of 2021, footwear is the 30th most traded category internationally; [41] (#cite_note-41) but, while China produces well over 60% of exported footwear, [42] (#cite_note-42) it currently earns less than 36% of the value of the total trade [43] (#cite_note-FOOTNOTEOEC2023-43) owing to the continuing importance of American, German, and other brands in the North American and European markets. Assembly line (/wiki/Assembly_line) in a French shoe factory (/wiki/Shoe_factory) (1948) A cobbler (/wiki/Cobbler_(job)) in Cairo (/wiki/Cairo) , Egypt (2015) A shoe factory in Fridingen (/wiki/Fridingen) , Germany (2016) Nike (/wiki/Nike_(brand)) factory in Vietnam (/wiki/Vietnam) (2016) Shoes and fruit at a Hong Kong (/wiki/Hong_Kong) market (2007) Shoe store in a Beijing (/wiki/Beijing) mall (2017) Materials [ edit ] This section needs expansion . You can help by adding to it (https://en.wikipedia.org/w/index.php?title=Footwear&action=edit§ion=) . ( July 2015 ) Modern footwear is usually made of leather (/wiki/Leather) or plastic (/wiki/Plastic) , and rubber (/wiki/Rubber) . In fact, leather was one of the original materials used for the first versions of a shoe. [44] (#cite_note-44) The soles can be made of rubber or plastic, sometimes with the addition of a sheet of metal on the inside. Roman sandals had sheets of metal on their soles so that they would not bend out of shape. In more recent times, footwear suppliers such as Nike have begun to source environmentally friendly materials. [45] (#cite_note-45) Components [ edit ] Typical shoe component location and nomenclature. Adhesives (/wiki/Adhesives) Buckle (/wiki/Buckle) Counter (footwear) (/wiki/Counter_(footwear)) : Backstay fitting between upper and lining in heel area and giving structure to back of shoe and supporting ankle. Eyelet (/wiki/Grommet) Heel (/wiki/Heel_(shoe)) Hook (/wiki/Hook_and_eye_closure) Insole (/wiki/Insole) Outsole (/wiki/Outsole) Laces (/wiki/Shoelace) Shank (/wiki/Shank_(footwear)) Sole (/wiki/Sole_(shoe)) Tack (/wiki/Shoe_tack) Tongue (footwear) (/wiki/Tongue_(footwear)) : Part of shoe covering top of foot underneath laces Tread (/wiki/Shoe_tread) Welt (/wiki/Welt_(shoe)) Types [ edit ] See also: List of shoe styles (/wiki/List_of_shoe_styles) This article is in list (/wiki/MOS:LIST) format but may read better as prose (/wiki/MOS:PROSE) . You can help by converting this article (https://en.wikipedia.org/w/index.php?title=Footwear&action=edit) , if appropriate. Editing help (/wiki/Help:Editing) is available. ( July 2015 ) Boots [ edit ] Chukka boots (/wiki/Chukka_boot) Combat boots (/wiki/Combat_boot) Cowboy boots (/wiki/Cowboy_boot) Derby boots (/wiki/Derby_shoe) Fashion boots (/wiki/Fashion_boot) Go-go boots (/wiki/Go-go_boot) Hiking boots (/wiki/Hiking_boot) Motorcycle boots (/wiki/Motorcycle_boots) Mukluk (/wiki/Mukluk) Platform boots (/wiki/Platform_boot) Riding boots (/wiki/Riding_boot) Russian boots (/wiki/Russian_boot) Seaboots (/wiki/Seaboot) Tabi boots (/wiki/Jika-tabi) Tanker boots (/wiki/Tanker_boot) Thigh-high boots (/wiki/Thigh-high_boots) Valenki (/wiki/Valenki) Veldskoen (/wiki/Veldskoen) Waders (/wiki/Waders_(footwear)) Wellington boots (/wiki/Wellington_boot) Winklepickers (/wiki/Winklepicker) Shoes [ edit ] Bowling shoes (/wiki/Bowling_shoe) are a type of athletic shoe A football boot based upon a common design used in 2018. Note the absence of a leather tongue, the relatively low rear upper around the heel, and the presence of a sock style fastener. This design helps to ensure maximum flexibility and range of movement. By limiting the potential impingement of the ankle joint by the boot upper, it allows the wearer's gait to be more natural. Athletic shoes (/wiki/Athletic_shoe) (also known as trainers or sneakers) Ballet flats (/wiki/Ballet_flat) Brothel creepers (/wiki/Brothel_creepers) Court shoes (/wiki/Court_shoe) (known in the US as pumps) Diabetic shoes Espadrilles (/wiki/Espadrille) Galoshes (/wiki/Galoshes) Kitten heels (/wiki/Kitten_heel) Lace-up shoes Derby shoes (/wiki/Derby_shoe) Oxford shoes (/wiki/Oxford_shoe) Brogues (/wiki/Brogues) Blucher shoes (/wiki/Blucher_shoe) High-tops (/wiki/High-top) Loafers (/wiki/Loafers) Mary Janes (/wiki/Mary_Jane_(footwear)) Moccasins (/wiki/Moccasin_(footwear)) Monks Mules (/wiki/Mule_(footwear)) Platform shoes (/wiki/Platform_shoe) Plimsoll shoes (/wiki/Plimsoll_shoe) School shoes Skate shoes (/wiki/Skate_shoe) Tap shoes Toe shoes (/wiki/Vibram_FiveFingers) Vibram FiveFingers toe shoes Sandals [ edit ] Sandals (/wiki/Sandal_(footwear)) Kolhapuri Chappals (/wiki/Kolhapuri_chappal) Peshawari chappal (/wiki/Peshawari_chappal) Flip-flops (/wiki/Flip-flops) (thongs) Slide (/wiki/Slide_(footwear)) Wörishofer (/wiki/W%C3%B6rishofer) Avarca (/wiki/Avarca_(shoe)) , from Balearic Islands (/wiki/Balearic_Islands) A pair of Sandals (/wiki/Sandal_(footwear)) Slippers [ edit ] Slippers (/wiki/Slipper) Closed slippers (/wiki/Slipper) Open slippers (/wiki/Slipper) Specific footwear [ edit ] A climbing shoe (/wiki/Climbing_shoe) Ballet shoes (/wiki/Ballet_shoe) Boat shoes (/wiki/Boat_shoe) High-heeled footwear (/wiki/High-heeled_footwear) Climbing shoes (/wiki/Climbing_shoe) Clogs (/wiki/Clog) Football boots (/wiki/Football_boot) Sabaton (/wiki/Sabaton) Safety footwear Sailing boots (/wiki/Seaboot) Ski boots (/wiki/Ski_boot) Snowshoes (/wiki/Snowshoe) Ice skates (/wiki/Ice_skates) Surgical (/wiki/Surgical) shoe Pointe shoes (/wiki/Pointe_shoe) Swimfins (/wiki/Swimfin) (flippers) Barefoot sandals (/wiki/Barefoot_sandals) Traditional footwear [ edit ] Footwraps (/wiki/Footwraps) used by the Finnish Army (/wiki/Finnish_Army) until the 1990s Abarka (/wiki/Abarka) , of leather, from Pyrenees (/wiki/Pyrenees) Areni-1 shoe (/wiki/Areni-1_shoe) , 5,500-year-old leather shoe found in Armenia (/wiki/Armenia) Bast shoe (/wiki/Bast_shoe) , of bast, from Northern Europe (/wiki/Northern_Europe) Crakow (/wiki/Crakow_(shoe)) , shoes from Poland (/wiki/Poland) with long toes popular in the 15th century Galesh (/wiki/Galesh) , of textile, from Iran (/wiki/Iran) Geta (/wiki/Geta_(footwear)) , of wood, from Japan (/wiki/Japan) Klompen (/wiki/Klomp) , of wood, from the Netherlands (/wiki/Netherlands) Opanci (/wiki/Opanak) , of leather, from Balkans (/wiki/Balkans) Pampooties (/wiki/Pampooties) , of hide, from Ireland (/wiki/Ireland) Socks [ edit ] Socks. Toe socks. Tabi. Socks (/wiki/Sock) Anklets (/wiki/Anklet_(sock)) Bobby socks (/wiki/Bobby_socks) Diabetic socks (/wiki/Diabetic_socks) Dress socks (/wiki/Dress_socks) Footwraps (/wiki/Footwraps) Knee highs (/wiki/Knee_highs) Toe socks (/wiki/Toe_socks) Footwear industry [ edit ] This section needs expansion . You can help by adding to it (https://en.wikipedia.org/w/index.php?title=Footwear&action=edit§ion=) . ( August 2020 ) In Europe, recent decades have seen a decline in the footwear industry. While about 27,000 firms were in business in 2005, only 21,700 remained in 2009. Not only have these firms decreased in number, but direct employment has also reduced within the sector. [46] (#cite_note-46) In the U.S., the annual footwear industry revenue was $48 billion in 2012. In 2015, there were about 29,000 shoe stores in the U.S. and the shoe industry employed about 189,000 people. [47] (#cite_note-47) Due to rising imports, these numbers are also declining. The only way of staying afloat in the shoe market is to establish a presence in niche markets. [48] (#cite_note-48) Safety of footwear products [ edit ] To ensure high quality and safety of footwear , manufacturers have to make sure all products comply to existing and relevant standards. By producing footwear in accordance with national and international regulations, potential risks can be minimized and the interest of both textile manufacturers and consumers can be protected. The following standards/regulations apply to footwear products: CPSIA (/wiki/CPSIA) GB Standards (/wiki/GB_Standard) such as GB20400-2006 Leather and fur-limit of harmful matter QB/T1002-2005 Leather shoes GB/T 15107 Athletic footwear EN Standards (/wiki/List_of_EN_standards) for Footwear ASTM Standards (/wiki/ASTM_International) [49] (#cite_note-49) ISO standards (/wiki/ISO_standard) [50] (#cite_note-50) AAFA (/wiki/American_Apparel_and_Footwear_Association) Restricted Substance List BIS (ISI) (/wiki/Bureau_of_Indian_Standards) : IS 15298-I: 2011 test methods, IS 15298 –II for safety footwear, IS 15298-III Protective footwear, IS 15298-IV Occupational Footwear Impressions [ edit ] Footwear can create two types of impressions: two-dimensional and three-dimensional impressions. [51] (#cite_note-:02-51) When footwear places material onto a solid surface, it creates a two-dimensional impression. [51] (#cite_note-:02-51) [52] (#cite_note-:12-52) These types of impressions can be made with a variety of substances, like dirt and sand. [51] (#cite_note-:02-51) When footwear removes material from a soft surface, it creates a three-dimensional impression. [51] (#cite_note-:02-51) [52] (#cite_note-:12-52) These types of impressions can be made in a variety of soft substances, like snow and dirt. [51] (#cite_note-:02-51) Two-dimensional impressions also differ from three-dimensional impressions because the latter demonstrate length, width, and depth whereas two-dimensional impressions only demonstrate the first two aspects. [52] (#cite_note-:12-52) See also [ edit ] Fashion portal (/wiki/Portal:Fashion) American Apparel and Footwear Association (/wiki/American_Apparel_and_Footwear_Association) American Podiatric Medical Association (/wiki/American_Podiatric_Medical_Association) Boot fetishism (/wiki/Boot_fetishism) List of current and defunct clothing & footwear stores in the United Kingdom (/wiki/List_of_current_and_defunct_clothing_%26_footwear_stores_in_the_United_Kingdom) List of footwear designers (/wiki/List_of_footwear_designers) List of shoe styles (/wiki/List_of_shoe_styles) NoBull (/wiki/NoBull) Orthopaedic footwear (/wiki/Orthopaedic_footwear) Shoe fetishism (/wiki/Shoe_fetishism) Shoe size (/wiki/Shoe_size) Shoes (/wiki/Shoe) Walking boot (/wiki/Walking_boot) References [ edit ] ^ Jump up to: a b c d Lewis, Robert (2022), "Shoes" (https://www.britannica.com/topic/shoe) , Official site (https://www.britannica.com) , Chicago: Encyclopaedia Britannica . ^ (#cite_ref-2) Connolly, Tom (11 January 2016), The World's Oldest Shoes , Eugene (/wiki/Eugene,_Oregon) : University of Oregon . ^ (#cite_ref-3) "World's Oldest Shoes in Oregon..." (http://community.seattletimes.nwsource.com/archive/?date=19991201&slug=2998668) , The Seattle Times (/wiki/The_Seattle_Times) , Seattle, 1 December 1999 {{ citation (/wiki/Template:Citation) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) . ^ (#cite_ref-4) Jones, Kirtly (7 January 2016), High Heels' Damage to the Human Foot , Salt Lake City: University of Utah, College of Health Care . ^ (#cite_ref-5) Mollerup, Per (30 September 2019), High Heels , MIT Press, pp. 76–77, ISBN (/wiki/ISBN_(identifier)) 9780262351577 – via IEEE Xplore . ^ Jump up to: a b Purser, Louis Claude (/wiki/Louis_Claude_Purser) (1890), "Calceus" (https://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.04.0063:entry=calceus-cn) , A Dictionary of Greek and Roman Antiquities , London: William Wayte . ^ (#cite_ref-7) Nails, Debra; et al. (2022), "Socrates" (https://plato.stanford.edu/entries/socrates/) , Stanford Encyclopedia of Philosophy , Stanford: Stanford University . ^ (#cite_ref-ancient_olympics_8-0) "Unearthing the First Spartan Boys where not allowed to wear shoes to toughen their feet and allow stronger dexterity in their toes Olympics" (https://web.archive.org/web/20100728000414/http://www.npr.org/programs/re/archivesdate/2004/jul/nemea/) . NPR (/wiki/NPR) . July 19, 2004. Archived from the original (https://www.npr.org/programs/re/archivesdate/2004/jul/nemea/) on July 28, 2010 . Retrieved July 1, 2010 . ^ (#cite_ref-9) Golinkin, David (13 August 2020), "Is It Permissible to Pray Barefoot?" (https://schechter.edu/responsa_barefoot-prayer/) , Official site (https://schechter.edu) , Tel Aviv: Schechter Institute of Jewish Studies . ^ (#cite_ref-10) Jastrow, Morris Jr.; et al. (1906), "Barefoot" (https://www.jewishencyclopedia.com/articles/2519-barefoot) , Jewish Encyclopedia , New York: Funk & Wagnalls . ^ (#cite_ref-11) Bonfante, Larissa (1975), Etruscan Dress , Baltimore: Johns Hopkins University Press, p. 61, ISBN (/wiki/ISBN_(identifier)) 9780801874130 . ^ (#cite_ref-DeMello2009_12-0) DeMello, Margo (1 September 2009). Feet and footwear: a cultural encyclopedia . Macmillan. pp. 65–. ISBN (/wiki/ISBN_(identifier)) 978-0-313-35714-5 . Retrieved 29 January 2012 . ^ (#cite_ref-13) Talbert, Richard John Alexander (/wiki/Richard_J.A._Talbert) (1984), The Senate of Imperial Rome , Princeton: Princeton University Press . ^ Jump up to: a b c Chin, Lily (1999), "Shoes" (http://cache.boston.com/news/packages/krt/millennium/html/p_shoes.htm) , Millennium Web Package , San Jose (/wiki/San_Jose,_California) : Knight Ridder/Tribune Information Services . ^ (#cite_ref-15) Meier, Gabriel (1908), "Sts. Crispin and Crispinian" (https://www.newadvent.org/cathen/04491a.htm) , The Catholic Encyclopedia , vol. 4, New York: Robert Appleton Co. . ^ (#cite_ref-16) "Dangerous Elegance: A History of High-Heeled Shoes" (http://www.randomhistory.com/1-50/036heels.html) . Retrieved July 1, 2010 . ^ (#cite_ref-17) Ergil, Leyla Yvonne (11 August 2017), "Magic Slippers: Tales of the Turkish 'Terlik' (https://www.dailysabah.com/expat-corner/2017/08/11/magic-slippers-tales-of-the-turkish-terlik) " (https://www.dailysabah.com/expat-corner/2017/08/11/magic-slippers-tales-of-the-turkish-terlik) , The Daily Sabah . ^ (#cite_ref-18) Goonetilleke, Ravindra (2012), The Science of Footwear (Human Factors and Ergonomics) , CRC Press, ISBN (/wiki/ISBN_(identifier)) 978-1-4398-3568-5 . ^ (#cite_ref-19) Dangerous Elegance: A History of High-Heeled Shoes , retrieved 1 July 2010 ^ (#cite_ref-20) Rétif, Nicolas-Edme (/wiki/Nicolas-Edme_R%C3%A9tif) (1769), Le Pied de Fanchette (in French) . ^ (#cite_ref-Frazine_Richard_21-0) Frazine, Richard Keith (1993). The Barefoot Hiker . Ten Speed Press. p. 98. 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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 , vol. 41, Cambridge (/wiki/Cambridge,_England) : Cambridge University Press, pp. 59–63, JSTOR (/wiki/JSTOR_(identifier)) 2120894 (https://www.jstor.org/stable/2120894) . ^ (#cite_ref-25) Federal Writer's Project of the Works Progress Administration for Massachusetts (1937), "Lynn" (https://www.livingplaces.com/MA/Essex_County/Lynn_City.html) , Massachusetts: A Guide to Its Places and People , American Guide Series, Cambridge (/wiki/Cambridge,_Massachusetts) : Riverside Press . ^ (#cite_ref-26) "How Massachusetts Became Shoemaker to the Country" (https://www.computerimages.com/musings/massachusetts-shoe-industry.html) , Official site (https://www.computerimages.com) , Boston: Computer Images, 2016 . ^ (#cite_ref-27) Dooley, William H. (1912), A Manual of Shoemaking and Leather and Rubber Products , Boston: Little, Brown, & Co., p. 253 ^ (#cite_ref-28) "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 2 February 2014 , retrieved 1 July 2023 . ^ (#cite_ref-29) Cutter, William Richard; et al. (2021), "John Brooks Nichols" (https://www.fiddlebase.com/biographical-sketches/nichols-john-brooks/) , Fiddlebase . ^ (#cite_ref-30) 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) . ^ (#cite_ref-FOOTNOTEComputer_Images2016_31-0) Computer Images (2016) (#CITEREFComputer_Images2016) . ^ (#cite_ref-32) Herwick, Edgar B. III (30 May 2014), "How Lynn Became the Shoe Capital of the World" (https://www.wgbh.org/news/post/how-lynn-became-shoe-capitol-world) , Official site (https://www.wgbh.org) , Boston: WGBH . ^ (#cite_ref-33) Beevor, Antony (2012), The Second World War , London: Hachette, p. 91 (https://books.google.com/books?id=u0TbaPWrOO4C&pg=PT91) , ISBN (/wiki/ISBN_(identifier)) 9780297860709 . ^ (#cite_ref-34) Nolan, Cathal J. (2010), "Guomintang" (https://books.google.com/books?id=8ZJxDwAAQBAJ&pg=PA488) , The Concise Encyclopedia of World War II , vol. I, Santa Barbara (/wiki/Santa_Barbara,_California) : Greenwood, ISBN (/wiki/ISBN_(identifier)) 9780313365270 . ^ (#cite_ref-35) Camp, LaVonne Telshaw (1997), Lingering Fever: A World War II Nurse's Memoir , Jefferson (/wiki/Jefferson,_North_Carolina) : McFarland & Co., p. 41 (https://books.google.com/books?id=zTAv213uxj4C&pg=PA41) , ISBN (/wiki/ISBN_(identifier)) 9780786403226 . ^ Jump up to: a b c d e Clothier & al. (2005) (#CITEREFClothier_&_al.2005) , p. 6. ^ (#cite_ref-37) "History of Shoemaking in Britain—The 20th Century" (https://web.archive.org/web/20140219012341/http://staffscc.net/shoes1/?p=129) , Heart & Sole: Boot and Shoe Making in Staffordshire , Shugborough: Staffordshire County Museum, 9 December 2010, archived from the original on 19 February 2014 , retrieved 3 July 2023 {{ citation (/wiki/Template:Citation) }} : CS1 maint: bot: original URL status unknown ( link (/wiki/Category:CS1_maint:_bot:_original_URL_status_unknown) ) . ^ (#cite_ref-FOOTNOTEClothier_&_al.200511_38-0) Clothier & al. (2005) (#CITEREFClothier_&_al.2005) , p. 11. ^ (#cite_ref-FOOTNOTEClothier_&_al.200530_39-0) Clothier & al. (2005) (#CITEREFClothier_&_al.2005) , p. 30. ^ (#cite_ref-40) Clothier, Anthony; et al. (21 September 2005), The Chinese Footwear Industry and Its Influence upon the World Trade (PDF) , 15th Meeting of the UNIDO Leather Panel, Leo/n (/w/index.php?title=Leo/n,_Mexico&action=edit&redlink=1) : United National Industrial Development Organization, p. 5 . ^ (#cite_ref-41) "Footwear" (https://oec.world/en/profile/hs/footwear-1264?redirect=true) , Observatory of Economic Complexity , Cambridge (/wiki/Cambridge,_Massachusetts) : Datawheel, 2023 . ^ (#cite_ref-42) Smith, P. (2022), "Leading 10 Global Footwear Exporters 2021 by Country" (https://www.statista.com/statistics/227296/leading-10-global-footwear-exporters-by-country/) , Official site (https://www.statista.com) , New York: Statista . ^ (#cite_ref-FOOTNOTEOEC2023_43-0) OEC (2023) (#CITEREFOEC2023) . ^ (#cite_ref-44) "The Fascinating History Of Footwear" (http://all-that-is-interesting.com/fascinating-history-footwear) . All That Is Interesting . 2013-04-23 . Retrieved 2016-10-24 . ^ (#cite_ref-45) "What materials are used to make Nike shoes?" (https://www.reference.com/beauty-fashion/materials-used-make-nike-shoes-ed3243e8c66589de) . Reference . Retrieved 2016-10-24 . ^ (#cite_ref-46) Directorate-General for Enterprise and Industry (European Commission) (2012). In-depth assessment of the situation of the European footwear sector and prospects for its future development (https://op.europa.eu/en/publication-detail/-/publication/daf8fc79-394f-4157-996d-829b63b916dc) (Report). NB-01-14-255-EN-N . Retrieved 6 December 2023 . ^ (#cite_ref-47) "Footwear Industry Statistics" (https://web.archive.org/web/20150520075302/http://www.statisticbrain.com/footwear-industry-statistics) . www.statisticbrain.com . Archived from the original (http://www.statisticbrain.com/footwear-industry-statistics/) on 20 May 2015 . Retrieved 2 May 2015 . ^ (#cite_ref-48) "Shoe & Footwear Manufacturing in the US Market Research – IBISWorld" (http://www.ibisworld.com/industry/default.aspx?indid=369) . Retrieved 2 May 2015 . ^ (#cite_ref-49) "Standard Specification for Performance Requirements for Protective (Safety) Toe Cap Footwear" (http://www.astm.org/Standards/F2413.htm) . Retrieved 5 July 2016 . ^ (#cite_ref-50) "ISO – ISO Standards – ISO/TC 216 – Footwear" (http://www.iso.org/iso/iso_catalogue/catalogue_tc/catalogue_tc_browse.htm?commid=54972) . Retrieved 2 May 2015 . ^ Jump up to: a b c d e Gardner, Ross M. (30 June 2021). Practical crime scene processing and investigation . Taylor & Francis Limited. ISBN (/wiki/ISBN_(identifier)) 978-1-032-09443-4 . OCLC (/wiki/OCLC_(identifier)) 1255870591 (https://www.worldcat.org/oclc/1255870591) . ^ Jump up to: a b c Baxter Jr, E (2015). Complete Crime Scene Investigation Handbook . CRC Press. pp. 284–285. Further reading [ edit ] Goonetilleke, R.S. (2012). The Science of Footwear . Human Factors and Ergonomics. Taylor & Francis. ISBN (/wiki/ISBN_(identifier)) 978-1-4398-3568-5 . 726 pages. Wilcox, R.T. (2008). The Mode in Footwear: A Historical Survey with 53 Plates . Dover Fashion and Costumes Series. Dover Publications. ISBN (/wiki/ISBN_(identifier)) 978-0-486-46761-0 . 190 pages. Riello, G. (2006). A Foot in the Past: Consumers, Producers and Footwear in the Long Eighteenth Century . Pasold studies in textile history. Pasold Research Fund/Oxford University Press. ISBN (/wiki/ISBN_(identifier)) 0-19-929225-6 . 302 pages. External links [ edit ] Media related to Footwear (https://commons.wikimedia.org/wiki/Footwear) at Wikimedia Commons Britannica: clothing and footwear industry (https://www.britannica.com/eb/article-9108380/clothing-and-footwear-industry) v t e Footwear Abandoned footwear (/wiki/Abandoned_footwear) Shoe (/wiki/Shoe) Shoemaking (/wiki/Shoemaking) Shoe size (/wiki/Shoe_size) Dress shoes (/wiki/Dress_shoe) Blucher (/wiki/Blucher_shoe) Brogues (/wiki/Brogue_shoe) Brothel creepers (/wiki/Brothel_creeper) Derby (/wiki/Derby_shoe) Monks (/wiki/Monk_shoe) Oxfords (/wiki/Oxford_shoe) Spectator shoes (Co-respondent shoes) (/wiki/Spectator_shoe) Winklepickers (/wiki/Winklepicker) Wholecuts (/wiki/Wholecut) Slip-on shoes (/wiki/Slip-on_shoe) Court shoes (/wiki/Court_shoe) Prince Albert slippers (/wiki/Slipper#Types) Loafers (/wiki/Slip-on_shoe#Types_of_loafer) Venetian-style shoes (/wiki/Venetian-style_shoe) Women's Ballet flats (/wiki/Ballet_flat) High-heeled footwear (/wiki/High-heeled_shoe) 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(/wiki/Wellington_boot) Ballet boots (/wiki/Ballet_boot) Sport-related footwear Athletic shoes (/wiki/Sneaker) Ballet shoes (/wiki/Ballet_shoe) Boat shoes (/wiki/Boat_shoe) Climbing shoes (/wiki/Climbing_shoe) Cross country running shoes (/wiki/Cross_country_running_shoe) Cycling shoes (/wiki/Cycling_shoe) Football boots (/wiki/Football_boot) Ghillies (/wiki/Ghillies_(dance)) Hiking boots (/wiki/Hiking_boot) Ice skates (/wiki/Ice_skate) Inline skates (/wiki/Inline_skates) Kung fu shoes (/wiki/Kung_fu_shoe) Minimalist shoes (/wiki/Minimalist_shoe) Motorcycle boots (/wiki/Motorcycle_boot) Mountaineering boots (/wiki/Mountaineering_boot) Plimsolls (/wiki/Plimsoll_(shoe)) Racing flats (/wiki/Racing_flat) Racing shoes (/wiki/Racing_shoes) Riding boots (/wiki/Riding_boot) Roller shoes (/wiki/Roller_shoe) Roller skates (/wiki/Roller_skates) Sabatons (/wiki/Sabaton) Safari boots (/wiki/Safari_boot) Skate shoes (/wiki/Skate_shoe) Ski boots (/wiki/Ski_boot) Sneakers (/wiki/Sneaker) Swimfins (/wiki/Swimfin) Water shoes (/wiki/Water_shoe) Wrestling shoes (/wiki/Wrestling_shoe) Folk footwear (/wiki/Folk_costume) Abacas (/wiki/Abaca_slippers) Abarkas (/wiki/Abarka) Alpargatas (/wiki/Espadrille) Avarcas (/wiki/Avarca) Balghas (/wiki/Balgha) Bast shoes (/wiki/Bast_shoe) Ciocie (/wiki/Ciocie) Clogs (/wiki/Clog) Espadrilles (/wiki/Espadrille) Furlane (/wiki/Furlane_(shoe)) Galesh (/wiki/Galesh) Geta (/wiki/Geta_(footwear)) Giveh (/wiki/Giveh) Haferlschuh (/wiki/Haferlschuh) Hnyat-phanats (/wiki/Hnyat-phanat) Huarache (/wiki/Huarache_(shoe)) Hwa (/wiki/Hwa) Jipsin (/wiki/Jipsin) Jorabs (/wiki/Jorabs) Kamiks (/wiki/Kamik) Kolhapuri chappals (/wiki/Kolhapuri_chappal) Moccasins (/wiki/Moccasin) Mojaris (/wiki/Mojari) Mukluks (/wiki/Mukluk) Nalins (/wiki/Turkish_clogs) Okobo (/wiki/Okobo) Opanci (/wiki/Opanak) Peshawari chappals (/wiki/Peshawari_chappal) Snowshoes (/wiki/Snowshoe) Tsarouchi (/wiki/Tsarouchi) Takunya (/wiki/Turkish_clogs) Upanah (/wiki/Upanah) Valenkis (/wiki/Valenki) 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(/wiki/Anklet_(sock)) Bobby socks (/wiki/Bobby_sock) Dress socks (/wiki/Dress_sock) Footwraps (/wiki/Footwrap) Knee highs (/wiki/Knee_highs) Pantyhose (/wiki/Pantyhose) Sock (/wiki/Sock) Stocking (/wiki/Stocking) Tights (/wiki/Tights) Toe socks (/wiki/Toe_sock) Tabi (/wiki/Tabi) List of shoe styles (/wiki/List_of_shoe_styles) 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 (/wiki/High-rise_(fashion)) Lowrise (/wiki/Low-rise_(fashion)) Jeans (/wiki/Jeans) Jodhpurs (/wiki/Jodhpurs) Overalls (/wiki/Overalls) Palazzo (/wiki/Palazzo_pants) Parachute (/wiki/Parachute_pants) Pedal pushers (/wiki/Pedal_pushers) Phat (/wiki/Phat_pants) Shorts (/wiki/Shorts) Bermuda (/wiki/Bermuda_shorts) dycling (/wiki/Cycling_shorts) dolphin (/wiki/Dolphin_shorts) gym (/wiki/Gym_shorts) hotpants (/wiki/Hotpants) running (/wiki/Running_shorts) Slim-fit (/wiki/Slim-fit_pants) Sweatpants (/wiki/Sweatpants) Windpants (/wiki/Windpants) Yoga pants (/wiki/Yoga_pants) Suits (/wiki/Suit) and uniforms (/wiki/Uniform) Ceremonial dress (/wiki/Ceremonial_dress) academic (/wiki/Academic_dress) court (/wiki/Court_dress) diplomatic (/wiki/Diplomatic_uniform) Folk (/wiki/Folk_costume) Jodhpuri (/wiki/Jodhpuri) Jumpsuit (/wiki/Jumpsuit) Military (/wiki/Military_uniform) full (/wiki/Full_dress_uniform) mess (/wiki/Mess_dress_uniform) service (/wiki/Service_dress_uniform) sailor (/wiki/Sailor_suit) combat (/wiki/Combat_uniform) Pantsuit (/wiki/Pantsuit) Religious (/wiki/Religious_clothing) cassock (/wiki/Cassock) clerical (/wiki/Clerical_clothing) vestment (/wiki/Vestment) School (/wiki/School_uniform) Prison (/wiki/Prison_uniform) Workwear (/wiki/Workwear) boilersuit (/wiki/Boilersuit) cleanroom (/wiki/Cleanroom_suit) hazmat (/wiki/Hazmat_suit) space (/wiki/Space_suit) scrubs (/wiki/Scrubs_(clothing)) Dresses (/wiki/Dress) and gowns (/wiki/Gown) Formal, semi- formal, informal Backless (/wiki/Backless_dress) Bouffant gown (/wiki/Bouffant_gown) Coatdress (/wiki/Coatdress) Cocktail (/wiki/Cocktail_dress) little black (/wiki/Little_black_dress) Evening (/wiki/Evening_gown) ball gown (/wiki/Ball_gown) debutante (/wiki/Debutante_dress) Plain (/wiki/Plain_dress) Prairie (/wiki/Prairie_dress) Princess line (/wiki/Princess_line) Strapless (/wiki/Strapless_dress) Wedding (/wiki/Wedding_dress) Wrap (/wiki/Wrap_dress) Casual House (/wiki/House_dress) Jumper (/wiki/Jumper_(dress)) Romper suit (/wiki/Romper_suit) Sheath (/wiki/Sheath_dress) Shirtdress (/wiki/Shirtdress) Slip (/wiki/Slip_dress) Sundress (/wiki/Sundress) Skirts (/wiki/Skirt) A-line (/wiki/A-line_(clothing)) Ballerina (/wiki/Ballerina_skirt) Denim (/wiki/Denim_skirt) Men's (/wiki/Men%27s_skirts) Miniskirt (/wiki/Miniskirt) Pencil (/wiki/Pencil_skirt) Prairie (/wiki/Prairie_skirt) Rah-rah (/wiki/Rah-rah_skirt) Sarong (/wiki/Sarong) Skort (/wiki/Skort) Tutu (/wiki/Tutu_(clothing)) Wrap (/wiki/Wrap_(clothing)) Underwear (/wiki/Underwear) and lingerie (/wiki/Lingerie) Top Bra (/wiki/Bra) Camisole (/wiki/Camisole) Undershirt (/wiki/Undershirt) Bottom 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(/wiki/Sling_swimsuit) Square leg suit (/wiki/Square_leg_suit) Swim briefs (/wiki/Swim_briefs) Swim diaper (/wiki/Swim_diaper) Trunks (/wiki/Trunks_(clothing)) Wetsuit (/wiki/Wetsuit) Footwear Boot (/wiki/Boot) Court shoe (/wiki/Court_shoe) Dress boot (/wiki/Dress_boot) Dress shoe (/wiki/Dress_shoe) Flip-flops (/wiki/Flip-flops) Sandal (/wiki/Sandal) Shoe (/wiki/Shoe) Slipper (/wiki/Slipper) Sneaker (/wiki/Sneaker) Legwear (/wiki/Hosiery) Sock (/wiki/Sock) Hold-ups (/wiki/Hold-ups) Garter (/wiki/Garter) Pantyhose (/wiki/Pantyhose) Stocking (/wiki/Stocking) Tights (/wiki/Tights) Accessories (/wiki/Fashion_accessory) Belt (/wiki/Belt_(clothing)) Boutonnière (/wiki/Boutonni%C3%A8re) Coin purse (/wiki/Coin_purse) Cufflink (/wiki/Cufflink) Cummerbund (/wiki/Cummerbund) Gaiters (/wiki/Gaiters) Glasses (/wiki/Glasses) Gloves (/wiki/Glove) Headband (/wiki/Headband) Handbag (/wiki/Handbag) Jewellery (/wiki/Jewellery) Livery (/wiki/Livery) Muff (/wiki/Muff_(handwarmer)) Pocket protector (/wiki/Pocket_protector) Pocket watch (/wiki/Pocket_watch) Sash (/wiki/Sash) Spats (/wiki/Spats_(footwear)) Sunglasses (/wiki/Sunglasses) Suspenders (/wiki/Suspenders) Umbrella (/wiki/Umbrella) Wallet (/wiki/Wallet) Watch (/wiki/Watch) Dress codes (/wiki/Dress_code) Western (/wiki/Western_dress_codes) Formal (/wiki/Formal_wear) morning dress (/wiki/Morning_dress) white tie (/wiki/White_tie) Semi-formal (/wiki/Semi-formal_wear) black lounge suit (/wiki/Black_lounge_suit) black tie (/wiki/Black_tie) Informal (/wiki/Informal_wear) Casual (/wiki/Casual_wear) Related Clothing fetish (/wiki/Clothing_fetish) Clothing swap (/wiki/Clothing_swap) Costume (/wiki/Costume) creature suit (/wiki/Creature_suit) Halloween costume (/wiki/Halloween_costume) Cross-dressing (/wiki/Cross-dressing) Environmental impact (/wiki/Environmental_impact_of_fashion) Fashion (/wiki/Fashion) haute couture (/wiki/Haute_couture) made-to-measure (/wiki/Made-to-measure) ready-to-wear (/wiki/Ready-to-wear) Fur clothing (/wiki/Fur_clothing) types (/wiki/List_of_types_of_fur) Fursuit (/wiki/Fursuit) Global trade of secondhand clothing (/wiki/Global_trade_of_secondhand_clothing) Laws (/wiki/Clothing_laws_by_country) List of individual dresses (/wiki/List_of_individual_dresses) Reconstructed clothing (/wiki/Reconstructed_clothing) Right to clothing (/wiki/Right_to_clothing) Vintage clothing (/wiki/Vintage_clothing) Clothing portal (/wiki/Portal:Clothing) 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) Justacorps (/wiki/Justacorps) Paenula (/wiki/Paenula) Peplos (/wiki/Peplos) Stola (/wiki/Stola) Toga (/wiki/Toga) Tunic (/wiki/Tunic) Xout lao (/wiki/Xout_lao) Tops (/wiki/Top_(clothing)) Basque (/wiki/Basque_(clothing)) Bedgown (/wiki/Bedgown) Bodice (/wiki/Bodice) Doublet (/wiki/Doublet_(clothing)) Peascod belly (/wiki/Peascod_belly) Poet shirt (/wiki/Poet_shirt) Sbai (/wiki/Sbai) Suea pat (/wiki/Suea_pat) Trousers (/wiki/Trousers) Braccae (/wiki/Braccae) Breeches (/wiki/Breeches) Sompot Chong Kben (/wiki/Sompot_Chong_Kben) Culottes (/wiki/Culottes) Harem (/wiki/Harem_pants) Knickerbockers (/wiki/Knickerbockers_(clothing)) Pedal pushers (/wiki/Pedal_pushers) Saragüells (/w/index.php?title=Sarag%C3%BCells&action=edit&redlink=1) [ ca (https://ca.wikipedia.org/wiki/Sarag%C3%BCells) ] Skirts (/wiki/Skirt) Hobble (/wiki/Hobble_skirt) Poodle (/wiki/Poodle_skirt) Safeguard (/wiki/Safeguard_(costume)) Sompot (/wiki/Sompot) Sinh (/wiki/Sinh_(clothing)) Train (/wiki/Train_(clothing)) Dresses (/wiki/Dress) Bliaut (/wiki/Bliaut) Close-bodied gown (/wiki/Close-bodied_gown) Debutante (/wiki/Debutante_dress) Gown 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(/wiki/Palla_(garment)) Pallium (/wiki/Pallium_(Roman_cloak)) Pelisse (/wiki/Pelisse) Poncho (/wiki/Poncho) Shadbelly (/wiki/Shadbelly) Shawl (/wiki/Shawl) Galway shawl (/wiki/Galway_shawl) Kullu (/wiki/Kullu_shawl) Smock-frock (/wiki/Smock-frock) Spencer (/wiki/Spencer_(clothing)) Surcoat (/wiki/Surcoat) Surtout (/wiki/Surtout) Ulster coat (/wiki/Ulster_coat) Visite (/wiki/Visite) Witzchoura (/wiki/Witzchoura) Underwear (/wiki/Undergarment) Basque (/wiki/Basque_(clothing)) Bustle (/wiki/Bustle) Chausses (/wiki/Chausses) Chemise (/wiki/Chemise) Codpiece (/wiki/Codpiece) Corselet (/wiki/Corselet) Corset (/wiki/Corset) Waist cincher (/wiki/Waist_cincher) Dickey (/wiki/Dickey_(garment)) Garter (/wiki/Garter) Hoop skirt (/wiki/Hoop_skirt) Crinoline (/wiki/Crinoline) Farthingale (/wiki/Farthingale) Pannier (/wiki/Pannier_(clothing)) Hose (/wiki/Hose_(clothing)) Liberty bodice (/wiki/Liberty_bodice) Loincloth (/wiki/Loincloth) Open drawers (/wiki/Open_drawers) Pantalettes (/wiki/Pantalettes) 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Shopping street in Milan, Italy Via Monte Napoleone Former name(s) Monte Napoleone Namesake Monte Camerale di Santa Teresa, a bank located on the street Type Public Maintained by City of Milan Length 350 m (1,150 ft) Area Quadrilatero della Moda (/wiki/Quadrilatero_della_Moda) Location Milan, Italy (/wiki/Milan,_Italy) Postal code 20121 Nearest metro station Montenapoleone (/wiki/Montenapoleone_(Milan_Metro)) , San Babila (/wiki/San_Babila_(Milan_Metro)) Coordinates 45°28′06″N 9°11′43″E / 45.46826°N 9.19520°E / 45.46826; 9.19520 West end Via Alessandro Manzoni East end Corso Giacomo Matteotti Other Known for High fashion boutiques Via Monte Napoleone , also spelled Via Montenapoleone , is an upscale shopping (/wiki/Luxury_goods) street in Milan (/wiki/Milan) , Italy (/wiki/Italy) , Europe (/wiki/Europe) 's most expensive street and the second most expensive street in the world after Fifth Avenue (/wiki/Fifth_Avenue) in New York City (/wiki/New_York_City) (2023). [1] (#cite_note-1) It is famous for its ready-to-wear (/wiki/Ready-to-wear) fashion (/wiki/Fashion) and jewelry (/wiki/Jewelry) shops, and for being the most important street of the Milan fashion district known as the Quadrilatero della moda (/wiki/Quadrilatero_della_moda) , where many well-known fashion designers (/wiki/Fashion_designers) have high-end boutiques. The most exclusive Italian shoemakers maintain boutiques on this street. In 2009, architect Fabio Novembre (/wiki/Fabio_Novembre) designed a months-long art installation, titled Per fare un albero , ‘To make a tree’ in conjunction with the city of Milan's Department of Design, Events and Fashion and Fiat — featuring 20 full-size fiberglass planter replicas of the company's 500C cabriolet (/wiki/Fiat_500_(2007)) along Via Monte Napoleone. [2] (#cite_note-planters-2) In 2002, the Street Association started a media project [3] (#cite_note-3) including the Radio and the Portal, in order to relaunch the Made in Italy (/wiki/Made_in_Italy) brand. Sponsored by the Department of Fashion, Tourism and Major Events of the Municipality of Milan, Italy Fashion System, and Assomoda, today it is the first instrument of revival and information on Made in Italy worldwide. History [ edit ] The street traces the Roman city walls erected by Emperor Maximian (/wiki/Maximian) . In 1783, a financial institution known as the Monte Camerale di Santa Teresa opened there in Palazzo Marliani, with the function of managing the public debt. In 1786 the street itself was named after the monte . [4] (#cite_note-4) The bank was closed in 1796 but re-opened in 1804, when Milan was capital of the Napoleonic Italian Republic (/wiki/Italian_Republic_(Napoleonic)) , as the Monte Napoleone: from this the street derived its current name. During the first part of the 19th century the street was almost entirely rebuilt in the Neoclassical (/wiki/Neoclassical_architecture) manner with palaces inhabited by the highest of the aristocracy. Notable buildings from this period are Palazzo Melzi di Cusano (/wiki/Palazzo_Melzi_di_Cusano) , Palazzo Gavazzi (/wiki/Palazzo_Gavazzi) , Palazzo Carcassola Grandi (/wiki/Palazzo_Carcassola_Grandi) , and Palazzetto Taverna (/w/index.php?title=Palazzetto_Taverna&action=edit&redlink=1) . The much earlier Palazzo Marliani however, regarded as one of the finest houses to survive from the era of the Sforza (/wiki/Sforza) , was preserved until its destruction during the Allied bombing campaign of 1943. [5] (#cite_note-trivulzio-5) [6] (#cite_note-gorni-6) [7] (#cite_note-buzzi-7) [8] (#cite_note-tci-milano-8) After World War II (/wiki/World_War_II) , Via Monte Napoleone became one of the leading streets in international fashion, somewhat equivalent to Paris (/wiki/Paris) ' Rue du Faubourg-Saint-Honoré (/wiki/Rue_du_Faubourg-Saint-Honor%C3%A9) , Rome (/wiki/Rome) 's Via Condotti (/wiki/Via_Condotti) , London (/wiki/London) 's Bond Street (/wiki/Bond_Street) and Sloane Street (/wiki/Sloane_Street) , Los Angeles (/wiki/Los_Angeles) ' Rodeo Drive (/wiki/Rodeo_Drive) , Florence (/wiki/Florence) 's Via de' Tornabuoni (/wiki/Via_de%27_Tornabuoni) , Berlin's Kurfürstendamm (/wiki/Kurf%C3%BCrstendamm) and New York's Fifth Avenue (/wiki/Fifth_Avenue) . [ citation needed ] Caffè Cova (/wiki/Caff%C3%A8_Cova) , founded in 1817 and one of the city's oldest cafés (/wiki/Caf%C3%A9) and confectioners, relocated to Via Monte Napoleone in 1950 from its original premises next to the Teatro alla Scala (/wiki/Teatro_alla_Scala) . [9] (#cite_note-cova-9) List of brands in Montenapoleone A. Testoni Alberta Ferretti (/wiki/Alberta_Ferretti) Alberto Guardiani Alexander Mcqueen Alfieri & Saint John Alviero Martini (/wiki/Alviero_Martini) Angelo Fusco Aprica Armani Collezioni (/wiki/Armani) Armani Junior (/wiki/Armani) Ars Rosa Aspesi Atelier Aimée (http://www.aimee.it) Audemars Piguet (/wiki/Audemars_Piguet) Baldinini Bally (/wiki/Bally_Shoe) Bottega Veneta (/wiki/Bottega_Veneta) Buccellati (/wiki/Buccellati) Damiani (jewelry company) (/wiki/Damiani_(jewelry_company)) Ermenegildo Zegna (/wiki/Ermenegildo_Zegna_Group) Etro (/wiki/Etro) Fabi Fedeli Red and Blue Francesco Biasia Fratelli Rossetti Frette (/wiki/Frette) G.Lorenzi Gallia&Peter Gastone Lucioli Gavello Geox (/wiki/Geox) Gianmaria Buccellati [10] (#cite_note-10) Gianni Accardi Giorgetti Space Giuseppe Zanotti Gucci (/wiki/Gucci) Hermès (/wiki/Herm%C3%A8s) Hogan (/wiki/Hogan) Iceberg (/wiki/Iceberg) La Murrina La Perla (clothing) (/wiki/La_Perla_(clothing)) Larusmiani Lorenz Loro Piana (/wiki/Loro_Piana) Louis Vuitton (/wiki/Louis_Vuitton) Mancadori Marano Mariano Rubinacci Mariella Burani Fashion Group (/wiki/Mariella_Burani_Fashion_Group) Marni Mastro Raphael Malegari e Costa Miss Sixty Miu Miu Moncler (opening soon) Montblanc (/wiki/Montblanc_(pens)) Mortarotti (http://www.mortarotti.com) Nara Camicie Narciso Rodriguez (/wiki/Narciso_Rodriguez) Nella Longari Omega (/wiki/Omega_SA) Paul & Shark Pederzani Philosophy by Alberta Ferretti (/wiki/Alberta_Ferretti) Pianegonda (/w/index.php?title=Pianegonda&action=edit&redlink=1) Pisa Prada Men (/wiki/Prada) Prada Women (/wiki/Prada) Pucci (/wiki/Emilio_Pucci) Ralph Lauren (/wiki/Ralph_Lauren) Rocca Calderoni Sabbadini Salvatore Ferragamo Men (/wiki/Salvatore_Ferragamo) Salvatore Ferragamo Women (/wiki/Salvatore_Ferragamo) Sarli Couture Scappino (/wiki/Scappino_(Fashion_House)) Sebastiani Sergio Rossi (/wiki/Sergio_Rossi) Silvano Lattanzi Simonetta Ravizza Spreafico Swatch (/wiki/Swatch) Tanino Crisci Valentino Man (/wiki/Valentino_SpA) Valentino Woman (/wiki/Valentino_SpA) Venini (/wiki/Venini) Versace (/wiki/Gianni_Versace_S.p.A.) Vetrerie di Empoli Vierre Yves Saint Laurent (/wiki/Yves_Saint_Laurent_(brand)) Gallery [ edit ] Gucci (/wiki/Gucci) Shop, Via Montenapoleone Moncler (/wiki/Moncler) Shop, Via Montenapoleone. An arcaded boutique in Via Montenapoleone The Caffè Cova delicatessen serving traditional Milanese cakes and desserts in Via Montenapoleone Via Montenapoleone during the Christmas period. See also [ edit ] Fashion portal (/wiki/Portal:Fashion) List of upscale shopping districts (/wiki/List_of_upscale_shopping_districts) References [ edit ] ^ (#cite_ref-1) "Via Monte Napoleone scala la classifica mondiale delle strade del lusso: seconda solo alla Fifth Avenue di New York" (https://milano.corriere.it/notizie/cronaca/23_novembre_30/via-monte-napoleone-scala-la-classifica-mondiale-delle-strade-del-lusso-seconda-solo-alla-fifth-avenue-di-new-york-38c12cba-c8b2-4770-8059-2c59e3c70xlk.shtml) . ^ (#cite_ref-planters_2-0) Dave Pinter (August 14, 2009). "Fiat Greens a Milan Street With Car Shaped Planters" (http://www.psfk.com/2009/08/fiat-greens-a-milan-street-with-car-shaped-planters.html) . PSFK.com. ^ (#cite_ref-3) "via Montenapoleone - Made In Italy" (http://www.viamontenapoleone.mi.it) . Retrieved 2 April 2016 . ^ (#cite_ref-4) For a monte as a financial institution, cf. Monte di Pietà (/wiki/Monte_di_Piet%C3%A0) . ^ (#cite_ref-trivulzio_5-0) Alberto Trivulzio, ‘Via Monte Napoleone, perché si chiama cosi?’ (http://archiviostorico.corriere.it/1994/ottobre/05/via_Monte_Napoleone_perche_chiama_co_0_9410052337.shtml) , Corriere della Sera , 5 October 1994, p. 47. ^ (#cite_ref-gorni_6-0) Davide Gorni, ‘Montenapoleone, la guerra degli sfratti milionari’ (http://archiviostorico.corriere.it/2003/giugno/23/Montenapoleone_guerra_degli_sfratti_milionari_co_7_030623033.shtml) , Corriere della Sera , 23 June 2003, p. 49. ^ (#cite_ref-buzzi_7-0) Vittore Buzzi and Claudio Buzzi, Le vie di Milano: dizionario della toponomastica milanese (Milan: Hoepli Editore, 2005), p. 270 ^ (#cite_ref-tci-milano_8-0) Milano , Guida d'Italia del Touring club italiano, 10th edn (Milan: Touring Editore, 1998), p. 292. ^ (#cite_ref-cova_9-0) ‘The old Cova Café in the history of Milan’ (http://www.pasticceriacova.com/storia/history.html) Archived (https://web.archive.org/web/20100326120531/http://www.pasticceriacova.com/storia/history.html) 2010-03-26 at the Wayback Machine (/wiki/Wayback_Machine) , pasticceriacova.com. ^ (#cite_ref-10) "Official Buccellati Website - Fine jewelry, luxury watches, bridal and silverware by Buccellati Milano, since 1919" (http://www.buccellati.com) . 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Semi-formal western dress code; dinner suit, tuxedo This article is about the dress code. For other uses, see Black tie (disambiguation) (/wiki/Black_tie_(disambiguation)) , Tuxedo (disambiguation) (/wiki/Tuxedo_(disambiguation)) , and Tux (disambiguation) (/wiki/Tux_(disambiguation)) . A man wearing a dinner suit (/wiki/Suit_(clothing)) with shawl lapels (/wiki/Lapel) , a cummerbund (/wiki/Cummerbund) , a black bowtie (/wiki/Bowtie) and oxfords (/wiki/Oxford_shoe) Part of a series (/wiki/Category:Formal_wear) on Western dress codes (/wiki/Western_dress_codes) and corresponding attires (/wiki/Clothing) Formal (/wiki/Formal_wear) ( full dress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) ) White tie (/wiki/White_tie) Morning dress (/wiki/Morning_dress) Full dress uniform (/wiki/Full_dress_uniform) Frock coat (/wiki/Frock_coat) Evening gown (/wiki/Evening_gown) Ball gown (/wiki/Ball_gown) Semi-formal (/wiki/Semi-formal_wear) ( half dress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) ) Black tie Black lounge suit (/wiki/Black_lounge_suit) Mess dress uniform (/wiki/Mess_dress_uniform) Evening gown (/wiki/Evening_gown) Cocktail dress (/wiki/Cocktail_dress) Informal (/wiki/Informal_wear) ( undress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) , "dress clothes") Suit (/wiki/Suit) Service dress uniform (/wiki/Service_dress_uniform) Cocktail dress (/wiki/Cocktail_dress) Pantsuit (/wiki/Pantsuit) Casual (/wiki/Casual_wear) (anything not above) Business casual (/wiki/Business_casual) Casual Friday (/wiki/Casual_Friday) Combat uniform (/wiki/Combat_uniform) Smart casual (/wiki/Smart_casual) Workwear (/wiki/Workwear) Streetwear (/wiki/Streetwear) Sportswear (/wiki/Sportswear) known as Sportswear (fashion) (/wiki/Sportswear_(fashion)) and Athleisure (/wiki/Athleisure) Undress (/wiki/Undress_code) Supplementary alternatives Ceremonial dress (/wiki/Ceremonial_dress) law courts (/wiki/Court_dress) royal courts (/wiki/Court_uniform_and_dress_in_the_United_Kingdom) diplomatic (/wiki/Diplomatic_uniform) academic (/wiki/Academic_dress) , etc. Religious clothing (/wiki/Religious_clothing) cassock (/wiki/Cassock) , habit (/wiki/Religious_habit) , etc. Folk costume (/wiki/Folk_costume) Distinctions Orders (/wiki/Order_(distinction)) medals (/wiki/Medal) , etc. Legend: = Day (before 6 p.m.) = Evening (after 6 p.m.) = Bow tie (/wiki/Bow_tie) colour = Ladies = Gentlemen Fashion portal (/wiki/Portal:Fashion) v t e Black tie is a semi-formal (/wiki/Semi-formal_wear) Western dress code (/wiki/Western_dress_code) for evening events, originating in British and North American conventions for attire (/wiki/Clothing) in the 19th century. In British English (/wiki/British_English) , the dress code is often referred to synecdochically (/wiki/Synecdochically) by its principal element for men, the dinner suit or dinner jacket . In American English (/wiki/American_English) , the equivalent term tuxedo (or tux ) is common. The dinner suit is a black, midnight blue (/wiki/Midnight_blue) or white two- or three-piece suit (/wiki/Suit_(clothing)) , distinguished by satin (/wiki/Satin) or grosgrain (/wiki/Grosgrain) jacket lapels (/wiki/Lapel) and similar stripes along the outseam (/wiki/Seam_(sewing)) of the trousers (/wiki/Trousers) . It is worn with a white dress shirt (/wiki/Dress_shirt) with standing or turndown collar (/wiki/Collar_(clothing)) and link cuffs (/wiki/Cuff) , a black bow tie (/wiki/Bow_tie) , typically an evening waistcoat (/wiki/Waistcoat) or a cummerbund (/wiki/Cummerbund) , and black patent leather (/wiki/Patent_leather) dress shoes (/wiki/Dress_shoes) or court pumps (/wiki/Court_pumps) . [1] (#cite_note-1) Accessories may include a semi-formal homburg (/wiki/Homburg_(hat)) , bowler (/wiki/Bowler_hat) , or boater hat (/wiki/Boater_hat) . For women, an evening gown (/wiki/Evening_gown) or other fashionable evening attire may be worn. The first dinner jacket is traditionally traced to 1865 on the then Prince of Wales, later King Edward VII (/wiki/Edward_VII) (1841–1910). The late 19th century saw gradual introduction of the lounge jacket (/wiki/Lounge_jacket) without tails (/wiki/Tailcoat) as a less formal and more comfortable leisure alternative to the frock coat (/wiki/Frock_coat) . Similarly, the shorter dinner jacket evolved as a less formal alternative to the dress coat (/wiki/Dress_coat) out of the informal smoking jacket (/wiki/Smoking_jacket) , itself derived from the banyan (/wiki/Banyan_(clothing)) . [ citation needed ] Thus in many non-English languages, a dinner jacket is still known as the false friend (/wiki/False_friend) "smoking". In American English (/wiki/American_English) , its synonym "tuxedo" was derived from the village of Tuxedo Park (/wiki/Tuxedo_Park,_New_York) in New York State (/wiki/New_York_State) , where it was introduced in 1886 following the example of Europeans. Following the counterculture of the 1960s (/wiki/Counterculture_of_the_1960s) , black tie has increasingly replaced white tie (/wiki/White_tie) for more formal settings in the United States, along with cultures influenced by American culture (/wiki/American_culture) . Traditionally worn only for events after 6 p.m., black tie is less formal than white tie but more formal than informal or business dress (/wiki/Informal_attire) . [2] (#cite_note-DebrettWeb-2) As semi-formal, black tie are worn for dinner parties (public, fraternities (/wiki/Fraternity) , private) and sometimes even to balls (/wiki/Ball_(dance_party)) and weddings (/wiki/Wedding) , although etiquette experts discourage wearing of black tie for weddings. Traditional semi-formal day wear equivalent is black lounge suit (/wiki/Black_lounge_suit) . Supplementary semi-formal alternatives may be accepted for black tie: mess dress uniform (/wiki/Mess_dress_uniform) , religious clothing (/wiki/Religious_clothing) (such as cassock (/wiki/Cassock) ), folk costumes (/wiki/Folk_costume) (such as highland dress (/wiki/Highland_dress) ), etc. Name [ edit ] Dinner jacket in the context of menswear first appeared in the United Kingdom around 1887 [3] (#cite_note-3) and in the United States around 1889. [4] (#cite_note-4) In the 1960s it became associated in the United States with white or coloured jackets specifically. [5] (#cite_note-5) In modern British English, dinner jacket may be abbreviated to simply a "DJ". [6] (#cite_note-6) Tuxedo in the context of menswear originated in the United States around 1888. [7] (#cite_note-7) It was named after Tuxedo Park (/wiki/Tuxedo_Park,_New_York) , a Hudson Valley (/wiki/Hudson_Valley) enclave for New York (/wiki/New_York_(state)) 's social elite where it was often seen in its early years. The term was capitalized until the 1930s and traditionally referred only to a white jacket. [8] (#cite_note-auto-8) When the jacket was later paired with its own unique trousers (/wiki/Trousers) and accessories in the 1900s the term began to be associated with the entire suit. Sometimes it is shortened to "tux" . [9] (#cite_note-9) In French, Italian, Portuguese, German, Polish, Russian, Spanish, Persian, Turkish, and other European languages the style is referred to with the pseudo-anglicism (/wiki/Pseudo-anglicism) smoking ( esmoquin ). This generic colloquialism (/wiki/Genericized_trademark) is a false friend (/wiki/False_friend) deriving from its similarity with the 19th century smoking jacket (/wiki/Smoking_jacket) . In French the dress code may also be called "cravate noire", [10] (#cite_note-10) a term that is sometimes adopted directly into English. [11] (#cite_note-11) The suit with accompanying accessories is sometimes nicknamed a monkey suit and, since 1918, soup and fish – a term derived from the sort of food thought to be served at black tie dinners. [12] (#cite_note-12) [13] (#cite_note-13) [14] (#cite_note-14) History [ edit ] British origins in the 19th century [ edit ] Illustration of British peaked lapel and shawl collar (/wiki/Shawl_collar) dinner jackets, 1898. As substitutes for tailcoats (/wiki/Tailcoat) , dinner jackets were originally worn with full dress (/wiki/White_tie) accessories, including white waist coat (/wiki/Waist_coat) . In the 1860s, the increasing popularity of outdoor activities among the middle and upper classes of the UK led to a corresponding increase in the popularity of the then casual (/wiki/Casual_wear) lounge suit (/wiki/Lounge_suit) as a country alternative to the more formal (/wiki/Formal_wear) day wear frock coat (/wiki/Frock_coat) that was traditionally worn in town. Men also sought a similar alternative to the formal evening tailcoat (/wiki/Tailcoat) , then known as a "dress coat", worn every evening. [8] (#cite_note-auto-8) The earliest record of a tailless coat being worn with evening wear is an 1865 midnight blue (/wiki/Midnight_blue) smoking jacket (/wiki/Smoking_jacket) in silk (/wiki/Silk) with matching trousers ordered by the Prince of Wales (/wiki/Prince_of_Wales) , later Edward VII (/wiki/Edward_VII) of the United Kingdom, from Savile Row (/wiki/Savile_Row) tailors Henry Poole & Co. (/wiki/Henry_Poole_%26_Co.) [15] (#cite_note-Henry_Poole-15) The smoking jacket was tailored for use at Sandringham (/wiki/Sandringham_House) , the British Royal Family (/wiki/British_Royal_Family) 's informal country estate (/wiki/Country_estate) . [8] (#cite_note-auto-8) Henry Poole never saw his design become known as a dinner jacket or cross the Atlantic and be called a tuxedo over there; he died in 1876 leaving behind a well-respected business to be run by his cousin Samuel Cundey. Other accounts of the Prince's experimentation appear around 1885, referring variously to "a garment of many colours, such as was worn by our ancestors" and "short garments coming down to the waist and made on the model of the military men's jackets". The suit jacket with tailcoat finishes, as is most commonly known, was first described around the same time and often associated with Cowes (/wiki/Cowes) , a seaside resort in southern England (/wiki/England) and centre of British yachting (/wiki/Yachting) that was closely associated with the Prince. It was originally intended for warm weather use but soon spread to informal or stag winter occasions. As it was simply an evening tailcoat substitute, it was worn with all the same accoutrements as the tailcoat, including the trousers. [16] (#cite_note-16) As such, in these early days, black tie, in contrast to formal white tie (/wiki/White_tie) , was considered informal wear (/wiki/Informal_wear) . [17] (#cite_note-Safire_436-17) Russian Serge Wolkonsky (/wiki/Serge_Wolkonsky) in black tie In the following decades of the Victorian era (/wiki/Victorian_era) , the style became known as a dinner jacket: a fashionable, formal alternative for the tailcoat (/wiki/Tailcoat) which men of the upper classes (/wiki/Upper_class) wore every evening. Thus it was worn with the standard accompaniments for the evening tailcoat at the time: matching trousers, white or black waistcoat, white bow tie (/wiki/Bow_tie) , white detachable wing-collar formal shirt, and black formal shoes. Lapels (/wiki/Lapel) were often faced or edged in silk or satin (/wiki/Satin) in varying widths. In comparison with a full dress such as a cutaway tailcoat, etiquette guides declared dinner jacket inappropriate for wear in mixed company, meaning together with ladies. [18] (#cite_note-18) During the Edwardian era (/wiki/Edwardian_era) , the practice of wearing a black waistcoat and black bow tie with a dinner jacket became the convention, establishing the basis of the current black tie and white tie dress codes. The dinner jacket was also increasingly accepted at less formal evening occasions such as warm-weather gatherings or intimate dinners with friends. [19] (#cite_note-19) Cocktail party in 1936 After World War I (/wiki/World_War_I) , the dinner jacket became established as a semi-formal (/wiki/Semi-formal) evening wear, while the evening tailcoat was limited to the most formal or ceremonial occasions. During this interwar period, double-breasted (/wiki/Double-breasted) jackets, turndown-collar shirts and cummerbunds (/wiki/Cummerbund) became popular for black tie evenings as white jackets were experimented with in warm weather. [20] (#cite_note-20) [21] (#cite_note-21) Since then, black tie is often referred to as being semi-formal. [22] (#cite_note-Wright_USAF_Ret._202-22) In the decades following the World War II (/wiki/World_War_II) , black tie became special occasion attire rather than standard evening wear. In the 1950s, some experimented with coloured and patterned jackets, cummerbunds and bow ties. The 1960s and 1970s saw the colour palette move from muted to bright day-glow and pastel, as well as ruffled-placket shirts as lapels got wider and piping was revived. [23] (#cite_note-23) [24] (#cite_note-24) [25] (#cite_note-25) The 1980s and 1990s saw a return to traditional styles, with black jackets and trousers again becoming nearly universal. Some insist the 21st century has seen increased variation and a relaxation of previous strict standards; midnight blue once again became popular and lapel facings were sometimes reduced to wide edging. [26] (#cite_note-26) Introduction to the United States [ edit ] 1888 American tuxedo/dinner jacket, sometimes called a dress sack The earliest references to a dress coat substitute in America are from the summer and fall of 1886 and, like the British references from this time, vary between waist-length mess-jacket style and the conventional suit jacket style. [27] (#cite_note-27) The most famous reference originates from Tuxedo Park (/wiki/Tuxedo_Park,_New_York) , an upstate New York countryside enclave for Manhattan's wealthiest citizens. A son of one of the community's founders, Griswold Lorillard, and his friends were widely reported in society columns for showing up at the club's first Autumn Ball in October 1886 wearing "a tailless dress coat". [28] (#cite_note-28) Although it is not known whether this garment was a mess jacket or a conventional dinner jacket, it has no doubt cemented the tailcoat substitute's association with Tuxedo Park in the mind of the public. An essay in the Tuxedo Park archives [29] (#cite_note-29) attributes the jacket's importation to America to resident James Brown Potter, a merchant banker who had worked in London for Brown Brothers (/wiki/Brown_Brothers_Harriman) . However, this claim for Potter cannot be verified through independent sources. [30] (#cite_note-30) Period newspaper accounts indicate that at first the jacket was worn by young mavericks to gatherings considered strictly formal. This led the American establishment to reject it out of hand. It was only by 1888 that polite society accepted its role solely as summer and informal evening substitute, at which point it became very popular. [31] (#cite_note-31) 20th century changes [ edit ] Black tie worn at a dinner party in the 1940s The earliest dinner jackets were of the same black material as the dress coat with one, two or no buttons, and a shawl collar faced in satin or ribbed silk. By the turn of the twentieth century, the peaked lapel was equally popular and the one-button model had become standard. When trousers were sold with the jacket they were of the same material. Edwardian dandies (/wiki/Dandy) often opted for Oxford grey or a very dark blue for their evening wear. [32] (#cite_note-32) By World War I, the grey option had fallen out of favor but the "midnight blue" alternative became increasingly popular and rivalled black by the mid-1930s. Notch lapels, imported from the ordinary business suit, were a brief vogue in the 1920s. [33] (#cite_note-blacktieguide-33) A single stripe of braid covering the outseam on each leg was an occasional variation at first but became standard by the 1930s. At this time double-breasted jackets and white jackets became popular for wear in hot weather. [34] (#cite_note-34) Colour, texture and pattern became increasingly popular in warm-weather jackets in the 1950s. [35] (#cite_note-35) In the 1960s, these variations became increasingly common regardless of season or climate. Notch lapels were once again a fad. [33] (#cite_note-blacktieguide-33) By the 1970s, mass-market retailers began offering white and coloured versions of the entire suit to its rental customers. [36] (#cite_note-blacktieguide2-36) [37] (#cite_note-37) The 1980s vogue for nostalgic and retro styles returned evening wear to its black tone. [38] (#cite_note-38) Notch lapels returned for good in the 1980s, and in the 1990s tuxedo jackets increasingly took on other traits of the business suit, such as two- and three-button styling, flap pockets, and centre vents. These trends have continued into the early 21st century, and midnight blue is now once again a popular alternative. [39] (#cite_note-39) Composition [ edit ] The elements of gentleman's black tie The dinner suit's accompaniments have also evolved over time. The most traditional interpretations of these elements – dress shirt (/wiki/Dress_shirt) , low cut waistcoat (in the "V" or "U" shape), black bow tie, oxford (/wiki/Oxford_shoe) dress shoes (/wiki/Dress_shoe) – are incorporated in the black tie dress code. Unlike white tie, which is very strictly regulated, black tie ensembles can display more variation. More extensively, the traditional components for men are: A dinner jacket, also called a tuxedo jacket in the United States, is primarily made of black or midnight blue wool. Dinner jackets in an off-white color are also considered appropriate for some occasions, but it traditionally associated with warmer climates and differs from other dinner jackets in that it is self-faced and can be made of fabrics including linen and cotton. [40] (#cite_note-40) Silk (/wiki/Silk) jacket lapels and facings, usually grosgrain (/wiki/Grosgrain) or satin, are a defining element of the jacket and can be seen on every type of lapel. The dinner jacket may have a peaked lapel, a shawl lapel, or a notched lapel, with some fashion stylists and writers seeing shawl lapels as less formal and notched lapels as the least formal, [41] (#cite_note-BTG_tuxedo-41) despite the fact that they, like peaked and shawl, were used (though somewhat rarely) in some of the early forms of the garment. [42] (#cite_note-42) Trousers with a single silk or satin braid covering the outer seams, uncuffed and worn with braces A black low-cut waistcoat or a cummerbund A white dress shirt (/wiki/Dress_shirt) , with a marcella (/wiki/Piqu%C3%A9_(weaving)) or pleated bib being traditional, with double or "French" cuffs (/wiki/Cuff) and a turndown collar (/wiki/Collar_(clothing)) . While the turndown is most appropriately semi-formal (/wiki/Semi-formal) , the attached wing collar (/wiki/Collar_(clothing)) has been popular with American men since the 1980s. However, many style authorities argue that the attached version now typically offered is insubstantial with minuscule wings and inappropriately paired with soft pleated fronts. [43] (#cite_note-BTG_shirts-43) A black silk bow tie matching the lapel facings Shirt studs (/wiki/Shirt_stud) and cufflinks (/wiki/Cufflink) . Some classic etiquette authorities limit studs to stiff-front marcella shirts only and prescribe pearl buttons for soft-front models instead. Black dress socks (/wiki/Socks) , usually of silk or fine wool. Some style guides recommend that the socks should come up to the knee. [44] (#cite_note-44) Black shoes – traditionally patent leather (/wiki/Patent_leather) court shoes (/wiki/Court_shoe) or pumps; now often highly polished or patent leather Oxford (/wiki/Oxford_shoe) dress shoes (/wiki/Dress_shoes) instead, without brogueing (/wiki/Brogue_shoe) Jacket [ edit ] Covered cuff buttons on a dinner jacket The peak lapel (/wiki/Peak_lapel) of a dinner jacket featuring a working buttonhole (/wiki/Boutonni%C3%A8re) and silk grosgrain (/wiki/Grosgrain) facings The original and most formal model of dinner jacket is the single-breasted (/wiki/Single-breasted) model. The typical black tie jacket is single-breasted with one button only, with jetted, or besom, pockets (https://en.wiktionary.org/wiki/besom_pocket) and is of black or midnight blue; usually of wool or a wool- mohair (/wiki/Mohair) , or wool- polyester (/wiki/Polyester) blend, although other materials, especially silk, are seen. Although other materials are used, the most appropriate and traditional for the dinner jacket are wool barathea (/wiki/Barathea) or superfine herringbone (/wiki/Herringbone_(cloth)) . [2] (#cite_note-DebrettWeb-2) Double-breasted models have become less common, but are generally considered equally appropriate for most black tie occasions. Dinner jackets were commonly ventless (/wiki/Vent_(tailoring)) before World War I, but in the 21st century come ventless, with side vents (/wiki/Vent_(tailoring)) , or, less commonly, with centre vents (/wiki/Vent_(tailoring)) . The ventless style is considered more formal, whilst the centre vent (/wiki/Vent_(tailoring)) is the least formal. The lapels, traditionally pointed and shawl, are usually faced with silk in either a grosgrain or a satin weave, but can also be silk barathea (/wiki/Barathea) . A notched lapel is usually considered more appropriate for a business suit than a dinner jacket but is commonly seen on inexpensive off the rack (/wiki/Off_the_rack) dinner jackets. [45] (#cite_note-45) According to the Black Tie Guide, the peaked lapel and shawl collar are equally authentic and correct, with the latter being slightly less formal. [41] (#cite_note-BTG_tuxedo-41) The buttons (/wiki/Button_(clothing)) are covered in similarly coloured material to the main part of the jacket, which would typically be either self-faced or covered with the same material as the lapels. Some higher-end single-breasted jackets, both new and vintage, tend to be fastened with a link front closure which is visually similar to a cufflink; this traditional method of closure is common in the United Kingdom. The double-besomed jetted (/wiki/Pocket) or slit hip pocket is the only style understated enough to complement the dinner jacket. [ citation needed ] Flap pockets (/wiki/Pocket) are not considered appropriate for formal attire's refined minimalism due to their busier and bulkier design, and some believe that they are simply an attempt by dinner jacket manufacturers to save money by using standard suit patterns, although sometimes they will trim the edges of a flap pocket so that the flap can be tucked in or removed if desired. [ according to whom? ] Besom welts (/wiki/Pocket#Types) can be of self fabric or trimmed with the lapel's silk facing, though classic menswear scholar Nicholas Antongiavanni suggests that for the English this latter touch "is a sure sign of hired clothes". [46] (#cite_note-46) The dinner jacket also has a welt breast pocket to hold a pocket handkerchief (/wiki/Handkerchief) , which is generally self-faced rather than covered with silk. An example of a link front style closure of a dinner jacket, featuring silk grosgrain Emily Post (/wiki/Emily_Post) , a resident of Tuxedo Park, New York, stated in 1909 that "[Tuxedos] can have lapels or be shawl-shaped, in either case they are to have facings of silk (/wiki/Silk) , satin or grosgrain". She later republished this statement in her 1922 book Etiquette , adding that only single-breasted jackets are appropriately called tuxedos . [47] (#cite_note-:5-47) There is a fashion movement suggesting that a man's appearance when wearing the wider and higher peak lapel is superior to the narrower notch lapel. [48] (#cite_note-48) A white dinner jacket White dinner jackets are often worn in warm climates. They are ivory (/wiki/Ivory_(color)) in colour rather than pure white, and have self-faced lapels, i.e., made of the same fabric as the jacket, rather than silk-faced lapels. They are generally worn with the same types of shirts and accessories as black dinner jackets, though the turndown collar and cummerbund preferred to the wing collar or waistcoat. Similarly, the shawl lapel is more common in white dinner jackets. In the United Kingdom, the 20th-century etiquette was that white dinner jackets are never worn, even on the hottest day of summer, but are reserved for wear abroad. [49] (#cite_note-49) In the 21st century, white dinner jackets are frequently seen at weddings (/wiki/Wedding) , formal beach events, and high-school proms (/wiki/Prom) , in the United States and at some concerts, famously for instance the Last Night of the Proms (/wiki/Last_Night_of_the_Proms) , in the United Kingdom. In tropical climates, such as in Imperial Burma, the desert fawn was historically used as the less formal colour. At one time, the civilian mess jacket (/wiki/Mess_jacket_(civil)) was also an option in warmer climates. It is generally considered inappropriate for a man to remove his jacket during a formal social event, but when hot weather and humidity dictate, the ranking (/wiki/Social_rank) man of the royal family (/wiki/Royal_family) or the guest of honour may give men permission by noticeably taking off his jacket. In anticipated hot weather, Red Sea rig (/wiki/Red_Sea_rig) is specified in the invitation, although this dress is esoteric in civilian circles, and is particular to certain expatriate (/wiki/Expatriate) communities. Black bow tie [ edit ] Traditionally, the only neckwear appropriate is the black bow tie that is a self-tie and always matches the lapel facing of the dinner jacket and braiding of the trouser seams. The bow tie is tied using a common shoelace knot (/wiki/Shoelace_knot) , which is also called the bow knot for that reason. Trousers [ edit ] Black tie trousers with a side stripe Black tie trousers traditionally have no turn-ups (/wiki/Cuff#Trouser_cuffs) , also called cuffs in American English (/wiki/American_English) , or belt loops. The outer seams are usually decorated with a single braid of silk or a material that matches or complements the lapel facing. Traditionally, braces (/wiki/Suspenders) , called suspenders in US English, hidden by the waistcoat, are used to support the trousers. Belts (/wiki/Belt_(clothing)) are never worn with black tie trousers. Evening trousers may be flat-fronted or pleated, with pleats first coming into fashion in the 1930s. Whilst flat-fronted trousers have become more fashionable, pleated trousers may be considered more comfortable by men who have wider hips and a narrow waist. Waist coverings [ edit ] A waist covering is generally worn as part of a black tie ensemble. Either a low cut waistcoat or cummerbund may be worn, but never both at the same time. Although the English authority Debrett's (/wiki/Debrett%27s) consider that wearing a waistcoat is smart, they no longer consider either waist covering to be essential. [50] (#cite_note-:6-50) The American authority, The Emily Post Institute (/wiki/The_Emily_Post_Institute) , considers them to be an essential component of proper black tie attire. [47] (#cite_note-:5-47) Waist coverings are not matched to wedding theme colours. [51] (#cite_note-:3-51) Waistcoat with shawl collar, closed with studs Waistcoat [ edit ] A low cut waistcoat should be worn when wearing a single-breasted coat. [52] (#cite_note-52) The waistcoat plays an important part in black tie's refined minimalism by helping to conceal its working parts by discreetly covering the trousers' exposed waistband and the shirt bosom's bottom edge. Waistcoats come in the 'V' or rarer 'U' shape, in backless or fully backed versions, double- or single-breasted, with or without lapels. Single-breasted styles typically have three buttons, and double-breasted ones three or four rows. Before World War II, while black tie was still gaining acceptance, men would wear a white waistcoat, along with other details now associated primarily with white tie, such as stiff fronted shirts. However, this style, though increasingly viewed as an affectation, [ by whom? ] [ citation needed ] is still acceptable in the United States. The waistcoat may be made from either the same fabric as the dinner jacket, as is traditional, or the same silk as the jacket's lapels, which is more popular. When a waistcoat has lapels, they are faced in the same silk as those of the jacket; in this case it is considered more refined if the body is made from the same fabric as the jacket. The buttons may be self-faced or covered in the same silk as the lapels. Vintage waistcoats were sometimes closed with studs made from onyx (/wiki/Onyx) or mother-of-pearl (/wiki/Nacre) , which were often surrounded by a setting of silver or gold (/wiki/Gold) . A waistcoat is never worn with a double-breasted jacket. Since this style of jacket is never unbuttoned, the waist of the trousers is never exposed, and therefore does not need to be covered, [53] (#cite_note-53) though before World War II an edge of the waistcoat was often shown between the jacket and shirt. Cummerbund [ edit ] Black ottoman (/wiki/Ottoman_(textile)) silk cummerbund A cummerbund may be worn with a dinner jacket in lieu of a waistcoat and, although it is considered slightly less formal, it is equally correct. It looks especially well with a shawl collar dinner jacket but may be worn in conjunction with peak lapels. The material of the cummerbund should be silk satin, grosgrain, also called faille, or barathea (/wiki/Barathea) to match that of the bow tie. It features upward-facing folds, which were originally used to store theatre or opera tickets, and are now considered to be more decorative than functional. Just like the waistcoat, cummerbunds are not worn with a double-breasted jacket. [54] (#cite_note-54) As the cummerbund is seen as an extension of the trousers, traditionally it is the same colour, i.e. black. [55] (#cite_note-55) However, the Black Tie Guide endorses deep and rich colours as a tasteful way to introduce some colour into an outfit that is otherwise monochromatic (/wiki/Monochrome) . [56] (#cite_note-:4-56) Bright colours, such as those often worn by members of wedding parties, should be avoided [51] (#cite_note-:3-51) and the bow tie must remain black in any case. Some higher quality models feature a hidden pocket and an elastic loop to fasten to the trousers. Shirt [ edit ] A modern attached wing collar, of the half-collar shape, with longer wings than a typical attached wing collar, and pre-tied bow tie Dress shirts (/wiki/Dress_shirt) designed to be worn with black tie are sometimes called "tuxedo shirts" in American English. [57] (#cite_note-57) Traditionally, the shirt is white, has a bibbed front that is either marcella or pleated, a turndown collar, and double, or "french" cuffs. In the early-20th century, a piqué (/wiki/Piqu%C3%A9_(weaving)) shirt with a detachable (/wiki/Detachable_collar) wing collar and single cuffs such as is worn with white tie was used, and in the 1960s and 1970s ruffled bibs were popular, but have since become uncommon. The wing collar originally disappeared in black tie after the 1920s when the appropriately semi-formal (/wiki/Semi-formal) attached turndown collar shirt became preferred, but it has been popular with American men in a less substantial, attached form since the 1980s. However, many style authorities argue that the wing collar should remain the domain of white tie for aesthetic reasons. Etiquette maven Miss Manners is one of those who feel that while the bow tie's uncovered band is fine in a white-on-white scheme, "gentlemen with their black ties exposed all-around their necks look silly". [43] (#cite_note-BTG_shirts-43) A vintage set of shirt studs and double-sided cufflinks with a smoke mother-of-pearl (/wiki/Nacre) inlay in a gold setting Although some style authorities consider the wing collar to be an acceptable option for black tie shirts, they are not worn with double cuffs or a pleated bib, [58] (#cite_note-58) and are better suited to the more formal single-breasted peak lapel jacket. [43] (#cite_note-BTG_shirts-43) They may feature a bib that is either marcella or starched (/wiki/Starch) and include stiff single cuffs secured with cufflinks, made of the same fabric as the bib; this type of shirt is exactly the same as one worn with white tie attire. [59] (#cite_note-59) The collar in this case is tall and stiff, which may be attached or detachable. When a full dress shirt is worn in this fashion, it is accompanied by the white marcella waistcoat ordinarily associated with white tie. [56] (#cite_note-:4-56) Wearing white tie accessories in this manner is considered by many to be an affectation. [ by whom? ] Debrett's (/wiki/Debrett%27s) do not endorse the wing collar as being compatible with the black tie dress code. [2] (#cite_note-DebrettWeb-2) [ dead link ] The more formal marcella version of the shirt fastens with matching shirt studs. These are most commonly in silver or gold settings, featuring onyx or mother-of-pearl; various geometrical shapes are worn, e.g., circles, which are most common for studs, octagons, or rectangles, which are most common for cufflinks. There has been no consistent fashion preference for gold or silver, but studs with mother-of-pearl are more formal and therefore often associated with white tie. The soft-front pleated version of the shirt should be fastened with mother-of-pearl buttons, typically supplied with the shirt on a separate strip of fabric. Alternatively, a fly-front shirt, appropriate with both the marcella and pleated bibs, conceals the placket (/wiki/Placket) for a more minimalistic look. There are several types of cufflinks that may be worn with black tie. The most formal and decorative are the double-panel type, which dress both sides of the cuff and are connected by a chain or link of metal; this model conceals the mechanism by which the cuff is secured. The most common, and least decorative, are the swivel bar type; whilst these are acceptable, they leave the inner side of the cuffs and mechanism exposed which is incongruous with formal dress. [60] (#cite_note-:2-60) An Oxford shoe (/wiki/Oxford_shoe) in patent leather (/wiki/Patent_leather) worn with evening dress (/wiki/White_tie) or dinner dress Footwear [ edit ] The most formal and traditional shoes are patent leather opera pumps, also called court shoes (/wiki/Court_shoe) , decorated with grosgrain bows. The more popular alternative is the black lace-up Oxford shoe (/wiki/Oxford_shoe) , in patent leather or calfskin (/wiki/Calfskin) , with a rounded plain toe. Brogueing (/wiki/Brogue_shoe) or any other decorative patterns should never be seen on black tie footwear. [61] (#cite_note-61) Matte finish pumps (/wiki/Court_shoe) are also seen. Shoes are almost invariably black and patent leather is considered more formal than matte finishes while pumps are considered more formal than lace-ups (/wiki/Oxford_shoe) . Generally considered too informal for black tie are shoes with open lacing (/wiki/Open_lacing) , such as the Derby shoe (/wiki/Derby_shoe) , called bluchers in American English. Notable alternatives include the black button boot, primarily of historical interest only, and the monogrammed Albert slipper (/wiki/Slipper) which was originally worn only at home. Hosiery is black socks made from fine wool or silk. Accessories [ edit ] Button hole flower (/wiki/Button_hole_flower) with a white pocket square Most etiquette and fashion guides of the current decade [ when? ] recommend keeping colour touches and favouring a single colour, usually dark; muted reds, such as maroon, are a traditional choice. Handkerchief (/wiki/Pocket_square) : A handkerchief in linen traditionally, or silk, or cotton is usually worn in the breast pocket. [62] (#cite_note-62) Although precedents for tasteful exceptions exist, [63] (#cite_note-63) pocket squares (/wiki/Handkerchief) are normally white, [2] (#cite_note-DebrettWeb-2) and may not match the waist covering or bow tie. [64] (#cite_note-64) Boutonnière (/wiki/Boutonni%C3%A8re) : A flower may be worn. Red and white carnation (/wiki/Dianthus_caryophyllus) , blue cornflower (/wiki/Cornflower) , and rosebud (/wiki/Rose) have all been popular at times. In France (/wiki/France) , the boutonnière is usually a gardenia (/wiki/Gardenia) . [65] (#cite_note-65) Outerwear : Black tie events do not involve outerwear and coats and gloves are no longer considered part of the dress code. However, etiquette for what to wear in public in transit to and from black tie occasions was stiffer in earlier eras and remain an option: Matching overcoats are usually black, charcoal (/wiki/Charcoal_(color)) , or dark blue (/wiki/Blue) , and traditionally of the Chesterfield (/wiki/Chesterfield_coat) style. A guards coat (/wiki/Guards_coat) was also once popular, and a lighter topcoat can be worn in summer. Historically, an Inverness coat (/wiki/Inverness_coat) was also worn. Until the mid-20th century, gloves and scarves were always worn, and are still occasionally seen in grey leather and white silk, respectively. White kid gloves have never been standard with black tie, remaining exclusive to white tie dress. Hat : The 20th-century standard hat for black tie was a black or midnight blue Homburg (/wiki/Homburg_(hat)) in winter, [66] (#cite_note-66) [67] (#cite_note-67) or straw boater (/wiki/Boater_(hat)) in spring and summer. [68] (#cite_note-68) Fedoras were originally regarded as too informal but have become more common. Top hats were originally worn with black tie, but had been reserved to white tie and morning dress (/wiki/Morning_dress) from World War I. In the 1960s, it became optional to wear a hat with black tie, while from the 1970s onwards hats became less common. [69] (#cite_note-69) Miniature medals with black tie Decorations and orders : Military, civil, and organizational decorations (/wiki/Order_(honour)) are usually worn only to full dress (/wiki/Full_dress) events, generally of formal governmental or diplomatic significance. [70] (#cite_note-70) Miniature orders (/wiki/Order_(decoration)) and awards are typically worn on the left lapel of the jacket, and neck badges, breast stars, and sashes are worn according to country-specific or organizational regulations. Unlike in white tie, where decorations are always permitted, the dress code will usually give some indication when decorations are to be worn with black tie. [71] (#cite_note-71) Timepiece : Traditionally visible timepieces are not worn with formal evening dress, because timekeeping is not supposed to be considered a priority. Pocket watches (/wiki/Pocket_watch) are acceptable. [60] (#cite_note-:2-60) Women [ edit ] An example of a black evening gown Women's dress for black tie occasions has varied greatly throughout the years; traditionally it was: A dinner length gown at the ankle or tea length gown below mid-calf, which is a sleeveless evening gown (/wiki/Evening_gown) , often accompanied by: A wrap (/wiki/Wrap_(clothing)) or stole (/wiki/Stole_(shawl)) and Gloves (/wiki/Gloves) Evening shoes Other fashionable evening attire may be worn. Unlike the men's standard, the specifics of black tie for women are linked to whatever evening wear is currently in fashion. [72] (#cite_note-72) Today ladies' dress for black tie occasions covers a much wider level of formality ranging from just below the white tie standard [73] (#cite_note-73) to something more informal such as a little black dress (/wiki/Little_black_dress) . Specifically it can also include: Evening shoes and A ballgown (/wiki/Ballgown) , evening gown or cocktail dress (/wiki/Cocktail_dress) . Cocktail dresses may be long or moderately short and need not be black. [2] (#cite_note-DebrettWeb-2) In England, evening trousers with a palazzo (/wiki/Palazzo_pants) cut are another acceptable option. [2] (#cite_note-DebrettWeb-2) Still, while "black tie" dress code traditionally implies evening dress for women, in 1966 famous couturier Yves Saint Laurent (/wiki/Yves_Saint_Laurent_(designer)) [74] (#cite_note-alexander-74) proposed Le Smoking , a dinner suit designed for women. Most initial reactions to the collection were negative. [ citation needed ] The designer took bits and pieces from both men's suit and women's clothing and combined it with new ideas. As this dinner suit was designed for women, it was different from the normal male dinner suit. The collar was more feminine, as the shape and curve were more subtle. The waistline of the blouse (/wiki/Blouse) was narrowed to show the body shape, and pants were adjusted to help elongate the leg. It pioneered long, minimalist, androgynous styles for women, as well as the female use of power suits (/wiki/Suit_(clothing)) and the pantsuit (/wiki/Pantsuit) in modern-day society. Some described Saint Laurent's initiative as empowerment of women by giving them the option to wear clothes that were normally worn by men with influence and power. [75] (#cite_note-iht-75) [76] (#cite_note-afp-76) Fashion photography (/wiki/Fashion_photography) echoes the influence of this suit in shoots that feature androgynous (/wiki/Androgynous) models with slicked-back hair in a mannish three-piece suit, a style that was first popularized in photographs by Helmut Newton (/wiki/Helmut_Newton) . [74] (#cite_note-alexander-74) [75] (#cite_note-iht-75) This suit has continued to influence fashion designers' collections through the 2000s. [76] (#cite_note-afp-76) [77] (#cite_note-dazed-77) Social occasions [ edit ] Sweden's Crown Princess Victoria (/wiki/Victoria,_Crown_Princess_of_Sweden) and Prince Daniel Westling (/wiki/Prince_Daniel,_Duke_of_V%C3%A4sterg%C3%B6tland) arriving at the Riksdag (/wiki/Parliament_of_Sweden) 's Black Tie Gala Performance on the eve of their wedding (/wiki/Wedding_of_Victoria,_Crown_Princess_of_Sweden,_and_Daniel_Westling) In traditional Western dress codes (/wiki/Western_dress_codes) etiquette black tie is intended for men's evening wear. Traditionally in the 20th century black tie, in contrast to formal white tie, was considered informal. [17] (#cite_note-Safire_436-17) In the 21st century black tie is often referred to as being semi-formal. [22] (#cite_note-Wright_USAF_Ret._202-22) Black tie is worn to private and public dinners, balls (/wiki/Ball_(dance_party)) and parties. At the more formal end of the social spectrum, it has to a large extent replaced the more formal white tie. Once more common, white tie dress code is fairly rare, being reserved for only the most formal occasions. [78] (#cite_note-78) Black tie is traditionally worn only after six o'clock in the evening, or after sundown during winter months. Black tie's rough daytime equivalent is the stroller (/wiki/Stroller_(style)) , which is less formal than morning dress because, as with black tie, it replaces the tailcoat with a lounge coat. Contrary to the trend seen in evening dress, the less formal stroller is now extraordinarily rare, whereas morning dress is still relatively common. The most popular uses of the dinner suit in the United States in the early 21st century are for balls, galas, proms, cruise ship dinners and weddings. In these circumstances the dinner suit's styling and accessories are most commonly chosen according to the wearer's tastes. Less popular are black tie events, such as gala fundraisers, where men typically wear more traditional dinner suits and accessories as dictated by the dress code. [ citation needed ] They are also often worn by male musicians at concerts. As a general rule boys do not wear dinner jackets much before they are 15 or dress coat (/wiki/Dress_coat) before they are about 18. [79] (#cite_note-79) Academia [ edit ] Jacob Rees-Mogg (/wiki/Jacob_Rees-Mogg) in black tie debating at The Cambridge Union Some British university debating societies, such as at Oxford (/wiki/Oxford_Union) , [80] (#cite_note-80) Durham (/wiki/Durham_Union) [81] (#cite_note-81) and University College London (/w/index.php?title=University_College_London_Debating_Society&action=edit&redlink=1) [82] (#cite_note-eventbrite-82) conduct at least some of their debates in black tie. [83] (#cite_note-83) Notably, the Cambridge Union (/wiki/Cambridge_Union) abolished the long-standing mandatory wearing of black tie at debates in 2002. [84] (#cite_note-independent-84) The Irish Times (/wiki/Irish_Times) hosts an annual black tie debating competition. [85] (#cite_note-85) Learned societies, such as the Royal Aeronautical Society (/wiki/Royal_Aeronautical_Society) , [86] (#cite_note-86) may also follow a similar practice. Black tie dinners and debates are held through the academic year by British university Conservative associations, such as those at Oxford (/wiki/Oxford_University_Conservative_Association) , [87] (#cite_note-87) Cambridge (/wiki/Cambridge_University_Conservative_Association) , [88] (#cite_note-88) York (/wiki/University_of_York_Conservative_and_Unionist_Association) , [89] (#cite_note-89) and Nottingham (/wiki/Nottingham_University_Conservative_Association) . [90] (#cite_note-90) Opera and ballet [ edit ] Historically, white tie was worn for the opera (/wiki/Opera) . Since the 20th century, however, black tie has been worn increasingly and today a dark lounge suit is generally acceptable. [91] (#cite_note-91) [92] (#cite_note-92) In the 21st century, many opera houses in the English-speaking world do not stipulate black tie. For example, neither the Royal Opera House (/wiki/Royal_Opera_House) nor the Sydney Opera House (/wiki/Sydney_Opera_House) maintain a black tie dress code. Notwithstanding, black tie is customary at English country house operas, such as during the summer Festival at Glyndebourne (/wiki/Glyndebourne_Festival_Opera) . [2] (#cite_note-DebrettWeb-2) Black tie is also worn at a ballet (/wiki/Ballet) or orchestra (/wiki/Orchestra) gala. [ citation needed ] Cruise ships [ edit ] At more formal dinners on cruise ships (/wiki/Cruise_ship) the dress code (/wiki/Western_dress_codes) will typically be black tie although a dark lounge suit may be worn as a substitute. [93] (#cite_note-93) In 2013 Cunard (/wiki/Cunard) , noted for its adherence to formal dress codes (/wiki/Western_dress_codes) , relaxed its dress standards. [94] (#cite_note-94) As of 2015 [update] (https://en.wikipedia.org/w/index.php?title=Black_tie&action=edit) Cunard requires one of a dinner jacket, a dark suit (/wiki/Suit_(clothing)) , formal national dress (/wiki/Folk_costume) or military uniform (/wiki/Dress_uniform) for gentlemen diners on formal evenings. [95] (#cite_note-95) Similarly, the luxury cruise liner, Seabourn (/wiki/Seabourn_Cruise_Line) , stipulates either a dinner suit or a dark business suit on formal evenings. [96] (#cite_note-96) Weddings [ edit ] Black tie has been increasingly seen in the United States at weddings (/wiki/Wedding) in place of the traditional morning dress (/wiki/Morning_dress) . However, etiquette and clothing experts see the wearing of black tie before 6 p.m. as out of the ordinary. [97] (#cite_note-97) Prior to the late 1930s, black tie was even discouraged as too informal for evening weddings, with Amy Vanderbilt (/wiki/Amy_Vanderbilt) arguing that "no man should ever be caught in a church in a tuxedo". Emily Post (/wiki/Emily_Post) would continue to argue in preference of white tie (/wiki/White_tie) at evening weddings into the 1950s. In the United Kingdom (/wiki/United_Kingdom) and the rest of Europe (/wiki/Europe) , although a minority accepts black tie at evening wedding receptions (/wiki/Wedding_reception) , including some Jewish weddings (/wiki/Jewish_wedding) , [98] (#cite_note-98) it is seldom worn at church weddings or civil ceremonies where morning dress or a lounge suit is normally favoured. Other than that, supplementary alternatives include local variations of white tie etiquette, such as highland dress (/wiki/Highland_dress) in Scotland (/wiki/Scotland) , if neither white tie nor black tie is preferred. Gallery [ edit ] Official portrait of Brazilian President Washington Luís (/wiki/Washington_Lu%C3%ADs) (c. 1926) Queen Elizabeth II (/wiki/Queen_Elizabeth_II) , and Prince Philip (/wiki/Prince_Philip) together with US President John F. Kennedy (/wiki/John_F._Kennedy) , and First Lady Jacqueline Kennedy Onassis (/wiki/Jacqueline_Kennedy_Onassis) at Buckingham Palace (/wiki/Buckingham_Palace) , London, United Kingdom (1961) US President Ronald Reagan (/wiki/Ronald_Reagan) , Audrey Hepburn (/wiki/Audrey_Hepburn) , and Robert Wolders (/wiki/Robert_Wolders) at a private dinner for the Prince of Wales (/wiki/Prince_of_Wales) at the White House (/wiki/White_House) , Washington, D.C., United States (1981) US Navy Admiral Mike Mullen (/wiki/Mike_Mullen) (in optional white semi-formal mess dress uniform (/wiki/Mess_dress_uniform) ) congratulates former British Prime Minister Tony Blair (/wiki/Tony_Blair) at the Atlantic Council of the United States (/wiki/Atlantic_Council_of_the_United_States) Distinguished Leadership Award Gala (2008). Actors Angelina Jolie (/wiki/Angelina_Jolie) and Brad Pitt (/wiki/Brad_Pitt) at the 81st Academy Awards (/wiki/Academy_Awards) (2009) King Carl XVI Gustaf (/wiki/Carl_XVI_Gustaf) and Queen Silvia (/wiki/Queen_Silvia) during the World Water Week (/wiki/World_Water_Week) at the Stockholm City Hall (/wiki/Stockholm_City_Hall) , Sweden (2011) Anthony Bailey (/wiki/Anthony_Bailey_(PR_advisor)) (with infrequent orders (/wiki/Order_(distinction)) and medals (/wiki/Medal) ) speaks at Faith in Sport Olympic Gala Dinner in London, United Kingdom (2012). US President Barack Obama (/wiki/Barack_Obama) and First Lady Michelle Obama (/wiki/Michelle_Obama) at the White House (2012) See also [ edit ] Suit (/wiki/Suit) Western dress codes (/wiki/Western_dress_codes) White tie (/wiki/White_tie) Fashion portal (/wiki/Portal:Fashion) References [ edit ] ^ (#cite_ref-1) Random House Unabridged Dictionary, Second Edition , Stuart Berg Flexner and Lenore Crary Hauck, editors, Random House, New York (1993). ^ Jump up to: a b c d e f g "Black Tie, Dress Codes, A to H, British Behaviour, Etiquette and Style | Debrett's" (http://www.debretts.com/british-etiquette/british-behaviour/h/dress-codes/black-tie) . www.debretts.com . Retrieved 2 February 2017 . ^ (#cite_ref-3) " Dinner-jackets have for some years been worn in country houses when the family are en famille" Huddersfield Chronicle , 20 September 1887 quoting Vanity Fair ^ (#cite_ref-4) "Fastidious Englishmen don't seem to be able to get along without a dinner-jacket" The Inter Ocean , 8 October 1889 ^ (#cite_ref-5) The Black Tie Guide original research. ^ (#cite_ref-6) "DJ" (https://dictionary.cambridge.org/dictionary/english/dj?q=DJ) . ^ (#cite_ref-7) "The Tuxedo coat has become popular with a great many men who regard its demi train as a happy medium between a swallow-tail and a cutaway." Chicago Daily Tribune , 19 August 1888 ^ Jump up to: a b c "History: Late Victorian Era" (http://www.blacktieguide.com/History/04-Victorian_Late_Etiquette_&_DJ.htm) . Black Tie Guide . Retrieved 1 April 2011 . ^ (#cite_ref-9) "Tux Britannia" (http://blog.blacktieguide.com/2013/11/27/tux-britannia/) . Black Tie Blog . 27 November 2013. ^ (#cite_ref-10) Nguyen, Nam H. (26 April 2018). "27000 English-French Words Dictionary with Definitions: 27000 Dictionnaire des Mots Anglais-Français Avec Définitions" (https://books.google.com/books?id=HmZYDwAAQBAJ&pg=PT197) . ^ (#cite_ref-11) Millar, Jamie (1 February 2016). "The Complete Guide to Men's Dress Codes" (http://www.fashionbeans.com/2016/complete-guide-mens-dress-codes/) . fashionbeans.com . Retrieved 10 June 2016 . ^ (#cite_ref-12) Korach, Myron; Mordock, John. Common Phrases: And Where They Come From . Globe Pequot. pp. 167, 182. ISBN (/wiki/ISBN_(identifier)) 978-1-59921-683-6 . ^ (#cite_ref-13) Ayto, John; Simpson, John (2010). The Oxford dictionary of modern slang (2nd ed.). Oxford University Press. p. 296. ISBN (/wiki/ISBN_(identifier)) 978-0-19-923205-5 . ^ (#cite_ref-14) Hollander, Anne (1993). Seeing through clothes (1. California paperback printing ed.). Berkeley: University of California Press. p. 384. ISBN (/wiki/ISBN_(identifier)) 978-0-520-08231-1 . ^ (#cite_ref-Henry_Poole_15-0) "The Tuxedo - Henry Poole" (https://henrypoole.com/hp/history-of-henry-poole-tailor-of-savile-row/the-tuxedo) . henrypoole.com . Retrieved 6 March 2019 . ^ (#cite_ref-16) "Tuxedo Origins: English Beginnings" (http://blog.blacktieguide.com/2013/11/08/tuxedo-origins-english-beginnings/) . Black Tie Blog . 14 November 2018. ^ Jump up to: a b Safire, William (5 May 1985). "On Language; Come as You Are" (https://www.nytimes.com/1985/05/05/magazine/on-language-come-as-you-are.html) . The New York Times Magazine . p. 436 . Retrieved 1 March 2017 . ^ (#cite_ref-18) "History: Late Victorian Era" (http://www.blacktieguide.com/History/04-Victorian_Late_Etiquette_&_DJ.htm) . Black Tie Guide . Retrieved 2 February 2017 . ^ (#cite_ref-19) "History: Edwardian Era" (http://www.blacktieguide.com/History/06-Edwardian.htm) . Black Tie Guide . Retrieved 2 February 2017 . ^ (#cite_ref-20) "History: Jazz Age" (http://www.blacktieguide.com/History/07-Jazz_Age.htm) . Black Tie Guide . Retrieved 2 February 2017 . ^ (#cite_ref-21) "History: Depression Era" (http://www.blacktieguide.com/History/08-Depression_Era.htm) . Black Tie Guide . Retrieved 2 February 2017 . ^ Jump up to: a b Wright USAF (Ret.), Col. Stephen E. (15 July 2014). Air Force Officer's Guide: 36th Edition . Stackpole Books. p. 202. ISBN (/wiki/ISBN_(identifier)) 9780811713771 . ^ (#cite_ref-23) "History: Postwar Period" (http://www.blacktieguide.com/History/09-Post_War.htm) . Black Tie Guide . Retrieved 2 February 2017 . ^ (#cite_ref-24) "History: Jet Age" (http://www.blacktieguide.com/History/10-Jet_Age.htm) . Black Tie Guide . Retrieved 2 February 2017 . ^ (#cite_ref-25) "History: Counterculture Era" (http://www.blacktieguide.com/History/11-Counterculture.htm) . Black Tie Guide . Retrieved 2 February 2017 . ^ (#cite_ref-26) "Millennial Era: Black Tie Optional" (http://www.blacktieguide.com/History/14-Millennium.htm) . Black Tie Guide . Retrieved 2 February 2017 . ^ (#cite_ref-27) "Tuxedo Origins: The Tailless Tailcoat Puzzle" (http://blog.blacktieguide.com/2013/11/10/tuxedo-origins-the-tailless-dress-coat-puzzle//) . Black Tie Blog . 14 November 2018. ^ (#cite_ref-28) reprinted in "The Saga Of American Society: A Record Of Social Aspiration 1607–1937" (https://archive.org/details/sagaofamericanso008728mbp) . Charles Scribner's Sons. 1937. ^ (#cite_ref-29) "The Prince and Mrs. Potter" (http://www.tpfyi.com/events/JES-PRINCE%20&%20MRS.%20POTTER003.pdf) (PDF) . Tuxedo Park FYI. Archived (https://web.archive.org/web/20130502070733/http://www.tpfyi.com/events/JES-PRINCE%20&%20MRS.%20POTTER003.pdf) (PDF) from the original on 2 May 2013. ^ (#cite_ref-30) "Tuxedo Origins: Formal Sundries" (http://blog.blacktieguide.com/2013/11/14/tuxedo-origins-formal-sundries/) . Black Tie Blog . 14 November 2018. ^ (#cite_ref-31) "Tuxedo Origins: American Backlash" (http://blog.blacktieguide.com/2013/11/12/tuxedo-origins-american-backlash/) . Black Tie Blog . 14 November 2018. ^ (#cite_ref-32) "History: Edwardian Era" (http://www.blacktieguide.com/History/06-Edwardian.htm) . Black Tie Guide . Retrieved 1 April 2011 . ^ Jump up to: a b "Spotlight: The Notched Lapel" (http://blog.blacktieguide.com/2014/03/06/spotlight-the-notched-lapel/) . Black Tie Blog . 6 March 2014. ^ (#cite_ref-34) "History: Depression Era" (http://www.blacktieguide.com/History/08-Depression_Era.htm) . Black Tie Guide . Retrieved 1 April 2011 . ^ (#cite_ref-35) "History: Postwar Period" (http://www.blacktieguide.com/History/09-Post_War.htm) . Black Tie Guide . Retrieved 1 April 2011 . ^ (#cite_ref-blacktieguide2_36-0) "History: Jet Age" (http://www.blacktieguide.com/History/10-Jet_Age.htm) . Black Tie Guide . Retrieved 1 April 2011 . ^ (#cite_ref-37) "History: Counter-culture Era" (http://www.blacktieguide.com/History/11-Counterculture.htm) . Black Tie Guide . Retrieved 1 April 2011 . ^ (#cite_ref-38) "History: Yuppie Years" (http://www.blacktieguide.com/History/13-Yuppie_Pt2.htm) . Black Tie Guide . Retrieved 1 April 2011 . ^ (#cite_ref-39) "History: Millennial Era" (http://www.blacktieguide.com/History/14-Millennium.htm) . Black Tie Guide . Retrieved 1 April 2011 . ^ (#cite_ref-40) "Off White Dinner Jacket Warm-Weather Black Tie" (https://www.gentlemansgazette.com/tuxedo-black-tie-guide/classic/off-white-dinner-jacket/) . 29 November 2018. ^ Jump up to: a b "Classic Black Tie: Tuxedos (Dinner Suits)" (http://www.blacktieguide.com/Classic/Classic_Tuxedos.htm) . Black Tie Guide . Retrieved 1 April 2011 . ^ (#cite_ref-42) "Classic Tuxedo" (https://www.gentlemansgazette.com/tuxedo-black-tie-guide/classic/tuxedo-dinner-suit/) . 27 November 2018. ^ Jump up to: a b c "Classic Black Tie: Shirts" (http://www.blacktieguide.com/Classic/Classic_Shirts.htm) . Black Tie Guide . Retrieved 2 February 2017 . ^ (#cite_ref-44) "The 10 Commandments of the Tuxedo" (https://www.bloomberg.com/news/articles/2016-12-16/how-to-wear-a-tuxedo-ten-easy-rules-for-black-tie-events) . Bloomberg News (/wiki/Bloomberg_News) . 16 December 2016. ^ (#cite_ref-45) "Esquire: The Magazine for Men" (https://books.google.com/books?id=P5cnAQAAIAAJ) . 1996. ^ (#cite_ref-46) Antongiavanni, Nicholas (2006). The Suit: A Machiavellian Approach to Men's Style . New York: Harper Collins. ISBN (/wiki/ISBN_(identifier)) 9780060891862 . ^ Jump up to: a b "Attire Guide: Dress Codes from Casual to White Tie" (http://emilypost.com/advice/attire-guide-dress-codes-from-casual-to-white-tie/) . The Emily Post Institute . Retrieved 12 May 2011 . ^ (#cite_ref-48) "Black Tie 101" (https://web.archive.org/web/20110310070809/https://www.law.indiana.edu/students/activities/barrister/doc/black_tie_101_20110120.pdf) (PDF) . Indiana University Bloomington. Archived from the original (http://law.indiana.edu/students/activities/barrister/doc/black_tie_101_20110120.pdf) (PDF) on 10 March 2011 . Retrieved 12 May 2011 . ^ (#cite_ref-49) "Classic Black Tie: Warm-Weather Black Tie" (http://www.blacktieguide.com/Classic/Warm_Weather.htm) . Black Tie Guide . Retrieved 1 April 2011 . ^ (#cite_ref-:6_50-0) Wyse, Elizabeth (2015). Debrett's Handbook . London, United Kingdom: Debrett's Limited. p. 188. ISBN (/wiki/ISBN_(identifier)) 978-0-9929348-1-1 . ^ Jump up to: a b "Supplemental: Formal Weddings" (https://web.archive.org/web/20160605191225/http://www.blacktieguide.com/Supplemental/Weddings.htm) . Black Tie Guide . Archived from the original (http://www.blacktieguide.com/Supplemental/Weddings.htm) on 5 June 2016 . Retrieved 29 May 2016 . ^ (#cite_ref-52) "Special occasions – dress codes – black-tie" (https://web.archive.org/web/20120119162643/http://www.debretts.co.uk/etiquette/special-occasions/dress-codes/black-tie.aspx) . Debretts. Archived from the original (http://www.debretts.co.uk/etiquette/special-occasions/dress-codes/black-tie.aspx) on 19 January 2012 . Retrieved 23 December 2011 . ^ (#cite_ref-53) "Classic Black Tie: Waist Coverings" (http://www.blacktieguide.com/Classic/Classic_Waist.htm) . Black Tie Guide . Retrieved 1 April 2011 . ^ (#cite_ref-54) Clayton, Nicholas (21 July 2016). A Butler's Guide to Gentlemen's Grooming . Pavilion Books. ISBN (/wiki/ISBN_(identifier)) 9781849944144 . [ permanent dead link ] ^ (#cite_ref-55) von Adlerstein, Marion (2 April 2007). The Penguin Book Of Etiquette . Penguin UK. ISBN (/wiki/ISBN_(identifier)) 9780857967800 . ^ Jump up to: a b "Black Tie Guide | Classic Alternatives" (http://www.blacktieguide.com/Classic/Classic_Alternatives.htm) . Black Tie Guide . Retrieved 29 May 2016 . ^ (#cite_ref-57) Gavernas, Mary Lisa, The Fairchild Encyclopedia of Menswear , Fairchild Publications, New York, 2008 ^ (#cite_ref-58) Flusser, Alan (2002). Dressing the Man . United States: HarperCollins Publishers. p. 249. ISBN (/wiki/ISBN_(identifier)) 978-0060191443 . ^ (#cite_ref-59) "White Tie: Shirt" (http://www.blacktieguide.com/White_Tie/White_Tie_Shirt.htm) . Black Tie Guide . Retrieved 29 May 2016 . ^ Jump up to: a b "Classic Accessories" (http://www.blacktieguide.com/Classic/Classic_Accessories.htm) . Black Tie Guide . Retrieved 29 May 2016 . ^ (#cite_ref-61) "Classic Black Tie: Footwear" (http://www.blacktieguide.com/Classic/Classic_Footwear.htm) . Black Tie Guide . Retrieved 1 April 2011 . ^ (#cite_ref-62) Wyse, Elizabeth (2015). Debrett's Handbook . London, United Kingdom: Debrett's Limited. p. 187. ISBN (/wiki/ISBN_(identifier)) 978-0-9929348-1-1 . ^ (#cite_ref-63) "Contemporary: Other" (http://www.blacktieguide.com/Contemporary/Contemp_Other.htm) . Black Tie Guide . Retrieved 29 May 2016 . ^ (#cite_ref-64) Bridges, John; Curtis, Bryan (2003). A Gentleman Gets Dressed Up . Nashville, Tennessee, United States: Rutledge Hill Press. p. 71 (https://archive.org/details/gentlemangetsdre00brid/page/71) . ISBN (/wiki/ISBN_(identifier)) 978-1401604714 . ^ (#cite_ref-65) Hémard, Ned (2010). "New Orleans Nostalgia: Gardenias, Magnolias and Oleanders" (https://www.neworleansbar.org/docDownload/1885438) . New Orleans Bar Association . Retrieved 1 February 2019 . ^ (#cite_ref-66) "Classic Outerwear" (http://www.blacktieguide.com/Classic/Classic_Outerwear.htm) . Black Tie Guide . Retrieved 30 May 2016 . ^ (#cite_ref-67) "Vintage: Outerwear" (http://www.blacktieguide.com/Vintage/Vintage_Outerwear.htm) . Black Tie Guide . Retrieved 30 May 2016 . ^ (#cite_ref-68) "Vintage: Warm Weather" (http://www.blacktieguide.com/Vintage/Vintage_WarmWeather.htm) . Black Tie Guide . Retrieved 30 May 2016 . ^ (#cite_ref-69) "Vintage Evening Outerwear" (https://www.gentlemansgazette.com/tuxedo-black-tie-guide/vintage-evening-wear/outerwear-hats-frock-overcoat/) . 4 December 2018. ^ (#cite_ref-70) Wyse, Elizabeth (2015). Debrett's Handbook . London, United Kingdom: Debrett's Limited. ISBN (/wiki/ISBN_(identifier)) 978-0-9929348-1-1 . ^ (#cite_ref-71) "Supplemental: Decorations" (http://www.blacktieguide.com/Supplemental/Orders,Decorations.htm) . Black Tie Guide . Retrieved 30 May 2016 . ^ (#cite_ref-72) Stewart, Marjabelle Young (15 April 1997). The New Etiquette: Real Manners for Real People in Real Situations . Macmillan. p. 463. ISBN (/wiki/ISBN_(identifier)) 9780312156022 . ^ (#cite_ref-73) Morgan, John (1 April 2007). Debrett's New Guide to Etiquette and Modern Manners: The Indispensable Handbook . Macmillan. p. 338. ISBN (/wiki/ISBN_(identifier)) 9781429978286 . ^ Jump up to: a b Alexander, Hilary. "Smoke Without Fire" (https://web.archive.org/web/20100213011145/http://www.telegraph.co.uk/fashion/labels/yvessaintlaurent/3347959/Smoke-without-fire.html) . '"The Telegraph (12 December 2005). ^ Jump up to: a b Menkes, Suzy (/wiki/Suzy_Menkes) . "A toast to Yves for 'le smoking (http://www.iht.com/articles/2005/10/04/reports/Rysl.php) ' " (http://www.iht.com/articles/2005/10/04/reports/Rysl.php) . The International Herald Tribune (10 October 2005). Archived (https://web.archive.org/web/20060219130317/http://www.iht.com/articles/2005/10/04/reports/Rysl.php) 19 February 2006 at the Wayback Machine (/wiki/Wayback_Machine) ^ Jump up to: a b "Paris honours the Tuxedo, Yves St. Laurent's fashion favourite" (http://news.sawf.org/Fashion/3148.aspx) . Agence France-Presse (3 October 2005). Archived (https://web.archive.org/web/20051221200246/http://news.sawf.org/Fashion/3148.aspx) 21 December 2005 at the Wayback Machine (/wiki/Wayback_Machine) ^ (#cite_ref-dazed_77-0) "Le Smoking" (https://web.archive.org/web/20090207024440/http://dazeddigital.com/article/136/1/Le_Smoking) . Dazed Digital . Archived from the original (http://www.dazeddigital.com/article/136/1/Le_Smoking) on 7 February 2009. ^ (#cite_ref-78) "The Ultimate Guide to Choosing a Party Dress Code" (http://www.cateringonthemove.com.au/guide-to-dress-codes) . cateringonthemove.com.au . ^ (#cite_ref-79) "Etiquette: Tradition" (http://www.blacktieguide.com/Etiquette/Etiquette_Tradition.htm) . Black Tie Guide . 21 November 2018. ^ (#cite_ref-80) "Formal Debates - the Oxford Union" (https://www.oxford-union.org/debates/formal_debates) . www.oxford-union.org . ^ (#cite_ref-81) "Durham Union Society – Friday Night Debates" (https://web.archive.org/web/20180129004537/http://dus.org.uk/friday-night-debates/) . dus.org.uk . Archived from the original (http://dus.org.uk/friday-night-debates/) on 29 January 2018 . Retrieved 28 January 2018 . ^ (#cite_ref-eventbrite_82-0) "UCL Debating Society Foundation Dinner 2019 Tickets, Sat, Mar 23, 2019 at 6:30 PM" (https://www.eventbrite.com/e/ucl-debating-society-foundation-dinner-2019-tickets-58660410868) . Eventbrite . Retrieved 17 March 2019 . ^ (#cite_ref-83) Rich, Jonathan (2004). The Push Guide to Choosing a University . Nelson Thornes. ISBN (/wiki/ISBN_(identifier)) 9780748790272 . ^ (#cite_ref-independent_84-0) "Cambridge Union relaxes dress code" (https://www.independent.co.uk/news/education/higher/cambridge-union-relaxes-dress-code-9191459.html) . The Independent . 26 January 2002 . Retrieved 17 March 2019 . ^ (#cite_ref-85) "The Irish Times Debate: Speakers prepare for 2021 final" (https://www.irishtimes.com/student-hub/the-irish-times-debate-speakers-prepare-for-2021-final-1.4622307) . The Irish Times (/wiki/The_Irish_Times) . ^ (#cite_ref-86) "Black Tie Debate and Dinner (1)" (https://web.archive.org/web/20170930131106/https://www.aerosociety.com/events-calendar/black-tie-debate-and-dinner-1/) . Royal Aeronautical Society . Archived from the original (https://www.aerosociety.com/events-calendar/black-tie-debate-and-dinner-1/) on 30 September 2017 . Retrieved 30 September 2017 . ^ (#cite_ref-87) Oxford University Conservative Association Termcard - Trinity Term 2023 - pg 10 https://www.ouconservatives.com/termcard (https://www.ouconservatives.com/termcard) ^ (#cite_ref-88) Ullah, Emaan (9 February 2022). "Port and witty debate? More like port and shitty debate" (https://www.varsity.co.uk/opinion/23049) . Varsity Online . Retrieved 20 August 2022 . ^ (#cite_ref-89) "Conservative & Unionist Association (York Tories)" (https://yusu.org/activities/view/york-tories) . University of York Students' Union . Retrieved 20 August 2023 . ^ (#cite_ref-90) Archer, Joseph (25 February 2016). "Port and Policy: A night of debauchery with the Conservative society" (https://thetab.com/uk/nottingham/2016/02/25/port-policy-tory-students-like-party-30395) . The Nottingham Tab (/wiki/The_Tab) . Retrieved 20 August 2023 . ^ (#cite_ref-91) "Protocol Professionals, Inc. - Opera Protocol Tips" (http://www.protocolprofessionals.com/tips_opera.htm) . protocolprofessionals.com . ^ (#cite_ref-92) "Opera Etiquette" (http://www.debretts.com/etiquette/special-occasions/event-etiquette/opera.aspx) . Debrett's . ^ (#cite_ref-93) Showker, Kay (25 March 2010). The Unofficial Guide to Cruises . John Wiley & Sons. p. 117. ISBN (/wiki/ISBN_(identifier)) 978-0-470-63721-0 . Retrieved 2 January 2015 . ^ (#cite_ref-94) Kim, Soo (18 March 2013). "Cunard relaxes cruise ship dress code" (https://www.telegraph.co.uk/travel/travelnews/9937320/Cunard-relaxes-cruise-ship-dress-code.html) . The Daily Telegraph . Retrieved 2 January 2015 . ^ (#cite_ref-95) "Is there a dress code on board?" (https://ask.cunard.com/help/mini/cunard/life-on-board/dress_code) . Cunard . Retrieved 2 January 2015 . ^ (#cite_ref-96) "Welcome Aboard Seabourn" (http://www.seabourn.com/assets/welcometosbn/sbn_osq_welcome_aboard_booklet.pdf) (PDF) . Seabourn Cruise Line Limited. p. 21. Archived (https://ghostarchive.org/archive/20221009/http://www.seabourn.com/assets/welcometosbn/sbn_osq_welcome_aboard_booklet.pdf) (PDF) from the original on 9 October 2022 . Retrieved 10 June 2016 . ^ (#cite_ref-97) Ford, Charlotte; DeMontravel, Jacqueline (2001). 21st century etiquette: a guide to manners for the modern age . Barnes & Noble. ISBN (/wiki/ISBN_(identifier)) 978-1-56731-629-2 . p. 210: First and foremost, there's only one woman at a wedding who should be wearing a white dress. After that basic rule, follow the invitation. Weddings before 6:00 P.M. are not usually black tie unless specified. However, this doesn't mean that you should wear your office attire. ^ (#cite_ref-98) "Male Dress Codes" (https://web.archive.org/web/20140405062500/http://www.debretts.com/weddings/bridal-and-dress-codes/dress-codes/male-dress-codes) . Debrett's . Archived from the original (http://www.debretts.com/weddings/bridal-and-dress-codes/dress-codes/male-dress-codes) on 5 April 2014 . Retrieved 13 April 2014 . Further reading [ edit ] Magazines [ edit ] Apparel Arts (/wiki/Apparel_Arts) magazine, an account of 1930s fashion and style; some issues more relevant than others, such as those reproduced with comment at The London Lounge : Vol II. No. II (http://thelondonlounge.net/gl/forum/viewtopic.php?t=5526) and Vol I. No. III (http://thelondonlounge.net/gl/forum/viewtopic.php?t=244) (numbering: London Lounge , not original) Books [ edit ] Amies, Hardy (2013). The Englishman's Suit . London: Quartet Books Ltd. ISBN (/wiki/ISBN_(identifier)) 978-0-7043-7169-9 . Antongiavanni, Nicholas (2006). The Suit: A Machiavellian Approach to Men's Style . HarperCollins (/wiki/HarperCollins) . ISBN (/wiki/ISBN_(identifier)) 978-0-06-089186-2 . Boyer, G. Bruce (/wiki/G._Bruce_Boyer) (2015). True Style: The History and Principles of Classic Menswear . New York: Basic Books (/wiki/Basic_Books) . ISBN (/wiki/ISBN_(identifier)) 9780465053995 . Donald, Elsie, ed. (1981). Debrett's Etiquette and Modern Manners . London: Debrett's Peerage Limited. ISBN (/wiki/ISBN_(identifier)) 978-0-905649-43-6 . Flusser, Alan (/wiki/Alan_Flusser) (2002). Dressing the Man: Mastering the art of Permanent Fashion . New York: HarperCollins (/wiki/HarperCollins) . ISBN (/wiki/ISBN_(identifier)) 978-0-06-019144-3 . Flusser, Alan (/wiki/Alan_Flusser) (2010). Style and the Man . New York: HarperCollins (/wiki/HarperCollins) . ISBN (/wiki/ISBN_(identifier)) 978-0061976155 . Hume, Lucy (2017). Debrett's Wedding Handbook . Debrett's Limited (/wiki/Debrett%27s) . ISBN (/wiki/ISBN_(identifier)) 978-0-9929348-4-2 . Keers, Paul (1987). A Gentleman's Wardrobe: Classic Clothes and the Modern Man . London: Weidenfeld & Nicolson. ISBN (/wiki/ISBN_(identifier)) 978-0-297-79191-1 . Post, Anna; Post, Lizzie (2014). Emily Post's Wedding Etiquette (6 ed.). New York: The Emily Post Institute, Inc. ISBN (/wiki/ISBN_(identifier)) 978-0-06-232610-2 . Post, Peggy; Post, Anna; Post, Lizzie; Post Senning, Daniel (2011). Emily Post's Etiquette . New York: The Emily Post Institute, Inc. ISBN (/wiki/ISBN_(identifier)) 978-0-06-174023-7 . Roetzel, Bernhard (2009). Gentleman: A Timeless Guide to Fashion . Cambridge: Tandem Verlag GmbH. ISBN (/wiki/ISBN_(identifier)) 978-3-8331-5270-2 . Schneider, Sven (2017). Black Tie & Tuxedo Guide (1 ed.). Saint Paul, Minnesota: Gentleman's Gazette LLC. Storey, Nicholas (2008). History of Men's Fashion: What the Well-Dressed Man is Wearing . Barnsley: Pen & Sword Books Ltd. ISBN (/wiki/ISBN_(identifier)) 978-1-84468-037-5 . Tuckerman, Nancy; Dunnan, Nancy (1995). The Amy Vanderbilt Complete Book of Etiquette: 50th Anniversary Edition (1 ed.). New York: Bantam Doubleday Dell Publishing Group Inc. ISBN (/wiki/ISBN_(identifier)) 978-0-385413428 . Wyse, Elizabeth (2015). Debrett's Handbook . Debrett's Limited (/wiki/Debrett%27s) . ISBN (/wiki/ISBN_(identifier)) 978-0-9929348-1-1 . Websites [ edit ] The Emily Post Institute (http://emilypost.com/advice/attire-guide-dress-codes-from-casual-to-white-tie/) provides a breakdown of traditional categories of progressing formality in dress for men and women. Debrett's (http://www.debretts.com/british-etiquette/british-behaviour/h/dress-codes/black-tie) is the most prominent British authority on etiquette, which discusses the elements of black tie. Pullman, Nigel. "Dress codes" (http://www.liverycompanies.info/fellowship-of-clerks/dinners/dress-codes.pdf) (PDF) . Livery Companies of the City of London . Archived (https://ghostarchive.org/archive/20221009/http://www.liverycompanies.info/fellowship-of-clerks/dinners/dress-codes.pdf) (PDF) from the original on 9 October 2022 . Retrieved 17 October 2018 . Pithers, Ellie (10 December 2018). "Black-Tie Dress Code For Women" (https://www.vogue.co.uk/article/black-tie-dress-code) . Vogue . Retrieved 7 April 2019 . 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Global fashion brand WikiMiniAtlas 45°42′29″N 12°13′05″E / 45.7081087°N 12.2179756°E / 45.7081087; 12.2179756 Benetton Group Company type Società a responsabilità limitata (/wiki/Societ%C3%A0_a_responsabilit%C3%A0_limitata) (s.r.l.) Industry Fashion (/wiki/Fashion) Founded 1965 ; 59 years ago ( 1965 ) in Ponzano Veneto (/wiki/Ponzano_Veneto) , Italy Founder Luciano Benetton (/wiki/Luciano_Benetton) Carlo Benetton (/wiki/Carlo_Benetton) Gilberto Benetton (/wiki/Gilberto_Benetton) Giuliana Benetton (/wiki/Giuliana_Benetton) Headquarters Ponzano Veneto (/wiki/Ponzano_Veneto) , Italy Area served Worldwide Key people Luciano Benetton (Executive Chairman) Massimo Renon (Chief Executive Officer) Ian Clarke (UK franchise operator) Products Clothing (/wiki/Clothing) Shoes (/wiki/Shoe) Bags (/wiki/Bag) Accessories (/wiki/Fashion_accessory) Number of employees 1,500 (2020) Parent (/wiki/Parent_company) Edizione (https://it.wikipedia.org/wiki/Edizione_(azienda)) Website www (http://www.benettongroup.com/) .benettongroup (http://www.benettongroup.com/) .com (http://www.benettongroup.com/) United Colors of Benetton in Parma (/wiki/Parma) , Italy (/wiki/Italy) United Colors of Benetton in Prague (/wiki/Prague) , Czech Republic (/wiki/Czech_Republic) United Colors of Benetton in Belgrade (/wiki/Belgrade) , Serbia (/wiki/Serbia) Benetton Group S.r.l. (/wiki/S.r.l.) ( Italian pronunciation: [benetˈton] (/wiki/Help:IPA/Italian) ) [1] (#cite_note-1) is a global fashion brand (/wiki/Brand) based in Ponzano Veneto (/wiki/Ponzano_Veneto) , Italy, founded in 1965. Benetton Group has a network of about 5,000 stores worldwide. [2] (#cite_note-About_Benetton-2) It is a wholly owned subsidiary of the Benetton family (/wiki/Benetton_family) 's holding company Edizione. History [ edit ] In 1965, the Benettons opened their first store in Belluno (/wiki/Belluno) , in the Veneto (/wiki/Veneto) northern region of Italy [3] (#cite_note-auto-3) and three years after in Paris (/wiki/Paris) . The company's core business consists of clothing brands United Colors of Benetton [4] (#cite_note-4) and Sisley. [5] (#cite_note-5) Benetton was an iconic brand in the 1980s and 1990s, but has since struggled to regain this position. In 2000, it ranked 75th in Interbrand's ranking of the best global brands; however, by 2002, it had dropped out of the list. [6] (#cite_note-6) In 2012, Benetton Group was delisted (/wiki/Listing_(finance)) from the stock exchange and is now a fully owned subsidiary of the Benetton family (/wiki/Benetton_family) company Edizione holding. [7] (#cite_note-7) In 2017, the group posted a loss of €180 million. [8] (#cite_note-8) Prompted by the heavy losses, Luciano Benetton (/wiki/Luciano_Benetton) , who was then 83 years old, returned from retirement as Executive Chairman (/wiki/Executive_Chairman) for the brand. [9] (#cite_note-9) Revival efforts also included appointing French designer Jean-Charles de Castelbajac (/wiki/Jean-Charles_de_Castelbajac) as artistic director and re-appointing photographer Oliviero Toscani (/wiki/Oliviero_Toscani) . [10] (#cite_note-10) As of 2020, United Colors of Benetton has 1,500 employees and uses 25,000 workers through subcontractors (/wiki/Subcontractor) . [11] (#cite_note-11) In March 2020, Massimo Renon (/wiki/Massimo_Renon) was named CEO of the company. [12] (#cite_note-12) On May 25, 2024, Luciano Benetton (/wiki/Luciano_Benetton) announced that the group had a loss of 100 million and accused Massimo Renon (/wiki/Massimo_Renon) and other executives of mismanagement. [13] (#cite_note-13) Marketing [ edit ] Benetton is known for its sports sponsorships, and for its "United Colors" advertising (/wiki/Advertising) campaign. In 1982, Benetton hired Oliviero Toscani (/wiki/Oliviero_Toscani) as creative director (/wiki/Creative_director) , which led to a change in advertising focus towards raising awareness for various issues worldwide. [14] (#cite_note-14) In 1984, Toscani photographed the first multiracial ad for the brand. [3] (#cite_note-auto-3) In 1989, Toscani refocused Benetton's advertising strategy under the "United Colors of Benetton" campaign. The campaign's graphic, billboard-sized ads depicted a variety of shocking subjects, including the deathbed scene of a man ( AIDS (/wiki/AIDS) activist David Kirby (/wiki/David_Kirby_(activist)) ) dying from AIDS. [15] (#cite_note-15) Another ad featured a bloodied, unwashed newborn baby with umbilical cord still attached. The newborn ad prompted roughly 650 complaints to the British Advertising Standards Authority (/wiki/Advertising_Standards_Authority_(United_Kingdom)) , which noted in its 1991 annual report that the Benetton baby ad "attracted more complaints than we have ever previously known." [16] (#cite_note-16) A third ad included a black stallion copulating (/wiki/Mating) with a white mare, [17] (#cite_note-17) while a fourth advert showed a light-skinned (/wiki/Light_skin) girl with blond hair hugging a dark-skinned (/wiki/Dark_skin) boy whose hair was shaped into devil horns. [18] (#cite_note-18) In 2000, Benetton was included in the reference publication Guinness World Records (/wiki/Guinness_World_Records) for the "Most Controversial Campaign". [19] (#cite_note-19) In November 2011, Benetton created the UNHATE Foundation, launching a worldwide communication campaign described as an invitation to leaders and citizens of the world to combat the "culture of hatred". [20] (#cite_note-20) Benetton claimed the campaign was created to serve as its corporate social responsibility strategy. [21] (#cite_note-foundation-21) The UNHATE poster series uses altered images of political and religious leaders, such as then- President of the United States (/wiki/President_of_the_United_States) Barack Obama (/wiki/Barack_Obama) and Hugo Chávez (/wiki/Hugo_Ch%C3%A1vez) , then President of Venezuela (/wiki/Venezuela) , kissing each other. [22] (#cite_note-22) [23] (#cite_note-23) Following Vatican (/wiki/Holy_See) protests, Benetton removed an ad purportedly showing Pope Benedict XVI (/wiki/Pope_Benedict_XVI) kissing Ahmed Mohamed el Tayeb (/wiki/Mohamed_Ahmed_el-Tayeb) , the imam of Egypt (/wiki/Egypt) 's Al Azhar (/wiki/Al_Azhar) mosque (/wiki/Mosque) . [24] (#cite_note-24) [25] (#cite_note-25) [26] (#cite_note-26) Benetton won the Press Grand Prix at the 2012 Cannes Ad festival (/wiki/Cannes_Lions_International_Festival_of_Creativity) for its Unhate campaign. [27] (#cite_note-27) [28] (#cite_note-28) In November 2017, Benetton launched a campaign in collaboration with Devbhumi, a company owned by rural women from India (/wiki/India) 's remote Uttarakhand (/wiki/Uttarakhand) region. The initiative claimed to have empowered more than 6,000 rural women artisans in India. [29] (#cite_note-29) [30] (#cite_note-30) In 2019, Benetton Group announced it would be hosting one of the four days of talks and presentations which makes up the 88th annual International Wool Textile Organisation (IWTO) congress. [31] (#cite_note-31) Sport and sponsorship [ edit ] Main articles: Benetton Formula (/wiki/Benetton_Formula) , Benetton Rugby (/wiki/Benetton_Rugby) , Treviso Basket (/wiki/Treviso_Basket) , and Sisley Volley (/wiki/Sisley_Volley) Benetton Group entered Formula One (/wiki/Formula_One) as a sponsor of Tyrrell (/wiki/Tyrrell_Racing) in 1983 (/wiki/1983_Formula_One_World_Championship) , then Alfa Romeo (/wiki/Alfa_Romeo_(Formula_One)) in 1984 (/wiki/1984_Formula_One_World_Championship) ; this arrangement was extended to both Alfa and Toleman (/wiki/Toleman) in 1985 (/wiki/1985_Formula_One_World_Championship) . Benetton Formula (/wiki/Benetton_Formula) Ltd. was formed at the end of 1985 when the Toleman and Spirit (/wiki/Spirit_(racing_team)) teams were sold to the Benetton family. The team saw its greatest success under Flavio Briatore (/wiki/Flavio_Briatore) , who managed the team from 1990 (/wiki/1990_Formula_One_World_Championship) to 1997 (/wiki/1997_Formula_One_World_Championship) . Michael Schumacher (/wiki/Michael_Schumacher) won his first Drivers' Championships (/wiki/List_of_Formula_One_World_Drivers%27_Champions) with the team in 1994 (/wiki/1994_Formula_One_World_Championship) and 1995 (/wiki/1995_Formula_One_World_Championship) , and the team won their only Constructors' title (/wiki/List_of_Formula_One_World_Constructors%27_Champions) in 1995. From 1996 (/wiki/1996_Formula_One_World_Championship) , the team raced under an Italian licence, although it continued to be based, like Toleman, in Oxfordshire (/wiki/Oxfordshire) in England. The team was bought by Renault (/wiki/Renault) for US$120 million in 2000 (/wiki/2000_Formula_One_World_Championship) and was rebranded Renault F1 (/wiki/Renault_F1) in 2002. In 1979, Benetton first sponsored their (then amateur) local rugby team, A.S. Rugby Treviso. Benetton Rugby (/wiki/Benetton_Rugby) has since become a major force in Italian rugby, with 11 league titles and supplying many players to the national team. [32] (#cite_note-32) Benetton Group has also sponsored Treviso Basket (/wiki/Treviso_Basket) (1982–2012) and Sisley Volley (/wiki/Sisley_Volley) (1987–2012). The 1983 season (/wiki/1983_Formula_One_season) Tyrrell 011, showing the company's logo at the time. Schumacher's B194 (/wiki/Benetton_B194) of the 1994 season (/wiki/1994_Formula_One_season) . Riccardo Patrese's (/wiki/Riccardo_Patrese) Alfa Romeo (/wiki/Alfa_Romeo_in_Formula_One) Benetton 185T. Criticisms [ edit ] In 1991, Edizone Holding International (/w/index.php?title=Edizone_Holding_International&action=edit&redlink=1) , a Benetton subsidiary, bought Compañía de Tierras del Sud Argentino S. A. (/w/index.php?title=Compa%C3%B1%C3%ADa_de_Tierras_del_Sud_Argentino_S._A.&action=edit&redlink=1) and became the largest private landowner in Argentina (/wiki/Argentina) after taking over the land the company had inherited from the 19th century Conquest of the Desert (/wiki/Conquest_of_the_Desert) . [33] (#cite_note-33) Benetton has faced criticism, particularly from Mapuche (/wiki/Mapuche) organizations, over its ownership and management of traditional Mapuche lands in Patagonia (/wiki/Patagonia) . [34] (#cite_note-34) In 1997, Benetton invested in a museum in Leleque (/wiki/Leleque) which presented the Mapuche as migrants from Chile (/wiki/Mapuche#Mapuches_and_the_Argentine_state) , which was interpreted as an attempt to diminish the Mapuche's traditional claims. [35] (#cite_note-35) The Curiñanco-Nahuelquir family was evicted from their land in 2002 following Benetton's claim to it, but the land was restored in 2007. [36] (#cite_note-36) The company published a position statement regarding the Mapuche in Patagonia in 2012. [37] (#cite_note-37) Protests and occupations began again in 2015. Activist Santiago Maldonado (/wiki/Santiago_Maldonado) was last seen being evicted by the Argentine National Gendarmerie (/wiki/Argentine_National_Gendarmerie) from the disputed area in August 2017. [38] (#cite_note-38) His body was found two months later. [39] (#cite_note-39) Benetton aroused suspicion when they considered using RFID (/wiki/RFID) tracking chips on clothes to monitor inventory. A boycott site alleges the tracking chips "can be read from a distance and used to monitor the people wearing them." [40] (#cite_note-40) Issues of consumer privacy were raised, and the plan was shelved. Benetton's position on RFID technology is also available on their website. [41] (#cite_note-41) PETA (/wiki/PETA) launched a boycott campaign against Benetton for buying wool (/wiki/Wool) from farmers who practiced mulesing (/wiki/Mulesing) . Benetton has since agreed to buy nonmulesed wool and has further urged the wool industry to adopt the PETA and Australian Wool Growers Association agreement to end mulesing. [42] (#cite_note-42) Benetton's position statement on the mulesing controversy is available on their website. [43] (#cite_note-43) Building collapse at Savar [ edit ] Main article: 2013 Savar building collapse (/wiki/2013_Savar_building_collapse) On 24 April 2013, the eight-storey (/wiki/2013_Savar_building_collapse) Rana Plaza commercial building collapsed (/wiki/2013_Savar_building_collapse) outside Dhaka (/wiki/Dhaka) . It housed one of the factories in which Benetton clothing was made. [44] (#cite_note-44) At least 1,130 people died. [45] (#cite_note-RanaBBC-45) Benetton first denied reports linking production of their clothing at the factory, but clothes and documents linked to Benetton were discovered at the disaster site. [46] (#cite_note-46) [47] (#cite_note-47) [48] (#cite_note-48) Of the 29 brands identified as having sourced products from the Rana Plaza factories, only nine attended meetings held in November 2013 to agree a proposal on compensation to the victims. Several companies refused to sign including Walmart, Carrefour, Bonmarché, Mango, Auchan and Kik. The agreement was signed by Primark, Loblaw, Bonmarche and El Corte Ingles. [49] (#cite_note-Ovi2013-49) A year after the collapse, Benetton faced international protests after failing to pay any compensation to the Rana Plaza Donors Trust Fund. [50] (#cite_note-50) [51] (#cite_note-51) Protests included shutting down Benetton's flagship Oxford Street store in London. [52] (#cite_note-Kilcooley-O'Halloran-52) In April 2015, Benetton Group announced that it has doubled compensation for Rana Plaza victims recommended by independent assessors (PWC AND WRAP) and applied the principles of the Accord on Fire and Building Safety to global suppliers. Benetton's engagement for Bangladesh is available on their website. [53] (#cite_note-53) Position on the Russia-Ukraine war [ edit ] According to a study by Yale University, which analyzes the exit of foreign companies from the Russian market, Benetton group received the worst grade "F", which indicates that the company has not taken any steps to exit the Russian market and operates there with "business as usual". [54] (#cite_note-54) Meanwhile, the Changing Markets Foundation found evidence that the Benetton group uses Russian oil for its polyester products and is the only company investigated that does both: uses Russian oil for its products and remains on the Russian market. [55] (#cite_note-55) See also [ edit ] Italy portal (/wiki/Portal:Italy) Companies portal (/wiki/Portal:Companies) Fashion portal (/wiki/Portal:Fashion) Benetton family (/wiki/Benetton_family) Colors (magazine) (/wiki/Colors_(magazine)) References [ edit ] ^ (#cite_ref-1) "DOP" (https://web.archive.org/web/20180711190229/http://www.dizionario.rai.it/poplemma.aspx?lid=78534&r=5766) . Dizionario.rai.it. Archived from the original (http://www.dizionario.rai.it/poplemma.aspx?lid=78534&r=5766) on 11 July 2018 . Retrieved 28 June 2012 . ^ (#cite_ref-About_Benetton_2-0) "At a glance" (https://web.archive.org/web/20150617051300/http://www.benettongroup.com/group/profile/glance) . Benetton Group. Archived from the original (http://www.benettongroup.com/group/profile/glance) on 17 June 2015 . Retrieved 5 May 2010 . ^ Jump up to: a b Brady, Donald L. (18 December 2014). Essentials of International Marketing . Routledge. ISBN (/wiki/ISBN_(identifier)) 9781317471202 . ^ (#cite_ref-4) "United Colors of Benetton" (https://web.archive.org/web/20190821193546/https://www.benetton.com/) . Archived from the original (http://benetton.com) on 21 August 2019 . Retrieved 10 June 2015 . ^ (#cite_ref-5) "Sisley" (https://web.archive.org/web/20120629123148/http://sisley.com/) . Sisley. 21 February 2012. Archived from the original (http://sisley.com) on 29 June 2012 . Retrieved 28 June 2012 . ^ (#cite_ref-6) Hill, Andrew (29 October 2018). "From visionary to old hat: how Benetton fell out of fashion" (https://ghostarchive.org/archive/20221210/https://www.ft.com/content/ae196bec-d863-11e8-ab8e-6be0dcf18713) . www.ft.com . Archived from the original (https://www.ft.com/content/ae196bec-d863-11e8-ab8e-6be0dcf18713) on 10 December 2022 . Retrieved 3 March 2020 . ^ (#cite_ref-7) "Italy's Benetton group names new boss to help revive brand" (https://www.reuters.com/article/benetton-management-idUSI6N1H002F) . Reuters . Reuters. 5 April 2017 . Retrieved 4 December 2019 . ^ (#cite_ref-8) "Benetton to Open Up Numerous Stores Around the World" (https://fashionunited.com/news/retail/benetton-to-open-numerous-new-stores-around-the-world-in-2019/2019042927498) . Fashion United . 29 April 2019 . Retrieved 4 December 2019 . ^ (#cite_ref-9) "Benetton more than just brightly coloured pullovers" (https://www.france24.com/en/20180817-benetton-more-just-brightly-coloured-pullovers) . France 24 . 17 August 2018 . Retrieved 4 December 2019 . ^ (#cite_ref-10) "United Colors of Benetton Tests a US Comeback" (https://fashionunited.com/executive/management/jean-charles-de-castelbajac-new-benetton-artistic-director/2018100823895) . Fashion United . 8 October 2018 . Retrieved 4 December 2019 . ^ (#cite_ref-11) How McKinsey Destroyed the Middle Class (https://www.theatlantic.com/ideas/archive/2020/02/how-mckinsey-destroyed-middle-class/605878/) The Atlantic (/wiki/The_Atlantic) , Daniel Markovits, 3 February 2020 ^ (#cite_ref-12) "Benetton appoints new CEO three years after Luciano comeback" (https://www.themds.com/companies/benetton-appoints-new-ceo-three-years-after-luciano-comeback.html) . www.themds.com . Retrieved 30 August 2022 . ^ (#cite_ref-13) "Benetton in crisi: perdita operativa da 100 milioni e piano di rilancio" (https://www.ilsole24ore.com/art/benetton-crisi-buco-100-milioni-AGX9JdF) . ilsole24ore.com. ilsole24ore.com. 26 May 2024 . Retrieved 28 May 2024 . ^ (#cite_ref-14) "Benetton" (https://adage.com/article/adage-encyclopedia/benetton/98948) . adage.com . 15 September 2003 . 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Retrieved 1 June 2020 . ^ (#cite_ref-19) Baroncini-Moe, Susan (2013). Business in Blue Jeans: How to Have a Successful Business on Your Own Terms, in Your Own Style . United States: Sound Wisdom. p. 76. ISBN (/wiki/ISBN_(identifier)) 978-1937879228 . ^ (#cite_ref-20) Benetton Group (16 November 2011). "UNHATE worldwide campaign" (http://www.benettongroup.com/media-press/press-releases-and-statements/unhate-worldwide-campaign/) . Benetton Group . Retrieved 14 January 2019 . ^ (#cite_ref-foundation_21-0) "The UNHATE project" (http://www.benettongroup.com/media-press/press-releases-and-statements/the-unhate-project/) . Benetton Group. 16 November 2011 . Retrieved 14 January 2019 . ^ (#cite_ref-22) Wells, Jane (16 November 2011). "Why Is President Obama Kissing Hugo Chavez?" (https://www.cnbc.com/id/45326469) . CNBC . Retrieved 14 January 2019 . ^ (#cite_ref-23) Rajghatta, Chidanand (16 November 2011). "Benetton jolts world with 'unhate' advertisement showing world leaders in liplock" (https://timesofindia.indiatimes.com/business/international-business/Benetton-jolts-world-with-unhate-advertisement-showing-world-leaders-in-liplock/articleshow/10757682.cms) . The Times of India (/wiki/The_Times_of_India) . Retrieved 14 January 2019 . ^ (#cite_ref-24) "Press Note" (http://www.benettongroup.com/media-press/press-releases-and-statements/press-note-3/) . Benettongroup.com. 16 November 2011 . Retrieved 14 January 2019 . ^ (#cite_ref-25) Butt, Riazat (17 November 2011). "Benetton tears down pope-kissing ads after Vatican legal threat" (https://www.theguardian.com/world/2011/nov/17/benetton-pope-kissing-ads) . The Guardian (/wiki/The_Guardian) . Retrieved 14 January 2019 . ^ (#cite_ref-26) The Associated Press (16 November 2011). "Benetton pulls ad with Pope kissing imam" (https://www.cbc.ca/news/world/benetton-pulls-ad-with-pope-kissing-imam-1.1089967) . CBC . Retrieved 14 January 2019 . ^ (#cite_ref-27) Patel, Kunur (20 June 2012). "Controversial Benetton Ad Nabs Press Grand Prix" (https://adage.com/article/special-report-cannes-2012/controversial-benetton-ad-nabs-press-grand-prix/235505/) . AdAge . Retrieved 14 January 2019 . ^ (#cite_ref-28) "Benetton 'Unhate' Campaign, Featuring World Leaders Kissing, Wins Cannes Ad Festival Award" (https://www.huffingtonpost.com/2012/06/20/benetton-unhate-campaign-cannes-ad-festival-award_n_1613757.html) . Huffington Post . 20 June 2012 . Retrieved 14 January 2019 . ^ (#cite_ref-29) "Fashion brand aims to empower over 6,000 women weavers" (https://web.archive.org/web/20171114202647/https://economictimes.indiatimes.com/industry/cons-products/fashion-/-cosmetics-/-jewellery/fashion-brand-aims-to-empower-over-6000-women-weavers/articleshow/61629440.cms) . Archived from the original (https://economictimes.indiatimes.com/industry/cons-products/fashion-/-cosmetics-/-jewellery/fashion-brand-aims-to-empower-over-6000-women-weavers/articleshow/61629440.cms) on 14 November 2017. ^ (#cite_ref-30) Maverick, Martins (14 November 2017). "Benetton collaborates with Devbhumi for special scarves collection" (https://in.fashionnetwork.com/news/Benetton-collaborates-with-Devbhumi-for-special-scarves-collection,890856.html) . FashionNetwork.com . Retrieved 14 January 2019 . ^ (#cite_ref-31) Styles, David. "Benetton Group opens doors to IWTO Congress" (https://www.ecotextile.com/2019021124045/shows-events/benetton-group-opens-doors-to-iwto-congress.html) . Ecotextile News . Retrieved 3 March 2020 . ^ (#cite_ref-32) "Benetton Rugby – Storia" (https://web.archive.org/web/20080414205150/http://www.benettonrugby.it/105_0/default.ashx) (in Italian). Archived from the original (http://www.benettonrugby.it/105_0/default.ashx) on 14 April 2008 . Retrieved 7 April 2008 . ^ (#cite_ref-33) "Benetton in Patagonia – the Oppression of Mapuche in the Argentine South" (https://www.coha.org/benetton-in-patagonia-the-oppression-of-mapuche-in-the-argentine-south/) . ^ (#cite_ref-34) "The Invisible Colours of Benetton – Campaign" (http://www.mapuche-nation.org/english/main/benetton/main/info.htm) . Retrieved 7 April 2008 . ^ (#cite_ref-35) "The privatization of Patagonia" (https://newint.org/columns/essays/2006/08/01/patagonia/) . August 2006. ^ (#cite_ref-36) "Recovered Mapuche territory in Patagonia: Benetton vs. Mapuche" (https://archive.today/20120908191814/http://www.santarosarecuperada.com.ar/english/index.html) . MAPU Association. Archived from the original (http://www.santarosarecuperada.com.ar/english/index.html) on 8 September 2012 . Retrieved 7 April 2008 . ^ (#cite_ref-37) "Benetton's position regarding the Mapuche in Patagonia" (https://web.archive.org/web/20120625071312/http://www.benettongroup.com/media-press/company-position-statements) . Archived from the original (http://www.benettongroup.com/media-press/company-position-statements) on 25 June 2012. ^ (#cite_ref-38) "Argentina activist missing after indigenous people evicted from Benetton land" (https://www.theguardian.com/world/2017/aug/08/argentina-santiago-maldonado-benetton-missing-activist) . TheGuardian.com (/wiki/TheGuardian.com) . 8 August 2017. ^ (#cite_ref-39) "Argentina: Missing protester Santiago Maldonado found dead; activist supported Mapuche indigenous peoples' claim to Benetton-owned land – Business & Human Rights Resource Centre" (https://www.business-humanrights.org/en/argentina-santiago-maldonado-activist-supporting-mapuche-indigenous-peoples%E2%80%98-claims-to-land-owned-by-benetton-still-%E2%80%9Cmissing%E2%80%9D) . Business-humanrights.org . Retrieved 23 March 2022 . ^ (#cite_ref-40) "Boycott Benetton" (https://web.archive.org/web/20050309222351/http://www.boycottbenetton.com/) . Archived from the original (http://www.boycottbenetton.com/) on 9 March 2005 . Retrieved 7 April 2008 . ^ (#cite_ref-41) "Benetton's position on RFID technology" (https://web.archive.org/web/20120625071312/http://www.benettongroup.com/media-press/company-position-statements) . Archived from the original (http://www.benettongroup.com/media-press/company-position-statements) on 25 June 2012 . Retrieved 23 February 2012 . ^ (#cite_ref-42) "Campaign ends" (https://web.archive.org/web/20051106042411/http://www.savethesheep.com/f-benettonvictory.asp) . PETA Save the Sheep! campaign. Archived from the original (http://www.savethesheep.com/f-benettonvictory.asp) on 6 November 2005 . Retrieved 7 April 2008 . ^ (#cite_ref-43) "Benetton's position regarding the controversy on mulesing between the Australian Wool Industry and PETA" (https://web.archive.org/web/20120625071312/http://www.benettongroup.com/media-press/company-position-statements) . Archived from the original (http://www.benettongroup.com/media-press/company-position-statements) on 25 June 2012 . Retrieved 23 February 2012 . ^ (#cite_ref-44) Ahmed, Saeed; Lakhani, Leone (14 June 2013), "Bangladesh building collapse: An end to recovery efforts, a promise of a new start" (http://edition.cnn.com/2013/05/14/world/asia/bangladesh-building-collapse-aftermath/) , CNN , retrieved 16 December 2013 ^ (#cite_ref-RanaBBC_45-0) "Rana Plaza factory collapse survivors struggle one year on" (https://www.bbc.com/news/world-asia-27107860) . BBC News (/wiki/BBC_News) . 23 April 2014 . Retrieved 12 March 2015 . ^ (#cite_ref-46) "Benetton denies to have any involvement with Bangladesh factory in their Tweet" (http://www.twitlonger.com/show/n_1rjumi2) . ^ (#cite_ref-47) Cohn, Emily (29 April 2013). "Benetton Denies Ties To Deadly Bangladesh Factory, But Its Shirts Were Found In The Rubble: Quartz (PHOTOS)" (http://www.huffingtonpost.com/2013/04/29/bennetton-bangladesh-factory-collapse_n_3179523.html) . Huffington Post . ^ (#cite_ref-48) "Bangladesh factory collapse death toll rises above 1,000" (http://www.dw.de/bangladesh-factory-collapse-death-toll-rises-above-1000/a-16802345) . ^ (#cite_ref-Ovi2013_49-0) Ovi, Ibrahim Hossain (2013), Buyers' compensation for Rana Plaza victims far from reality , archived from the original (http://www.dhakatribune.com/business/2013/nov/17/buyers%E2%80%99-compensation-rana-plaza-victims-far-reality) on 25 March 2016 , retrieved 16 December 2013 ^ (#cite_ref-50) Tichborne, Beth (26 April 2014). "Benetton stores targeted by global protests" (http://www.indymedia.org.uk/en/2014/04/516416.html) . Indymedia UK . ^ (#cite_ref-51) Butler, Sarah (24 April 2014). "Rana Plaza disaster marked by Oxford Street demonstration" (https://www.theguardian.com/world/2014/apr/23/rana-plaza-disaster-oxford-street-demonstration) . The Guardian . ^ (#cite_ref-Kilcooley-O'Halloran_52-0) Kilcooley-O'Halloran, Scarlett (25 April 2014). "Benetton Rana Plaza Protests" (https://www.vogue.co.uk/news/2014/04/25/benetton-protest-oxford-circus-rana-plaza) . Vogue . ^ (#cite_ref-53) "Benetton Group – Corporate Website" (http://www.benettongroup.com/sustainability/benetton-for-bangladesh/) . ^ (#cite_ref-54) "Over 1,000 Companies Have Curtailed Operations in Russia—But Some Remain | Yale School of Management" (https://som.yale.edu/story/2022/over-1000-companies-have-curtailed-operations-russia-some-remain) . som.yale.edu . 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Person displaying products or serving as a visual aid This article is about the role a person may take as a model (/wiki/Model) . For other uses, see Model (disambiguation) (/wiki/Model_(disambiguation)) . "Fashion Model" redirects here. For the film, see Fashion Model (film) (/wiki/Fashion_Model_(film)) . A female model posing on a typical studio shooting set A model is a person with a role (/wiki/Role) either to display commercial products (/wiki/Product_(business)) (notably fashion (/wiki/Fashion) clothing in fashion shows (/wiki/Fashion_show) ) or to serve as an artist's model (/wiki/Model_(art)) or to pose for photography (/wiki/Photography) . Modelling ("modeling" in American English (/wiki/British_and_American_English_spelling_differences#Doubled_consonants) ) is considered to be different from other types of public performance (/wiki/Performance) , such as acting (/wiki/Acting) or dancing (/wiki/Dance) ; thus, appearing in a film or a play is not generally considered to be "modelling". Personal opinions are normally not expressed, and a model's reputation and image are considered critical. Types of modelling include: fine art, fashion (/wiki/Fashion_modeling) , glamour (/wiki/Glamour_modeling) , fitness, and body-part promotional (/wiki/Promotional_modeling) modelling. Models are featured in various media formats, including books, magazines, films, newspapers, the Internet, and television. Fashion modelling is sometimes featured in reality TV (/wiki/Reality_television) shows ( America's Next Top Model (/wiki/America%27s_Next_Top_Model) ). Celebrities (/wiki/Celebrity) , including actors, singers, sports personalities (/wiki/Athlete) and reality TV stars, frequently participate in modelling contests, assignments, and contracts in addition to their regular work. Modelling often is a part-time activity. Artist's models [ edit ] Main article: Model (art) (/wiki/Model_(art)) Artist's models pose for any visual artist (/wiki/Visual_artist) as part of the creative process (/wiki/Creative_process) . Artist's models are often paid professionals (/wiki/Professionals) who provide a reference or inspiration for a work of art (/wiki/Work_of_art) that includes the human figure. The most common types of art created using models are figure drawing (/wiki/Figure_drawing) , figure painting (/wiki/Figure_painting) , sculpture (/wiki/Sculpture) and photography (/wiki/Photography) , but almost any medium may be used. Although commercial motives dominate over aesthetics in illustration (/wiki/Illustration) , its artwork commonly employs models. Models are most frequently employed for art classes (/wiki/Art_school) or by informal groups of experienced artists who gather to share the expense of a model. Fashion modelling [ edit ] "Fashion model" redirects here. For the 1945 film, see Fashion Model (film) (/wiki/Fashion_Model_(film)) . History of fashion modelling [ edit ] Early years [ edit ] In 14th-century Europe (/wiki/Late_Middle_Ages) , fashion had been displayed in miniature form to (often royal) clients by fashion dolls (/wiki/Fashion_doll) , before the clothes were made in human size. [1] (#cite_note-1) Modelling as a profession was first established in 1853 by Charles Frederick Worth (/wiki/Charles_Frederick_Worth) , the "father of haute couture (/wiki/Haute_couture) ", when he asked his wife, Marie Vernet Worth, to model the clothes he designed. [2] (#cite_note-2) [3] (#cite_note-3) The term " house model (/wiki/House_model) " was coined to describe this type of work. Eventually, this became common practice for Parisian fashion houses (/wiki/French_fashion#Final_19th,_the_Belle_époque_and_early_20th_century) . There were no standard physical measurement requirements for a model, and most designers would use women of varying sizes to demonstrate variety in their designs (/wiki/Fashion_design) . The modelling profession expanded to photo modelling with the development of fashion photography (/wiki/Fashion_photography) . Models remained fairly anonymous, and relatively poorly paid, until the late 1940s, when the world's first three supermodels, Barbara Goalen (/wiki/Barbara_Goalen) , Bettina Graziani (/wiki/Bettina_Graziani) and Lisa Fonssagrives (/wiki/Lisa_Fonssagrives) began commanding very large sums. During the 1940s and 1950s, Graziani was the most photographed woman in France and the undisputed queen of couture, while Fonssagrives appeared on over 200 Vogue (/wiki/Vogue_(magazine)) covers; her name recognition led to the importance of Vogue in shaping the careers of fashion models. One of the most popular models during the 1940s was Jinx Falkenburg (/wiki/Jinx_Falkenburg) , who was paid $25 per hour, a large sum at the time; [4] (#cite_note-4) through the 1950s, Wilhelmina Cooper (/wiki/Wilhelmina_Cooper) , Jean Patchett (/wiki/Jean_Patchett) , Dovima (/wiki/Dovima) , Dorian Leigh (/wiki/Dorian_Leigh) , Suzy Parker (/wiki/Suzy_Parker) , Evelyn Tripp (/wiki/Evelyn_Tripp) and Carmen Dell'Orefice (/wiki/Carmen_Dell%27Orefice) also dominated fashion. [5] (#cite_note-5) Dorothea Church (/wiki/Dorothea_Church) was among the first black models in the industry to gain recognition in Paris. However, these models were unknown outside the fashion community. Wilhelmina Cooper (/wiki/Wilhelmina_Cooper) 's measurements were 38"-24"-36" whereas Chanel Iman (/wiki/Chanel_Iman) 's measurements are 32"-23"-33". [6] (#cite_note-6) In 1946, Ford Models (/wiki/Ford_Models) was established by Eileen (/wiki/Eileen_Ford) and Gerard Ford (/wiki/Gerard_W._Ford) in New York, making it one of the oldest model agencies in the world. The 1960s and the beginning of the industry [ edit ] Models on runway (/wiki/Runway_(fashion)) at a fashion show (/wiki/Fashion_show) In the 1960s, the modelling world established modelling agencies (/wiki/Modeling_agency) . Throughout Europe, secretarial services acted as models' agents charging them weekly rates for their messages and bookings. For the most part, models were responsible for their own billing. In Germany, agents were not allowed to work for a percentage of a person's earnings, so they referred to themselves as secretaries. Except for a few models travelling to Paris or New York, travelling was relatively unheard of for a model. Most models only worked in one market due to different labour laws governing modelling in various countries. In the 1960s, Italy had many fashion houses and fashion magazines (/wiki/Fashion_magazines) but desperately needed models. Italian agencies often coerced models to return to Italy without work visas by withholding their pay. [7] (#cite_note-history-7) They would also pay their models in cash, which models would have to hide from customs (/wiki/Customs) agents. It was not uncommon for models staying in hotels such as La Louisiana in Paris (/wiki/Paris) or the Arena in Milan (/wiki/Milan) to have their hotel rooms raided by the police looking for their work visas. It was rumoured that competing agencies were behind the raids. This led many agencies to form worldwide chains; for example, the Marilyn Agency (/wiki/Marilyn_Agency) has branches in Paris and New York. [7] (#cite_note-history-7) By the late 1960s, London (/wiki/London) was considered the best market in Europe due to its more organised and innovative approach to modelling. It was during this period that models began to become household names. Models such as Jean Shrimpton (/wiki/Jean_Shrimpton) , Tania Mallet (/wiki/Tania_Mallet) , Celia Hammond (/wiki/Celia_Hammond) , Twiggy (/wiki/Twiggy) , and Penelope Tree (/wiki/Penelope_Tree) dominated the London fashion scene and were well paid, unlike their predecessors. [8] (#cite_note-8) Twiggy became The Face of '66 at the age of 16. [9] (#cite_note-9) At this time, model agencies were not as restrictive about the models they represented, although it was uncommon for them to sign shorter models. Twiggy, who stood at 5 feet 6 inches (168 cm) with a 32" bust and had a boy's haircut, is credited with changing model ideals. At that time, she earned £ (/wiki/Pound_sterling) 80 (equivalent to £ 1,354.63 or US$ (/wiki/USD) 1,729.07 in 2019) [10] (#cite_note-inflation-UKGDP-10) an hour, while the average wage was £ (/wiki/Pound_sterling) 15 (equivalent to £ 253.99 or US$ (/wiki/USD) 324.2 in 2019) [10] (#cite_note-inflation-UKGDP-10) a week. Jean Shrimpton (/wiki/Jean_Shrimpton) in 1965 In 1967, seven of the top model agents in London formed the Association of London Model Agents. The formation of this association helped legitimise modelling and changed the fashion industry. Even with a more professional attitude towards modelling, models were still expected to have their hair and makeup done before they arrived at a shoot. Meanwhile, agencies took responsibility for a model's promotional materials and branding. That same year, former top fashion model Wilhelmina Cooper (/wiki/Wilhelmina_Cooper) opened up her own fashion agency with her husband called Wilhelmina Models (/wiki/Wilhelmina_Models) . By 1968, FM Agency and Models 1 (/w/index.php?title=Models_1&action=edit&redlink=1) were established and represented models in a similar way that agencies do today. [11] (#cite_note-11) [12] (#cite_note-12) By the late 1960s, models were treated better and were making better wages. One of the innovators, Ford Models, was the first agency to advance models money they were owed and would often allow teen models, who did not live locally, to reside in their house, a precursor to model housing. The 1970s and 1980s [ edit ] The innovations of the 1960s flowed into the 1970s fashion scene. As a result of model industry associations and standards, [13] (#cite_note-13) model agencies became more business minded, and more thought went into a model's promotional materials. By this time, agencies were starting to pay for a model's publicity. [7] (#cite_note-history-7) In the early 1970s, Scandinavia (/wiki/Scandinavia) had many tall, leggy, blonde (/wiki/Blond) -haired, blue-eyed models and not enough clients. It was during this time that Ford Models pioneered scouting. [7] (#cite_note-history-7) They would spend time working with agencies holding modeling contests. This was the precursor to the Ford Models Supermodel of the World (/wiki/Ford_Models_Supermodel_of_the_World) competition, established in 1980. Ford also focused its attention on Brazil, which had a wide array of seemingly "exotic" models, which eventually led to the establishment of Ford Models Brazil. During this time, the Sports Illustrated Swimsuit Issue (/wiki/Sports_Illustrated_Swimsuit_Issue) debuted. The magazine set the trend by photographing "bigger and healthier" California models, [14] (#cite_note-Slate-14) and printing their names by their photos, thus turning many of them into household names and establishing the issue as a hallmark of supermodel (/wiki/Supermodel) status. [14] (#cite_note-Slate-14) Beverly Johnson (/wiki/Beverly_Johnson) in 2007 The 1970s marked numerous milestones in fashion. Beverly Johnson (/wiki/Beverly_Johnson) was the first black (/wiki/African_Americans) woman to appear on the cover of U.S. Vogue in 1974. [15] (#cite_note-15) Models, including Iman (/wiki/Iman_(model)) , Grace Jones (/wiki/Grace_Jones) , Pat Cleveland (/wiki/Pat_Cleveland) , Alva Chinn (/wiki/Alva_Chinn) , Donyale Luna (/wiki/Donyale_Luna) , Minah Bird (/wiki/Minah_Bird) , Naomi Sims (/wiki/Naomi_Sims) , and Toukie Smith (/wiki/Toukie_Smith) were some of the top black fashion models who paved the way for black women in fashion. [16] (#cite_note-16) In 1975, Margaux Hemingway (/wiki/Margaux_Hemingway) landed a then-unprecedented million-dollar contract as the face of Fabergé (/wiki/Faberg%C3%A9_(cosmetics)) 's Babe perfume and the same year appeared on the cover of Time magazine, labeled one of the "New Beauties", giving further name recognition to fashion models. [17] (#cite_note-17) Many of the world's most prominent modeling agencies were established in the 1970s and early 1980s. These agencies created the standard by which agencies now run. In 1974, Nevs Models was established in London with only a men's board, the first of its kind. Elite Models was founded in Paris in 1975, as well as Friday's Models in Japan (/wiki/Japan) . [18] (#cite_note-18) [19] (#cite_note-19) The next year Cal-Carries was established in Singapore (/wiki/Singapore) , the first of a chain of agencies in Asia. In 1977, Select Model Management and Why Not Models in Milan opened its doors. By the 1980s, agencies such as Premier Model Management, Storm Models, Mikas, Marilyn, and Metropolitan Models had been established. Naomi Campbell (/wiki/Naomi_Campbell) , one of the most famous supermodels (/wiki/Supermodel) In October 1981, Life (/wiki/Life_(magazine)) cited Shelley Hack (/wiki/Shelley_Hack) , Lauren Hutton and Iman for Revlon (/wiki/Revlon) , Margaux Hemingway for Fabergé (/wiki/Faberge_(cosmetics)) , Karen Graham (/wiki/Karen_Graham) for Estée Lauder (/wiki/Est%C3%A9e_Lauder_Companies) , Cristina Ferrare (/wiki/Cristina_Ferrare) for Max Factor (/wiki/Max_Factor) , and Cheryl Tiegs for CoverGirl (/wiki/CoverGirl) by proclaiming them the "million dollar faces" of the beauty industry. These models negotiated previously unheard-of lucrative and exclusive deals with giant cosmetics companies, were instantly recognizable, and their names became well known to the public. [20] (#cite_note-20) By the 1980s, most models could make modeling a full-time career. Patti Hansen (/wiki/Patti_Hansen) , one of the top earning models in 1980, earned $200 an hour for print and $2,000 for television plus residuals (/wiki/Residual_(entertainment_industry)) ; it was estimated that she earned about $300,000 a year in 1980 (equivalent to $931,463 in 2023). [21] (#cite_note-21) It was common for models to travel abroad and work throughout Europe. As modeling became global, numerous agencies began to think globally. In 1980, Ford Models, the innovator of scouting, introduced the Ford Models Supermodel of the World (/wiki/Ford_Models_Supermodel_of_the_World) contest. [22] (#cite_note-22) That same year, John Casablancas opened Elite Models (/wiki/Elite_Models) in New York. In 1981, cosmetics companies began contracting top models to lucrative endorsement deals (/wiki/Testimonial) . By 1983, Elite had developed its own contest, the Elite Model Look competition. In New York, during the 1980s there were so-called "model wars" in which the Ford and Elite agencies fought over models and campaigns. Models were jumping back and forth between agencies such Elite, Wilhelmina, and Ford. [23] (#cite_note-23) In New York, the late 1980s trend was the boyish look in which models had short cropped hair and looked androgynous (/wiki/Androgynous) . In Europe, the trend was the exact opposite. During this time, many American models who were considered more feminine-looking moved abroad. [24] (#cite_note-24) By the mid-1980s, big hair was made popular by some musical groups, and the boyish look was out. The hourglass figure (/wiki/Hourglass_figure) , a fashionable trend from the late 1940s to the early 1960s, has made a comeback. 1990s [ edit ] Kate Moss (/wiki/Kate_Moss) , part of the heroin chic (/wiki/Heroin_chic) trend The high fashion models of the late 1980s dominated the early 1990s. In 1990, Linda Evangelista (/wiki/Linda_Evangelista) famously said to Vogue , "we don't wake up for less than $10,000 a day". Evangelista and her contemporaries, Naomi Campbell (/wiki/Naomi_Campbell) , Cindy Crawford (/wiki/Cindy_Crawford) , Christy Turlington (/wiki/Christy_Turlington) , Tatjana Patitz (/wiki/Tatjana_Patitz) , Stephanie Seymour (/wiki/Stephanie_Seymour) , and Yasmeen Ghauri (/wiki/Yasmeen_Ghauri) became arguably the most recognisable models in the world, earning the moniker of " supermodel (/wiki/Supermodel) ", and were boosted to global recognition and new heights of wealth for the industry. [25] (#cite_note-25) In 1991, Turlington signed a contract with Maybelline (/wiki/Maybelline) that paid her $800,000 for twelve days' work each year. By the mid‑1990s, the new " heroin chic (/wiki/Heroin_chic) " trend became popular amongst New York and London editorial clients. Kate Moss (/wiki/Kate_Moss) became its poster child through her ads for Calvin Klein (/wiki/Calvin_Klein) . With the popularity of lingerie retailer Victoria's Secret (/wiki/Victoria%27s_Secret) , and the Sports Illustrated Swimsuit Issue (/wiki/Sports_Illustrated_Swimsuit_Issue) , there was a need for healthier-looking [ citation needed ] supermodels such as Tyra Banks (/wiki/Tyra_Banks) and Heidi Klum (/wiki/Heidi_Klum) to meet commercial modelling demand. The mid‑1990s also saw many Asian countries establishing modelling agencies. By the late 1990s, the heroin chic era had run its course. Teen-inspired clothing infiltrated mainstream fashion, teen pop music (/wiki/Pop_music) was on the rise, and artists such as Britney Spears (/wiki/Britney_Spears) , Aaliyah (/wiki/Aaliyah) and Christina Aguilera (/wiki/Christina_Aguilera) popularised pleather (/wiki/Artificial_leather) and bare midriffs. As fashion changed to a more youthful demographic (/wiki/Demography) , the models who rose to fame had to be sexier for the digital age. Following Gisele Bündchen (/wiki/Gisele_B%C3%BCndchen) 's breakthrough, a wave of Brazilian (/wiki/Brazil) models including Adriana Lima (/wiki/Adriana_Lima) and Alessandra Ambrosio (/wiki/Alessandra_Ambrosio) rose to fame on runways and became popular in commercial modelling throughout the 2000s. Some have tied this increase in Brazilian models to the trend of magazines featuring celebrities instead of models on their covers. [26] (#cite_note-um-26) 2000s and since [ edit ] See also: Size zero (/wiki/Size_zero) The identical Carlson Twins (/wiki/Carlson_Twins) in 2006 In the late 2000s, the Brazilians fell out of favour on the runways. Editorial clients were favouring models with a china-doll or alien look to them, such as Gemma Ward (/wiki/Gemma_Ward) and Lily Cole (/wiki/Lily_Cole) . During the 2000s, Ford Models and NEXT Model Management (/wiki/NEXT_Model_Management) were engaged in a legal battle, with each agency alleging that the other was stealing its models. [27] (#cite_note-27) Gemma Ward (/wiki/Gemma_Ward) , an Australian model However, the most significant controversy of the 2000s was the health of high-fashion models participating in fashion week. While the health of models had been a concern since the 1970s, there were several high-profile news stories surrounding the deaths of young fashion models due to eating disorders (/wiki/Eating_disorder) and drug abuse (/wiki/Drug_abuse) . The British Fashion Council (/wiki/British_Fashion_Council) subsequently asked designers to sign a contract stating they would not use models under the age of sixteen. [28] (#cite_note-28) On March 3, 2012, Vogue banned models under the age of sixteen as well as models who appeared to have an eating disorder. [29] (#cite_note-29) Similarly, other countries placed bans on unhealthy, and underage models, including Spain (/wiki/Spain) , Italy (/wiki/Italy) , and Israel (/wiki/Israel) , which all enacted a minimum body mass index (/wiki/Body_mass_index) (BMI) requirement. In 2013, New York toughened its child labour law protections for models under the age of eighteen by passing New York Senate Bill No. 5486, which gives underage models the same labour protections afforded to child actors. Key new protections included the following: underage models are not to work before 5:00 pm or after 10:00 pm on school nights, nor were they to work later than 12:30 am on non-school nights; the models may not return to work less than twelve hours after they leave; a pediatric nurse must be on-site; an adult chaperone must accompany models under sixteen; parents or guardians of underage models must create a trust fund account into which employers will transfer a minimum of 15% of the child model (/wiki/Child_model) 's gross earnings; and employers must set aside time and a dedicated space for educational instruction. [30] (#cite_note-30) Runway modelling [ edit ] Main articles: Fashion show § Catwalk (/wiki/Fashion_show#Catwalk) , and Fashion week (/wiki/Fashion_week) Catwalk or runway models display clothes from fashion designers, fashion media, and consumers. They are also called "live models" and are self-employed. Their height is generally over 6 ft 0 in (183 cm) for men and over 5 ft 8 in (173 cm) for women. Runway models work in different locations, constantly travelling between those cities where fashion is well known— New York City (/wiki/New_York_Fashion_Week) , London (/wiki/London_Fashion_Week) , Paris (/wiki/Paris_Fashion_Week) , and Milan (/wiki/Milan_Fashion_Week) . Second-tier international fashion centre cities include Rome (/wiki/Rome) , Florence (/wiki/Florence) , Venice (/wiki/Venice) , Brescia (/wiki/Brescia) , Barcelona (/wiki/Barcelona) , Los Angeles (/wiki/Los_Angeles) , Tokyo (/wiki/Tokyo) , and Moscow (/wiki/Moscow) . The criteria for runway models include certain height and weight requirements. During runway shows, models have to constantly change clothes and makeup. Models walk, turn, and stand to demonstrate a garment's key features. Models also go to interviews (called "go and sees") to present their portfolios. [31] (#cite_note-31) The more experience a model has, the more likely she/he is to be hired for a fashion show. A runway model can also work in other areas, such as department store fashion shows, and the most successful models sometimes create their own product lines or go into acting. [32] (#cite_note-modelingbook1-32) : 191–192 Fashion models on the runway during Los Angeles Fashion Week (/wiki/Los_Angeles_Fashion_Week) , 2008 The British Association of Model Agents (AMA) says that female models should be around 34"-24"-34" and between 5 ft 8 in (173 cm) and 5 ft 11 in (180 cm) tall. [33] (#cite_note-AMA-33) The average model is very slender. Those not meeting the size requirement may try to become a plus-size model (/wiki/Plus-size_model) . [34] (#cite_note-34) According to the New York Better Business Career Services website, the preferred dimensions for a male model are a height of 5 ft 11 in (180 cm) to 6 ft 2 in (188 cm), a waist of 26–32 in (66–81 cm) and a chest measurement of 39–40 in (99–102 cm). [35] (#cite_note-35) Male runway models are notably skinny and well toned. [36] (#cite_note-36) Male and female models must also possess clear skin, healthy hair, and attractive facial features. Stringent weight and body proportion guidelines form the selection criteria by which established, and would‑be, models are judged for their placement suitability, on an ongoing basis. There can be some variation regionally, and by market tier, subject to current prevailing trends at any point, in any era, by agents, agencies and end-clients. Formerly, the required measurements for models were 35"-23.5"-35" in (90-60-90 cm), the alleged measurements of Marilyn Monroe (/wiki/Marilyn_Monroe) . [ citation needed ] Today's fashion models tend to have measurements closer to the AMA-recommended shape, but some – such as Afghan (/wiki/Afghans) model Zohre Esmaeli (/wiki/Zohre_Esmaeli) – still have 35"-23.5"-35" measurements. Although in some fashion centres, a size 00 is more desirable than a size 0. The often thin shape of many fashion models has been criticised for warping girls' body image (/wiki/Body_image) and encouraging eating disorders (/wiki/Eating_disorder) . [37] (#cite_note-37) Organisers of a fashion show in Madrid (/wiki/Cibeles_Madrid_Fashion_Week) in September 2006 turned away models who were judged to be underweight (/wiki/Underweight) by medical personnel who were on hand. [38] (#cite_note-38) In February 2007 a Uruguayan (/wiki/Uruguay) model, Luisel Ramos (/wiki/Luisel_Ramos) , died from heart problems secondary to malnutrition. Her sister Eliana Ramos (/wiki/Eliana_Ramos) also was a model and had died immediately after a runway show several months prior. They were amongst the three fashion models to die of malnutrition (/wiki/Malnutrition) in a six-month span. The other victim was Ana Carolina Reston (/wiki/Ana_Carolina_Reston) . [39] (#cite_note-39) Luisel Ramos (/wiki/Luisel_Ramos) died of heart failure (/wiki/Heart_failure) caused by anorexia nervosa (/wiki/Anorexia_nervosa) just after stepping off the catwalk (/wiki/Catwalk) . In 2015, France (/wiki/France) passed a law requiring models to be declared healthy by a doctor to participate in fashion shows. The law also requires re-touched images to be marked as such in magazines. [40] (#cite_note-40) Magazine modelling [ edit ] Fashion modelling also includes modelling clothing in fashion magazines. In Japan, there are different types of fashion magazine models. Exclusive models ( 専属モデル , senzoku moderu ) are models who regularly appear in a fashion magazine and model exclusively for it. [41] (#cite_note-cnn_2010-09-16-41) On the other hand, street models, or "reader models" ( 読者モデル , dokusha moderu , abbreviated as "dokumo" for short) , are amateur models who model part-time for fashion magazines in conjunction to school work and their main jobs. [41] (#cite_note-cnn_2010-09-16-41) [42] (#cite_note-tgu_2015-12-07-42) [43] (#cite_note-businessinsider_2019-01-14-43) Unlike professional models, street models are meant to represent the average person in appearance and do not appear on runways. [42] (#cite_note-tgu_2015-12-07-42) Street models are not exclusively contracted to fashion magazines. [41] (#cite_note-cnn_2010-09-16-41) If a street model is popular enough, some become exclusive models. [41] (#cite_note-cnn_2010-09-16-41) Many fashion icons and musicians in Japan began their careers as street models, including Kaela Kimura (/wiki/Kaela_Kimura) and Kyary Pamyu Pamyu (/wiki/Kyary_Pamyu_Pamyu) . [42] (#cite_note-tgu_2015-12-07-42) Plus-size [ edit ] Main article: Plus-size model (/wiki/Plus-size_model) Chloe Marshall (/wiki/Chloe_Marshall) , a size 16, is considered a plus-size model. Plus-size models are models who generally have larger measurements than editorial fashion models. The primary use of plus-size models is to appear in advertising and runway shows for plus-size labels. Plus-size models are also engaged in work not strictly related to selling large-sized clothing, e.g., stock photography (/wiki/Stock_photography) and advertising photography for cosmetics, household and pharmaceutical products and sunglasses, footwear and watches. Therefore, plus-size models do not exclusively wear garments marketed as plus-size clothing. This is especially true when participating in fashion editorials for mainstream fashion magazines. Some plus-size models have appeared in runway shows and campaigns for mainstream retailers and designers such as Gucci, Guess, Jean-Paul Gaultier, Levi's and Versace Jeans. [44] (#cite_note-44) [45] (#cite_note-45) [46] (#cite_note-Serpe,_Gina-46) [47] (#cite_note-47) Normal-size [ edit ] Camille Kostek (/wiki/Camille_Kostek) is a normal-size or "middle model" at size 4/6. Also known as the "in-between" and "middle models", [48] (#cite_note-48) they are neither considered catalogue size (0–2) nor plus-size (10 up). [49] (#cite_note-49) There is criticism that these models have been left out of the conversation because fashion companies and brands opt to employ the extremes of the spectrum. [50] (#cite_note-50) [51] (#cite_note-51) Model Camille Kostek (/wiki/Camille_Kostek) who was on a solo cover of Sports Illustrated Swimsuit Issue (/wiki/Sports_Illustrated_Swimsuit_Issue) in 2019 has stated that she was told by a well-known international modelling agency "...that it was too bad that I wasn't a size 10. That plus size is a big market right now and it's too bad I wasn't measuring bigger. My size (4/6) is considered an "in-between size", meaning I'm not a straight model nor plus model, I'm right in the middle. [52] (#cite_note-52) [53] (#cite_note-53) Actress Mindy Kaling (/wiki/Mindy_Kaling) has described this body type in her 2011 book Is Everybody Hanging Out Without Me? writing, "Since I am not model-skinny, but also not super-fat... I fall into that nebulous, 'Normal American Woman Size' that legions of fashion stylists detest... Many stylists hate that size because, I think, to them, I lack the self-discipline to be an aesthetic, or the sassy confidence to be a total fatty hedonist. They're like, 'Pick a lane.'" [54] (#cite_note-54) Black models [ edit ] The arrival of black women modelling as a profession began in early postwar America. It started most notably from the need of advertisers and a rise of black photography magazines. The women who advanced in such careers were those in a middle-class system emphasising the conservative value of marriage, motherhood, and domesticity. Originally titled the "Brownskin" model, black women refined the social, sexual, and racial realities confined in the gender expectations of the modelling world. There was a profound need for black women to partake in the advertising process for the new "Negro Market". [55] (#cite_note-:0-55) With the help of Branford Models, the first black agency, 1946 was the beginning of the black modelling era. Branford Models' was able to "overturn the barriers facing African Americans in the early postwar period," especially by lifting at least one economic freedom. [55] (#cite_note-:0-55) In this postwar America, the demand for such presence in magazines advanced "as a stage for models to display consumer goods" while assisting "in constructing a new visual discourse of urban middle-class African America". [55] (#cite_note-:0-55) In March 1966, Donyale Luna (/wiki/Donyale_Luna) became the African-American (/wiki/African-American) model to appear on the cover of the British edition of Vogue (/wiki/British_Vogue) . [56] (#cite_note-56) [57] (#cite_note-57) While they represented diversity, a major gap in the fashion industry, it was only until the 1970s that black models had a substantial presence in the modelling world. Known as the "Black is Beautiful" movement, the 1970s became the era of the black model. With growing disenfranchisement and racial inequality, the United States recognised the urgency of opening the "doors of social access and visibility to black Americans". [58] (#cite_note-:1-58) The world of fashion was the gateway for social change. "The world of fashion was similarly looked to as a place where the culture could find signs of racial progress. Expressions of beauty and glamour mattered. Good race relations required taking note of who was selling women lipsticks and mini skirts, which meant that advertisers began looking for black models" [58] (#cite_note-:1-58) Black models were looked to as the vehicle of social change. They were given the opportunity to balance out the lack of presence of black individuals in the mainstream culture. Agencies were beginning to scout black models and focus on the social change they were contributing to. Life (/wiki/Life_(magazine)) magazine in October 1969, covered their issue with Naomi Sims (/wiki/Naomi_Sims) , one of the most influential black models in the industry. Her rise to fame led to her being hired by international magazines and working on individual projects with designers across the globe. [59] (#cite_note-:2-59) In the Life Magazine issue, Black Beauty, a new agency that represented black models, had a spread in the magazine that showcased 39 black models. Each one of the models had unique features, allowing black expression to progress through this historic magazine spread. [58] (#cite_note-:1-58) With the movement's presence both in magazines and on the runway, designers began to realise the need to include black models on their runways and advertisements. The Battle of Versailles was one of the most notable moments in fashion history that put black models on the map. Eleanor Lambert (/wiki/Eleanor_Lambert) , creator of Fashion Week and a major "[controller] of the narrative of American fashion", set up a dinner and a fundraiser to both increase American fashion visibility and restore the palace of Versailles. [58] (#cite_note-:1-58) Five French designers and five American designers battled it out on the runway, showing off the fashion, and for the Americans, black models as well. Oscar de la Renta (/wiki/Oscar_de_la_Renta) stated "it was the black models that had made the difference." Pat Cleveland (/wiki/Pat_Cleveland) , Bethann Hardiason (/wiki/Bethann_Hardison) , Billie Blair (/wiki/Billie_Blair) , Jennifer Brice, Alva Chinn (/wiki/Alva_Chinn) , and Ramona Saunders (/wiki/The_Battle_of_Versailles_Fashion_Show) , were among the many black models that helped Team America win and stun the French competition. This competition made the black model a worldwide phenomenon. The French were beginning to welcome diversity on the runway and in their advertising. With the recognition Versaillies had given, black presence in the modelling world carried out into the 1980s and the 1990s. The models were now known by name and the publicity that came with the designers they were modelling for. With the rise of the supermodel, models like Naomi Campbell (/wiki/Naomi_Campbell) and Tyra Banks (/wiki/Tyra_Banks) paved the way for black success. [58] (#cite_note-:1-58) Naomi Campbell (/wiki/Naomi_Campbell) , born in London, was the first black model to cover American Vogue (/wiki/Vogue_(magazine)) , TIME magazine (/wiki/Time_(magazine)) , Russian Vogue, and the first British black model to cover British vogue. Brands like Chanel (/wiki/Chanel) , Louis Vitton (/wiki/Louis_Vuitton) , Balmain (/wiki/Balmain_(fashion_house)) , Prada (/wiki/Prada) , and more have all featured Campbell in their campaigns. She used her remarkable success to achieve more than fashion excellence. Tyra Banks (1995) By the mid-1990s, black presence in the modelling world had dramatically decreased. Designers began to favour a consistent aesthetic and elected for skinnier white models. This reality was paved by models such as Kate Moss (/wiki/Kate_Moss) and Stella Tennant (/wiki/Stella_Tennant) , who provided a more consistent look for the runway. At this time, "the number of working black models in high-profile runway presentation... became so dire that stories began appearing in the mainstream media about the whitewashing of the runway". [60] (#cite_note-60) In response, models like Campbell, Iman, and Bethann Hardison, joined forces throughout the"Diversity Coalition" in an attempt to "call out and accuse prominent fashion houses for snubbing Black and Asian models on the catwalk, editorial spreads, and campaigns". [58] (#cite_note-:1-58) The lack of representation was, in part, due to the belief that "black girls don't push products", which "encouraged people who work directly and indirectly in the industry to speak out on the injustices that go on within it". [58] (#cite_note-:1-58) In the 1990s, it was quite clear that the top designers simply preferred a new aesthetic that excluded models of colour, which resulted in only 6% of runway models to be women of colour. [58] (#cite_note-:1-58) Campbell's Diversity Coalition's primary mission was to "expedite inclusion on the runway by deliberately calling out designers who have executed acts of racism on the runway". [58] (#cite_note-:1-58) According to Campbell, it was their choice to not include black models on the runway and desire a uniformed runway that resulted in a racist act. Although such a dramatic effort to exclude black presence from the fashion world, models like Tyra Banks (/wiki/Tyra_Banks) and Veronica Webb (/wiki/Veronica_Webb) persisted. Banks not only dominated the runway as a teen, she took over countless pop culture platforms. Being the first black model to cover Sports Illustrated (/wiki/Sports_Illustrated) , Banks was one of the most prominent models in the early 2000s. Covering Sports Illustrated (/wiki/Sports_Illustrated) , Elle , Essence (/wiki/Essence_(magazine)) , Vogue (/wiki/Vogue_(magazine)) , and walking for Chanel (/wiki/Chanel) , Chrisitan Dior (/wiki/Christian_Dior_(fashion_house)) , and Claude Monanta, Banks was truly dominating the fashion world. In addition, she acted in Fresh Prince of Bel Air and created her own reality competition show called America's Next Top Model (/wiki/America%27s_Next_Top_Model) . [59] (#cite_note-:2-59) In conversation with Trebay of Los the New York Times, Banks stated that her first cover on Sports Illustrated "changed [her] life overnight. You have to think back to remember what that did for an appreciation of black beauty to have a black girl, a girl next door type, on the cover of one of the most mass mainstream magazines of our lives. It was a societal statement, a political statement, and an economic one". [61] (#cite_note-61) Now, models like Joan Smalls (/wiki/Joan_Smalls) , Winne Harlow (/wiki/Winnie_Harlow) , Slick Woods (/wiki/Slick_Woods) , Jasmine Sanders (/wiki/Jasmine_Sanders) and more are continuing the fight for black presence in the modelling world and using their successors as inspiration. Fitting models [ edit ] Main article: Fit model (/wiki/Fit_model) A fit model (sometimes fitting model ) is a person who is used by a fashion designer (/wiki/Fashion_designer) or clothing (/wiki/Clothing) manufacturer (/wiki/Manufacturing) to check the fit, drape and visual appearance of a design on a representative human being, effectively acting as a live mannequin (/wiki/Mannequin) . [62] (#cite_note-fasa-62) Parts models [ edit ] Some models are employed for their body parts. For example, hand models (/wiki/Hand_model) may be used to promote products held in the hand and nail (/wiki/Nail_(anatomy)) -related products. (e.g. rings, other jewelry or nail polish (/wiki/Nail_polish) ). They are frequently part of television commercials. [63] (#cite_note-cnn.com-63) Many parts models have exceptionally attractive body parts, but there is also demand for unattractive or unusual looking body parts for particular campaigns. Hands are the most in-demand body parts. Feet models are also in high demand, particularly those that fit sample-size shoes. [64] (#cite_note-64) Models are also successful modelling other specific parts including abs, arms, back, bust or chest, legs, and lips. [65] (#cite_note-65) Some petite models (females who are under 5 ft 6 in (1.68 m) and do not qualify as fashion models) have found success in women's body part modelling. Parts model divisions can be found at agencies worldwide. Several agencies solely represent parts models, including Hired Hands in London, Body Parts Models in Los Angeles, Carmen Hand Model Management in New York and Parts Models (/w/index.php?title=Parts_Models&action=edit&redlink=1) in New York. [66] (#cite_note-FN-66) [67] (#cite_note-67) [68] (#cite_note-68) Parts Models is the largest parts agency, representing over 300 parts models. [63] (#cite_note-cnn.com-63) [66] (#cite_note-FN-66) [69] (#cite_note-HJ-69) [70] (#cite_note-AB-70) [71] (#cite_note-BS-71) Petite models [ edit ] Petite models are models that are under the typical height requirements that are expected of fashion models. Petite models typically work more often in commercial and print modelling (rather than runway modelling). The height of models is typically 5 feet 9 inches (1.75 m) and above for women, and 6 feet 1 inch (1.85 m) and above for men. [ citation needed ] Models who are shorter than these heights usually fall under the category of petite or commercial models. [ citation needed ] Podium models [ edit ] Podium model modelling a dress by Sue Wong (/wiki/Sue_Wong) Podium models differ from runway models in that they do not walk down a runway, but rather just stand on an elevated platform. They resemble live mannequins placed in various places throughout an event. Attendees can walk up to the models and inspect and even feel the clothing. Podium Modelling is a practical alternative way of presenting a fashion show when space is too limited to have a full runway fashion show. Earnings and demographics [ edit ] According to the Bureau of Labor Statistics (/wiki/Bureau_of_Labor_Statistics) the median earnings for a model in the United States, as of 2021, is $34,000 annually. There are approximately 3,200 men and women who work as models full-time in the United States. [72] (#cite_note-72) Glamour models [ edit ] Main article: Glamour photography (/wiki/Glamour_photography) Glamour models posing on the red carpet — Hollywood, California Glamour modelling focuses on sexuality; thus, general requirements are often unclear, depending more on each case. Glamour models can be any size or shape. A study from 2014 that analysed glamour model profiles estimated that the mean values of female models were 1.68 m (height), 54 kg (weight) and 0.73 (waist-to-hip ratio). [73] (#cite_note-73) There is no industry standard for glamour modelling and it varies greatly by country. For the most part, glamour models are limited to modelling in calendars (/wiki/Calendar) , men's magazines (/wiki/Men%27s_magazine) , such as Playboy (/wiki/Playboy) , bikini (/wiki/Bikini) modelling, lingerie (/wiki/Lingerie) modelling, fetish modelling (/wiki/Fetish_model) , music videos, and extra work in films. However, some extremely popular glamour models transition into commercial print modelling, appearing in swimwear (/wiki/Swimwear) , bikini and lingerie campaigns. In the UK, glamour modelling became a prominent feature of the newspaper industry when The Sun (/wiki/The_Sun_(United_Kingdom)) established Page 3 (/wiki/Page_Three) in 1969, [74] (#cite_note-bbc3651850-74) a section in their newspaper which featured sexually suggestive images of Penthouse and Playboy models. From 1970 models appeared topless. In the 1980s, The Sun 's competitors followed suit and produced their own Page 3 sections. [74] (#cite_note-bbc3651850-74) It was during this time that glamour models first came to prominence with the likes of Samantha Fox (/wiki/Samantha_Fox) . As a result, the United Kingdom has a very large glamour market and numerous glamour modelling agencies. It was not until the 1990s that modern glamour modelling was established. During this time, the fashion industry was promoting models with waif bodies and androgynous-looking women, which left a void. Several fashion models, who were deemed too commercial, and too curvaceous, were frustrated with industry standards, and took a different approach. Models such as Victoria Silvstedt (/wiki/Victoria_Silvstedt) left the fashion world and began modelling for men's magazines. [75] (#cite_note-75) In the previous decades, posing nude for Playboy resulted in models losing their agencies and endorsements. [76] (#cite_note-76) Playboy was a stepping stone which catapulted the careers of Victoria Silvstedt, Pamela Anderson (/wiki/Pamela_Anderson) , Jenny McCarthy (/wiki/Jenny_McCarthy) , and Anna Nicole Smith (/wiki/Anna_Nicole_Smith) . Pamela Anderson became so popular from her Playboy spreads that she was able to land roles on Home Improvement (/wiki/Home_Improvement_(TV_series)) and Baywatch (/wiki/Baywatch) . In the mid-1990s, a series of men's magazines were established such as Maxim (/wiki/Maxim_(magazine)) , FHM (/wiki/FHM) , and Stuff (/wiki/Stuff_(magazine)) . At the same time, magazines including Sweden's Slitz (/wiki/Slitz) (formerly a music magazine) re-branded themselves as men's magazines. Pre-internet, these magazines were popular among men in their late teens and early twenties because they were considered more tasteful than their predecessors. With the glamour market growing, fashion moved away from the waifs and onto Brazilian bombshells. The glamour market, consisting mostly of commercial fashion and print models, became its own genre due to its popularity. Even in a large market like the United Kingdom, however, glamour models are not usually signed exclusively to one agency as they can not rely financially on one agency to provide them with enough work. It was, and still is, a common practice for glamour models to partake in kiss-and-tell interviews about their dalliances with famous men. [ citation needed ] The notoriety of their alleged bed-hopping often propels their popularity and they are often promoted by their current or former fling. [77] (#cite_note-77) With Page 3 models becoming fixtures in the British tabloids, glamour models such as Jordan, now known as Katie Price (/wiki/Katie_Price) , became household names. By 2004, Page 3 regulars earned anywhere from £30,000 to 40,000, [74] (#cite_note-bbc3651850-74) where the average salary of a non-Page 3 model, as of 2011, was between £10,000 and 20,000. [78] (#cite_note-78) In the early 2000s, glamour models, and aspiring glamour models, appeared on reality television shows such as Big Brother (/wiki/Big_Brother_(UK)) to gain fame. [79] (#cite_note-79) Several Big Brother alumni parlayed their fifteen minutes of fame into successful glamour modelling careers. However, partly because of competition from the upcoming internet -giving audiences access to large amounts of, often free, online content- and its own glamour stars, such as Jordan Capri (https://es.wikipedia.org/wiki/Jordan_Capri) , the offline glamour market became saturated by the mid-2000s, and numerous men's magazines including Arena (/wiki/Arena_(magazine)) , Stuff and FHM in the United States went under. [80] (#cite_note-80) During this time, there was a growing trend of glamour models, including Kellie Acreman and Lauren Pope, becoming DJs to supplement their income. In a 2012 interview, Keeley Hazell said that going topless is not the best way to achieve success and that "[she] was lucky to be in that 1% of people that get that, and become really successful." [81] (#cite_note-81) Gravure idols [ edit ] See also: List of Japanese gravure idols (/wiki/List_of_Japanese_gravure_idols) In Japan, a gravure idol ( グラビアアイドル , gurabia aidoru ) , often abbreviated to gradol ( グラドル , guradoru ) , is a female model who primarily models for magazines, especially men's magazines, photobooks or DVDs. It is considered part of the overall idol industry in Japan (/wiki/Japanese_idol) . "Gurabia" ( グラビア ) is a wasei-eigo (/wiki/Wasei-eigo) term derived from " rotogravure (/wiki/Rotogravure) ", which is a type of intaglio (/wiki/Intaglio_(printmaking)) printing (/wiki/Printing) process that was once a staple of newspaper photo features. The rotogravure process is still used for commercial printing of magazines, postcards (/wiki/Postcard) , and cardboard (/wiki/Cardboard_(paper_product)) product packaging. [82] (#cite_note-kelana-82) Gravure idols appear in a wide range of photographic styles and genres. Their photos are largely aimed at male audiences with poses or activities intended to be provocative or suggestive, generally accentuated by an air of playfulness and innocence rather than aggressive sexuality. Although gravure idols may sometimes wear clothing that exposes most of their body, they seldom appear fully nude. Gravure idols may be as young as pre-teen age up to their early thirties. In addition to appearing in mainstream magazines, gravure idols often release their own professional photobooks and DVDs for their fans. Many popular female idols in Japan (/wiki/Japanese_idol) started their careers as gravure idols. [82] (#cite_note-kelana-82) [83] (#cite_note-Springer-83) Alternative models [ edit ] An alternative model (/wiki/Alternative_model) is any model who does not fit into the conventional model types and may include punk (/wiki/Punk_subculture) , goth (/wiki/Goth_subculture) , fetish (/wiki/Fetish_model) , [84] (#cite_note-84) and tattooed (/wiki/Tattoo) [85] (#cite_note-85) models or models with distinctive attributes. This type of modelling is usually a cross between glamour modelling and art modelling. Publishers such as Goliath Books (/wiki/Goliath_Books) in Germany introduced alternative models and punk photography to larger audiences. Billi Gordon (/wiki/Billi_Gordon) , then known as Wilbert Anthony Gordon, was [ when? ] the top greeting card model in the world and inspired a cottage industry, including greeting cards, T-shirts, fans, stationery, gift bags, etc. [86] (#cite_note-86) Fitness models [ edit ] See also: Fitness and figure competition (/wiki/Fitness_and_figure_competition) Fitness model posing with dumbbell (/wiki/Dumbbell) Fitness modelling focuses on displaying a healthy, toned physique. Fitness models usually have defined muscle groups. The model's body weight is greater due to muscle being denser than fat; however, they have a lower body fat percentage and a higher degree of muscle definition. Fitness models are often used in magazine advertising; they can also in some cases be certified personal fitness trainers. However, other fitness models are also athletes and compete as professionals in fitness and figure competitions (/wiki/Fitness_and_figure_competition) . There are several agencies in large markets such as New York, London, and Germany that have fitness modelling agencies. While there is a large market for these models, most of these agencies are secondary agencies promoting models who typically earn their primary income as commercial models. There are also magazines that are geared towards specifically fitness modelling or getting fit and in shape. Commercial models [ edit ] Promotional models [ edit ] Main article: Promotional model (/wiki/Promotional_model) Two models with the logo of Camel (/wiki/Camel_(cigarette)) , a cigarette brand they are promoting, printed on the backside of their shorts in Ibiza (/wiki/Ibiza) , 2004 A promotional model is a model hired to drive consumer demand (/wiki/Consumer_demand) for a product, service, brand, or concept by interacting in person with potential consumers. The vast majority of promotional models tend to be attractive in physical appearance. They serve to provide information about the product or service and make it appealing to consumers. While the interaction length may be short, the promotional model delivers a live experience that reflects on the product or service he or she represents. This form of marketing touches fewer consumers for the cost than traditional advertising media (/wiki/Advertising_media) (such as print, radio, and television); however, the consumer's perception of a brand, product, service, or company is often more profoundly affected by a live person-to-person experience. Marketing campaigns (/wiki/Marketing_campaign) that make use of promotional models may take place in stores (/wiki/Retailing) or shopping malls (/wiki/Shopping_mall) , at tradeshows (/wiki/Tradeshow) , special promotional events, clubs, or even at outdoor public spaces. Promotional models may also be used as TV hosts/anchors for interviewing celebrities at film awards, sports events, etc. They are often held at high-traffic locations to reach as many consumers as possible or at venues where a particular type of target consumer is expected to be present. Spokesmodels [ edit ] Main article: Spokesmodel (/wiki/Spokesmodel) "Spokesmodel" is a term used for a model who is employed to be associated with a specific brand (/wiki/Brand) in advertisements (/wiki/Advertisement) . A spokesmodel may be a celebrity used only in advertisements (in contrast to a brand ambassador who is also expected to represent the company at various events), but more often the term refers to a model who is not a celebrity in their own right. A classic example of the spokesmodel is the models hired to be the Marlboro Man (/wiki/Marlboro_Man) between 1954 and 1999. Trade show models [ edit ] Trade show (/wiki/Trade_show) models work a trade show floorspace or booth and represent a company to attendees. Trade show models are typically not regular employees of the company, but are freelancers (/wiki/Freelancer) hired by the company renting the booth space. They are hired for several reasons: trade show models can make a company's booth more visible from the hundreds of other booths competing for attendee attention. They are articulate and quickly learn and explain or disseminate information on the company and its product(s) and service(s). And they can assist a company in handling a large number of attendees, which the company might otherwise not have enough employees to accommodate, possibly increasing the number of sales or leads resulting from participation in the show. Atmosphere models [ edit ] Atmosphere models at a costume party Atmosphere models are hired by the producers of themed events to enhance the atmosphere or ambience of their event. They are usually dressed in costumes exemplifying the event's theme and are often placed strategically in various locations around the venue. It is common for event guests to have their picture taken with atmosphere models. For example, if someone is throwing a "Brazilian Day" celebration, they would hire models dressed in samba costumes and headdresses to stand or walk around the party. [ citation needed ] Instagram models [ edit ] Instagram models are people who have accumulated a large number of followers on Instagram (/wiki/Instagram) by posting engaging photos of themselves and their lifestyles, and are consequently hired by a company to advertise products as their influence and popularity can increase sales. [87] (#cite_note-pixlee-instagram-87) They should not be confused with established models such as Cara Delevingne (/wiki/Cara_Delevingne) and Gigi Hadid (/wiki/Gigi_Hadid) , who use Instagram to promote their traditional modelling careers, [88] (#cite_note-ABC-88) although some models, such as Playboy (/wiki/Playboy) model Lindsey Pelas (/wiki/Lindsey_Pelas) , begin their careers conventionally and subsequently become Instagram models. Some models use Instagram success to develop their careers, such as Rosie Roff (/wiki/Rosie_Roff) , who worked as a fashion model before being discovered via Instagram and gaining work as a ring girl (/wiki/Ring_girl) in American boxing. In some cases, Instagram gives unsigned models a platform to attract the attention of agencies and talent scouts. [89] (#cite_note-Saul-89) American model Matthew Noszka (/wiki/Matthew_Noszka) entered the profession as a result of being discovered on Instagram by Wilhelmina Models (/wiki/Wilhelmina_Models) . [88] (#cite_note-ABC-88) The Instagram model concept originated in the late 2000s, when the boyfriends of fashion bloggers such as Rumi Neely (/wiki/Rumi_Neely) and Chiara Ferragni (/wiki/Chiara_Ferragni) began photographing their girlfriends in various outfits. [90] (#cite_note-Spinks-90) Instagram models often attempt to become social media influencers and engage in influencer marketing (/wiki/Influencer_marketing) , [89] (#cite_note-Saul-89) promoting products such as fashion brands and detox teas. [90] (#cite_note-Spinks-90) High-profile influencers can earn thousands of dollars for promoting commercial brands. When choosing whom to employ, brands have become less concerned with the number of followers an influencer has and more focused on their engagement marketing (/wiki/Engagement_marketing) strategy. Research indicates that 89% of influencers use Instagram to promote themselves, compared to 20% using Twitter and 16% using Facebook. [89] (#cite_note-Saul-89) Some Instagram models have gained high-profile modelling jobs and become celebrities. [91] (#cite_note-91) Fitness model Jen Selter (/wiki/Jen_Selter) had become an Internet celebrity (/wiki/Internet_celebrity) by 2014 and modelled for Vanity Fair (/wiki/Vanity_Fair_(magazine)) magazine. [92] (#cite_note-92) Cosplayer (/wiki/Cosplay) and model Anna Faith (/wiki/Anna_Faith) acquired over 250,000 Instagram followers by 2014, gaining success from her ability to impersonate the Disney (/wiki/The_Walt_Disney_Company) character Elsa (/wiki/Elsa_(Disney)) . [93] (#cite_note-93) [94] (#cite_note-94) With Facebook's continuing decrease in post reach, Instagram has increasingly become cosplayers' favourite platform. [95] (#cite_note-95) [96] (#cite_note-96) American actress Caitlin O'Connor (/wiki/Caitlin_O%27Connor) had almost 300,000 Instagram followers in 2016, earning most of her social media income from endorsing products on Instagram. [97] (#cite_note-97) Australian personal trainer Kayla Itsines (/wiki/Kayla_Itsines) acquired 5.5 million Instagram followers, allowing her to build a business in the fitness industry. [98] (#cite_note-98) Brazilian model Claudia Alende (/wiki/Claudia_Alende) gained a following of 2.8 million people on Instagram by 2015 and developed a career as a lingerie model. [99] (#cite_note-99) Plus-size models Iskra Lawrence (/wiki/Iskra_Lawrence) and Tess Holliday (/wiki/Tess_Holliday) have used Instagram to demonstrate their potential as models. [89] (#cite_note-Saul-89) Yashika Aannand (/wiki/Yashika_Aannand) , an Indian teenage actress, rose to prominence in the Tamil film industry after gaining popularity as an Instagram model with over 145,000 followers on her account by 2017. [100] (#cite_note-100) Iraqi cross-dressing model, Noor Alsaffar (/wiki/Death_of_Noor_Alsaffar) , was killed in September 2023 as part of an increase in violence against LGBTQ+ people. [101] (#cite_note-:02-101) Instagram model techniques and aesthetics have also been used in unconventional or parody profiles. Instagram model Lil Miquela (/wiki/Lil_Miquela) has blurred the line between reality and social media, amassing more than 200,000 followers without revealing whether she is real or computer-generated. [102] (#cite_note-102) Australian comedian Celeste Barber (/wiki/Celeste_Barber) had acquired 1.8 million Instagram followers by 2017, parodying celebrity fashion photographs with real-life reenactments. [103] (#cite_note-103) In 2016, French organisation Addict Aide ran a campaign to raise awareness for alcohol abuse among young people in which a model posed as Louise Delage, a fictitious 25-year-old Parisian whose Instagram photos nearly always featured alcohol. The account amassed 65,000 followers in a month, after which a reveal video posted to it had over 160,000 views. [104] (#cite_note-104) Some reports [105] (#cite_note-105) suggest that a number of Instagram models obtain extra income by covertly working as prostitutes. Websites accusing various models of this, often without reliable evidence, have increased in popularity recently, sometimes with the unintended effect of increasing their earnings. [106] (#cite_note-106) But false accusations on these sites can harm legitimate models' reputations, and some women in the industry consider them a way for men to exert power over women. [107] (#cite_note-107) See also [ edit ] Fashion portal (/wiki/Portal:Fashion) Hip hop model (/wiki/Video_vixen) Instagram's impact on people (/wiki/Instagram#Impact_on_people) List of models in music videos (/wiki/List_of_models_in_music_videos) Modeling agency (/wiki/Modeling_agency) List of modeling agencies (/wiki/List_of_modeling_agencies) Ring girl (/wiki/Ring_girl) Time for print (/wiki/Time_for_print) Female body shape (/wiki/Female_body_shape) Size zero (/wiki/Size_zero) References [ edit ] ^ (#cite_ref-1) Tom Tierney: Great Fashion Designs of the Victorian Era Paper Dolls in Full Color (https://books.google.com/books?id=5HFtDQAAQBAJ&dq=Mme+Palmyre+%E2%80%8E&pg=PA17) ^ (#cite_ref-2) "modelworker.com" (https://web.archive.org/web/20071017020950/http://www.modelworker.com/history.html) . Archived from the original (http://www.modelworker.com/history.html) on 17 October 2007. ^ (#cite_ref-3) Walker, Harriet (4 May 2009). "Fabulous faces of fashion: A century of modelling" (https://web.archive.org/web/20110528025946/http://www.independent.co.uk/life-style/fashion/features/fabulous-faces-of-fashion-a--century-of-modelling-1678417.html) . The Independent . Archived from the original (https://www.independent.co.uk/life-style/fashion/features/fabulous-faces-of-fashion-a--century-of-modelling-1678417.html) on 28 May 2011 . Retrieved 5 September 2017 . ^ (#cite_ref-4) "fashion models 1940s, fashion modeling in 1940, Forties Fashion modeling agencies, first fashion modeling agency in New York, 1940s fashion models, John Powers modeling agency, girls of the John Roberts Powers modeling agency, Powers Girls Photographs, popular 1" (https://web.archive.org/web/20110401102507/http://www.oldmagazinearticles.com/Fashion_1940s_Modeling) . Oldmagazinearticles.com. Archived from the original (http://www.oldmagazinearticles.com/Fashion_1940s_Modeling) on 1 April 2011 . 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Vice . ^ (#cite_ref-91) "Instagram Models" (http://www.maxim.com/tag/instagram-models) . Maxim . Archived (https://web.archive.org/web/20160502002352/http://www.maxim.com/tag/instagram-models) from the original on 2 May 2016 . Retrieved 1 May 2016 . ^ (#cite_ref-92) Stephanie Radvan (13 March 2014). "Jen Selter Shows off her Famous Butt in "Vanity Fair" (https://www.maxim.com/women/jen-selter-shows-her-famous-butt-vanity-fair) " (https://www.maxim.com/women/jen-selter-shows-her-famous-butt-vanity-fair) . Maxim . Archived (https://web.archive.org/web/20170823171152/https://www.maxim.com/women/jen-selter-shows-her-famous-butt-vanity-fair) from the original on 23 August 2017 . Retrieved 29 June 2017 . ^ (#cite_ref-93) " (http://www.huffingtonpost.ca/2014/06/13/frozen-lookalike-anna-faith_n_5491667.html) 'Frozen' Lookalike, Anna Faith, Totally Looks Like Elsa" (http://www.huffingtonpost.ca/2014/06/13/frozen-lookalike-anna-faith_n_5491667.html) . The Huffington Post Canada . 13 June 2014. Archived (https://web.archive.org/web/20171201040659/http://www.huffingtonpost.ca/2014/06/13/frozen-lookalike-anna-faith_n_5491667.html) from the original on 1 December 2017 . Retrieved 28 June 2017 . ^ (#cite_ref-94) "Anna Faith Top Ten Cosplayer" (http://www.cosplaynewsnetwork.com/anna-faith-top-ten-cosplayer/) . Cosplay News Network . 8 October 2018 . Retrieved 10 October 2018 . ^ (#cite_ref-95) "The Hottest Female Cosplayers On Instagram | Cosplay News Network" (http://www.cosplaynewsnetwork.com/15-hottest-female-cosplayers-instagram/) . Cosplay News Network . 21 August 2018 . Retrieved 10 October 2018 . ^ (#cite_ref-96) "The Hottest Slave Leia Cosplay on Instagram" (http://www.cosplaynewsnetwork.com/hottest-slave-leia-cosplay-instagram/) . Cosplay News Network . 21 January 2018 . Retrieved 10 October 2018 . ^ (#cite_ref-97) "Why Snapchat's Influencer Economy Runs on Hot Tubs, Selfies, and Whey Protein" (https://www.bloomberg.com/features/2016-arsenictv-snapchat-influencer-economy/) . Bloomberg L.P . Archived (https://web.archive.org/web/20160722235907/http://www.bloomberg.com/features/2016-arsenictv-snapchat-influencer-economy/) from the original on 22 July 2016 . Retrieved 19 July 2016 . ^ (#cite_ref-98) Blair, Olivia (5 October 2016). "Kayla Itsines: The personal trainer turned Instagram star on social media, body image and her new found fame" (https://www.independent.co.uk/news/people/kayla-itsines-instagram-interview-how-she-became-famous-personal-trainer-body-image-photos-a7344956.html) . The Independent . Archived (https://web.archive.org/web/20171209100049/https://www.independent.co.uk/news/people/kayla-itsines-instagram-interview-how-she-became-famous-personal-trainer-body-image-photos-a7344956.html) from the original on 9 December 2017 . Retrieved 5 September 2017 . ^ (#cite_ref-99) Sam Webb (26 December 2015). "Millionaire models of Instagram: The stunning women you've never heard of raking in the cash on social media" (https://www.mirror.co.uk/news/world-news/millionaire-models-instagram-stunning-women-7076190) . Daily Mirror . Archived (https://web.archive.org/web/20180412082859/https://www.mirror.co.uk/news/world-news/millionaire-models-instagram-stunning-women-7076190) from the original on 12 April 2018 . Retrieved 4 April 2018 . ^ (#cite_ref-100) "Teen temptations" (https://www.deccanchronicle.com/entertainment/kollywood/230717/teen-temptations.html) . Deccan Chronicle . 23 July 2017. Archived (https://web.archive.org/web/20180514224850/https://www.deccanchronicle.com/entertainment/kollywood/230717/teen-temptations.html) from the original on 14 May 2018 . Retrieved 16 May 2018 . ^ (#cite_ref-:02_101-0) Morey, Alice (29 September 2023). "Popular Iraqi TikToker allegedly shot dead in Baghdad" (https://www.gaytimes.co.uk/life/popular-iraqi-tiktoker-shot-dead-in-baghdad/) . GAY TIMES . Retrieved 28 April 2024 . ^ (#cite_ref-102) Maya Oppenheim (6 September 2016). "This Instagram model has thousands of followers and they're mostly people trying to work out if she's fake or not" (https://www.independent.co.uk/news/people/lil-miquela-the-instagram-model-whose-fans-cannot-decide-whether-she-is-real-or-fake-a7228271.html) . The Independent . Archived (https://web.archive.org/web/20170906145614/http://www.independent.co.uk/news/people/lil-miquela-the-instagram-model-whose-fans-cannot-decide-whether-she-is-real-or-fake-a7228271.html) from the original on 6 September 2017 . Retrieved 5 September 2017 . ^ (#cite_ref-103) "The model world of Instagram parody star Celeste Barber – in pictures" (https://www.theguardian.com/culture/2017/jun/30/the-model-world-of-instagram-parody-star-celeste-barber-in-pictures) . The Guardian . 30 June 2017. Archived (https://web.archive.org/web/20170706001814/https://www.theguardian.com/culture/2017/jun/30/the-model-world-of-instagram-parody-star-celeste-barber-in-pictures) from the original on 6 July 2017 . Retrieved 5 July 2017 . ^ (#cite_ref-104) Hunt, Elle (6 October 2016). "Who is Louise Delage? New Instagram influencer not what she seems" (https://www.theguardian.com/technology/2016/oct/06/shell-drink-to-that-fake-instagram-louise-delage-profile-highlights-alcoholism) . The Guardian . Archived (https://web.archive.org/web/20180412211831/https://www.theguardian.com/technology/2016/oct/06/shell-drink-to-that-fake-instagram-louise-delage-profile-highlights-alcoholism) from the original on 12 April 2018 . Retrieved 11 April 2018 . ^ (#cite_ref-105) Roberts, Sophie (30 August 2017). "Model reveals the truth about prostitution in the fashion industry" (https://www.news.com.au/lifestyle/fashion/people/model-reveals-the-truth-about-prostitution-in-the-fashion-industry/news-story/338d89423052f4e0e1f07912b9ca0674) . News Corp Australia . Retrieved 20 January 2019 . ^ (#cite_ref-106) Falzone, Diana (19 July 2016). "Insta-hookers? Sites say they expose 'Instagram models' who are really prostitutes" (https://www.foxnews.com/entertainment/insta-hookers-sites-say-they-expose-instagram-models-who-are-really-prostitutes) . foxnews.com . Fox News . Retrieved 20 January 2019 . ^ (#cite_ref-107) Rachel, Hosie (12 January 2017). "Sexist websites are 'ruining lives' of women on Instagram, exposing them as 'escorts and prostitutes' (https://www.independent.co.uk/life-style/instagram-women-luxury-escorts-prostitutes-sexist-websites-men-misogyny-lifestyle-sponsors-sex-a7523421.html) " (https://www.independent.co.uk/life-style/instagram-women-luxury-escorts-prostitutes-sexist-websites-men-misogyny-lifestyle-sponsors-sex-a7523421.html) . The Independent . Retrieved 20 January 2019 . Further reading [ edit ] Wikimedia Commons has media related to Models (people) (https://commons.wikimedia.org/wiki/Category:Models_(people)) . Gross, Michael. Model : the Ugly Business of Beautiful Women . New York: IT Books, 2011. ISBN (/wiki/ISBN_(identifier)) 0-062-06790-7 (/wiki/Special:BookSources/0-062-06790-7) Hix, Charles, and Michael Taylor. Male Model: the World Behind the Camera . New York: St. Martin's Press, 1979. ISBN (/wiki/ISBN_(identifier)) 0-312-50938-3 (/wiki/Special:BookSources/0-312-50938-3) Mears, Ashley (/wiki/Ashley_Mears) (2011). Pricing Beauty: The Making of a Fashion Model . University of California Press. ISBN (/wiki/ISBN_(identifier)) 978-0-520-26033-7 . Vogels, Josey, and Smee, Tracy. "Object of Desire: Idealized Male Bodies Sell Everything from Underwear to Appliances; Are We Creating a Male Beauty Myth?" Hour (Montréal), vol. 3, no. 46 (14-20 Dec. 1995), p. [1], 10–11. N.B .: The caption title (on p. 10) is "Male Attention". 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Craft of creating or decorating objects using needle "Needleman" and "Needlewoman" redirect here. For the painting, see The Needlewoman . For other uses, see Needleman (disambiguation) (/wiki/Needleman_(disambiguation)) . The examples and perspective in this article deal primarily with Western culture and do not represent a worldwide view (/wiki/Wikipedia:WikiProject_Countering_systemic_bias) of the subject . You may improve this article (https://en.wikipedia.org/w/index.php?title=Needlework&action=edit) , discuss the issue on the talk page (/wiki/Talk:Needlework) , or create a new article (/wiki/Wikipedia:Article_wizard) , as appropriate. ( March 2022 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Embroidered book cover made by Elizabeth I (/wiki/Elizabeth_I) at the age of 11, presented to Katherine Parr (/wiki/Katherine_Parr) Needlework is decorative sewing (/wiki/Sewing) and textile arts (/wiki/Textile_arts) handicrafts (/wiki/Handicraft) . Anything that uses a needle (/wiki/Sewing_needle) for construction can be called needlework. [1] (#cite_note-1) Needlework may include related textile crafts such as crochet (/wiki/Crochet) , worked with a hook (/wiki/Crochet_hook) , or tatting (/wiki/Tatting) , worked with a shuttle. Similar abilities often transfer well between different varieties of needlework, such as fine motor skill (/wiki/Fine_motor_skill) and knowledge of textile (/wiki/Textile) fibers (/wiki/Fibers) . Some of the same tools may be used in several different varieties of needlework. According to the Ladies' Needlework Penny Magazine : There are many women who persuade themselves that the occupations particularly allotted to their sex are extremely frivolous; but it is one of the common errors of a depraved taste to confound simplicity with frivolity. The use of the needle is simple, but not frivolous. Background [ edit ] Embroidered boots, 1885 Needlework was an important fact of women's identity during the Victorian age (/wiki/Victorian_age) , including embroidery (/wiki/Embroidery) , netting (/wiki/Net_(textile)) , knitting (/wiki/Knitting) , crochet (/wiki/Crochet) , and Berlin wool work (/wiki/Berlin_wool_work) . A growing middle class had more leisure time than ever before; printed materials offered homemakers thousands of patterns. Women were still limited to roles in the household, and under the standards of the time a woman working on needle work while entertaining the parlor was considered beautiful. According to one publication from 1843: "Never is beauty and feminine grace so attractive as, when engaged in the honorable discharge of household duties, and domestic cares." [2] (#cite_note-victorian-2) Fancy work was distinguished from plain sewing (/wiki/Sewing) and it was a mark of a prosperous and well-managed home to display handmade needlework. While plain sewing was often handed over to servants, even in middle class households, fancy work would often be done while entertaining guests, in the afternoons, evenings, or on Sundays. The types of goods that could be decorated with needlework techniques was limited only by the imagination: knitted boots, embroidered book covers, footstools, lampshades, sofa cushions, fans and on and on. [2] (#cite_note-victorian-2) Types [ edit ] Appliqué (/wiki/Appliqu%C3%A9) Bead weaving (/wiki/Bead_weaving) : loom and off-loom Braiding (/wiki/Braiding) and tassel (/wiki/Tassel) making Crochet (/wiki/Crochet) Embroidery (/wiki/Embroidery) Knitting (/wiki/Knitting) Lace-making (/wiki/Lace-making) / Needle lace (/wiki/Needle_lace) Lucet (/wiki/Lucet) Macramé (/wiki/Macram%C3%A9) Needlepoint (/wiki/Needlepoint) Quilting (/wiki/Quilting) Sewing (/wiki/Sewing) Tapestry (/wiki/Tapestry) Tatting (/wiki/Tatting) See also [ edit ] Royal School of Needlework (/wiki/Royal_School_of_Needlework) Kasidakari (/wiki/Kasidakari) References [ edit ] ^ (#cite_ref-1) "Needlework" (http://www.thefreedictionary.com/needlework) . The Free Dictionary By Farlex . Retrieved 2012-05-23 . ^ Jump up to: a b Ledbetter, Kathryn (2012). Victorian Needlework . External links [ edit ] Look up needlework (https://en.wiktionary.org/wiki/needlework) in Wiktionary, the free dictionary. Wikimedia Commons has media related to Needlework (https://commons.wikimedia.org/wiki/Category:Needlework) . Wikisource has several original texts related to Needlework (https://en.wikisource.org/wiki/Category:Needlework) . Art in Needlework: A Book about Embroidery (https://www.gutenberg.org/ebooks/28269) by Mary Buckle and Lewis F. Day, available through Project Gutenberg Beeton's Book of Needlework (https://www.gutenberg.org/ebooks/15147) by Isabella Mary Beeton, available through Project Gutenberg Encyclopedia of Needlework (https://www.gutenberg.org/ebooks/20776) by Therese de Dillmont, available through Project Gutenberg v t e Decorative arts (/wiki/Decorative_arts) and handicraft (/wiki/Handicraft) History (/wiki/History_of_decorative_arts) Textile (/wiki/Textile_arts) Banner-making (/wiki/Banner-making) Canvas work (/wiki/Canvas_work) Crocheting (/wiki/Crochet) Cross-stitch (/wiki/Cross-stitch) Embroidery (/wiki/Embroidery) Felting (/wiki/Felt) Friendship bracelet (/wiki/Friendship_bracelet) Knitting (/wiki/Knitting) Lace-making (/wiki/Lace) Lucet (/wiki/Lucet) Macrame (/wiki/Macram%C3%A9) Millinery (/wiki/Hatmaking) Needlepoint (/wiki/Needlepoint) Needlework Patchwork (/wiki/Patchwork) Quilting (/wiki/Quilting) Ribbon embroidery (/wiki/Embroidery) Carpet (/wiki/Carpet) Rug hooking (/wiki/Rug_hooking) Rug making (/wiki/Rug_making) Sewing (/wiki/Sewing) Shoemaking (/wiki/Shoemaking) Spinning (textiles) (/wiki/Spinning_(textiles)) String art (/wiki/String_art) Tapestry (/wiki/Tapestry) Tatting (/wiki/Tatting) Tie-dye (/wiki/Tie-dye) Weaving (/wiki/Weaving) Paper (/wiki/Paper) Altered book (/wiki/Altered_book) Bookbinding (/wiki/Bookbinding) Calligraphy (/wiki/Calligraphy) Cardmaking (/wiki/Cardmaking) Cast paper (/wiki/Cast_paper) Collage (/wiki/Collage) Decoupage (/wiki/Decoupage) Papier collé (/wiki/Papier_coll%C3%A9) Photomontage (/wiki/Photomontage) Iris folding (/wiki/Iris_folding) Jianzhi (/wiki/Jianzhi) Kamikiri (/wiki/Kamikiri_(papercutting)) Origami (/wiki/Origami) Kirigami (/wiki/Kirigami) Moneygami (/wiki/Moneygami) Embossing (/wiki/Paper_embossing) Marbling (/wiki/Paper_marbling) Papercraft (/wiki/Paper_model) Papercutting (/wiki/Papercutting) Chinese (/wiki/Chinese_paper_cutting) Jewish (/wiki/Jewish_paper_cutting) Slavic (/wiki/Wycinanki) Papermaking (/wiki/Papermaking) Paper toys (/wiki/Paper_toys) Papier-mâché (/wiki/Papier-m%C3%A2ch%C3%A9) Pop-up book (/wiki/Pop-up_book) Quilling (/wiki/Quilling) Scrapbooking (/wiki/Scrapbooking) Stamping (/wiki/Rubber_stamp) Wallpaper (/wiki/Wallpaper) Wood (/wiki/Woodworking) Bentwood (/wiki/Bentwood) Cabinetry (/wiki/Cabinetry) Carpentry (/wiki/Carpentry) Chip carving (/wiki/Chip_carving) Ébéniste (/wiki/%C3%89b%C3%A9niste) Fretwork (/wiki/Fretwork) Intarsia (/wiki/Intarsia) Marquetry (/wiki/Marquetry) Wood burning (/wiki/Pyrography) Wood carving (/wiki/Wood_carving) Woodturning (/wiki/Woodturning) Ceramic (/wiki/Ceramic_art) Azulejo (/wiki/Azulejo) Bone china (/wiki/Bone_china) Earthenware (/wiki/Earthenware) Porcelain (/wiki/Porcelain) Pottery (/wiki/Pottery) Stoneware (/wiki/Stoneware) Terracotta (/wiki/Terracotta) Tile (/wiki/Tile) Glass (/wiki/Glass_art) Cameo glass (/wiki/Cameo_glass) Chip work (/wiki/Chip_work) Enamelled glass (/wiki/Enamelled_glass) Glass etching (/wiki/Glass_etching) Glassware (/wiki/List_of_glassware) Mirror (/wiki/Mirror) Stained glass (/wiki/Stained_glass) Metal (/wiki/Metalworking) Andiron (/wiki/Andiron) Chemical milling (/wiki/Chemical_milling) Enamel (/wiki/Vitreous_enamel) Engraving (/wiki/Engraving) Etching (/wiki/Etching) Jewellery (/wiki/Jewellery) Goldsmith (/wiki/Goldsmith) Silversmith (/wiki/Silversmith) Bronze and brass ornamental work (/wiki/Bronze_and_brass_ornamental_work) Ironwork (/wiki/Ironwork) Other Assemblage (/wiki/Assemblage_(art)) Balloon modelling (/wiki/Balloon_modelling) Beadwork (/wiki/Beadwork) Bone carving (/wiki/Bone_carving) Doll making (/wiki/Doll) Dollhouse (/wiki/Dollhouse) Egg decorating (/wiki/Egg_decorating) Engraved gems (/wiki/Engraved_gem) Faux painting (/wiki/Faux_painting) Grotesque (/wiki/Grotesque_(architecture)) Gargoyle (/wiki/Gargoyle) Hardstone carving (/wiki/Hardstone_carving) Inro (/wiki/Inro) Lath art (/wiki/Lath_art) Lapidary (/wiki/Lapidary) Leatherworking (/wiki/Leather_crafting) Miniatures (/wiki/Scale_model) Micromosaic (/wiki/Micromosaic) Mosaic (/wiki/Mosaic) Glass mosaic (/wiki/Glass_mosaic) Netsuke (/wiki/Netsuke) Ornament (/wiki/Ornament_(art)) Painting in Hälsingland (/wiki/Decorative_painting_in_H%C3%A4lsingland) Pargeting (/wiki/Pargeting) Pietra dura (/wiki/Pietra_dura) Private press (/wiki/Private_press) Pressed flower craft (/wiki/Pressed_flower_craft) Qing handicrafts (/wiki/Qing_handicrafts) Scrimshaw (/wiki/Scrimshaw) Straw marquetry (/wiki/Straw_marquetry) Taxidermy (/wiki/Taxidermy) Wall decal (/wiki/Wall_decal) v t e Textile arts (/wiki/Textile_arts) Fundamentals Appliqué (/wiki/Appliqu%C3%A9) Beadwork (/wiki/Beadwork) Crochet (/wiki/Crochet) Dyeing (/wiki/Dyeing) Embroidery (/wiki/Embroidery) Fabric (/wiki/Textile) Felting (/wiki/Felt) Fiber (/wiki/Fiber) Knitting (/wiki/Knitting) Lace (/wiki/Lace) Macramé (/wiki/Macram%C3%A9) Nålebinding (/wiki/N%C3%A5lebinding) Needlework Patchwork (/wiki/Patchwork) Passementerie (/wiki/Passementerie) Plying (/wiki/Plying) Quilting (/wiki/Quilting) Rope (/wiki/Rope) Rug making (/wiki/Rug_making) Sewing (/wiki/Sewing) Spinning (/wiki/Spinning_(textiles)) Stitch (/wiki/Stitch_(textile_arts)) Textile printing (/wiki/Textile_printing) Weaving (/wiki/Weaving) Yarn (/wiki/Yarn) History of ... Byzantine silk (/wiki/Byzantine_silk) Clothing and textiles (/wiki/History_of_clothing_and_textiles) Silk (/wiki/History_of_silk) Quilting (/wiki/History_of_quilting) Silk in the Indian subcontinent (/wiki/Silk_in_the_Indian_subcontinent) Textile manufacturing by pre-industrial methods (/wiki/Textile_manufacturing_by_pre-industrial_methods) Textiles in the British Industrial Revolution (/wiki/Textile_manufacture_during_the_British_Industrial_Revolution) Timeline of textile technology (/wiki/Timeline_of_clothing_and_textiles_technology) Regional and ethnic African (/wiki/African_textiles) Kongo (/wiki/Kongo_textiles) Kuba (/wiki/Kuba_textiles) Australian Aboriginal (/wiki/Australian_Aboriginal_fibrecraft) Hmong (/wiki/Hmong_textile_art) Burmese Acheik (/wiki/Acheik) Indonesian Balinese (/wiki/Balinese_textiles) Sumba (/wiki/Textiles_of_Sumba) Indigenous peoples of the Americas (/wiki/Textile_arts_of_indigenous_peoples_of_the_Americas) Andean (/wiki/Andean_textiles) Mapuche 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Protection Coalition (/wiki/Embroidery_Software_Protection_Coalition) Needlework Development Scheme (/wiki/Needlework_Development_Scheme) Royal School of Needlework (/wiki/Royal_School_of_Needlework) Wemyss School of Needlework (/wiki/Wemyss_School_of_Needlework) Chung Young Yang Embroidery Museum (/wiki/Chung_Young_Yang_Embroidery_Museum) Han Sang Soo Embroidery Museum (/wiki/Han_Sang_Soo_Embroidery_Museum) Related Appliqué (/wiki/Appliqu%C3%A9) Crochet (/wiki/Crochet) Knitting (/wiki/Knitting) Lace (/wiki/Lace) Needlework Quilting (/wiki/Quilting) Portals (/wiki/Wikipedia:Contents/Portals) : Clothing (/wiki/Portal:Clothing) Fashion (/wiki/Portal:Fashion) NewPP limit report Parsed by mw‐api‐ext.codfw.main‐c85b9bc65‐xq9j9 Cached time: 20240720163553 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.507 seconds Real time usage: 0.731 seconds Preprocessor visited node count: 1305/1000000 Post‐expand include size: 67031/2097152 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Technology for the production of textiles This article is about textile weaving. For other uses, see Weaving (disambiguation) (/wiki/Weaving_(disambiguation)) . Warp and weft in plain weaving (/wiki/Plain_weave) A satin weave (/wiki/Satin_weave) , common for silk (/wiki/Silk) , in which each warp thread floats over 16 weft threads A 3/1 twill (/wiki/Twill) , as used in denim (/wiki/Denim) Weaving is a method of textile (/wiki/Textile) production in which two distinct sets of yarns or threads (/wiki/Yarn) are interlaced at right angles to form a fabric (/wiki/Textile) or cloth (/wiki/Cloth) . Other methods are knitting (/wiki/Knitting) , crocheting (/wiki/Crochet) , felting (/wiki/Felt) , and braiding or plaiting (/wiki/Braid) . The longitudinal threads are called the warp (/wiki/Warp_(weaving)) and the lateral threads are the weft (/wiki/Weft) , woof, or filling. The method in which these threads are interwoven affects the characteristics of the cloth. [1] (#cite_note-FOOTNOTECollier197492-1) Cloth is usually woven on a loom (/wiki/Loom) , a device that holds the warp threads in place while filling threads are woven through them. A fabric band that meets this definition of cloth (warp threads with a weft thread winding between) can also be made using other methods, including tablet weaving (/wiki/Tablet_weaving) , back strap loom (/wiki/Back_strap_loom) , or other techniques that can be done without looms. [2] (#cite_note-FOOTNOTEDooley1914-2) The way the warp and filling threads interlace with each other is called the weave. The majority of woven products are created with one of three basic weaves: plain weave (/wiki/Plain_weave) , satin weave (/wiki/Satin_weave) , or twill weave (/wiki/Twill_weave) . Woven cloth can be plain or classic (in one colour or a simple pattern), or can be woven in decorative or artistic design. Process and terminology [ edit ] Main articles: Loom (/wiki/Loom) and Power loom (/wiki/Power_loom) A Bangladesh Ansar (/wiki/Bangladesh_Ansar) officer weaving on duty. In general, weaving involves using a loom (/wiki/Loom) to interlace two sets of threads at right angles (/wiki/Perpendicular) to each other: the warp (/wiki/Warp_(weaving)) which runs longitudinally and the weft (/wiki/Weft) (older woof ) that crosses it. ( Weft is an Old English (/wiki/Old_English) word meaning "that which is woven"; compare leave and left . [a] (#cite_note-3) ) One warp thread is called an end and one weft thread is called a pick . The warp threads are held taut and in parallel (/wiki/Parallel_(geometry)) to each other, typically in a loom. There are many types of looms. [3] (#cite_note-FOOTNOTECollier1974102-4) Weaving can be summarized as a repetition of these three actions, also called the primary motions of the loom . Shedding: where the warp threads (ends) are separated by raising or lowering heald frames ( heddles (/wiki/Heddle) ) to form a clear space, referred to as the shed (/wiki/Shed) where the pick can pass Picking: where the weft or pick is propelled across the loom by hand, an air-jet, a rapier or a shuttle (/wiki/Shuttle_(weaving)) Beating-up or battening: where the weft is pushed up against the fell of the cloth by the reed (/wiki/Reed_(weaving)) [4] (#cite_note-Collier104-5) The warp is divided into two overlapping groups, or lines (most often adjacent threads belonging to the opposite group) that run in two planes, one above another, so the shuttle can be passed between them in a straight motion. Then, the upper group is lowered by the loom mechanism, and the lower group is raised (shedding), allowing the shuttle to pass in the opposite direction, also in a straight motion. Repeating these actions forms a fabric mesh but without beating-up, the final distance between the adjacent wefts would be irregular and far too large. The secondary motions of the loom are the: Let off motion: where the warp is let off the warp beam at a regulated speed to make the filling even and of the required design Take up motion: takes up the woven fabric in a regulated manner so that the density of filling is maintained The tertiary motions of the loom are the stop motions: to stop the loom in the event of a thread break. The two main stop motions are the Warp stop motion Weft stop motion The principal parts of a loom are the frame, the warp-beam or weavers beam, the cloth-roll (apron bar), the heddles, and their mounting, the reed (/wiki/Reed_(weaving)) . The warp-beam is a wooden or metal cylinder on the back of the loom on which the warp is delivered. The threads of the warp extend in parallel order from the warp-beam to the front of the loom where they are attached to the cloth-roll. Each thread or group of threads of the warp passes through an opening (eye) in a heddle. The warp threads are separated by the heddles into two or more groups, each controlled and automatically drawn up and down by the motion of the heddles. In the case of small patterns the movement of the heddles is controlled by "cams" which move up the heddles by means of a frame called a harness; in larger patterns the heddles are controlled by a dobby mechanism, where the healds are raised according to pegs inserted into a revolving drum. Where a complex design is required, the healds are raised by harness cords attached to a Jacquard machine. Every time the harness (the heddles) moves up or down, an opening ( shed (/wiki/Shed_(weaving)) ) is made between the threads of warp, through which the pick is inserted. Traditionally the weft thread is inserted by a shuttle. [4] (#cite_note-Collier104-5) [5] (#cite_note-FOOTNOTEDooley191454-6) On a conventional loom, continuous weft thread is carried on a pirn (/wiki/Pirn) , in a shuttle (/wiki/Shuttle_(weaving)) that passes through the shed. A handloom weaver could propel the shuttle by throwing it from side to side with the aid of a picking stick. The "picking" on a power loom (/wiki/Power_loom) is done by rapidly hitting the shuttle from each side using an overpick or underpick mechanism controlled by cams 80–250 times a minute. [4] (#cite_note-Collier104-5) When a pirn is depleted, it is ejected from the shuttle and replaced with the next pirn held in a battery attached to the loom. Multiple shuttle boxes allow more than one shuttle to be used. Each can carry a different colour which allows banding across the loom. Weaving pattern cards used by Skye Weavers, Isle of Skye (/wiki/Isle_of_Skye) , Scotland The rapier-type weaving machines do not have shuttles, they propel cut lengths of weft by means of small grippers or rapiers that pick up the filling thread and carry it halfway across the loom where another rapier picks it up and pulls it the rest of the way. [6] (#cite_note-FOOTNOTECollier1974110-7) Some carry the filling yarns across the loom at rates in excess of 2,000 metres per minute. Manufacturers such as Picanol (/wiki/Picanol) have reduced the mechanical adjustments to a minimum, and control all the functions through a computer with a graphical user interface (/wiki/Graphical_user_interface) . Other types use compressed air to insert the pick. They are all fast, versatile and quiet. [7] (#cite_note-CFF-8) The warp is sized (/wiki/Sizing#Textile_warp_sizing) in a starch mixture for smoother running. The loom warped (loomed or dressed) by passing the sized warp threads through two or more heddles (/wiki/Heddle) attached to harnesses. The power weavers loom is warped by separate workers. Most looms used for industrial purposes have a machine that ties new warps threads to the waste of previously used warps threads, while still on the loom, then an operator rolls the old and new threads back on the warp beam (/w/index.php?title=Warp_beam&action=edit&redlink=1) . The harnesses are controlled by cams, dobbies or a Jacquard head. A 3/1 twill weave, as used in denim The raising and lowering sequence of warp threads in various sequences gives rise to many possible weave structures: Plain weave (/wiki/Plain_weave) : plain, and hopsacks, poplin (/wiki/Poplin) , taffeta (/wiki/Taffeta) , [8] (#cite_note-Collier114-9) poult-de-soie, pibiones (/wiki/Pibiones) and grosgrain (/wiki/Grosgrain) Twill weave (/wiki/Twill_weave) : these are described by weft float followed by warp float, arranged to give diagonal pattern; examples are 2/1 twill, 3/3 twill, or 1/2 twill. These are softer fabrics than plain weaves. [9] (#cite_note-FOOTNOTECollier1974115-10) Satin weave (/wiki/Satin_weave) : satins (/wiki/Satin) and sateens (/wiki/Sateen) [10] (#cite_note-FOOTNOTECollier1974116-11) Complex computer-generated interlacings, such as Jacquard (/wiki/Jacquard_loom) fabric Pile fabrics (/wiki/List_of_fabrics) : fabrics with a surface of cut threads (a pile ), such as velvets (/wiki/Velvet) and velveteens (/wiki/Velveteen) [10] (#cite_note-FOOTNOTECollier1974116-11) Selvage (/wiki/Selvage) refers to the fabric's edge, which may be marked with the manufacturer's detail. It is a narrow edge of a woven fabric parallel to its length. [11] (#cite_note-12) Thrums (/wiki/Thrum_(textiles)) are the remainder yarns for tying on the loom. The portion that is not weavable warp. It is also called loom waste. [12] (#cite_note-13) [13] (#cite_note-14) [14] (#cite_note-15) Both warp and weft can be visible in the final product. By spacing the warp more closely, it can completely cover the weft that binds it, giving a warp faced textile such as rep weave. [8] (#cite_note-Collier114-9) Conversely, if the warp is spread out, the weft can slide down and completely cover the warp, giving a weft faced textile, such as a tapestry (/wiki/Tapestry) or a Kilim (/wiki/Kilim) rug. There are a variety of loom styles for hand weaving and tapestry. [8] (#cite_note-Collier114-9) Archaeology [ edit ] Weaving in ancient Egypt There are some indications that weaving was already known in the Paleolithic (/wiki/Paleolithic) Era, as early as 27,000 years ago. An indistinct textile impression has been found at the Dolní Věstonice (/wiki/Doln%C3%AD_V%C4%9Bstonice_(archaeology)) site. [15] (#cite_note-16) According to the find, the weavers of the Upper Palaeolithic were manufacturing a variety of cordage types, produced plaited basketry and sophisticated twined and plain woven cloth. The artifacts include imprints in clay and burned remnants of cloth. [16] (#cite_note-17) The oldest known textiles found in the Americas are remnants of six finely woven textiles and cordage found in Guitarrero Cave (/wiki/Guitarrero_Cave) , Peru (/wiki/Peru) . The weavings, made from plant fibres, are dated between 10,100 and 9080 BCE. [17] (#cite_note-18) [18] (#cite_note-19) In 2013 a piece of cloth woven from hemp was found in burial F. 7121 at the Çatalhöyük (/wiki/%C3%87atalh%C3%B6y%C3%BCk) site, [19] (#cite_note-2013_Season_Review-20) suggested to be from around 7000 BCE [20] (#cite_note-21) [21] (#cite_note-22) Further finds come from the Neolithic (/wiki/Neolithic) civilisation preserved in the pile dwellings (/wiki/Prehistoric_pile_dwellings_around_the_Alps) in Switzerland. [22] (#cite_note-23) Another extant fragment from the Neolithic was found in Fayum (/wiki/Fayum) , at a site dated to about 5000 BCE. [23] (#cite_note-24) This fragment is woven at about 12 threads by 9 threads per centimetre in a plain weave. Flax (/wiki/Flax) was the predominant fibre in Egypt at this time (3600 BCE) and had continued popularity in the Nile Valley (/wiki/Nile) , though wool (/wiki/Wool) became the primary fibre used in other cultures around 2000 BCE. [24] (#cite_note-25) The oldest-known weavings in North America come from the Windover Archaeological Site (/wiki/Windover_Archaeological_Site) in Florida (/wiki/Florida) . Dating from 4900 to 6500 BCE and made from plant fibres, the Windover hunter-gatherers (/wiki/Hunter-gatherer) produced "finely crafted" twined and plain weave (/wiki/Plain_weave) textiles. [25] (#cite_note-26) [26] (#cite_note-27) Eighty-seven pieces of fabric were found associated with 37 burials. Researchers have identified seven different weaves in the fabric. [27] (#cite_note-28) One kind of fabric had 26 strands per inch (10 strands per centimetre). There were also weaves using two-strand and three-strand wefts (/wiki/Weft) . A round bag made from twine (/wiki/Twine) was found, as well as matting (/wiki/Matting) . The yarn (/wiki/Yarn) was probably made from palm leaves. Cabbage palm (/wiki/Sabal_palmetto) , saw palmetto (/wiki/Saw_palmetto) and scrub palmetto (/wiki/Sabal_etonia) are all common in the area, and would have been so 8,000 years ago. [28] (#cite_note-29) [29] (#cite_note-30) Evidence of weaving as a commercial household industry in the historical region of Macedonia (/wiki/Macedonia_(Greece)) has been found at the Olynthus (/wiki/Olynthus) site. When the city was destroyed by Philip II (/wiki/Philip_II_of_Macedon) in 348 BCE, artifacts were preserved in the houses. Loomweights were found in many houses, enough to produce cloth to meet the needs of the household, but some of the houses contained more loomweights, enough for commercial production, and one of the houses was adjacent to the agora (/wiki/Agora) and contained three shops where many coins were found. It is probable that such homes were engaged in commercial textile manufacture. [30] (#cite_note-31) History [ edit ] Weaving was known in all the great civilisations, but no clear line of causality has been established. Early looms required two people to create the shed and one person to pass through the filling. Early looms wove a fixed length of cloth, but later ones allowed warp to be wound out as the fell progressed. Weaving became simpler when the warp was sized (/wiki/Sizing#Textile_warp_sizing) . Africa [ edit ] Around the 4th century BCE , the cultivation of cotton and the knowledge of its spinning and weaving in Meroë (/wiki/Mero%C3%AB) reached a high level. Export of textiles was one of the main sources of wealth for Kush (/wiki/Kingdom_of_Kush) . Aksumite (/wiki/Kingdom_of_Aksum) King Ezana (/wiki/Ezana) boasted in his inscription that he destroyed large cotton plantations in Meroë during his conquest of the region. [31] (#cite_note-32) South America [ edit ] Main articles: Textile arts of indigenous peoples of the Americas (/wiki/Textile_arts_of_indigenous_peoples_of_the_Americas) and Andean textiles (/wiki/Andean_textiles) An indigenous woman of the Maya Tzutujil culture weaves using a back-strap loom. Example of weaving characteristic of Andean civilizations (/wiki/Andean_civilizations) Natural fiber weaver in Nuevo León (/wiki/Nuevo_Le%C3%B3n) , Mexico The Indigenous people of the Americas (/wiki/Indigenous_people_of_the_Americas) wove textiles of cotton (/wiki/Cotton) throughout tropical and subtropical America and in the South American Andes (/wiki/Andes) of wool from camelids (/wiki/Camelids) , primarily domesticated llamas (/wiki/Llamas) and alpacas (/wiki/Alpacas) . Cotton and the camelids were both domesticated by about 4,000 BCE. [32] (#cite_note-33) [33] (#cite_note-34) American weavers are "credited with independently inventing nearly every non-mechanized technique known today." [34] (#cite_note-35) In the Inca Empire (/wiki/Inca_Empire) of the Andes, both men and women produced textiles. [35] (#cite_note-:0-36) Women mostly did their weaving using backstrap looms (/wiki/Backstrap_loom) to make small pieces of cloth and vertical frame and single- heddle (/wiki/Heddle) looms for larger pieces. [36] (#cite_note-37) Men used upright looms. The Inca elite valued cumbi (/wiki/Cumbi) , which was a fine tapestry-woven textile produced on upright looms. The elite often offered cumbi as gifts of reciprocity to lords (other elite) in the Empire. In regions under direct control of the Inca, special artisans produced cumbi for the elite. Women who created cumbi in these regions were called acllas or mamaconas and men were called cumbicamayos . [35] (#cite_note-:0-36) Andean textile weavings were of practical, symbolic, religious, and ceremonial importance and used as currency, tribute, and as a determinant of social class and rank. Sixteenth-century Spanish colonists were impressed by both the quality and quantity of textiles produced by the Inca Empire. [37] (#cite_note-38) Some of the techniques and designs are still in use in the 21st century. [38] (#cite_note-39) Whereas European cloth-making generally created ornamentation through "suprastructural" means—by adding embroidery, ribbons, brocade, dyeing, and other elements onto the finished woven textile—pre-Columbian Andean weavers created elaborate cloth by focusing on "structural" designs involving manipulation of the warp and weft of the fabric itself. Andeans used "tapestry techniques; double-, triple- and quadruple-cloth techniques; gauze weaves; warp-patterned weaves; discontinuous warp or scaffold weaves; and plain weaves" among many other techniques, in addition to the suprastructural techniques listed above. [39] (#cite_note-40) East Asia [ edit ] A woman weaving. Ukiyo-e (/wiki/Ukiyo-e) woodblock print by Yōshū Chikanobu (/wiki/Toyohara_Chikanobu) , 1890 The weaving of silk (/wiki/Silk) from silkworm cocoons has been known in China (/wiki/China) since about 3500 BCE. Silk that was intricately woven and dyed, showing a well developed craft, has been found in a Chinese tomb dating back to 2700 BCE. Silk weaving in China was an intricate process that was very involved. Men and women, usually from the same family, had their own roles in the weaving process. The actual work of weaving was done by both men and women. [40] (#cite_note-FOOTNOTEFeng2001461-41) Women were often weavers since it was a way they could contribute to the household income while staying at home. [41] (#cite_note-Rothschild2015_p27-42) Women would usually weave simpler designs within the household while men would be in charge of the weaving of more intricate and complex pieces of clothing. [42] (#cite_note-:3-43) The process of sericulture (/wiki/Sericulture) and weaving emphasized the idea that men and women should work together instead of women being subordinate to men. Weaving became an integral part of Chinese women's social identity. Several rituals and myths were associated with the promotion of silk weaving, especially as a symbol of female power. Weaving contributed to the balance between men and women's economic contributions and had many economic benefits. [41] (#cite_note-Rothschild2015_p27-42) [43] (#cite_note-FOOTNOTELi1981135-44) There were many paths into the occupation of weaver. Women usually married into the occupation, belonged to a family of weavers and or lived in a location that had ample weather conditions that allowed for the process of silk weaving. Weavers usually belonged to the peasant class. [44] (#cite_note-FOOTNOTEFeng2001407–409-45) Silk weaving became a specialized job requiring specific technology and equipment that was completed domestically within households. [45] (#cite_note-FOOTNOTELi1981131-46) Although most of the silk weaving was done within the confines of the home and family, there were some specialized workshops (/wiki/Guild) that hired skilled silk weavers as well. These workshops took care of the weaving process, although the raising of the silkworms and reeling of the silk remained work for peasant families. The silk that was woven in workshops rather than homes were of higher quality, since the workshop could afford to hire the best weavers. [46] (#cite_note-47) These weavers were usually men who operated more complicated looms, such as the wooden draw-loom. [47] (#cite_note-FOOTNOTELi198127-48) This created a competitive market of silk weavers. The quality and ease of the weaving process depended on the silk that was produced by the silk worms. The easiest silk to work with came from breeds of silk worms that spun their cocoons (/wiki/Cocoon_(silk)) so that it could be unwound in one long strand. [42] (#cite_note-:3-43) The reeling, or unwinding of silk worm cocoons is started by placing the cocoons in boiling water in order to break apart the silk filaments as well as kill the silk worm pupae (/wiki/Pupa) . Women would then find the end of the strands of silk by sticking their hand into the boiling water. Usually this task was done by girls aged eight to twelve, while the more complex jobs were given to older women. [48] (#cite_note-FOOTNOTELi198129-49) They would then create a silk thread, which could vary in thickness and strength from the unwound cocoons. [42] (#cite_note-:3-43) After the reeling of the silk, the silk would be dyed before the weaving process began. There were many different looms and tools for weaving. For high quality and intricate designs, a wooden draw-loom (/wiki/Loom) or pattern loom was used. [47] (#cite_note-FOOTNOTELi198127-48) This loom would require two or three weavers and was usually operated by men. There were also other smaller looms, such as the waist loom, that could be operated by a single woman and were usually used domestically. [47] (#cite_note-FOOTNOTELi198127-48) Sericulture (/wiki/Sericulture) and silk weaving spread to Korea by 200 BCE, to Khotan (/wiki/Khotan) by 50 CE, and to Japan by about 300 CE. The pit-treadle loom may have originated in India though most authorities establish the invention in China. [49] (#cite_note-Broudy1979-50) Pedals (/wiki/Lever) were added to operate heddles (/wiki/Heddle#Single_and_double_heddle_looms) . By the Middle Ages such devices also appeared in Persia (/wiki/Persia) , Sudan, Egypt and possibly the Arabian Peninsula, where "the operator sat with his feet in a pit below a fairly low-slung loom". In 700 CE, horizontal looms and vertical looms could be found in many parts of Asia, Africa and Europe. In Africa, the rich dressed in cotton while the poorer wore wool. [50] (#cite_note-Pacey-51) By the 12th century it had come to Europe either from the Byzantium (/wiki/Byzantine_Empire) or Moorish Spain (/wiki/Al-Andalus) where the mechanism was raised higher above the ground on a more substantial frame. [50] (#cite_note-Pacey-51) [51] (#cite_note-Jenkins2003-52) Equipment for unraveling silk cocoons. Khotan (/wiki/Khotan) Women weaving silk. Kashgar (/wiki/Kashgar) A traditional Vietnamese brocade and silk products weaver using a handloom Southeast Asia [ edit ] In the Philippines (/wiki/Philippines) , numerous pre-colonial weaving traditions exist among different ethnic groups (/wiki/Ethnic_groups_of_the_Philippines) . They used various plant fibers, mainly abacá (/wiki/Abac%C3%A1) or banana (/wiki/Banana) , but also including tree cotton (/wiki/Gossypium_arboreum) , buri palm (/wiki/Buri_palm) (locally known as buntal ) and other palms, various grasses (like amumuting and tikog ), and barkcloth (/wiki/Barkcloth) . [52] (#cite_note-tatler-53) [53] (#cite_note-wise-54) The oldest evidence of weaving traditions are Neolithic (/wiki/Neolithic) stone tools used for preparing barkcloth found in archeological sites in Sagung Cave (/wiki/Archaeology_of_the_Philippines) of southern Palawan (/wiki/Palawan) and Arku Cave (/wiki/Archaeology_of_the_Philippines) of Peñablanca, Cagayan (/wiki/Pe%C3%B1ablanca,_Cagayan) . The latter has been dated to around 1255–605 BCE. [54] (#cite_note-natmus-55) Contemporary Philippines weaver demonstrating pineapple-plant fiber and silk cloths being woven in a traditional loom. Pineapple-plant fiber and silk threads being woven in a traditional loom. T'nalak (/wiki/T%27nalak) cloth by T'boli (/wiki/T%27boli_people) dream weavers. Like most indigenous pre-colonial Filipino textiles, they were typically made from abacá (/wiki/Abac%C3%A1) fibers. Medieval Europe [ edit ] Weaver, Nürnberg (/wiki/N%C3%BCrnberg) , c. 1425 The predominant fibre (/wiki/Fibre) in Europe during the medieval period (/wiki/Medieval_Period) was wool (/wiki/Wool) , followed by linen (/wiki/Linen) and nettlecloth (/wiki/Urtica_dioica) for the lower classes. Cotton (/wiki/Cotton) was introduced to Sicily (/wiki/Sicily) and Spain (/wiki/Spain) in the 9th century. When Sicily was captured by the Normans (/wiki/Normans) , they took the technology to Northern Italy (/wiki/Northern_Italy) and then the rest of Europe. Silk (/wiki/Silk) fabric production was reintroduced towards the end of this period and the more sophisticated silk weaving techniques were applied to the other staples. [55] (#cite_note-pabacker-56) The weaver worked at home and marketed his cloth at fairs (/wiki/Trade_fair) . [55] (#cite_note-pabacker-56) Warp-weighted looms (/wiki/Warp-weighted_loom) were commonplace in Europe before the introduction of horizontal looms in the 10th and 11th centuries. Weaving became an urban craft and to regulate their trade, craftsmen applied to establish a guild (/wiki/Guild) . These initially were merchant guilds (/wiki/Merchant_guild) , but developed into separate trade guilds (/wiki/Trade_guild) for each skill. The cloth merchant who was a member of a city's weavers guild was allowed to sell cloth; he acted as a middleman between the tradesmen weavers and the purchaser. The trade guilds controlled quality and the training needed before an artisan could call himself a weaver. [55] (#cite_note-pabacker-56) By the 13th century, an organisational change took place, and a system of putting out (/wiki/Putting-out_system) was introduced. The cloth merchant purchased the wool and provided it to the weaver, who sold his produce back to the merchant. The merchant (/wiki/Merchant_capitalism) controlled the rates of pay and economically dominated the cloth industry. [55] (#cite_note-pabacker-56) The merchants' prosperity is reflected in the wool towns of eastern England; Norwich (/wiki/Norwich) , Bury St Edmunds (/wiki/Bury_St_Edmunds) and Lavenham (/wiki/Lavenham) being good examples. Wool was a political issue. [56] (#cite_note-BHO-57) The supply of thread has always limited the output of a weaver. About that time, the spindle method of spinning was replaced by the great wheel and soon after the treadle-driven spinning wheel (/wiki/Spinning_wheel) . The loom remained the same but with the increased volume of thread it could be operated continuously. [55] (#cite_note-pabacker-56) The 14th century saw considerable flux in population. The 13th century had been a period of relative peace; Europe became overpopulated. Poor weather led to a series of poor harvests and starvation. There was great loss of life in the Hundred Years War (/wiki/Hundred_Years_War) . Then in 1346, Europe was struck with the Black Death (/wiki/Black_Death) and the population was reduced by up to a half. Arable land was labour-intensive and sufficient workers no longer could be found. Land prices dropped, and land was sold and put to sheep pasture. Traders from Florence (/wiki/Florence) and Bruges (/wiki/Bruges) bought the wool, then sheep-owning landlords started to weave wool outside the jurisdiction of the city and trade guilds. The weavers started by working in their own homes then production was moved into purpose-built buildings. The working hours and the amount of work were regulated. The putting-out system had been replaced by a factory system (/wiki/Factory_system) . [55] (#cite_note-pabacker-56) The migration of the Huguenot Weavers (/wiki/Huguenot_Weavers) , Calvinists (/wiki/Calvinist) fleeing from religious persecution in mainland Europe, to Britain around the time of 1685 (/wiki/Revocation_of_the_Edict_of_Nantes) challenged the English weavers of cotton, woollen and worsted cloth, who subsequently learned the Huguenots' superior techniques. [57] (#cite_note-Hug-58) Colonial United States [ edit ] Colonial America (/wiki/Colonial_America) relied heavily on Great Britain (/wiki/Great_Britain) for manufactured goods of all kinds. British policy was to encourage the production of raw materials in colonies and discourage manufacturing. The Wool Act 1699 (/wiki/Wool_Act_1699) restricted the export of colonial wool. [58] (#cite_note-59) [59] (#cite_note-60) As a result, many people wove cloth from locally produced fibres. The colonists also used wool, cotton (/wiki/Cotton) and flax (/wiki/Flax) (linen) for weaving, though hemp (/wiki/Hemp) could be made into serviceable canvas and heavy cloth. They could get one cotton crop each year; until the invention of the cotton gin (/wiki/Cotton_gin) it was a labour-intensive process to separate the seeds from the fibres. Functional tape, bands, straps, and fringe were woven on box and paddle looms. [60] (#cite_note-61) A plain weave was preferred as the added skill and time required to make more complex weaves kept them from common use. Sometimes designs were woven into the fabric but most were added after weaving using wood block prints or embroidery. Industrial Revolution [ edit ] Main article: Textile manufacture during the Industrial Revolution (/wiki/Textile_manufacture_during_the_Industrial_Revolution) By 1892, most cotton weaving was done in similar weaving sheds, powered by steam. Before the Industrial Revolution (/wiki/Industrial_Revolution) , weaving was a manual craft and wool was the principal staple. In the great wool districts a form of factory system had been introduced but in the uplands weavers worked from home on a putting-out system (/wiki/Putting-out_system) . The wooden looms of that time might be broad or narrow; broad looms were those too wide for the weaver to pass the shuttle through the shed, so that the weaver needed an expensive assistant (often an apprentice (/wiki/Apprentice) ). This ceased to be necessary after John Kay (/wiki/John_Kay_(flying_shuttle)) invented the flying shuttle (/wiki/Flying_shuttle) in 1733. The shuttle and the picking stick sped up the process of weaving. [61] (#cite_note-FOOTNOTEGuest18238-62) There was thus a shortage of thread or a surplus of weaving capacity. The opening of the Bridgewater Canal (/wiki/Bridgewater_Canal) in June 1761 allowed cotton to be brought into Manchester, an area rich in fast flowing streams that could be used to power machinery. Spinning was the first to be mechanised ( spinning jenny (/wiki/Spinning_jenny) , spinning mule (/wiki/Spinning_mule) ), and this led to limitless thread for the weaver. Edmund Cartwright (/wiki/Edmund_Cartwright) first proposed building a weaving machine that would function similar to recently developed cotton-spinning mills in 1784, drawing scorn from critics who said the weaving process was too nuanced to automate. [62] (#cite_note-BBC2-63) He built a factory at Doncaster (/wiki/Doncaster) and obtained a series of patents between 1785 and 1792. In 1788, his brother Major John Cartwight (/wiki/John_Cartwright_(political_reformer)) built Revolution Mill at Retford (/wiki/Retford) (named for the centenary of the Glorious Revolution (/wiki/Glorious_Revolution) ). In 1791, he licensed his loom to the Grimshaw brothers of Manchester (/wiki/Manchester) , but their Knott Mill burnt down the following year (possibly a case of arson). Edmund Cartwight was granted a reward of £10,000 by Parliament (/wiki/UK_Parliament) for his efforts in 1809. [63] (#cite_note-64) [64] (#cite_note-65) However, success in power-weaving also required improvements by others, including H. Horrocks of Stockport (/wiki/Stockport) . Only during the two decades after about 1805, did power-weaving (/wiki/Power_loom) take hold. At that time there were 250,000 hand weavers in the UK. [65] (#cite_note-FOOTNOTETimmins1993-66) Textile manufacture was one of the leading sectors in the British (/wiki/Great_Britain) Industrial Revolution (/wiki/Industrial_Revolution) , but weaving was a comparatively late sector to be mechanised. The loom became semi-automatic in 1842 with Kenworthy and Bulloughs Lancashire Loom (/wiki/Lancashire_Loom) . The various innovations took weaving from a home-based artisan (/wiki/Artisan) activity (labour-intensive and man-powered) to steam (/wiki/Steam_engine) driven factories (/wiki/Factory) process. A large metal manufacturing industry grew to produce the looms, firms such as Howard & Bullough (/wiki/Howard_%26_Bullough) of Accrington (/wiki/Accrington) , and Tweedales and Smalley (/wiki/Tweedales_and_Smalley) and Platt Brothers (/wiki/Platt_Brothers) . Most power weaving took place in weaving sheds, in small towns (/wiki/Mill_town) circling Greater Manchester (/wiki/Greater_Manchester) away from the cotton spinning area. The earlier combination mills where spinning and weaving took place in adjacent buildings became rarer. Wool and worsted (/wiki/Worsted) weaving took place in West Yorkshire (/wiki/West_Yorkshire) and particular Bradford (/wiki/Bradford) , here there were large factories such as Lister's or Drummond's, where all the processes took place. [66] (#cite_note-FOOTNOTEBellerby200517-67) Both men and women with weaving skills emigrated, and took the knowledge to their new homes in New England, to places like Pawtucket (/wiki/Pawtucket,_Rhode_Island) and Lowell (/wiki/Lowell,_Massachusetts) . Woven ' grey cloth (/wiki/Greige_goods) ' was then sent to the finishers where it was bleached, dyed and printed. Natural dyes (/wiki/Natural_dye) were originally used, with synthetic dyes (/wiki/Synthetic_dye) coming in the second half of the 19th century. A demand for new dyes followed the discovery of mauveine (/wiki/Mauveine) in 1856, and its popularity in fashion. Researchers continued to explore the chemical potential of coal tar (/wiki/Coal_tar) waste from the growing number of gas works (/wiki/Gasworks) in Britain and Europe, creating an entirely new sector in the chemical industry (/wiki/Chemical_industry#Expansion_and_maturation) . [67] (#cite_note-68) The invention in France (/wiki/France) of the Jacquard loom (/wiki/Jacquard_loom) , patented in 1804, enabled complicated patterned cloths to be woven, by using punched cards to determine which threads of coloured yarn should appear on the upper side of the cloth. The jacquard allowed individual control of each warp thread, row by row without repeating, so very complex patterns were suddenly feasible. Samples exist showing calligraphy, and woven copies of engravings. Jacquards could be attached to handlooms or powerlooms. [68] (#cite_note-69) A distinction can be made between the role and lifestyle and status of a handloom weaver, and that of the power loom weaver and craft weaver. The perceived threat of the power loom led to disquiet and industrial unrest. Well known protests movements such as the Luddites (/wiki/Luddite) and the Chartists (/wiki/Chartism) had handloom weavers amongst their leaders. In the early 19th-century power weaving became viable. Richard Guest in 1823 made a comparison of the productivity of power and handloom weavers: A very good Hand Weaver, a man twenty-five or thirty years of age, will weave two pieces of nine-eighths shirting per week, each twenty-four yards long, and containing one hundred and five shoots of weft in an inch, the reed of the cloth being a forty-four, Bolton count, and the warp and weft forty hanks to the pound, A Steam Loom Weaver, fifteen years of age, will in the same time weave seven similar pieces. [69] (#cite_note-FOOTNOTEGuest182347-70) He then speculates about the wider economics of using power loom weavers: Women featured weaving at power looms in 1835. ...it may very safely be said, that the work is done in a Steam Factory containing two hundred Looms, would, if done by hand Weavers, find employment and support for a population of more than two thousand persons. [70] (#cite_note-FOOTNOTEGuest182348-71) With the Industrial Revolution came a growth in opportunity for women to work within textile factories. However, in spite of their gender, their work was perceived to have a lower social and economic value than work done by their male counterparts. [71] (#cite_note-:1-72) Modern day [ edit ] Weavers of the Bauhaus (/wiki/Bauhaus) workshop in a photo taken by Lux Feininger. In the 1920s the weaving workshop of the Bauhaus (/wiki/Bauhaus) design school in Germany aimed to raise weaving, previously seen as a craft, to a fine art, and also to investigate the industrial requirements of modern weaving and fabrics. [72] (#cite_note-73) Under the direction of Gunta Stölzl (/wiki/Gunta_St%C3%B6lzl) , the workshop experimented with unorthodox materials, including cellophane, fibreglass, and metal. [73] (#cite_note-met-74) From expressionist tapestries to the development of soundproofing and light-reflective fabric, the workshop's innovative approach instigated a modernist theory of weaving. [73] (#cite_note-met-74) Former Bauhaus student and teacher Anni Albers (/wiki/Anni_Albers) published the seminal 20th-century text On Weaving in 1965. [74] (#cite_note-75) Other notables from the Bauhaus weaving workshop include Otti Berger (/wiki/Otti_Berger) , Margaretha Reichardt (/wiki/Margaretha_Reichardt) , and Benita Koch-Otte (/wiki/Benita_Koch-Otte) . In the Bauhaus, the weaving workshop was considered "the women's department", and many women were forced to join against wishes to study another art form. [75] (#cite_note-:2-76) Some weavers, like Helene Nonné-Schmidt (/wiki/Helene_Nonn%C3%A9-Schmidt) believed that women were made to weave because they could only produce work in 2-D. She thought women lacked the spatial imagination and genius men had to work in other mediums. [76] (#cite_note-:4-77) Hand weaving of Persian carpets (/wiki/Persian_carpet) and kilims (/wiki/Kilim) has been an important element of the tribal crafts of many of the subregions of modern day Iran (/wiki/Iran) . Examples of carpet types are the Lavar Kerman (/wiki/Kerman_carpet) carpet from Kerman (/wiki/Kerman) and the Seraband rug (/wiki/Seraband_rug) from Arāk (/wiki/Arak,_Iran) . [77] (#cite_note-78) [78] (#cite_note-79) Types [ edit ] Hand loom weavers [ edit ] Handloom weaving was done by both genders but men outnumbered women partially due to the strength needed to batten. [79] (#cite_note-80) [80] (#cite_note-FOOTNOTEFreethy200562-81) They worked from home sometimes in a well-lit attic room. The women of the house would spin the thread they needed, and attend to finishing. Later women took to weaving, they obtained their thread from the spinning mill (/wiki/Cotton_mill) , and working as outworkers (/wiki/Outworker) on a piecework (/wiki/Piecework) contract. Over time competition from the power looms drove down the piece rate and they existed in increasing poverty. Power loom weavers [ edit ] Further information: Queen Street Mill (/wiki/Queen_Street_Mill) Power loom workers were usually girls and young women. They had the security of fixed hours, and except in times of hardship, such as in the cotton famine (/wiki/Cotton_famine) , regular income. They were paid a wage and a piece work bonus. Even when working in a combined mill, weavers stuck together and enjoyed a tight-knit community. [81] (#cite_note-FOOTNOTEBellerby200524-82) The women usually minded the four machines and kept the looms oiled and clean. They were assisted by 'little tenters', children on a fixed wage who ran errands and did small tasks. They learnt the job of the weaver by watching. [80] (#cite_note-FOOTNOTEFreethy200562-81) Often they would be half timers (/wiki/Education_Act_1870) , carrying a green card which teacher and overlookers would sign to say they had turned up at the mill in the morning and the afternoon at the school. [82] (#cite_note-FOOTNOTEFreethy200586-83) At fourteen or so they come full-time into the mill, and started by sharing looms with an experienced worker where it was important to learn quickly as they would both be on piece work. [83] (#cite_note-FOOTNOTEFreethy200570-84) Serious problems with the loom were left to the tackler (/wiki/Tackler) to sort out. He would inevitably be a man, as were usually the overlookers. The mill had its health and safety issues, there was a reason why the women tied their hair back with scarves. Inhaling cotton dust caused lung problems, and the noise was causing total hearing loss. Weavers would mee-maw (/wiki/Mee-mawing) [84] (#cite_note-FOOTNOTEFreethy2005123-85) [85] (#cite_note-FOOTNOTEBellerby200548-86) as normal conversation was impossible. Weavers used to 'kiss the shuttle', that is, suck thread through the eye of the shuttle. This left a foul taste in the mouth due to the oil, which was also carcinogenic (/wiki/Carcinogenic) . [86] (#cite_note-FOOTNOTEFreethy2005121-87) Craft weavers [ edit ] Pedal powered loom used by Skye Weavers, Isle of Skye, Scotland Arts and Crafts (/wiki/Arts_and_Crafts_Movement) was an international design philosophy that originated in England [87] (#cite_note-triggs-88) and flourished between 1860 and 1910 (especially the second half of that period), continuing its influence until the 1930s. [88] (#cite_note-grove-89) Instigated by the artist and writer William Morris (/wiki/William_Morris) (1834–1896) during the 1860s [87] (#cite_note-triggs-88) and inspired by the writings of John Ruskin (/wiki/John_Ruskin) (1819–1900), it had its earliest and most complete development in the British Isles [88] (#cite_note-grove-89) but spread to Europe and North America. [89] (#cite_note-90) It was largely a reaction against mechanisation and the philosophy advocated of traditional craftsmanship using simple forms and often medieval, romantic or folk styles of decoration. Handweaving was highly regarded and taken up as a decorative art (/wiki/Decorative_art) . Indigenous cultures [ edit ] Native Americans [ edit ] Main article: Navajo weaving (/wiki/Navajo_weaving) Weaving a traditional Navajo rug (/wiki/Navajo_rug) Textile weaving, using cotton (/wiki/Cotton) dyed with pigments, was a dominant craft among pre- colonization (/wiki/European_colonization_of_the_Americas) tribes of the American southwest, including various Pueblo (/wiki/Pueblo) peoples, the Zuni (/wiki/Zuni_people) , and the Ute (/wiki/Ute_Tribe) tribes. The first Spaniards to visit the region wrote about seeing Navajo blankets (/wiki/Navajo_rug) . With the introduction of Navajo-Churro sheep (/wiki/Navajo-Churro_sheep) , the resulting woolen products have become very well known. By the 18th century the Navajo had begun to import yarn with their favorite color (/wiki/Favorite_color) , Bayeta red. Using an upright loom, the Navajo wove blankets worn as garments and then rugs after the 1880s for trade. Navajo traded for commercial wool, such as Germantown, imported from Pennsylvania. [90] (#cite_note-91) Under the influence of European-American settlers at trading posts, Navajos created new and distinct styles, including "Two Gray Hills" (predominantly black and white, with traditional patterns), "Teec Nos Pos" (colorful, with very extensive patterns), "Ganado" (founded by Don Lorenzo Hubbell (/wiki/Don_Lorenzo_Hubbell) ), red dominated patterns with black and white, "Crystal" (founded by J. B. Moore), "Oriental" and Persian (/wiki/Persian_rug) styles (almost always with natural dyes), "Wide Ruins," "Chinlee," banded geometric patterns, "Klagetoh," diamond type patterns, "Red Mesa (/wiki/Mesa) " and bold diamond patterns. Many of these patterns exhibit a fourfold symmetry, which is thought to embody traditional ideas about harmony, or hózhó . [91] (#cite_note-92) Amazon cultures [ edit ] Among the indigenous people of the Amazon basin (/wiki/Amazon_basin) densely woven palm (/wiki/Arecaceae) - bast (/wiki/Bast_(biology)) mosquito netting, or tents, were utilized by the Panoans (/wiki/Panoan) , Tupinambá (/wiki/Tupinamb%C3%A1_people) , Western Tucano (/wiki/Tucano,_Brazil) , Yameo, Záparoans, and perhaps by the indigenous peoples of the central Huallaga River (/wiki/Huallaga_River) basin (Steward 1963:520). Aguaje palm-bast (Mauritia flexuosa, Mauritia minor, or swamp palm) and the frond spears of the Chambira palm ( Astrocaryum chambira (/wiki/Astrocaryum_chambira) , A.munbaca, A.tucuma, also known as Cumare or Tucum) have been used for centuries by the Urarina (/wiki/Urarina) of the Peruvian Amazon (/wiki/Amazon_Basin) to make cordage, net-bags hammocks (/wiki/Hammock) , and to weave fabric (/wiki/Textile) . Among the Urarina (/wiki/Urarina) , the production of woven palm-fiber goods is imbued with varying degrees of an aesthetic attitude, which draws its authentication from referencing the Urarina's primordial past. [92] (#cite_note-93) Urarina mythology attests to the centrality of weaving and its role in engendering Urarina society. The post- diluvial (/wiki/Diluvial) creation myth (/wiki/Creation_myth) accords women's weaving knowledge a pivotal role in Urarina social reproduction. [93] (#cite_note-94) Even though palm-fiber cloth is regularly removed from circulation through mortuary (/wiki/Mortuary) rites, Urarina palm-fiber wealth is neither completely inalienable (/wiki/Inalienable_right) , nor fungible (/wiki/Fungibility) since it is a fundamental medium for the expression of labor and exchange. The circulation of palm-fiber wealth stabilizes a host of social relationships, ranging from marriage and fictive kinship (/wiki/Kinship) ( compadrazco , spiritual compeership) to perpetuating relationships with the deceased. [94] (#cite_note-95) Computer science [ edit ] The Nvidia (/wiki/Nvidia) Parallel Thread Execution (/wiki/Parallel_Thread_Execution) ISA derives some terminology (specifically the term Warp to refer to a group of concurrent processing threads) from historical weaving traditions. [95] (#cite_note-96) Gender politics [ edit ] Women's work [ edit ] Further information: Women's work (/wiki/Women%27s_work) Weaving is a practice that is typically considered to be "women's work", either part of their employment, cultural practices, or leisure. [76] (#cite_note-:4-77) [75] (#cite_note-:2-76) [96] (#cite_note-97) The categorization of weaving as women's work has bled into many fields, from art history, anthropology, sociology, and even psychology. While claiming that women had not contributed much to civilization's history, Sigmund Freud (/wiki/Sigmund_Freud) wrote that "one technique which they may have invented [is] that of plaiting and weaving." [97] (#cite_note-98) Women's work is often not recorded as a central activity to building Western history and culture. [71] (#cite_note-:1-72) Yet, some anthropologists argue that textile production facilitated societal establishment and growth, therefore women were integral to perpetuating communities. [98] (#cite_note-99) To record their stories, beliefs, and symbols important to their culture, women engaged in weaving, embroidering (/wiki/Embroidery) , or other fiber practices (/wiki/Fiber_art) . These practices have existed for centuries documented through art history, myth, and oral history and are still practiced today. Reception in the mainstream art world [ edit ] Weaving is often classified as " craft (/wiki/Craft) " alongside other art forms like ceramics, embroidery, basket weaving (/wiki/Basket_weaving) , and more. Historically, there has been a hierarchy between artists who were considered " craftspeople (/wiki/Craftspeople) " and artists who worked in traditional mediums of painting and sculpture. [99] (#cite_note-100) The traditional artists wanted to keep artisans in the minority [ citation needed ] , so there was little reception for arts that were considered craft. Photo of weavings exhibited in Anni Albers' retrospective at Tate Modern in 2018. In 1939, art critic Clement Greenberg (/wiki/Clement_Greenberg) wrote " Avant-Garde and Kitsch (/wiki/Avant-Garde_and_Kitsch) " where he presented his ideas about "high" and "low" art. His definition of "low" art was likely informed by years of theory against decoration and ornamentation, which was correlated with femininity in the early 1900s by critics like Adolf Loos (/wiki/Adolf_Loos) and Karl Scheffler (/wiki/Karl_Scheffler) . [100] (#cite_note-101) [101] (#cite_note-102) Although Greenberg never explicitly says the word "craft", many scholars postulate that this is one of the origins of Western opposition to weaving, and more largely art that is considered craft. [102] (#cite_note-103) Only recently has the art world begun to recognize weaving as an art form and to exhibit woven articles as art objects. Exhibitions of large scope have been organized to affirm the importance of textiles in the art historical canon, such as the Museum of Contemporary Art, Los Angeles (/wiki/Museum_of_Contemporary_Art,_Los_Angeles) ' With Pleasure: Pattern and Decoration in American Art 1972–1985. [103] (#cite_note-104) Women weavers, like Anni Albers (/wiki/Anni_Albers) , Lenore Tawney (/wiki/Lenore_Tawney) , Magdalena Abakanowicz (/wiki/Magdalena_Abakanowicz) , Olga de Amaral (/wiki/Olga_de_Amaral) , and Sheila Hicks (/wiki/Sheila_Hicks) , are now the subject of exhibitions and major retrospectives across the world. [104] (#cite_note-105) [105] (#cite_note-106) See also [ edit ] Fashion portal (/wiki/Portal:Fashion) Textile (/wiki/Textile) Fiber (/wiki/Fiber) Textile arts (/wiki/Textile_arts) Fiber art (/wiki/Fiber_art) Craft (/wiki/Craft) Basket weaving (/wiki/Basket_weaving) Persian weave (/wiki/Persian_weave) Petate (/wiki/Petate) Textile manufacturing terminology (/wiki/Textile_manufacturing_terminology) Weaving (mythology) (/wiki/Weaving_(mythology)) Notes [ edit ] ^ (#cite_ref-3) deriving from an obsolete past participle (/wiki/Past_participle) of weave ( Oxford English Dictionary (/wiki/Oxford_English_Dictionary) , see "weft" and "weave". 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ISBN (/wiki/ISBN_(identifier)) 978-0-19-518948-3 . ^ (#cite_ref-90) Kaplan, Wendy; Crawford, Alan (2004). The Arts & Crafts Movement in Europe & America: Design for the Modern World . Los Angeles County Museum of Art. ^ (#cite_ref-91) "HISTORY OF NAVAJO RUGS & BLANKETS" (https://camerontradingpost.com/history-of-navajo-rugs-blankets.html) . Cameron Trading Post . Retrieved 2024-01-12 . ^ (#cite_ref-92) Nez, V (2018). "SA'AH NAAGHÁI BIK'EH HÓZHÓÓN TEACHINGS" (https://digitalrepository.unm.edu/cgi/viewcontent.cgi?article=1095&context=educ_llss_etds) . Retrieved January 12, 2024 . ^ (#cite_ref-93) Dean, Bartholomew (2009). "Introduction: Power, Belief, Wealth" (https://academic.oup.com/florida-scholarship-online/book/29067/chapter-abstract/241586260?redirectedFrom=fulltext) . academic.oup.com . Retrieved 2024-01-12 . ^ (#cite_ref-94) Dean, Bartholomew (2009). Urarina Society, Cosmology, and History in Peruvian Amazonia . Gainesville: University Press of Florida. ISBN (/wiki/ISBN_(identifier)) 978-0-8130-3378-5 (/wiki/Special:BookSources/978-0-8130-3378-5) ^ (#cite_ref-95) Dean, Bartholomew (1994). "Multiple Regimes of Value: Unequal Exchange and the Circulation of Urarina Palm-Fiber Wealth". Museum Anthropology . 18 : 3–20. doi (/wiki/Doi_(identifier)) : 10.1525/mua.1994.18.1.3 (https://doi.org/10.1525%2Fmua.1994.18.1.3) . ^ (#cite_ref-96) "Parallel Thread Execution ISA Version 6.0" (https://web.archive.org/web/20171028042758/http://docs.nvidia.com/cuda/parallel-thread-execution/index.html) . Developer Zone: CUDA Toolkit Documentation . NVIDIA Corporation. 22 September 2017. Archived from the original (http://docs.nvidia.com/cuda/parallel-thread-execution/index.html#set-of-simt-multiprocessors-with-on-chip-shared-memory) on 28 October 2017 . Retrieved 27 October 2017 . ^ (#cite_ref-97) Vetter, Lisa Pace (2005). "Women's work" as political art: weaving and dialectical politics in Homer, Aristophanes, and Plato . Lanham, Md.: Lexington Books. p. 1. ISBN (/wiki/ISBN_(identifier)) 0-7391-1063-2 . OCLC (/wiki/OCLC_(identifier)) 57414764 (https://www.worldcat.org/oclc/57414764) . ^ (#cite_ref-98) Freud, Sigmund (1989). New introductory lectures on psycho-analysis . James Strachey, Peter Gay (Standard ed.). New York: Norton. p. 132. ISBN (/wiki/ISBN_(identifier)) 0-393-00743-X . OCLC (/wiki/OCLC_(identifier)) 23591744 (https://www.worldcat.org/oclc/23591744) . ^ (#cite_ref-99) Kruger, Kathryn Sullivan (2001). Weaving the word: the metaphorics of weaving and female textual production . Selinsgrove [Pa.]: Susquehanna University Press. pp. 21–22. ISBN (/wiki/ISBN_(identifier)) 1-57591-052-7 . OCLC (/wiki/OCLC_(identifier)) 45466154 (https://www.worldcat.org/oclc/45466154) . ^ (#cite_ref-100) Adamson, Glenn (2020-01-13). "How Craft Entered the Mainstream Art World" (https://www.artsy.net/article/artsy-editorial-art-embracing-craft) . Artsy . Retrieved 2022-12-02 . ^ (#cite_ref-101) Loos, Adolf (1998). Ornament and crime: selected essays . Adolf Opel. Riverside, Calif. ISBN (/wiki/ISBN_(identifier)) 1-57241-046-9 . OCLC (/wiki/OCLC_(identifier)) 36883998 (https://www.worldcat.org/oclc/36883998) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) ^ (#cite_ref-102) Scheffler, Karl (2015). Berlin ein Stadtschicksal . Suhrkamp Verlag (1. Aufl ed.). Berlin. ISBN (/wiki/ISBN_(identifier)) 978-3-518-42511-4 . OCLC (/wiki/OCLC_(identifier)) 930814184 (https://www.worldcat.org/oclc/930814184) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) ^ (#cite_ref-103) Auther, Elissa (2004). "The Decorative, Abstraction, and the Hierarchy of Art and Craft in the Art Criticism of Clement Greenberg". Oxford Art Journal . 27 (3): 339–364. doi (/wiki/Doi_(identifier)) : 10.1093/oaj/27.3.339 (https://doi.org/10.1093%2Foaj%2F27.3.339) . ISSN (/wiki/ISSN_(identifier)) 0142-6540 (https://www.worldcat.org/issn/0142-6540) . JSTOR (/wiki/JSTOR_(identifier)) 20107990 (https://www.jstor.org/stable/20107990) . ^ (#cite_ref-104) "With Pleasure: Pattern and Decoration in American Art 1972–1985" (https://www.moca.org/exhibition/with-pleasure) . www.moca.org . Retrieved 2022-12-02 . ^ (#cite_ref-105) Tate. "Anni Albers | Tate Modern" (https://www.tate.org.uk/whats-on/tate-modern/anni-albers) . Tate . Retrieved 2022-12-02 . ^ (#cite_ref-106) Gipson, Ferren (2022). Women's work: from feminine arts to feminist art . London: Frances Lincoln. ISBN (/wiki/ISBN_(identifier)) 978-0-7112-6465-6 . Bibliography [ edit ] Backer, Patricia (10 June 2005). Technology in the Middle Ages, History of Technology . Technology and Civilization (Tech 198). San Jose, California, USA: San Jose State University. Archived from the original (http://www.engr.sjsu.edu/pabacker/history/middle.htm#Weaving%20and%20the%20Textile%20Industry) on 4 March 2015 . Retrieved 18 November 2011 . Bellerby, Rachel (2005). Chasing the Sixpence: The lives of Bradford Mill Folk . Ayr: Fort Publishing Ltd. ISBN (/wiki/ISBN_(identifier)) 0-9547431-8-0 . Collier, Ann M (1974), A Handbook of Textiles , Pergamon Press, p. 258, ISBN (/wiki/ISBN_(identifier)) 0-08-018057-4 Dooley, William H. (1914). Textiles (Project Gutenberg ed.). Boston, USA: D.C. Heath and Co . Retrieved 30 October 2011 . Feng, Menglong (November 2001). " Stories Old and New . By Feng Menglong, translated by Shuhui Yang and Yunqin Yang. pp. 794, 10 illus. from the 1620 edition. Seattle, University of Washington Press, 2000". Journal of the Royal Asiatic Society . 11 (3): 407–409. doi (/wiki/Doi_(identifier)) : 10.1017/s1356186301380343 (https://doi.org/10.1017%2Fs1356186301380343) . ISSN (/wiki/ISSN_(identifier)) 1356-1863 (https://www.worldcat.org/issn/1356-1863) . S2CID (/wiki/S2CID_(identifier)) 162905651 (https://api.semanticscholar.org/CorpusID:162905651) . Freethy, Ron (2005). Memories of the Lancashire Cotton Mills . Aspects of Local History. Newbury, Berkshire: Countryside Books. ISBN (/wiki/ISBN_(identifier)) 978-1-84674-104-3 . Guest, Richard (1823). A compendious history of the cotton-manufacture . Manchester: Author, Printed by Joseph Pratt, Chapel Walks . Retrieved 2011-11-23 . Li, Lillian M. (1981). China's silk trade: traditional industry in the modern world, 1842–1937 . Vol. 97 (1st ed.). Cambridge, Mass.: Council on East Asian Studies, Harvard University. doi (/wiki/Doi_(identifier)) : 10.2307/j.ctt1tfjb18 (https://doi.org/10.2307%2Fj.ctt1tfjb18) . ISBN (/wiki/ISBN_(identifier)) 978-0-674-11962-8 . JSTOR (/wiki/JSTOR_(identifier)) j.ctt1tfjb18 (https://www.jstor.org/stable/j.ctt1tfjb18) . OCLC (/wiki/OCLC_(identifier)) 576853423 (https://www.worldcat.org/oclc/576853423) . Timmins, Geoffrey (1993). The last shift: the decline of handloom weaving in nineteenth-century Lancashire . Manchester University Press ND. ISBN (/wiki/ISBN_(identifier)) 0-7190-3725-5 . This article incorporates text from Textiles by William H. Dooley, Boston, D.C. Heath and Co., 1914, a volume in the public domain (/wiki/Public_domain) and available online from Project Gutenberg (https://www.gutenberg.org/ebooks/24077) External links [ edit ] Media related to Weaving (https://commons.wikimedia.org/wiki/Category:Weaving) at Wikimedia Commons Cole, Alan Summerly (1911). "Weaving" (https://en.wikisource.org/wiki/1911_Encyclop%C3%A6dia_Britannica/Weaving) . Encyclopædia Britannica (/wiki/Encyclop%C3%A6dia_Britannica_Eleventh_Edition) . Vol. 28 (11th ed.). pp. 440–455. Resource collection (http://www.cs.arizona.edu/patterns/weaving/weavedocs.html) An on-line repository of articles (4720), books (459), illustrations (271), patents (398) and periodicals (1322) relating to weaving. British Pathé Weaving Linen 1940-1949 (http://www.britishpathe.com/video/weaving-linen) Educational film Illustrated Guide of Tilling and Weaving: Rural Life in China (http://www.wdl.org/en/item/289) from 1696 v t e Lancashire (/wiki/Lancashire) cotton (/wiki/Cotton_mill) Architects David Bellhouse (/wiki/David_Bellhouse) Bradshaw Gass & Hope (/wiki/Bradshaw_Gass_%26_Hope) F.W. Dixon & Son (/wiki/Frederick_Whittaker_Dixon) Edward Potts (/wiki/Edward_Potts_(architect)) Stott (/wiki/Stott) Stott and Sons (/wiki/Stott_and_Sons) Sidney Stott (later Sir Philip) (/wiki/Philip_Sidney_Stott) Engine makers Daniel Adamson (/wiki/Daniel_Adamson) Ashton Frost (/w/index.php?title=Ashton_Frost&action=edit&redlink=1) Ashworth & Parker (/w/index.php?title=Ashworth_%26_Parker&action=edit&redlink=1) Bateman & Sherratt (/w/index.php?title=Bateman_%26_Sherratt&action=edit&redlink=1) Boulton & Watt (/wiki/Boulton_and_Watt) Browett, Lindley & Co (/wiki/Browett,_Lindley_%26_Co) Buckley & Taylor (/wiki/Buckley_%26_Taylor) Carels Frères (/wiki/Carels_Fr%C3%A8res) Clayton, Goodfellow & Co (/wiki/Clayton,_Goodfellow_%26_Co._Ltd) Earnshaw & Holt (/w/index.php?title=Earnshaw_%26_Holt&action=edit&redlink=1) Fairbairn (/wiki/William_Fairbairn_%26_Sons) W & J Galloway & Sons (/wiki/W_%26_J_Galloway_%26_Sons) Benjamin Goodfellow (/w/index.php?title=Benjamin_Goodfellow_(engineer)&action=edit&redlink=1) B. Hick and Sons / Hick, Hargreaves & Co (/wiki/B._Hick_and_Sons) John Musgrave & Sons (/wiki/John_Musgrave_%26_Sons) J & W McNaught (/wiki/William_McNaught_(Rochdale)) Petrie of Rochdale (/wiki/Petrie_of_Rochdale) William Roberts & Co of Nelson (/wiki/William_Roberts_%26_Co_of_Nelson) George Saxon (/wiki/George_Saxon_%26_Co) Scott & Hodgson (/wiki/Scott_%26_Hodgson_Ltd) Urmson & Thompson (/wiki/Urmson_%26_Thompson) Yates & Thom / Yates of Blackburn (/wiki/Yates_and_Thom) Willans & Robinson (/wiki/Willans_%26_Robinson) J & E Wood (/wiki/J_%26_E_Wood) Woolstenhulmes & Rye (/wiki/Woolstenhulmes_%26_Rye) Machinery makers Brooks & Doxey (/wiki/Brooks_%26_Doxey) Butterworth & Dickinson (/wiki/Butterworth_%26_Dickinson) Curtis, Parr & Walton (/wiki/Matthew_Curtis_(mayor)) Dobson & Barlow (/wiki/Dobson_%26_Barlow) John Hetherington & Sons (/wiki/John_Hetherington_%26_Sons) Joseph Hibbert (/wiki/Joseph_Hibbert_(manufacturer)) John Pilling and Sons (/wiki/John_Pilling_and_Sons) Harling & Todd (/w/index.php?title=Harling_%26_Todd&action=edit&redlink=1) Howard & Bullough (/wiki/Howard_%26_Bullough) Geo. 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(/wiki/Thomas_Whitehead_and_Brothers) Limited companies Oldham Limiteds (/wiki/Oldham_Limiteds) Fine Spinners and Doublers (/wiki/Fine_Spinners_and_Doublers) Lancashire Cotton Corporation (/wiki/Lancashire_Cotton_Corporation) Bagley & Wright (/wiki/Bagley_%26_Wright) Combined Egyptian Mills (/wiki/Combined_Egyptian_Mills) Courtaulds (/wiki/Courtaulds) James Burton & Sons (/wiki/James_Burton_%26_Sons) Amalgamated Cotton Mills Trust (/w/index.php?title=Amalgamated_Cotton_Mills_Trust&action=edit&redlink=1) Industrial processes Textile manufacturing (/wiki/Textile_manufacturing) Cotton-spinning machinery (/wiki/Cotton-spinning_machinery) DREF friction spinning (/wiki/DREF_friction_spinning) Magnetic ring spinning (/wiki/Magnetic_ring_spinning) Open-end spinning (/wiki/Open-end_spinning) Ring spinning (/wiki/Ring_spinning) Spinning frame (/wiki/Spinning_frame) Spinning jenny (/wiki/Spinning_jenny) Spinning mule (/wiki/Spinning_mule) Carding (/wiki/Carding) Steaming 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(/wiki/List_of_mills_in_Bury) Cheshire (/wiki/List_of_textile_mills_in_Cheshire) Derbyshire (/wiki/List_of_mills_in_Derbyshire) Lancashire (/wiki/List_of_mills_in_Lancashire) Manchester (/wiki/List_of_mills_in_Manchester) Oldham (borough) (/wiki/List_of_mills_in_the_Metropolitan_Borough_of_Oldham) Preston (/wiki/List_of_mills_in_Preston) Rochdale (/wiki/List_of_mills_in_Rochdale) Salford (/wiki/List_of_mills_in_Salford) Stockport (/wiki/List_of_mills_in_Stockport) Tameside (/wiki/List_of_mills_in_Tameside) Wigan (/wiki/List_of_mills_in_Wigan) Yorkshire (/wiki/List_of_cotton_mills_in_Yorkshire) Museums Bancroft Shed (/wiki/Bancroft_Shed) Helmshore Mills (/wiki/Helmshore_Mills_Textile_Museum) Queen Street Mill (/wiki/Queen_Street_Mill) Weavers' Triangle (/wiki/Weavers%27_Triangle) Quarry Bank Mill, Styal (/wiki/Quarry_Bank_Mill) Pioneers Richard Arkwright (/wiki/Richard_Arkwright) Samuel Crompton (/wiki/Samuel_Crompton) Peter Foxcroft (/wiki/Peter_Foxcroft) James Hargreaves (/wiki/James_Hargreaves) Thomas Highs (/wiki/Thomas_Highs) John Kay (flying shuttle) (/wiki/John_Kay_(flying_shuttle)) John Kay (spinning frame) (/wiki/John_Kay_(spinning_frame)) Robert Owen (/wiki/Robert_Owen) v t e Decorative arts (/wiki/Decorative_arts) and handicraft (/wiki/Handicraft) History (/wiki/History_of_decorative_arts) Textile (/wiki/Textile_arts) Banner-making (/wiki/Banner-making) Canvas work (/wiki/Canvas_work) Crocheting (/wiki/Crochet) Cross-stitch (/wiki/Cross-stitch) Embroidery (/wiki/Embroidery) Felting (/wiki/Felt) Friendship bracelet (/wiki/Friendship_bracelet) Knitting (/wiki/Knitting) Lace-making (/wiki/Lace) Lucet (/wiki/Lucet) Macrame (/wiki/Macram%C3%A9) Millinery (/wiki/Hatmaking) Needlepoint (/wiki/Needlepoint) Needlework (/wiki/Needlework) Patchwork (/wiki/Patchwork) Quilting (/wiki/Quilting) Ribbon embroidery (/wiki/Embroidery) Carpet (/wiki/Carpet) Rug hooking (/wiki/Rug_hooking) Rug making (/wiki/Rug_making) Sewing (/wiki/Sewing) Shoemaking (/wiki/Shoemaking) Spinning (textiles) (/wiki/Spinning_(textiles)) String art (/wiki/String_art) Tapestry (/wiki/Tapestry) Tatting (/wiki/Tatting) Tie-dye (/wiki/Tie-dye) Weaving Paper (/wiki/Paper) Altered book (/wiki/Altered_book) Bookbinding (/wiki/Bookbinding) Calligraphy (/wiki/Calligraphy) Cardmaking (/wiki/Cardmaking) Cast paper (/wiki/Cast_paper) Collage (/wiki/Collage) Decoupage (/wiki/Decoupage) Papier collé (/wiki/Papier_coll%C3%A9) Photomontage (/wiki/Photomontage) Iris folding (/wiki/Iris_folding) Jianzhi (/wiki/Jianzhi) Kamikiri (/wiki/Kamikiri_(papercutting)) Origami (/wiki/Origami) Kirigami (/wiki/Kirigami) Moneygami (/wiki/Moneygami) Embossing (/wiki/Paper_embossing) Marbling (/wiki/Paper_marbling) Papercraft (/wiki/Paper_model) Papercutting (/wiki/Papercutting) Chinese (/wiki/Chinese_paper_cutting) Jewish (/wiki/Jewish_paper_cutting) Slavic (/wiki/Wycinanki) Papermaking (/wiki/Papermaking) Paper toys (/wiki/Paper_toys) Papier-mâché (/wiki/Papier-m%C3%A2ch%C3%A9) Pop-up book (/wiki/Pop-up_book) Quilling (/wiki/Quilling) Scrapbooking (/wiki/Scrapbooking) Stamping (/wiki/Rubber_stamp) Wallpaper (/wiki/Wallpaper) Wood (/wiki/Woodworking) Bentwood (/wiki/Bentwood) Cabinetry (/wiki/Cabinetry) Carpentry (/wiki/Carpentry) Chip carving (/wiki/Chip_carving) Ébéniste (/wiki/%C3%89b%C3%A9niste) Fretwork (/wiki/Fretwork) Intarsia (/wiki/Intarsia) Marquetry (/wiki/Marquetry) Wood burning (/wiki/Pyrography) Wood carving (/wiki/Wood_carving) Woodturning (/wiki/Woodturning) Ceramic (/wiki/Ceramic_art) Azulejo (/wiki/Azulejo) Bone china (/wiki/Bone_china) Earthenware (/wiki/Earthenware) Porcelain (/wiki/Porcelain) Pottery (/wiki/Pottery) Stoneware (/wiki/Stoneware) Terracotta (/wiki/Terracotta) Tile (/wiki/Tile) Glass (/wiki/Glass_art) Cameo glass (/wiki/Cameo_glass) Chip work (/wiki/Chip_work) Enamelled glass (/wiki/Enamelled_glass) Glass etching (/wiki/Glass_etching) Glassware (/wiki/List_of_glassware) Mirror (/wiki/Mirror) Stained glass (/wiki/Stained_glass) Metal (/wiki/Metalworking) Andiron (/wiki/Andiron) Chemical milling (/wiki/Chemical_milling) Enamel (/wiki/Vitreous_enamel) Engraving (/wiki/Engraving) Etching (/wiki/Etching) Jewellery (/wiki/Jewellery) Goldsmith (/wiki/Goldsmith) Silversmith (/wiki/Silversmith) Bronze and brass ornamental work (/wiki/Bronze_and_brass_ornamental_work) Ironwork (/wiki/Ironwork) Other Assemblage (/wiki/Assemblage_(art)) Balloon modelling (/wiki/Balloon_modelling) Beadwork (/wiki/Beadwork) Bone carving (/wiki/Bone_carving) Doll making (/wiki/Doll) Dollhouse (/wiki/Dollhouse) Egg decorating (/wiki/Egg_decorating) Engraved gems (/wiki/Engraved_gem) Faux painting (/wiki/Faux_painting) Grotesque (/wiki/Grotesque_(architecture)) Gargoyle (/wiki/Gargoyle) Hardstone carving (/wiki/Hardstone_carving) Inro (/wiki/Inro) Lath art (/wiki/Lath_art) Lapidary (/wiki/Lapidary) Leatherworking (/wiki/Leather_crafting) Miniatures (/wiki/Scale_model) Micromosaic (/wiki/Micromosaic) Mosaic (/wiki/Mosaic) Glass mosaic (/wiki/Glass_mosaic) Netsuke (/wiki/Netsuke) Ornament (/wiki/Ornament_(art)) Painting in Hälsingland (/wiki/Decorative_painting_in_H%C3%A4lsingland) Pargeting (/wiki/Pargeting) Pietra dura (/wiki/Pietra_dura) Private press (/wiki/Private_press) Pressed flower craft (/wiki/Pressed_flower_craft) Qing handicrafts (/wiki/Qing_handicrafts) Scrimshaw (/wiki/Scrimshaw) Straw marquetry (/wiki/Straw_marquetry) Taxidermy (/wiki/Taxidermy) Wall decal (/wiki/Wall_decal) v t e Fabric (/wiki/Textile) Types Woven (/wiki/Woven_fabric) Abacá cloth (/wiki/Abac%C3%A1#Textiles) (Medriñaque) Aertex (/wiki/Aertex) Armazine (/wiki/Armazine) Almerían silk (/wiki/Almer%C3%ADan_silk) Barathea (/wiki/Barathea) Barkcloth (/wiki/Barkcloth) Batiste (/wiki/Batiste) Bedford cord (/wiki/Bedford_cord) Bengaline (/wiki/Bengaline) Beta cloth (/wiki/Beta_cloth) Bombazine (/wiki/Bombazine) Brilliantine (/wiki/Brilliantine_(fabric)) Broadcloth (/wiki/Broadcloth) Buckram (/wiki/Buckram) Bunting (/wiki/Bunting_(textile)) Burlap (/wiki/Hessian_fabric) Byrd Cloth (/wiki/Byrd_Cloth) C change (/wiki/C_change) Calico (/wiki/Calico) Cambric (/wiki/Cambric) Canvas (/wiki/Canvas) Chambray (/wiki/Cambric) Capilene (/wiki/Capilene) Cedar bark textile (/wiki/Cedar_bark_textile) Challis (/wiki/Challis_(fabric)) Char cloth (/wiki/Char_cloth) Charmeuse (/wiki/Charmeuse) Charvet (/wiki/Charvet_(fabric)) Cheesecloth (/wiki/Cheesecloth) Chiffon (/wiki/Chiffon_(fabric)) Chino (/wiki/Chino_cloth) Chintz (/wiki/Chintz) Cloqué (/wiki/Cloqu%C3%A9) Cloth of gold (/wiki/Cloth_of_gold) Cordura (/wiki/Cordura) Corduroy (/wiki/Corduroy) Cotton duck (/wiki/Cotton_duck) Coutil (/wiki/Coutil) Crêpe (/wiki/Cr%C3%AApe_(textile)) Cretonne (/wiki/Cretonne) Denim (/wiki/Denim) Dimity (/wiki/Dimity) Donegal tweed (/wiki/Donegal_tweed) Dornix (/wiki/Dornix) Dowlas (/wiki/Dowlas) Drill (/wiki/Drill_(fabric)) Drugget (/wiki/Drugget) Eolienne (/wiki/Eolienne) Flannel (/wiki/Flannel) Foulard (/wiki/Foulard) Fustian (/wiki/Fustian) Gabardine (/wiki/Gabardine) Gauze (/wiki/Gauze) Gazar (/wiki/Gazar) Georgette (/wiki/Georgette_(fabric)) Ghalamkar (/wiki/Ghalamkar) Gingham (/wiki/Gingham) Grenadine (/wiki/Grenadine_(cloth)) Grenfell Cloth (/wiki/Grenfell_Cloth) Grosgrain (/wiki/Grosgrain) Habutai (/wiki/Habutai) Haircloth (/wiki/Haircloth) Harris tweed (/wiki/Harris_tweed) Herringbone (/wiki/Herringbone_(cloth)) Himroo (/wiki/Himroo) Hodden (/wiki/Hodden) Irish linen (/wiki/Irish_linen) Jamdani (/wiki/Jamdani) Kerseymere (/wiki/Kerseymere) Khādī (/wiki/Kh%C4%81d%C4%AB) Khaki drill (/wiki/Khaki_drill) Kijōka-bashōfu (/wiki/Kij%C5%8Dka-bash%C5%8Dfu) Kente cloth (/wiki/Kente_cloth) Lamé (/wiki/Lam%C3%A9_(fabric)) Lawn (/wiki/Lawn_cloth) Linsey-woolsey (/wiki/Linsey-woolsey) Loden (/wiki/Loden_cape) Longcloth (/wiki/Longcloth) Mackinaw (/wiki/Mackinaw_cloth) Madapollam (/wiki/Madapollam) Madras (/wiki/Madras_(cloth)) Moleskin (/wiki/Moleskin) Muslin (/wiki/Muslin) Nainsook (/wiki/Nainsook) Nankeen (/wiki/Nankeen) Ninon (/wiki/Ninon) Oilskin (/wiki/Oilskin) Organdy (/wiki/Organdy) Organza (/wiki/Organza) Osnaburg (/wiki/Osnaburg) Ottoman (/wiki/Ottoman_(textile)) Oxford (/wiki/Oxford_(cloth)) Paduasoy (/wiki/Paduasoy) Percale (/wiki/Percale) Perpetuana (/wiki/Perpetuana) Pongee (/wiki/Pongee) Poplin (/wiki/Poplin) Rakematiz (/wiki/Rakematiz) Rayadillo (/wiki/Rayadillo) Rep (/wiki/Rep_(fabric)) Ripstop (/wiki/Ripstop) Russell cord (/wiki/Russell_cord) Saga Nishiki (/wiki/Saga_Nishiki) Samite (/wiki/Samite) Sateen (/wiki/Sateen) Satin (/wiki/Satin) Saye (/wiki/Saye) Scarlet (/wiki/Scarlet_(cloth)) Seerhand muslin (/wiki/Seerhand_muslin) Seersucker (/wiki/Seersucker) Sendal (/wiki/Sendal) Serge (/wiki/Serge_(fabric)) Scrim (/wiki/Scrim_(material)) Shot silk (/wiki/Shot_silk) Stuff (/wiki/Stuff_(cloth)) Taffeta (/wiki/Taffeta) Tais (/wiki/Tais) Tartan (/wiki/Tartan) Ticking (/wiki/Ticking) Toile (/wiki/Toile) Tucuyo (/wiki/Tucuyo) Tweed (/wiki/Tweed) Twill (/wiki/Twill) Ultrasuede (/wiki/Ultrasuede) Vegetable flannel (/wiki/Vegetable_flannel) Ventile (/wiki/Ventile) Vinyl coated polyester (/wiki/Vinyl_coated_polyester) Viyella (/wiki/Viyella) Voile (/wiki/Voile) Wadmal (/wiki/Wadmal) Waffle (/wiki/Waffle_fabric) Wigan (/wiki/Wigan_(fabric)) Whipcord (/wiki/Whipcord) Zephyr (/wiki/Zephyr_cloth) Zorbeez (/wiki/Zorbeez) Figured woven Brocade (/wiki/Brocade) Camlet (/wiki/Camlet) Damask (/wiki/Damask) Lampas (/wiki/Lampas) Songket (/wiki/Songket) Rinzu (/wiki/Rinzu) Pile woven (/wiki/Pile_(textile)) Baize (/wiki/Baize) Chenille (/wiki/Chenille_fabric) Corduroy (/wiki/Corduroy) Crimplene (/wiki/Crimplene) Fustian (/wiki/Fustian) Mockado (/wiki/Mockado) Moquette (/wiki/Moquette) Plush (/wiki/Plush) Polar fleece (/wiki/Polar_fleece) Terrycloth (/wiki/Terrycloth) Velours du Kasaï (/wiki/Velours_du_Kasa%C3%AF) Velvet (/wiki/Velvet) Velveteen (/wiki/Velveteen) Zibeline (/wiki/Zibeline) Nonwoven (/wiki/Nonwoven_fabric) Felt (/wiki/Felt) Cedar bark (/wiki/Cedar_bark_textile) Knitted (/wiki/Knitted_fabric) Boiled wool (/wiki/Boiled_wool) Coolmax (/wiki/Coolmax) Machine knitting (/wiki/Knitting_machine) Milliskin (/wiki/Milliskin) Jersey (/wiki/Jersey_(fabric)) Velour (/wiki/Velour) Netted (/wiki/Net_(textile)) Bobbinet (/wiki/Bobbinet) Carbon fibers (/wiki/Carbon_fibers) Lace (/wiki/Lace) Mesh (/wiki/Mesh) Needlerun net (/wiki/Needlerun_net) Ninon (/wiki/Ninon) Tulle (/wiki/Tulle_netting) Technical (/wiki/Technical_textile) Ballistic nylon (/wiki/Ballistic_nylon) Ban-Lon (/wiki/Ban-Lon) Conductive textile (/wiki/Conductive_textile) Darlexx (/wiki/Darlexx) E-textiles (/wiki/E-textiles) Gannex (/wiki/Gannex) Gore-Tex (/wiki/Gore-Tex) Lenticular fabric (/wiki/Lenticular_fabric) Silnylon (/wiki/Silnylon) Spandex (/wiki/Spandex) Stub-tex (/wiki/Stub-tex) SympaTex (/wiki/SympaTex) Windstopper (/wiki/Windstopper) Patterns Argyle (/wiki/Argyle_(pattern)) Bizarre silk (/wiki/Bizarre_silk) Check (/wiki/Check_(pattern)) Chiné (/wiki/Warp_printing) Glen plaid (/wiki/Glen_plaid) Herringbone (/wiki/Herringbone_(cloth)) Houndstooth (/wiki/Houndstooth) Kelsch (/wiki/Kelsch_d%27Alsace) Paisley (/wiki/Paisley_(design)) Pinstripes (/wiki/Pinstripes) Polka dot (/wiki/Polka_dot) Shweshwe (/wiki/Shweshwe) Tartan or plaid (/wiki/Tartan) Tattersall (/wiki/Tattersall_(cloth)) Textile fibers (/wiki/Fiber) Abacá (/wiki/Abac%C3%A1) (Manila hemp) Acrylic (/wiki/Acrylic_fiber) Alpaca (/wiki/Alpaca_fiber) Angora (/wiki/Angora_wool) Bashō (/wiki/Musa_basjoo) Cashmere (/wiki/Cashmere_wool) Coir (/wiki/Coir) Cotton (/wiki/Cotton) Eisengarn (/wiki/Eisengarn) Hemp (/wiki/Hemp) Jute (/wiki/Jute) Kevlar (/wiki/Kevlar) Linen (/wiki/Linen) Mohair (/wiki/Mohair) Nylon (/wiki/Nylon) Microfiber (/wiki/Microfiber) Olefin (/wiki/Olefin_fiber) Pashmina (/wiki/Pashmina) Polyester (/wiki/Polyester) Piña (/wiki/Pi%C3%B1a) Ramie (/wiki/Ramie) Rayon (/wiki/Rayon) Sea silk (/wiki/Sea_silk) Silk (/wiki/Silk) Sisal (/wiki/Sisal) Spandex (/wiki/Spandex) Spider silk (/wiki/Spider_silk) Wool (/wiki/Wool) Finishing (/wiki/Finishing_(textiles)) and printing (/wiki/Textile_printing) Androsia (/wiki/Androsia) Batik (/wiki/Batik) Beetling (/wiki/Beetling) Bingata (/wiki/Bingata) Bògòlanfini (/wiki/B%C3%B2g%C3%B2lanfini) Burnout (/wiki/Devor%C3%A9) Calendering (/wiki/Calendering_(textiles)) Decatising (/wiki/Decatising) Devoré (/wiki/Devor%C3%A9) Finishing (/wiki/Finishing_(textiles)) Fulling (/wiki/Fulling) Heatsetting (/wiki/Heatsetting) Indienne (/wiki/Indienne) Kasuri (/wiki/Kasuri) Katazome (/wiki/Katazome) Mercerization (/wiki/Mercerised_cotton) Moire (/wiki/Moire_(fabric)) Nap (/wiki/Nap_(textile)) Parchmentising (/wiki/Parchmentising) Rogan printing (/wiki/Rogan_printing) Rōketsuzome (/wiki/R%C5%8Dketsuzome) Roller printing (/wiki/Roller_printing_on_textiles) Sanforization (/wiki/Sanforization) Tenterhook (/wiki/Tenterhook) Textile printing (/wiki/Textile_printing) Tsutsugaki (/wiki/Tsutsugaki) Warp printing (/wiki/Warp_printing) Waxed cotton (/wiki/Waxed_cotton) Woodblock printing (/wiki/Woodblock_printing_on_textiles) Yūzen (/wiki/Y%C5%ABzen) Fabric mills Carlo Barbera (/wiki/Carlo_Barbera) Cerruti (/wiki/Lanificio_Fratelli_Cerruti) Dormeuil (/wiki/Dormeuil) E. Thomas (/wiki/E._Thomas) Holland & Sherry (/wiki/Holland_%26_Sherry) Larusmiani (/wiki/Larusmiani) Loro Piana (/wiki/Loro_Piana) Piacenza (/wiki/Fratelli_Piacenza) Reda (/wiki/Reda_(fabric_mill)) Scabal (/wiki/Scabal) Vitale Barberis Canonico (/wiki/Vitale_Barberis_Canonico) Zegna (/wiki/Zegna) Manufacturing industry Design (/wiki/Textile_design) Manufacturing (/wiki/Textile_manufacturing) Performance (/wiki/Textile_performance) Preservation (/wiki/Textile_preservation) Recycling (/wiki/Textile_recycling) Terminology (/wiki/Glossary_of_textile_manufacturing) Related Dyeing (/wiki/Dyeing) Fiber (/wiki/Fiber) History of textiles (/wiki/History_of_clothing_and_textiles) History of silk (/wiki/History_of_silk) Knitting (/wiki/Knitting) Pandy (/wiki/Fulling_mill) Shrinkage (/wiki/Shrinkage_(fabric)) Swatches and strike-offs (/wiki/Textile_sample) Synthetic fabric (/wiki/Synthetic_fabric) Weaving Yarn (/wiki/Yarn) v t e Textile arts (/wiki/Textile_arts) Fundamentals Appliqué (/wiki/Appliqu%C3%A9) Beadwork (/wiki/Beadwork) Crochet (/wiki/Crochet) Dyeing (/wiki/Dyeing) Embroidery (/wiki/Embroidery) Fabric (/wiki/Textile) Felting (/wiki/Felt) Fiber (/wiki/Fiber) Knitting (/wiki/Knitting) Lace (/wiki/Lace) Macramé (/wiki/Macram%C3%A9) Nålebinding (/wiki/N%C3%A5lebinding) Needlework (/wiki/Needlework) Patchwork (/wiki/Patchwork) Passementerie (/wiki/Passementerie) Plying (/wiki/Plying) Quilting (/wiki/Quilting) Rope (/wiki/Rope) Rug making (/wiki/Rug_making) Sewing (/wiki/Sewing) Spinning (/wiki/Spinning_(textiles)) Stitch (/wiki/Stitch_(textile_arts)) Textile printing (/wiki/Textile_printing) Weaving Yarn (/wiki/Yarn) History of ... Byzantine silk (/wiki/Byzantine_silk) Clothing and textiles (/wiki/History_of_clothing_and_textiles) Silk (/wiki/History_of_silk) Quilting (/wiki/History_of_quilting) Silk in the Indian subcontinent (/wiki/Silk_in_the_Indian_subcontinent) Textile manufacturing by pre-industrial methods (/wiki/Textile_manufacturing_by_pre-industrial_methods) Textiles in the British Industrial Revolution (/wiki/Textile_manufacture_during_the_British_Industrial_Revolution) Timeline of textile technology (/wiki/Timeline_of_clothing_and_textiles_technology) Regional and ethnic African (/wiki/African_textiles) Kongo (/wiki/Kongo_textiles) Kuba (/wiki/Kuba_textiles) Australian Aboriginal (/wiki/Australian_Aboriginal_fibrecraft) Hmong (/wiki/Hmong_textile_art) Burmese Acheik (/wiki/Acheik) Indonesian Balinese (/wiki/Balinese_textiles) Sumba (/wiki/Textiles_of_Sumba) Indigenous peoples of the Americas (/wiki/Textile_arts_of_indigenous_peoples_of_the_Americas) Andean (/wiki/Andean_textiles) Mapuche (/wiki/Mapuche_textiles) Maya (/wiki/Maya_textiles) Mexican (/wiki/Textiles_of_Mexico) Navajo (/wiki/Navajo_weaving) Oaxacan (/wiki/Textiles_of_Oaxaca) Korean (/wiki/Korean_fabric_arts) Māori (/wiki/M%C4%81ori_traditional_textiles) Related Blocking (/wiki/Blocking_(textile_arts)) Fiber art (/wiki/Fiber_art) Mathematics and fiber arts (/wiki/Mathematics_and_fiber_arts) Manufacturing (/wiki/Textile_manufacturing) Preservation (/wiki/Conservation_and_restoration_of_textiles) Recycling (/wiki/Textile_recycling) Textile industry (/wiki/Textile_industry) Textile museums (/wiki/Category:Textile_museums) Units of measurement (/wiki/Units_of_textile_measurement) Wearable fiber art (/wiki/Wearable_art#Wearable_fiber_art) Glossaries Dyeing terms (/wiki/Glossary_of_dyeing_terms) Sewing terms (/wiki/Glossary_of_sewing_terms) Textile manufacturing terms (/wiki/Glossary_of_textile_manufacturing) Clothing portal (/wiki/Portal:Clothing) v t e Braiding (/wiki/Braiding) Theory Braid group (/wiki/Braid_group) Braid theory (/wiki/Braid_theory) Brunnian link (/wiki/Brunnian_link) Practice Braid (/wiki/Braid) Braiding machine (/wiki/Braiding_machine) Braided rope (/wiki/Rope#Braided_rope) 3D weaving (/wiki/3D_weaving) 3D composites (/wiki/3D_composites) 3D braided fabrics (/wiki/3D_braided_fabrics) Weaving v t e Weaving Weaves Basketweave (/wiki/Basketweave_(weaving)) Charvet (/wiki/Charvet_(fabric)) Coverlet (/wiki/Woven_coverlet) Dobby (/wiki/Dobby_(cloth)) Double weave (/wiki/Double_cloth) Even-weave (/wiki/Even-weave) Gabardine (/wiki/Gabardine) Lampas (/wiki/Lampas) Leno weave (/wiki/Leno_weave) Oxford (/wiki/Oxford_(cloth)) Pile weave (/wiki/Pile_weave) Piqué (/wiki/Piqu%C3%A9_(weaving)) Plain weave (/wiki/Plain_weave) Satin (/wiki/Satin) Shot (/wiki/Shot_silk) Swivel (/wiki/Swivel_weave) Twill (/wiki/Twill) Components Textiles (/wiki/Textile) Warp and weft (/wiki/Warp_and_weft) Yarn (/wiki/Yarn) Tools and techniques Barber-Colman knotter (/wiki/Barber-Colman_knotter) Beamer (/wiki/Beamer_(occupation)) Braid (/wiki/Braid) Chilkat weaving (/wiki/Chilkat_weaving) Fingerweaving (/wiki/Fingerweaving) Flying shuttle (/wiki/Flying_shuttle) Heddle (/wiki/Heddle) Ikat (/wiki/Ikat) Inkle weaving (/wiki/Inkle_weaving) Kasuri (/wiki/Kasuri) Loom (/wiki/Loom) Navajo weaving (/wiki/Navajo_weaving) Pibiones (/wiki/Pibiones) Reed (/wiki/Reed_(weaving)) Salish weaving (/wiki/Salish_weaving) Shed (/wiki/Shed_(weaving)) Shuttle (/wiki/Shuttle_(weaving)) Sizing (/wiki/Sizing) Sizing machine (/wiki/Textile_sizing_machine) Tablet weaving (/wiki/Tablet_weaving) Talim (/wiki/Talim_(textiles)) Tāniko (/wiki/T%C4%81niko) Tapestry (/wiki/Tapestry) Temple (/wiki/Temple_(weaving)) Wattle (/wiki/Wattle_(construction)) Wicker (/wiki/Wicker) Resin (/wiki/Resin_wicker) Types of looms (/wiki/Loom) Air-jet loom (/wiki/Air-jet_loom) Dandy loom (/wiki/Dandy_loom) Dobby loom (/wiki/Dobby_loom) Hattersley loom (/wiki/Hattersley_loom) Horrocks loom (/wiki/Horrocks_loom) Jacquard loom (/wiki/Jacquard_loom) Lancashire loom (/wiki/Lancashire_Loom) Northrop loom (/wiki/Northrop_Loom) Power loom (/wiki/Power_loom) Rapier loom (/wiki/Rapier_loom) Roberts loom (/wiki/Roberts_Loom) Warp-weighted loom (/wiki/Warp-weighted_loom) Weavers Acesas (/wiki/Acesas) Anni Albers (/wiki/Anni_Albers) Otti Berger (/wiki/Otti_Berger) Micheline Beauchemin (/wiki/Micheline_Beauchemin) Johanna Brunsson (/wiki/Johanna_Brunsson) Ada Dietz (/wiki/Ada_Dietz) Thomas Ferguson & Co Ltd (/wiki/Thomas_Ferguson_%26_Co_Ltd) Elisabeth Forsell (/wiki/Elisabeth_Forsell) Dorothy Liebes (/wiki/Dorothy_Liebes) Ethel Mairet (/wiki/Ethel_Mairet) Maria Elisabet Öberg (/wiki/Maria_Elisabet_%C3%96berg) Lilly Reich (/wiki/Lilly_Reich) Margaretha Reichardt (/wiki/Margaretha_Reichardt) John Rylands (/wiki/John_Rylands) Brigitta Scherzenfeldt (/wiki/Brigitta_Scherzenfeldt) Clara Sherman (/wiki/Clara_Sherman) Gunta Stölzl (/wiki/Gunta_St%C3%B6lzl) Judocus de Vos (/wiki/Judocus_de_Vos) Margaretha Zetterberg (/wiki/Margaretha_Zetterberg) Employment practices More looms (/wiki/More_looms) Kissing the shuttle (/wiki/Kissing_the_shuttle) Piece-rate list (/wiki/Piece-rate_list) Mills Bancroft Shed (/wiki/Bancroft_Shed) Queen Street Mill (/wiki/Queen_Street_Mill) v t e Prehistoric technology (/wiki/Prehistoric_technology) Prehistory (/wiki/Prehistory) Timeline (/wiki/Timeline_of_prehistory) Outline (/wiki/Outline_of_prehistoric_technology) Stone Age (/wiki/Stone_Age) Subdivisions (/wiki/Three-age_system#Stone_Age_subdivisions) New Stone Age (/wiki/Neolithic) Technology (/wiki/Technology) history (/wiki/History_of_technology) Glossary (/wiki/Glossary_of_archaeology) Tools (/wiki/Lithic_technology) Farming (/wiki/History_of_agriculture) Neolithic Revolution (/wiki/Neolithic_Revolution) Founder crops (/wiki/Founder_crops) New World crops (/wiki/New_World_crops) Ard / plough (/wiki/Ard_(plough)) Celt (/wiki/Celt_(tool)) Digging stick (/wiki/Digging_stick) Domestication (/wiki/Domestication) Goad 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Blade (/wiki/Blade_(archaeology)) prismatic (/wiki/Prismatic_blade) Bone tool (/wiki/Bone_tool) Bow drill (/wiki/Bow_drill) Burin (/wiki/Burin_(lithic_flake)) Canoe (/wiki/Canoe#History) Oar (/wiki/Oar) Pesse canoe (/wiki/Pesse_canoe) Chopper (/wiki/Chopper_(archaeology)) tool (/wiki/Chopping_tool) Cleaver (/wiki/Cleaver_(Stone_Age_tool)) Denticulate tool (/wiki/Denticulate_tool) Fire plough (/wiki/Fire_plough) Fire-saw (/wiki/Fire-saw) Hammerstone (/wiki/Hammerstone) Knife (/wiki/Knife) Microlith (/wiki/Microlith) Quern-stone (/wiki/Quern-stone) Racloir (/wiki/Racloir) Rope (/wiki/Rope) Scraper (/wiki/Scraper_(archaeology)) side (/wiki/Grattoir_de_c%C3%B4t%C3%A9) Stone tool (/wiki/Stone_tool) Tally stick (/wiki/Tally_stick#Paleolithic_tally_sticks) Weapons (/wiki/History_of_weapons#Copper_Age) Wheel (/wiki/Wheel) illustration (/wiki/Bronocice_pot) Architecture (/wiki/History_of_architecture) Ceremonial Kiva (/wiki/Kiva) Pyramid (/wiki/Pyramid) Standing stones (/wiki/Menhir) megalith (/wiki/Megalith) row (/wiki/Stone_row) Stonehenge (/wiki/Stonehenge) Dwellings Neolithic architecture (/wiki/Neolithic_architecture) long house (/wiki/Neolithic_long_house) British megalith architecture (/wiki/British_megalith_architecture) Nordic megalith architecture (/wiki/Nordic_megalith_architecture) Burdei (/wiki/Burdei) Cave (/wiki/Cave) Cliff dwelling (/wiki/Cliff_dwelling) Dugout (/wiki/Dugout_(shelter)) Hut (/wiki/Hut) Quiggly hole (/wiki/Quiggly_hole) Jacal (/wiki/Jacal) Longhouse (/wiki/Longhouse) Mudbrick (/wiki/Mudbrick) Mehrgarh (/wiki/Mehrgarh#Lifestyle_and_technology) Pit-house (/wiki/Pit-house) Pueblitos (/wiki/Navajo_pueblitos) Pueblo (/wiki/Pueblo) Rock shelter (/wiki/Rock_shelter) Blombos Cave (/wiki/Blombos_Cave) Abri de la Madeleine (/wiki/Abri_de_la_Madeleine) Sibudu Cave (/wiki/Sibudu_Cave) Roundhouse (/wiki/Roundhouse_(dwelling)) Stilt house (/wiki/Stilt_house) Alp pile dwellings (/wiki/Prehistoric_pile_dwellings_around_the_Alps) Stone roof 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British actress (1929–1993) Audrey Hepburn Hepburn in 1956 Born Audrey Kathleen Ruston ( 1929-05-04 ) 4 May 1929 Ixelles (/wiki/Ixelles) , Brussels, Belgium Died 20 January 1993 (1993-01-20) (aged 63) Tolochenaz (/wiki/Tolochenaz) , Vaud, Switzerland Resting place Tolochenaz Cemetery Citizenship British Occupations Actress humanitarian Years active 1948–1989 Notable work Full list (/wiki/Audrey_Hepburn_on_screen_and_stage) Spouses Mel Ferrer (/wiki/Mel_Ferrer) ( m. 1954; div. 1968) Andrea Dotti (/wiki/Andrea_Dotti_(psychiatrist)) ( m. 1969; div. 1982) Partner Robert Wolders (/wiki/Robert_Wolders) (1980–1993) Children 2, including Sean (/wiki/Sean_Hepburn_Ferrer) Parent Ella van Heemstra (/wiki/Ella_van_Heemstra) (mother) Relatives Baron Aarnoud van Heemstra (/wiki/Aarnoud_van_Heemstra) (maternal grandfather) Emma Ferrer (/wiki/Emma_Ferrer) (granddaughter) Awards Full list (/wiki/List_of_awards_and_honours_received_by_Audrey_Hepburn) Goodwill Ambassador for UNICEF (/wiki/Goodwill_Ambassador_for_UNICEF) In office 1989–1993 Signature Audrey Kathleen Hepburn (née Ruston ; 4 May 1929 – 20 January 1993) was a British [a] (#cite_note-3) actress. Recognised as a film and fashion icon, she was ranked by the American Film Institute (/wiki/American_Film_Institute) as the third-greatest female screen legend (/wiki/AFI%27s_100_Years...100_Stars) from the Classical Hollywood cinema (/wiki/Classical_Hollywood_cinema) and was inducted into the International Best Dressed Hall of Fame List (/wiki/International_Best_Dressed_Hall_of_Fame_List) . Born into an aristocratic family in Ixelles (/wiki/Ixelles) , Brussels, Hepburn spent parts of her childhood in Belgium, England and the Netherlands. She attended boarding school in Kent, England from 1936 to 1939. With the outbreak of World War II (/wiki/World_War_II) , she returned to the Netherlands. [3] (#cite_note-4) During the war, Hepburn studied ballet at the Arnhem Conservatory and by 1944, she performed ballet to raise money to support the Dutch resistance (/wiki/Dutch_resistance) . [4] (#cite_note-5) Hepburn studied ballet with Sonia Gaskell (/wiki/Sonia_Gaskell) in Amsterdam beginning in 1945 and with Marie Rambert (/wiki/Marie_Rambert) in London from 1948. She began performing as a chorus girl in West End (/wiki/West_End_theatre) musical theatre productions and then had minor appearances in several films. Hepburn rose to stardom in the romantic comedy Roman Holiday (/wiki/Roman_Holiday) (1953) alongside Gregory Peck (/wiki/Gregory_Peck) , for which she was the first actress to win an Oscar (/wiki/Academy_Awards) , a Golden Globe Award (/wiki/Golden_Globe_Award) , and a BAFTA Award (/wiki/BAFTA_Award) for a single performance. That year, she also won a Tony Award for Best Lead Actress in a Play (/wiki/Tony_Award_for_Best_Actress_in_a_Play) for her performance in Ondine (/wiki/Ondine_(play)) . Hepburn went on to star in a number of successful films such as Sabrina (/wiki/Sabrina_(1954_film)) (1954), in which Humphrey Bogart (/wiki/Humphrey_Bogart) and William Holden (/wiki/William_Holden) compete for her affection; Funny Face (/wiki/Funny_Face) (1957), a musical in which she sang her own parts; the drama The Nun's Story (/wiki/The_Nun%27s_Story_(film)) (1959); the romantic comedy Breakfast at Tiffany's (/wiki/Breakfast_at_Tiffany%27s_(film)) (1961); the thriller-romance Charade (/wiki/Charade_(1963_film)) (1963), opposite Cary Grant (/wiki/Cary_Grant) ; and the musical My Fair Lady (/wiki/My_Fair_Lady_(film)) (1964). In 1967, she starred in the thriller Wait Until Dark (/wiki/Wait_Until_Dark_(film)) , receiving Academy Award, Golden Globe and BAFTA nominations. After that, Hepburn only occasionally appeared in films, one being Robin and Marian (/wiki/Robin_and_Marian) (1976) with Sean Connery (/wiki/Sean_Connery) . Her last recorded performances were in the 1990 documentary television series Gardens of the World with Audrey Hepburn (/wiki/Gardens_of_the_World_with_Audrey_Hepburn) , for which she won a Primetime Emmy Award for Outstanding Individual Achievement – Informational Programming (/wiki/Primetime_Emmy_Award_for_Outstanding_Hosted_Nonfiction_Series_or_Special) . In 1994, Hepburn's contributions to a spoken-word recording titled Audrey Hepburn's Enchanted Tales (/wiki/Audrey_Hepburn%27s_Enchanted_Tales) earned her a posthumous Grammy Award for Best Spoken Word Album for Children (/wiki/Grammy_Award_for_Best_Spoken_Word_Album_for_Children) . She stands as one of few entertainers who have won Academy, Emmy, Grammy and Tony Awards (/wiki/List_of_EGOT_winners) . Hepburn won three BAFTA Awards for Best British Actress in a Leading Role (/wiki/BAFTA_Award_for_Best_Actress_in_a_Leading_Role) . In recognition of her film career, she received BAFTA's Lifetime Achievement Award, the Golden Globe Cecil B. DeMille Award (/wiki/Golden_Globe_Cecil_B._DeMille_Award) , the Screen Actors Guild Life Achievement Award (/wiki/Screen_Actors_Guild_Life_Achievement_Award) and the Special Tony Award (/wiki/Special_Tony_Award) . Later in life, Hepburn devoted much of her time to UNICEF (/wiki/UNICEF) , to which she had contributed since 1954. Between 1988 and 1992, she worked in some of the poorest communities of Africa, South America and Asia. In December 1992, Hepburn received the US Presidential Medal of Freedom (/wiki/Presidential_Medal_of_Freedom) in recognition of her work as a UNICEF Goodwill Ambassador (/wiki/UNICEF_Goodwill_Ambassador) . A month later, she died of appendiceal cancer (/wiki/Appendiceal_cancer) at her home in Tolochenaz (/wiki/Tolochenaz) , Vaud, Switzerland at the age of 63. [5] (#cite_note-6) Early life [ edit ] 1929–1938: Family and early childhood [ edit ] Audrey Kathleen Ruston (later, Hepburn-Ruston [6] (#cite_note-FOOTNOTEWalker19979-7) ) was born on 4 May 1929 at number 48 Rue Keyenveld in Ixelles (/wiki/Ixelles) , a municipality of Brussels, Belgium. [7] (#cite_note-FOOTNOTESpoto200610-8) She was known to her family as Adriaantje . [8] (#cite_note-FOOTNOTEMatzen201911-9) Hepburn's grandfather, Aarnoud van Heemstra (/wiki/Aarnoud_van_Heemstra) , was the governor of the Dutch colony of Dutch Guiana (/wiki/Surinam_(Dutch_colony)) . Hepburn's mother, Baroness Ella van Heemstra (/wiki/Ella_van_Heemstra) (1900–1984), was a Dutch noblewoman. Ella was the daughter of Baron Aarnoud van Heemstra (/wiki/Aarnoud_van_Heemstra) —who served as the mayor of Arnhem (/wiki/Arnhem) from 1910 to 1920 and as the governor of Dutch Guiana (/wiki/Surinam_(Dutch_colony)) from 1921 to 1928—and Baroness Elbrig Willemine Henriette van Asbeck (1873–1939), a granddaughter of Count Dirk van Hogendorp (/wiki/Dirk_van_Hogendorp_(lawyer)) . [9] (#cite_note-10) At age 19, she married Jonkheer (/wiki/Jonkheer) Hendrik Gustaaf Adolf Quarles van Ufford—an oil executive based in Batavia, Dutch East Indies (/wiki/Batavia,_Dutch_East_Indies) , where the couple subsequently lived. [10] (#cite_note-FOOTNOTEParis2001-11) Before divorcing in 1925, they had two sons, Jonkheer Arnoud Robert Alexander Quarles van Ufford (1920–1979) and Jonkheer Ian Edgar Bruce Quarles van Ufford (1924–2010). [7] (#cite_note-FOOTNOTESpoto200610-8) [11] (#cite_note-FOOTNOTESpoto20063-12) [12] (#cite_note-13) Hepburn's father, Joseph Victor Anthony Ruston (1889–1980), was a British subject born in Auschitz (/wiki/%C3%9A%C5%BEice_(M%C4%9Bln%C3%ADk_District)) , Bohemia, Austria-Hungary. He was the son of Victor John George Ruston—who was of British and German-Austrian background—and Anna Juliana Franziska Karolina Wels, who was of German-Austrian origin and born in Kovarce (/wiki/Kovarce) . [13] (#cite_note-14) In 1923–1924, he was an Honorary British Consul in Semarang (/wiki/Semarang) , Dutch East Indies [14] (#cite_note-FOOTNOTEWalker19977–8-15) and, prior to his marriage to Hepburn's mother, was married to Cornelia Bisschop, a Dutch heiress. [15] (#cite_note-Oxford_Bio-16) Joseph later changed his surname to the more "aristocratic" double-barrelled (/wiki/Double-barrelled_name) Hepburn-Ruston—perhaps at Ella's insistence [16] (#cite_note-FOOTNOTEMatzen201910-17) —as he mistakenly believed himself descended from James Hepburn, 4th Earl of Bothwell (/wiki/James_Hepburn,_4th_Earl_of_Bothwell) . [b] (#cite_note-18) [17] (#cite_note-FOOTNOTESpoto20063–4-19) [18] (#cite_note-FOOTNOTEWalker19976-20) Hepburn's parents were married in Batavia in 1926. At the time, Joseph worked for a trading company, but soon after the marriage, the couple moved to Europe, where he began working for a loan company; reportedly tin merchants MacLaine, Watson, and Company in London. [8] (#cite_note-FOOTNOTEMatzen201911-9) After a year in London, they moved to Brussels, where he had been assigned to open a branch office. [19] (#cite_note-FOOTNOTEGitlin20093-21) After three years spent traveling between Brussels, Arnhem, The Hague (/wiki/The_Hague) and London, the family settled in the suburban Brussels municipality of Linkebeek (/wiki/Linkebeek) in 1932. [20] (#cite_note-22) Hepburn's early childhood was sheltered and privileged. [10] (#cite_note-FOOTNOTEParis2001-11) Due to her father's job, the family travelled back and forth between three countries, enhancing her multinational background. [c] (#cite_note-23) [21] (#cite_note-FOOTNOTEWalker19978-24) In the mid-1930s, Hepburn's parents recruited and collected donations for the British Union of Fascists (/wiki/British_Union_of_Fascists) (B.U.F). [22] (#cite_note-FOOTNOTESpoto20068-25) Ella met Adolf Hitler (/wiki/Adolf_Hitler) and wrote favourable articles about him for the B.U.F. [23] (#cite_note-26) Joseph left the family abruptly in 1935 after a "scene" in Brussels. He subsequently moved to London, where he became more deeply involved in the Fascist activity and never visited Hepburn abroad. [24] (#cite_note-FOOTNOTEWalker199715–16-27) That same year, Ella moved to her family's estate in Arnhem with her daughter; her sons, Alex and Ian, were sent to The Hague to live with relatives. Joseph wanted Hepburn to be educated in England, [25] (#cite_note-FOOTNOTEMatzen201916–18-28) so in 1937, she was sent to live in Kent, where she—known as Audrey Ruston or "Little Audrey"—was educated at a small private school (/wiki/Private_schools_in_the_United_Kingdom) in Elham (/wiki/Elham,_Kent) . [25] (#cite_note-FOOTNOTEMatzen201916–18-28) [26] (#cite_note-29) [27] (#cite_note-FOOTNOTEWalker199717–19-30) Her parents officially divorced the next year. [28] (#cite_note-31) Later in her life, she often spoke of the effect on a child of being "dumped" as "children need two parents"; [29] (#cite_note-FOOTNOTEMatzen201911,_15–17-32) she professed that her father's departure was "the most traumatic event of my life". [10] (#cite_note-FOOTNOTEParis2001-11) [30] (#cite_note-FOOTNOTEWalker199714-33) In the 1960s, Hepburn renewed contact with her father after locating him in Dublin (/wiki/Dublin) through the Red Cross (/wiki/International_Red_Cross_and_Red_Crescent_Movement) ; she supported him financially until his death although he remained emotionally detached. [31] (#cite_note-parade5-5-89-34) 1939–1945: Experiences during World War II [ edit ] See also: Dutch famine of 1944–1945 (/wiki/Dutch_famine_of_1944%E2%80%931945) After Britain declared war on Germany in September 1939, Hepburn's mother moved her daughter back to Arnhem in the hope that, as during the First World War (/wiki/First_World_War) , the Netherlands would remain neutral and be spared a German attack. While there, Hepburn attended the Arnhem Conservatory from 1939 to 1945. She had begun taking ballet lessons during her last years at boarding school, and continued training in Arnhem under the tutelage of Winja Marova, becoming her "star pupil". [10] (#cite_note-FOOTNOTEParis2001-11) After the Germans invaded the Netherlands (/wiki/Battle_of_the_Netherlands) in 1940, Hepburn used the name Edda van Heemstra, because an "English-sounding" name was considered dangerous during the German occupation (/wiki/German-occupied_Europe) . Her family was profoundly affected by the occupation, with Hepburn later stating that "had we known that we were going to be occupied for five years, we might have all shot ourselves. We thought it might be over next week… six months… next year… that's how we got through". [10] (#cite_note-FOOTNOTEParis2001-11) In 1942, her uncle, Otto van Limburg Stirum (/wiki/Limburg_Stirum) (husband of her mother's older sister, Miesje), was executed in retaliation for an act of sabotage by the resistance movement; while he had not been involved in the act, he was targeted due to his family's prominence in Dutch society. [10] (#cite_note-FOOTNOTEParis2001-11) These family events were the turning point in the attitude of Hepburn's mother, who had flirted with Nazism up to this point. Hepburn's half-brother Ian was deported to Berlin to work in a German labour camp (/wiki/Arbeitslager) , and her other half-brother Alex went into hiding to avoid the same fate. [10] (#cite_note-FOOTNOTEParis2001-11) "We saw young men put against the wall and shot, and they'd close the street and then open it, and you could pass by again... Don't discount anything awful you hear or read about the Nazis. It's worse than you could ever imagine." [10] (#cite_note-FOOTNOTEParis2001-11) —Hepburn on the Nazi occupation of the Netherlands After her uncle's death, Hepburn, Ella, and Miesje left Arnhem to live with her grandfather, Baron Aarnoud van Heemstra, in nearby Velp (/wiki/Velp,_Gelderland) . [10] (#cite_note-FOOTNOTEParis2001-11) Around that time Hepburn gave silent dance performances that reportedly raised money for the Dutch resistance effort. [32] (#cite_note-35) It was long believed that she participated in the Dutch resistance (/wiki/Dutch_resistance) itself, [10] (#cite_note-FOOTNOTEParis2001-11) but in 2016 the Airborne Museum 'Hartenstein' (/wiki/Airborne_Museum_%27Hartenstein%27) reported that after extensive research it had not found any evidence of such activities. [33] (#cite_note-36) A 2019 book by Robert Matzen provided evidence, based on Hepburn's personal statements, that she had supported the resistance by giving "underground concerts" to raise money, delivering the underground newspaper, and taking messages and food to downed Allied flyers hiding in the woodlands north of Velp. [34] (#cite_note-Tucker-37) She also volunteered at a hospital that was the center of resistance activities in Velp, [34] (#cite_note-Tucker-37) and, according to Hepburn, her family temporarily hid a British paratrooper in their home during the Battle of Arnhem (/wiki/Battle_of_Arnhem) . [35] (#cite_note-FOOTNOTEMatzen2019146,_148,_149-38) [36] (#cite_note-39) In addition to other traumatic events, she witnessed the transportation of Dutch Jews to concentration camps (/wiki/Nazi_concentration_camps) , later stating that "more than once I was at the station seeing trainloads of Jews being transported, seeing all these faces over the top of the wagon. I remember, very sharply, one little boy standing with his parents on the platform, very pale, very blond, wearing a coat that was much too big for him, and he stepped on the train. I was a child observing a child." [37] (#cite_note-FOOTNOTEWoodward201236-40) After the Allied landing on D-Day (/wiki/Normandy_Landings) , living conditions grew worse, and Arnhem was subsequently heavily damaged during Operation Market Garden (/wiki/Operation_Market_Garden) . During the 1944–45 Dutch famine (/wiki/Dutch_famine_of_1944) , the Germans hindered or reduced the already limited food and fuel supplies to civilians in retaliation for Dutch railway strikes that were held to disrupt the occupation. Like others, Hepburn's family resorted to making flour out of tulip bulbs (/wiki/Tulip#Consumption) to bake cakes and biscuits, [38] (#cite_note-CBSsundaymorning-41) [39] (#cite_note-nytimesobit-42) a source of starchy carbohydrates; Dutch doctors provided recipes for using tulip bulbs throughout the famine. [40] (#cite_note-43) Suffering from the effects of malnutrition (/wiki/Malnutrition) , after the war ended Hepburn became gravely ill with jaundice (/wiki/Jaundice) , anaemia (/wiki/Anaemia) , oedema (/wiki/Oedema) , and a respiratory infection. In October 1945, a letter from Ella asking for help was received by Micky Burn (/wiki/Micky_Burn) , a former lover and British Army officer with whom she had corresponded whilst he was a prisoner of war (/wiki/Prisoner_of_war) in Colditz Castle (/wiki/Colditz_Castle) . He sent back thousands of cigarettes, which she was able to sell on the black market (/wiki/Black_market) and thus buy the penicillin (/wiki/Penicillin) which saved Hepburn's life. [41] (#cite_note-44) [42] (#cite_note-45) [43] (#cite_note-FOOTNOTEWoodward201245–46-46) The Van Heemstra family's financial situation changed significantly through the occupation, during which time many of their properties (including their principal estate in Arnhem) were damaged or destroyed. [44] (#cite_note-FOOTNOTEWoodward201252-47) Entertainment career [ edit ] 1945–1952: Ballet studies and early acting roles [ edit ] After the war ended in 1945, Hepburn moved with her mother and siblings to Amsterdam (/wiki/Amsterdam) , where she began ballet training under Sonia Gaskell (/wiki/Sonia_Gaskell) , a leading figure in Dutch ballet, and Russian teacher Olga Tarasova. [45] (#cite_note-FOOTNOTEWoodward201252–53-48) Due to the loss of the family fortune, Ella had to support them by working as a cook and housekeeper for a wealthy family. [46] (#cite_note-FOOTNOTEWoodward201253-49) Hepburn made her film debut playing an air stewardess in Dutch in Seven Lessons (/wiki/Dutch_in_Seven_Lessons) (1948), an educational travel film made by Charles van der Linden and Henry Josephson. [47] (#cite_note-FOOTNOTEVermilye199567-50) Newspaper clipping, March 9, 1952 Later that year, Hepburn moved to London (/wiki/London) after accepting a ballet scholarship with Ballet Rambert (/wiki/Rambert_Dance_Company) , which was then based in Notting Hill (/wiki/Notting_Hill) . [48] (#cite_note-FOOTNOTEWoodward201254-51) [d] (#cite_note-52) She supported herself with part-time work as a model, and dropped "Ruston" from her surname. After she was told by Rambert that despite her talent, her height and weak constitution (the after-effect of wartime malnutrition) would make the status of prima ballerina (/wiki/Prima_ballerina) unattainable, she decided to concentrate on acting. [49] (#cite_note-53) [50] (#cite_note-54) [51] (#cite_note-time-55) While Ella worked in menial jobs to support them, Hepburn appeared as a chorus girl (/wiki/Chorus_girl) [52] (#cite_note-56) in the West End (/wiki/West_End_theatre) musical theatre revues (/wiki/Revue) High Button Shoes (/wiki/High_Button_Shoes) (1948) at the London Hippodrome (/wiki/Hippodrome,_London) , and Cecil Landeau's Sauce Tartare (1949) and Sauce Piquante (1950) at the Cambridge Theatre (/wiki/Cambridge_Theatre) . Also, in 1950, she worked as a dancer in an exceptionally "ambitious" revue, Summer Nights, at Ciro's London (/wiki/Ciro%27s#Ciro's_club_and_restaurant_chain) , a prominent nightclub (/wiki/Nightclub) . [53] (#cite_note-nightclub_dancer_2020_12_16_variety_com-57) During her theatrical work, she took elocution lessons with actor Felix Aylmer (/wiki/Felix_Aylmer) to develop her voice. [54] (#cite_note-FOOTNOTEWalker199755-58) After being spotted by the Ealing Studios (/wiki/Ealing_Studios) casting director, Margaret Harper-Nelson, while performing in Sauce Piquante , Hepburn was registered as a freelance actress with the Associated British Picture Corporation (/wiki/Associated_British_Picture_Corporation) (ABPC). She appeared in the BBC Television play The Silent Village , [55] (#cite_note-59) and in minor roles in the films One Wild Oat (/wiki/One_Wild_Oat) , Laughter in Paradise (/wiki/Laughter_in_Paradise) , Young Wives' Tale (/wiki/Young_Wives%27_Tale) , and The Lavender Hill Mob (/wiki/The_Lavender_Hill_Mob) (all 1951). She was cast in her first major supporting role in Thorold Dickinson (/wiki/Thorold_Dickinson) 's Secret People (/wiki/Secret_People_(film)) (1952), as a prodigious ballerina, performing all of her own dancing sequences. [56] (#cite_note-FOOTNOTEWoodward201294-60) Hepburn then took a small role in a bilingual film, Monte Carlo Baby (/wiki/Monte_Carlo_Baby) (French: Nous Irons à Monte Carlo , 1952), which was filmed in Monte Carlo (/wiki/Monte_Carlo) . Coincidentally, French novelist Colette (/wiki/Colette) was at the Hôtel de Paris in Monte Carlo during the filming, and decided to cast Hepburn in the title role in the Broadway (/wiki/Broadway_theatre) play Gigi (/wiki/Gigi_(play)) . [57] (#cite_note-FOOTNOTEThurman1999483-61) Hepburn went into rehearsals having never spoken on stage, and required private coaching. [58] (#cite_note-broadwaygigi-62) When Gigi opened at the Fulton Theatre (/wiki/Fulton_Theatre) on 24 November 1951, she received praise for her performance, despite criticism that the stage version was inferior to the French film adaptation. [59] (#cite_note-lifegigi-63) Life (/wiki/Life_(magazine)) called her a "hit", [59] (#cite_note-lifegigi-63) while The New York Times (/wiki/The_New_York_Times) stated that "her quality is so winning and so right that she is the success of the evening". [58] (#cite_note-broadwaygigi-62) Hepburn also received a Theatre World Award (/wiki/Theatre_World_Award) for the role. [60] (#cite_note-gigi-64) The play ran for 219 performances, closing on 31 May 1952, [60] (#cite_note-gigi-64) before going on tour, which began 13 October 1952 in Pittsburgh (/wiki/Pittsburgh) and visited Cleveland (/wiki/Cleveland) , Chicago, Detroit, Washington, D. C., and Los Angeles, before closing on 16 May 1953 in San Francisco. [10] (#cite_note-FOOTNOTEParis2001-11) 1953–1960: Roman Holiday and stardom [ edit ] Hepburn in a screen test (/wiki/Screen_test) for Roman Holiday (/wiki/Roman_Holiday) (1953) which was also used as promotional material for the film Hepburn had her first starring role in Roman Holiday (/wiki/Roman_Holiday) (1953), playing Princess Ann, a European princess who escapes the reins of royalty and has a wild night out with an American newsman ( Gregory Peck (/wiki/Gregory_Peck) ). On 18 September 1951, shortly after Secret People was finished but before its premiere, Thorold Dickinson made a screen test with the young starlet and sent it to director William Wyler (/wiki/William_Wyler) , who was in Rome preparing Roman Holiday . Wyler wrote a glowing note of thanks to Dickinson, saying that "as a result of the test, a number of the producers at Paramount have expressed interest in casting her." [61] (#cite_note-65) The producers of the film had initially wanted Elizabeth Taylor (/wiki/Elizabeth_Taylor) for the role, but Wyler was so impressed by Hepburn's screen test (/wiki/Screen_test) that he cast her instead. Wyler later commented, "She had everything I was looking for: charm, innocence, and talent. She also was very funny. She was absolutely enchanting, and we said, 'That's the girl! ' " [62] (#cite_note-FOOTNOTEParis200172-66) Originally, the film was to have had only Gregory Peck's name above its title, with "Introducing Audrey Hepburn" beneath in smaller font. Peck suggested Wyler elevate her to equal billing so her name appears before the title, and in type as large as his: "You've got to change that because she'll be a big star, and I'll look like a big jerk." [63] (#cite_note-FOOTNOTEFishgall2002173-67) The film was a box-office success, and Hepburn gained critical acclaim for her portrayal, unexpectedly winning an Academy Award for Best Actress (/wiki/Academy_Award_for_Best_Actress) , a BAFTA Award for Best British Actress in a Leading Role (/wiki/BAFTA_Award_for_Best_Actress_in_a_Leading_Role) , and a Golden Globe Award for Best Actress – Motion Picture Drama (/wiki/Golden_Globe_Award_for_Best_Actress_%E2%80%93_Motion_Picture_Drama) in 1953. In his review in The New York Times (/wiki/The_New_York_Times) , A. H. Weiler (/wiki/A._H._Weiler) wrote: "Although she is not precisely a newcomer to films, Audrey Hepburn, the British actress who is being starred for the first time as Princess Anne, is a slender, elfin, and wistful beauty, alternately regal and childlike in her profound appreciation of newly-found, simple pleasures and love. Although she bravely smiles her acknowledgement of the end of that affair, she remains a pitifully lonely figure facing a stuffy future." [64] (#cite_note-weilerelfin-68) Hepburn with co-star William Holden (/wiki/William_Holden) in the film Sabrina (/wiki/Sabrina_(1954_film)) (1954) Hepburn was signed to a seven-picture contract with Paramount (/wiki/Paramount_Pictures) , with 12 months in between films to allow her time for stage work. [65] (#cite_note-69) She was featured on 7 September 1953 cover of Time (/wiki/Time_(magazine)) magazine, and also became known for her personal style. [66] (#cite_note-70) Following her success in Roman Holiday , Hepburn starred in Billy Wilder (/wiki/Billy_Wilder) 's romantic Cinderella (/wiki/Cinderella) -story comedy Sabrina (/wiki/Sabrina_(1954_film)) (1954), in which wealthy brothers ( Humphrey Bogart (/wiki/Humphrey_Bogart) and William Holden (/wiki/William_Holden) ) compete for the affections of their chauffeur's innocent daughter (Hepburn). For her performance, she was nominated for the 1954 Academy Award for Best Actress, while winning the BAFTA Award for Best Actress in a Leading Role the same year. [67] (#cite_note-NY_Times-71) Bosley Crowther (/wiki/Bosley_Crowther) of The New York Times stated that she was "a young lady of extraordinary range of sensitive and moving expressions within such a frail and slender frame. She is even more luminous as the daughter and pet of the servants' hall than she was as a princess last year, and no more than that can be said." [68] (#cite_note-72) Mel Ferrer and Hepburn in War and Peace (/wiki/War_and_Peace_(1956_film)) (1956) Hepburn also returned to the stage in 1954, playing a water nymph (/wiki/Water_nymph) who falls in love with a human in the fantasy play Ondine (/wiki/Ondine_(play)) on Broadway (/wiki/Broadway_theatre) . A critic for The New York Times commented that "somehow, Miss Hepburn is able to translate [its intangibles] into the language of the theatre without artfulness or precociousness. She gives a pulsing performance that is all grace and enchantment, disciplined by an instinct for the realities of the stage". Her performance won her the 1954 Tony Award for Best Performance by a Leading Actress in a Play (/wiki/Tony_Award_for_Best_Performance_by_a_Leading_Actress_in_a_Play) three days after she won the Academy Award for Roman Holiday , making her one of three actresses to receive the Academy and Tony Awards for Best Actress in the same year (the other two are Shirley Booth (/wiki/Shirley_Booth) and Ellen Burstyn (/wiki/Ellen_Burstyn) ). [69] (#cite_note-soundstage-73) During the production, Hepburn and her co-star Mel Ferrer (/wiki/Mel_Ferrer) began a relationship, and were married on 25 September 1954 in Switzerland. [70] (#cite_note-74) Publicity photo for Love in the Afternoon (/wiki/Love_in_the_Afternoon_(1957_film)) (1957) Although she appeared in no new film releases in 1955, Hepburn received the Golden Globe for World Film Favorite that year. [71] (#cite_note-75) Having become one of Hollywood's most popular box-office attractions, she starred in a series of successful films during the remainder of the decade, including her BAFTA- and Golden Globe-nominated role as Natasha Rostova (/wiki/Natasha_Rostova) in War and Peace (/wiki/War_and_Peace_(1956_film)) (1956), an adaptation of the Tolstoy novel (/wiki/War_and_Peace) set during the Napoleonic wars, starring Henry Fonda (/wiki/Henry_Fonda) and her husband Mel Ferrer. She exhibited her dancing abilities in her debut musical film (/wiki/Musical_film) , Funny Face (/wiki/Funny_Face) (1957), wherein Fred Astaire (/wiki/Fred_Astaire) , a fashion photographer, discovers a beatnik bookshop clerk (Hepburn) who, lured by a free trip to Paris, becomes a beautiful model. Hepburn starred in another romantic comedy, Love in the Afternoon (/wiki/Love_in_the_Afternoon_(1957_film)) (also 1957), alongside Gary Cooper (/wiki/Gary_Cooper) and Maurice Chevalier (/wiki/Maurice_Chevalier) . Hepburn played Sister Luke in The Nun's Story (/wiki/The_Nun%27s_Story_(film)) (1959), which focuses on the character's struggle to succeed as a nun, alongside co-star Peter Finch (/wiki/Peter_Finch) . The role produced a third Academy Award nomination for Hepburn, and earned her a second BAFTA Award. A review in Variety (/wiki/Variety_(magazine)) reads: "Hepburn has her most demanding film role, and she gives her finest performance", [72] (#cite_note-76) while Henry Hart in Films in Review (/wiki/Films_in_Review) stated that her performance "will forever silence those who have thought her less an actress than a symbol of the sophisticated child/woman. Her portrayal of Sister Luke is one of the great performances of the screen." [73] (#cite_note-77) Hepburn spent a year researching and working on the role, saying, "I gave more time, energy, and thought to this role than to any of my previous screen performances". [74] (#cite_note-nunsstory03.jpg-78) Following The Nun's Story , Hepburn received a lukewarm reception for starring with Anthony Perkins (/wiki/Anthony_Perkins) in the romantic adventure Green Mansions (/wiki/Green_Mansions_(film)) (1959), in which she played Rima (/wiki/Rima) , a jungle girl who falls in love with a Venezuelan traveller, [75] (#cite_note-79) and The Unforgiven (/wiki/The_Unforgiven_(1960_film)) (1960), her only western film (/wiki/Western_(genre)) , in which she appeared opposite Burt Lancaster (/wiki/Burt_Lancaster) and Lillian Gish (/wiki/Lillian_Gish) in a story of racism against a group of Native Americans. [76] (#cite_note-80) 1961–1967: Breakfast at Tiffany's and continued success [ edit ] Hepburn as Holly Golightly in Breakfast at Tiffany's (/wiki/Breakfast_at_Tiffany%27s_(film)) (1961) Hepburn next starred as New Yorker Holly Golightly in Blake Edwards (/wiki/Blake_Edwards) 's Breakfast at Tiffany's (/wiki/Breakfast_at_Tiffany%27s_(film)) (1961), a film loosely based on the Truman Capote (/wiki/Truman_Capote) novella (/wiki/Breakfast_at_Tiffany%27s_(novella)) of the same name. Capote disapproved of many changes that were made to sanitise the story for the film adaptation, and would have preferred Marilyn Monroe (/wiki/Marilyn_Monroe) to have been cast in the role, although he also stated that Hepburn "did a terrific job". [77] (#cite_note-FOOTNOTECapote1987317-81) The character is considered one of the best-known in American cinema (/wiki/Cinema_of_the_United_States) , and a defining role for Hepburn. [78] (#cite_note-BBCSA-82) The dress she wears during the opening credits (/wiki/Little_black_Givenchy_dress_of_Audrey_Hepburn) has been considered an icon of the twentieth century, and perhaps the most famous "little black dress" of all time. [79] (#cite_note-Glam-83) [80] (#cite_note-HM-84) [81] (#cite_note-Independent-85) [82] (#cite_note-FOOTNOTESteele2010483-86) Hepburn stated that the role was "the jazziest of my career" [83] (#cite_note-87) yet admitted: "I'm an introvert. Playing the extroverted girl was the hardest thing I ever did." [84] (#cite_note-archer-88) She was nominated for the Academy Award for Best Actress (/wiki/Academy_Award_for_Best_Actress) for her performance. The same year, Hepburn also starred in William Wyler's drama The Children's Hour (/wiki/The_Children%27s_Hour_(film)) (1961), in which she and Shirley MacLaine (/wiki/Shirley_MacLaine) played teachers whose lives become troubled after two pupils accuse them of being lesbians. [85] (#cite_note-Crowther1961-89) [86] (#cite_note-Variety1961-90) Bosley Crowther of The New York Times was of the opinion that the film "is not too well acted", with the exception of Hepburn, who "gives the impression of being sensitive and pure" of its "muted theme". [85] (#cite_note-Crowther1961-89) Variety magazine also complimented Hepburn's "soft sensitivity, marvelous projection and emotional understatement", adding that Hepburn and MacLaine "beautifully complement each other". [86] (#cite_note-Variety1961-90) Hepburn in Charade (/wiki/Charade_(1963_film)) (1963) Hepburn next appeared opposite Cary Grant (/wiki/Cary_Grant) in the comic thriller Charade (/wiki/Charade_(1963_film)) (1963), playing a young widow pursued by several men who chase after the fortune stolen by her murdered husband. The 59-year-old Grant, who had previously withdrawn from the starring male lead roles in Roman Holiday and Sabrina , was sensitive about his age difference with 34-year-old Hepburn, and was uncomfortable about the romantic interplay. To satisfy his concerns, the filmmakers agreed to alter the screenplay so that Hepburn's character was pursuing him. [87] (#cite_note-FOOTNOTEEastman198957–58-91) The film turned out to be a positive experience for him; he said, "All I want for Christmas is another picture with Audrey Hepburn." [88] (#cite_note-92) The role earned Hepburn her third, and final, competitive BAFTA Award, and another Golden Globe nomination. Critic Bosley Crowther was less kind to her performance, stating that, "Hepburn is cheerfully committed to a mood of how-nuts-can-you-be in an obviously comforting assortment of expensive Givenchy (/wiki/Givenchy) costumes." [89] (#cite_note-93) Although filmed in the summer of 1962 before Charade, Hepburn reunited with her Sabrina co-star William Holden (/wiki/William_Holden) in Paris When It Sizzles (/wiki/Paris_When_It_Sizzles) (1964), a screwball comedy (/wiki/Screwball_comedy_film) in which she played the young assistant of a Hollywood screenwriter, who aids his writer's block (/wiki/Writer%27s_block) by acting out his fantasies of possible plots. Its production was troubled by several problems. Holden unsuccessfully tried to rekindle a romance with the now-married Hepburn, and his alcoholism was beginning to affect his work. After principal photography (/wiki/Principal_photography) began, she demanded the dismissal of cinematographer Claude Renoir (/wiki/Claude_Renoir) after seeing what she felt were unflattering dailies (/wiki/Dailies) . [90] (#cite_note-tcmart-94) Superstitious, she also insisted on dressing room 55 because that was her lucky number and required that Hubert de Givenchy (/wiki/Hubert_de_Givenchy) , her long-time designer, be given a credit in the film for her perfume. [90] (#cite_note-tcmart-94) Dubbed " marshmallow (/wiki/Marshmallow) -weight hokum" by Variety upon its release in April, [91] (#cite_note-vari-95) the film was "uniformly panned" [90] (#cite_note-tcmart-94) but critics were kinder to Hepburn's performance, describing her as "a refreshingly individual creature in an era of the exaggerated curve". [91] (#cite_note-vari-95) Hepburn with cinematographer Harry Stradling (/wiki/Harry_Stradling) on the set of My Fair Lady (/wiki/My_Fair_Lady_(film)) (1964) Hepburn's second film released in 1964 was George Cukor (/wiki/George_Cukor) 's film adaptation of the stage musical (/wiki/My_Fair_Lady_(film)) My Fair Lady , which premiered in October. [92] (#cite_note-96) Soundstage wrote that "not since Gone with the Wind (/wiki/Gone_with_the_Wind_(film)) has a motion picture created such universal excitement as My Fair Lady ", [69] (#cite_note-soundstage-73) although Hepburn's casting in the role of Cockney (/wiki/Cockney) flower girl Eliza Doolittle (/wiki/Eliza_Doolittle) was a source of dispute. Julie Andrews (/wiki/Julie_Andrews) , who had originated the role on stage, was not offered the part because producer Jack L. Warner (/wiki/Jack_L._Warner) thought Hepburn was a more "bankable" proposition. Hepburn initially asked Warner to give the role to Andrews but was eventually cast. Further friction was created when, although non-singer Hepburn had sung in Funny Face and had lengthy vocal preparation for the role in My Fair Lady , her vocals were dubbed by Marni Nixon (/wiki/Marni_Nixon) , whose voice was considered more suitable to the role. [93] (#cite_note-bcmyfairlady-97) [94] (#cite_note-telegraphob-98) Hepburn was initially upset and walked off the set when informed. [e] (#cite_note-99) Critics applauded Hepburn's performance. Crowther wrote that, "The happiest thing about [ My Fair Lady ] is that Audrey Hepburn superbly justifies the decision of Jack Warner to get her to play the title role." [93] (#cite_note-bcmyfairlady-97) Gene Ringgold of Soundstage also commented that, "Audrey Hepburn is magnificent. She is Eliza for the ages", [69] (#cite_note-soundstage-73) while adding, "Everyone agreed that if Julie Andrews was not to be in the film, Audrey Hepburn was the perfect choice." [69] (#cite_note-soundstage-73) The reviewer in Time (/wiki/Time_(magazine)) magazine said her "graceful, glamorous performance" was "the best of her career". [95] (#cite_note-100) Andrews won an Academy Award for Mary Poppins (/wiki/Mary_Poppins_(film)) at the 1964 37th Academy Awards (/wiki/37th_Academy_Awards) and Hepburn earned Best Actress nominations for Golden Globe and New York Film Critics Circle (/wiki/New_York_Film_Critics_Circle) awards. [96] (#cite_note-NY_Times111-101) Hepburn appeared in an assortment of genres including the heist comedy How to Steal a Million (/wiki/How_to_Steal_a_Million) (1966). Hepburn played the daughter of a famous art collector, whose collection consists entirely of forgeries that are about to be exposed as fakes. Her character plays the part of a dutiful daughter trying to help her father with the help of a man played by Peter O'Toole (/wiki/Peter_O%27Toole) . The film was followed by two films in 1967. The first was Two for the Road (/wiki/Two_for_the_Road_(film)) , a non-linear and innovative British dramedy (/wiki/Comedy_drama) that traces the course of a couple's troubled marriage. Director Stanley Donen (/wiki/Stanley_Donen) said that Hepburn was freer and happier than he had ever seen her, and he credited that to co-star Albert Finney (/wiki/Albert_Finney) . [97] (#cite_note-102) The second, Wait Until Dark (/wiki/Wait_Until_Dark_(film)) , is a suspense thriller in which Hepburn demonstrated her acting range by playing the part of a terrorised blind woman. Filmed on the brink of her divorce, it was a difficult film for her, as husband Mel Ferrer was its producer. She lost fifteen pounds under the stress, but she found solace in co-star Richard Crenna (/wiki/Richard_Crenna) and director Terence Young (/wiki/Terence_Young_(director)) . Hepburn earned her fifth and final competitive Academy Award nomination for Best Actress; Bosley Crowther affirmed, "Hepburn plays the poignant role, the quickness with which she changes and the skill with which she manifests terror attract sympathy and anxiety to her and give her genuine solidity in the final scenes." [98] (#cite_note-103) 1968–1993: Semi-retirement and final projects [ edit ] Hepburn and Sean Connery (/wiki/Sean_Connery) in the film Robin and Marian (/wiki/Robin_and_Marian) (1976) After 1967, Hepburn chose to devote more time to her family and acted only occasionally. She attempted a comeback playing Maid Marian (/wiki/Maid_Marian) in the period piece (/wiki/Period_piece) Robin and Marian (/wiki/Robin_and_Marian) (1976) with Sean Connery (/wiki/Sean_Connery) co-starring as Robin Hood (/wiki/Robin_Hood) , which was moderately successful. Roger Ebert (/wiki/Roger_Ebert) praised Hepburn's chemistry with Connery, writing, "Connery and Hepburn seem to have arrived at a tacit understanding between themselves about their characters. They glow. They really do seem in love. And they project as marvellously complex, fond, tender people; the passage of 20 years has given them grace and wisdom." [99] (#cite_note-Ebert-104) Hepburn reunited with director Terence Young in the production of Bloodline (/wiki/Bloodline_(1979_film)) (1979), sharing top-billing with Ben Gazzara (/wiki/Ben_Gazzara) , James Mason (/wiki/James_Mason) , and Romy Schneider (/wiki/Romy_Schneider) . [100] (#cite_note-canby-105) The film, an international intrigue amid the jet-set (/wiki/Jet-set) , was a critical and box-office failure. Hepburn's last starring role in a feature film was opposite Gazzara in the comedy They All Laughed (/wiki/They_All_Laughed) (1981), directed by Peter Bogdanovich (/wiki/Peter_Bogdanovich) . [101] (#cite_note-106) The film was overshadowed by the murder of one of its stars, Dorothy Stratten (/wiki/Dorothy_Stratten) , and received only a limited release. Six years later, Hepburn co-starred with Robert Wagner (/wiki/Robert_Wagner) in a made-for-television (/wiki/Television_movie) caper film (/wiki/Heist_film) , Love Among Thieves (/wiki/Love_Among_Thieves) (1987). [102] (#cite_note-nytimes222-107) After finishing her last motion picture role—a cameo appearance as an angel in Steven Spielberg (/wiki/Steven_Spielberg) 's Always (/wiki/Always_(1989_film)) (1989)—Hepburn completed only two more entertainment-related projects, both critically acclaimed. Gardens of the World with Audrey Hepburn (/wiki/Gardens_of_the_World_with_Audrey_Hepburn) was a PBS (/wiki/Public_Broadcasting_Service) documentary series, which was filmed on location in seven countries in the spring and summer of 1990. A one-hour special preceded it in March 1991, and the series itself began its national PBS premiere on 24 January 1993, the day of her funeral services in Tolochenaz. For the "Flower Gardens" episode, Hepburn was posthumously awarded the 1993 Emmy Award (/wiki/Emmy_Award) for Outstanding Individual Achievement – Informational Programming. The other project was a spoken word album, Audrey Hepburn's Enchanted Tales (/wiki/Audrey_Hepburn%27s_Enchanted_Tales) , which features readings of classic children's stories and was recorded in 1992. It earned her a posthumous Grammy Award for Best Spoken Word Album for Children (/wiki/Grammy_Award_for_Best_Spoken_Word_Album_for_Children) . [103] (#cite_note-108) Humanitarian work [ edit ] In the 1950s, Hepburn narrated two radio programmes for UNICEF (/wiki/UNICEF) , re-telling children's stories of war. [104] (#cite_note-109) In 1989, Hepburn was appointed a Goodwill Ambassador of UNICEF (/wiki/List_of_UNICEF_Goodwill_Ambassadors) . On her appointment, she stated that she was grateful for receiving international aid after enduring the German occupation as a child, and wanted to show her gratitude to the organisation. [105] (#cite_note-110) 1988–1992 [ edit ] Hepburn receiving UNICEF (/wiki/UNICEF) 's International Danny Kaye (/wiki/Danny_Kaye) Award for Children in 1989. Hepburn's first field mission for UNICEF was to Ethiopia in 1988. She visited an orphanage in Mek'ele (/wiki/Mek%27ele) that housed 500 starving children and had UNICEF send food. [106] (#cite_note-UNICEF_Missions-111) Of the trip, she said, I have a broken heart. I feel desperate. I can't stand the idea that two million people are in imminent danger of starving to death, many of them children, [and] not because there isn't tons of food sitting in the northern port of Shoa (/wiki/Shewa) . It can't be distributed. Last spring, Red Cross and UNICEF workers were ordered out of the northern provinces because of two simultaneous civil wars... I went into rebel country and saw mothers and their children who had walked for ten days, even three weeks, looking for food, settling onto the desert floor into makeshift camps where they may die. Horrible. That image is too much for me. The 'Third World' is a term I don't like very much, because we're all one world. I want people to know that the largest part of humanity is suffering. [107] (#cite_note-112) In August 1988, Hepburn went to Turkey on an immunisation campaign. She called Turkey "the loveliest example" of UNICEF's capabilities. Of the trip, she said, "The army gave us their trucks, the fishmongers gave their wagons for the vaccines, and once the date was set, it took ten days to vaccinate the whole country. Not bad." [106] (#cite_note-UNICEF_Missions-111) In October, Hepburn went to South America. Of her experiences in Venezuela and Ecuador, Hepburn told the United States Congress, "I saw tiny mountain communities, slums, and shantytowns receive water systems for the first time by some miracle – and the miracle is UNICEF. I watched boys build their own schoolhouse with bricks and cement provided by UNICEF." [108] (#cite_note-113) Hepburn toured Central America in February 1989, and met with leaders in Honduras, El Salvador, and Guatemala. In April, she visited Sudan with Wolders as part of a mission called "Operation Lifeline". Because of civil war, food from aid agencies (/wiki/Aid_agency) had been cut off. The mission was to ferry food to southern Sudan (/wiki/Geography_of_Sudan) . Hepburn said, "I saw but one glaring truth: These are not natural disasters (/wiki/Natural_disaster) but man-made tragedies for which there is only one man-made solution – peace." [106] (#cite_note-UNICEF_Missions-111) In October 1989, Hepburn and Wolders went to Bangladesh. John Isaac (/wiki/John_Isaac_(Photographer)) , a UN photographer, said, "Often the kids would have flies all over them, but she would just go hug them. I had never seen that. Other people had a certain amount of hesitation, but she would just grab them. Children would just come up to hold her hand, touch her – she was like the Pied Piper (/wiki/The_Pied_Piper_of_Hamelin) ." [10] (#cite_note-FOOTNOTEParis2001-11) In October 1990, Hepburn went to Vietnam, in an effort to collaborate with the government for national UNICEF-supported immunisation and clean water (/wiki/Drinking_water) programmes. In September 1992, four months before she died, Hepburn went to Somalia. Calling it "apocalyptic", she said, "I walked into a nightmare. I have seen famine in Ethiopia and Bangladesh, but I have seen nothing like this – so much worse than I could possibly have imagined. I wasn't prepared for this." [106] (#cite_note-UNICEF_Missions-111) Though scarred by what she had seen, Hepburn still had hope stating: As we move into the twenty-first century, there is much to reflect upon. We look around us and see that the promises of yesterday have to come to pass. People still live in abject poverty, people are still hungry, people still struggle to survive. And among these people we see the children, always the children: their enlarged bellies, their sad eyes, their wise faces that show the suffering, all the suffering they have endured in their short years. [109] (#cite_note-114) Recognition [ edit ] United States president George H. W. Bush (/wiki/George_H._W._Bush) presented Hepburn with the Presidential Medal of Freedom (/wiki/Presidential_Medal_of_Freedom) in recognition of her work with UNICEF (/wiki/UNICEF) , and the Academy of Motion Picture Arts and Sciences (/wiki/Academy_of_Motion_Picture_Arts_and_Sciences) posthumously awarded her the Jean Hersholt Humanitarian Award (/wiki/Jean_Hersholt_Humanitarian_Award) for her contribution to humanity. [110] (#cite_note-bp-115) [111] (#cite_note-FOOTNOTEParis199691-116) In 2002, at the United Nations Special Session on Children (/wiki/World_Summit_for_Children#Special_session) , UNICEF honoured Hepburn's legacy of humanitarian work by unveiling a statue, "The Spirit of Audrey", at UNICEF's New York headquarters. Her service for children is also recognised through the United States Fund for UNICEF (/wiki/U.S._Fund_for_UNICEF) 's Audrey Hepburn Society. [112] (#cite_note-117) [113] (#cite_note-118) Personal life and final years [ edit ] Multilingualism [ edit ] Alongside her native English and Dutch, Hepburn also had some fluency in French (which she learned at school in Belgium), German, Italian, and Spanish. [114] (#cite_note-119) Throughout her life, Hepburn lived in many countries, including spending her childhood in Belgium, England, and the Netherlands, and her adult years in the United States, Italy, and Switzerland, [115] (#cite_note-minelle-120) and traveled extensively during her later years of life as part of her humanitarian work with UNICEF. [116] (#cite_note-121) Marriages, relationships, and children [ edit ] Audrey Hepburn with husband Mel Ferrer (/wiki/Mel_Ferrer) in 1966 In 1952, Hepburn became engaged to industrialist James Hanson (/wiki/James_Hanson,_Baron_Hanson) , [117] (#cite_note-FOOTNOTEWoodward2012131-122) whom she had known since her early days in London. She called it "love at first sight", but after having her wedding dress fitted and the date set, she decided the marriage would not work because the demands of their careers would keep them apart most of the time. [118] (#cite_note-123) She issued a public statement about her decision, saying "When I get married, I want to be really married". [119] (#cite_note-FOOTNOTEWoodward2012132-124) In the early 1950s, she also dated future Hair (/wiki/Hair_(musical)) producer Michael Butler (/wiki/Michael_Butler_(producer)) . [120] (#cite_note-125) Hepburn and her partner Robert Wolders (/wiki/Robert_Wolders) at the White House (/wiki/White_House) in 1981 At a cocktail party hosted by mutual friend Gregory Peck (/wiki/Gregory_Peck) , Hepburn met American actor Mel Ferrer (/wiki/Mel_Ferrer) , and suggested that they star together in a play. [69] (#cite_note-soundstage-73) [121] (#cite_note-FOOTNOTEWalker1997-126) The meeting led them to collaborate in Ondine , during which they began a relationship. Eight months later, on 25 September 1954, they were married in Bürgenstock (/wiki/B%C3%BCrgenstock) , Switzerland, [122] (#cite_note-bigmoment54pg1.jpg-127) while preparing to star together in the film War and Peace (/wiki/War_and_Peace_(1956_film)) (1956). She and Ferrer had a son, Sean Hepburn Ferrer (/wiki/Sean_Hepburn_Ferrer) , born on 17 June 1960. [123] (#cite_note-Harper's_Bazaar_Love_Stories-128) Prior to Sean's birth, Hepburn had two other pregnancies that ended in miscarriages, the second one at six months. [115] (#cite_note-minelle-120) [123] (#cite_note-Harper's_Bazaar_Love_Stories-128) [124] (#cite_note-129) Ferrer was rumoured to be too controlling, and had been referred to by others as being her " Svengali (/wiki/Svengali) " – an idea that Hepburn laughed off. William Holden was quoted as saying, "I think Audrey allows Mel to think he influences her." After a 14-year marriage, the couple divorced in 1968. [125] (#cite_note-130) Hepburn met her second husband, Italian psychiatrist Andrea Dotti (/wiki/Andrea_Dotti_(psychiatrist)) , on a Mediterranean (/wiki/Mediterranean) cruise with friends in June 1968. She believed she would have more children and possibly stop working. [126] (#cite_note-131) [127] (#cite_note-132) They married on 18 January 1969, and their son Luca Andrea Dotti was born on 8 February 1970. [123] (#cite_note-Harper's_Bazaar_Love_Stories-128) While pregnant with Luca in 1969, Hepburn was more careful, resting for months before delivering the baby via caesarean section (/wiki/Caesarean_section) . Hepburn suffered a miscarriage in 1974. [123] (#cite_note-Harper's_Bazaar_Love_Stories-128) Dotti and Hepburn were unfaithful, he with younger women and she with actor Ben Gazzara (/wiki/Ben_Gazzara) during the filming of Bloodline (1979). [128] (#cite_note-133) The marriage lasted twelve years and was dissolved in 1982. [123] (#cite_note-Harper's_Bazaar_Love_Stories-128) [129] (#cite_note-134) From 1980 until her death in 1993, Hepburn was in a relationship with Dutch actor Robert Wolders (/wiki/Robert_Wolders) , the widower of actress Merle Oberon (/wiki/Merle_Oberon) . [39] (#cite_note-nytimesobit-42) She had met Wolders through a friend during the later years of her second marriage. In 1989, she called the nine years she had spent with him the happiest years of her life, and stated that she considered them married, just not officially. [130] (#cite_note-135) Illness and death [ edit ] Hepburn's grave in Tolochenaz (/wiki/Tolochenaz) , Switzerland Upon returning to Switzerland from Somalia in late September 1992, Hepburn developed abdominal pain (/wiki/Abdominal_pain) . While initial medical tests in Switzerland had inconclusive results, a laparoscopy (/wiki/Laparoscopy) performed at the Cedars-Sinai Medical Center (/wiki/Cedars-Sinai_Medical_Center) in Los Angeles in early November revealed a rare form of abdominal cancer belonging to a group of cancers known as pseudomyxoma peritonei (/wiki/Pseudomyxoma_peritonei) . [131] (#cite_note-FOOTNOTEParis1996361-136) Having grown slowly over several years, the cancer had metastasised (/wiki/Metastasis) as a thin coating over her small intestine (/wiki/Small_intestine) . After surgery, Hepburn began chemotherapy (/wiki/Chemotherapy) . [132] (#cite_note-cr-137) Hepburn and her family returned home to Switzerland to celebrate her last Christmas. As she was still recovering from surgery, she was unable to fly on commercial aircraft. Her long-time friend, fashion designer Hubert de Givenchy (/wiki/Hubert_de_Givenchy) , arranged for socialite Rachel Lambert "Bunny" Mellon (/wiki/Rachel_Lambert_Mellon) to send her private Gulfstream (/wiki/Gulfstream_Aerospace) jet, filled with flowers, to take Hepburn from Los Angeles to Geneva (/wiki/Geneva) . She spent her last days in hospice care (/wiki/Hospice_care) at her home in Tolochenaz (/wiki/Tolochenaz) , Vaud (/wiki/Vaud) , and was occasionally well enough to take walks in her garden, but gradually became more confined to bedrest. [133] (#cite_note-FOOTNOTEHarris1994289-138) On the evening of 20 January 1993, Hepburn died in her sleep at home. After her death, Gregory Peck (/wiki/Gregory_Peck) recorded a tribute to Hepburn in which he recited the poem " Unending Love (/wiki/Unending_love_(poem)) " by Rabindranath Tagore (/wiki/Rabindranath_Tagore) . [134] (#cite_note-139) Funeral services were held at the village church of Tolochenaz on 24 January 1993. Maurice Eindiguer, the same pastor who wed Hepburn and Mel Ferrer and baptised her son Sean in 1960, presided over her funeral, while Prince Sadruddin Aga Khan (/wiki/Prince_Sadruddin_Aga_Khan) of UNICEF delivered a eulogy. Many family members and friends attended the funeral, including her sons, partner Robert Wolders, half-brother Ian Quarles van Ufford, ex-husbands Andrea Dotti and Mel Ferrer, Hubert de Givenchy, executives of UNICEF, and fellow actors Alain Delon (/wiki/Alain_Delon) and Roger Moore (/wiki/Roger_Moore) . [135] (#cite_note-140) Flower arrangements were sent to the funeral by Gregory Peck, Elizabeth Taylor (/wiki/Elizabeth_Taylor) , and the Dutch royal family (/wiki/Dutch_royal_family) . [136] (#cite_note-141) Later on the same day, Hepburn was interred at the Tolochenaz Cemetery. [137] (#cite_note-142) Legacy [ edit ] Hepburn's legacy has endured long after her death. The American Film Institute (/wiki/American_Film_Institute) named Hepburn third among the Greatest Female Stars of All Time (/wiki/AFI%27s_100_Years...100_Stars) . She is one of few entertainers who have won Academy, Emmy, Grammy and Tony Awards (/wiki/List_of_persons_who_have_won_Academy,_Emmy,_Grammy,_and_Tony_Awards) . She won a record three BAFTA Awards (/wiki/BAFTA_Award) for Best British Actress in a Leading Role (/wiki/BAFTA_Award_for_Best_Actress_in_a_Leading_Role#Superlatives) . In her last years, she remained a visible presence in the film world. She received a tribute from the Film Society of Lincoln Center (/wiki/Film_Society_of_Lincoln_Center) in 1991 and she was a frequent presenter at the Academy Awards. She received the BAFTA (/wiki/BAFTA) Lifetime Achievement Award in 1992. [138] (#cite_note-times2021-143) She was the recipient of numerous posthumous awards including the 1993 Jean Hersholt Humanitarian Award (/wiki/Jean_Hersholt_Humanitarian_Award) and competitive Grammy and Emmy Awards. In January 2009, Hepburn was named on The Times (/wiki/The_Times) ' list of the top 10 British actresses of all time. [138] (#cite_note-times2021-143) In 2010, Emma Thompson (/wiki/Emma_Thompson) opined that Hepburn "can't sing and she can't really act"; some people agreed, others disagreed. [139] (#cite_note-144) Hepburn's son Sean later said "My mother would be the first person to say that she wasn't the best actress in the world. But she was a movie star." [140] (#cite_note-clarke-145) Waxwork of Hepburn at Madame Tussauds (/wiki/Madame_Tussauds) , London She has been the subject of many biographies since her death including the 2000 dramatisation of her life titled The Audrey Hepburn Story (/wiki/The_Audrey_Hepburn_Story) which starred Jennifer Love Hewitt (/wiki/Jennifer_Love_Hewitt) and Emmy Rossum (/wiki/Emmy_Rossum) as the older and younger Hepburn respectively. [141] (#cite_note-146) Her son and granddaughter, Sean (/wiki/Sean_Hepburn_Ferrer) and Emma Ferrer (/wiki/Emma_Ferrer) , helped produce a biographical documentary directed by Helena Coan, entitled Audrey (/wiki/Audrey_(2020_film)) (2020). The film was released to positive reception. [142] (#cite_note-vogue-147) [143] (#cite_note-148) Hepburn's image is widely used in advertising campaigns across the world. In Japan, a series of commercials used colourised (/wiki/Colourised) and digitally enhanced clips of Hepburn in Roman Holiday to advertise Kirin (/wiki/Kirin_Brewery_Company) black tea (/wiki/Black_tea) . In the United States, Hepburn was featured in a 2006 Gap (/wiki/Gap_(clothing_retailer)) commercial that used clips of her dancing from Funny Face , set to AC/DC (/wiki/AC/DC) 's " Back in Black (/wiki/Back_in_Black_(song)) ", with the tagline "It's Back – The Skinny Black Pant". To celebrate its "Keep it Simple" campaign, the Gap made a sizeable donation to the Audrey Hepburn Children's Fund. [144] (#cite_note-149) In 2012, Hepburn was among the British cultural icons selected by artist Sir Peter Blake (/wiki/Peter_Blake_(artist)) to appear in a new version of his best known artwork – the Beatles' Sgt. Pepper's Lonely Hearts Club Band (/wiki/Sgt._Pepper%27s_Lonely_Hearts_Club_Band) album cover – to celebrate the British cultural figures of his life that he most admires. [145] (#cite_note-150) In 2013, a computer-manipulated representation (/wiki/Computer-generated_imagery) of Hepburn was used in a television advert for the British chocolate bar Galaxy (/wiki/Galaxy_(chocolate)) . [146] (#cite_note-151) [147] (#cite_note-Galaxy_YouTube-152) On 4 May 2014, Google featured a doodle (/wiki/Google_Doodle) on its homepage on what would have been Hepburn's 85th birthday. [148] (#cite_note-153) Sean Ferrer founded the Audrey Hepburn Children's Fund [149] (#cite_note-:0AA-154) in memory of his mother shortly after her death. The US Fund for UNICEF also founded the Audrey Hepburn Society: the Society hosted annual charity balls for fund raising until Ferrer became involved in lawsuits in the late 2010s on behalf of his mother's estate. [150] (#cite_note-KNBC-155) [151] (#cite_note-Sean_Hepburn_Ferrer-156) Dotti also became patron of the Pseudomyxoma Survivor (/wiki/Pseudomyxoma_Survivor) charity, dedicated to providing support to patients of the rare cancer that was fatal to Hepburn, pseudomyxoma peritonei (/wiki/Pseudomyxoma_peritonei) , [152] (#cite_note-157) and Sean Ferrer became the rare disease ambassador since 2014 and for 2015 on behalf of European Organisation for Rare Diseases (/wiki/European_Organisation_for_Rare_Diseases) . [153] (#cite_note-158) A year after his mother's death in 1993, Ferrer founded the Audrey Hepburn Children's Fund (originally named Hollywood for Children Inc.), [154] (#cite_note-Reuters-159) a charity funded by exhibitions of Audrey Hepburn memorabilia. He directed the charity in cooperation with his half-brother Luca Dotti, and Robert Wolders (/wiki/Robert_Wolders) , his mother's partner, which aimed to continue the humanitarian work of Audrey Hepburn. [155] (#cite_note-160) Ferrer brought the exhibition "Timeless Audrey" on a world tour to raise money for the foundation. [156] (#cite_note-businesswire-161) He served as Chairman of the Fund before resigning in 2012, turning over the position to Dotti. [157] (#cite_note-:0-162) In 2017, Ferrer was sued by the Fund for alleged self-serving conduct. [157] (#cite_note-:0-162) In October 2017, Ferrer responded by suing the Fund for trademark infringement, claiming that the Fund no longer had the right to use Hepburn's name or likeness. [154] (#cite_note-Reuters-159) Ferrer's suit against the Fund was dismissed in March 2018 due to the complaint's failure to include Dotti as a defendant. [158] (#cite_note-163) In 2019, the court sided with Ferrer, with the judge ruling there was no merit to the charity's claims it had the independent right to use Audrey Hepburn's name and likeness, or to enter into contracts with third parties without Ferrer's consent. [150] (#cite_note-KNBC-155) [151] (#cite_note-Sean_Hepburn_Ferrer-156) Hepburn's son Sean said that he was brought up in the countryside as a normal child, not in Hollywood and without a Hollywood state of mind that makes movie stars and their families lose touch with reality. There was no screening room in the house. He said that his mother didn't take herself seriously, and used to say, "I take what I do seriously, but I don't take myself seriously". [140] (#cite_note-clarke-145) Public image and style icon [ edit ] Main article: Fashion of Audrey Hepburn (/wiki/Fashion_of_Audrey_Hepburn) Hepburn with a short hairstyle and wearing one of her signature looks: black turtleneck, slim black trousers, and ballet flats Hepburn was known for her fashion choices and distinctive look, to the extent that journalist Mark Tungate (/wiki/Mark_Tungate) has described her as a recognisable brand. [159] (#cite_note-FOOTNOTESheridan201095-164) When she first rose to stardom in Roman Holiday (1953), she was seen as an alternative feminine ideal that appealed more to women than men, compared to the more sexual and curvy Marilyn Monroe (/wiki/Marilyn_Monroe) and Elizabeth Taylor (/wiki/Elizabeth_Taylor) . [160] (#cite_note-newkind-165) [161] (#cite_note-FOOTNOTEHill200478-166) With her short hairstyle, thick eyebrows, slim body, and " gamine (/wiki/Gamine) " looks, she presented a look that young women found easier to emulate than those of more sexual film stars. [162] (#cite_note-moseleyguardian-167) In 1954, fashion photographer Cecil Beaton (/wiki/Cecil_Beaton) declared Hepburn the "public embodiment of our new feminine ideal" in Vogue (/wiki/Vogue_(magazine)) , and wrote that "Nobody ever looked like her before World War II ... Yet we recognise the rightness of this appearance in relation to our historical needs. The proof is that thousands of imitations have appeared." [161] (#cite_note-FOOTNOTEHill200478-166) The magazine and its British version (/wiki/British_Vogue) frequently reported on her style throughout the following decade. [163] (#cite_note-FOOTNOTESheridan201093-168) Alongside model Twiggy (/wiki/Twiggy) , Hepburn has been cited as one of the key public figures who made being very slim fashionable. [162] (#cite_note-moseleyguardian-167) Vogue has referred to her as "the acme of classic beauty". Her style was also emulated by American singer Ariana Grande (/wiki/Ariana_Grande) in the earlier stages of Grande's career. [164] (#cite_note-169) Added to the International Best Dressed List (/wiki/International_Best_Dressed_List) in 1961, Hepburn was associated with a minimalistic style, usually wearing clothes with simple silhouettes that emphasised her slim body, such as monochromatic colours with occasional statement accessories. [165] (#cite_note-BBCfuss-170) In the late 1950s, Audrey Hepburn popularised plain black leggings. [166] (#cite_note-171) Hepburn was in particular associated with French fashion designer Hubert de Givenchy (/wiki/Hubert_de_Givenchy) , who was first hired to design her on-screen wardrobe for her second Hollywood film, Sabrina (1954), when she was still unknown as a film actor and he a young couturier (/wiki/Couturier) just starting his fashion house (/wiki/Givenchy) . [167] (#cite_note-givenchyvf-172) Although initially disappointed that "Miss Hepburn" was not Katharine Hepburn (/wiki/Katharine_Hepburn) as he had mistakenly thought, Givenchy and Hepburn formed a life-long friendship. [167] (#cite_note-givenchyvf-172) [168] (#cite_note-vmagazine-173) With George Peppard (/wiki/George_Peppard) in Breakfast at Tiffany's (/wiki/Breakfast_at_Tiffany%27s_(film)) (1961) With Cary Grant (/wiki/Cary_Grant) in Charade (/wiki/Charade_(1963_film)) (1963) In addition to Sabrina , Givenchy designed her costumes for Love in the Afternoon (1957), Breakfast at Tiffany's (1961), Funny Face (1957), Charade (1963), Paris When It Sizzles (1964), and How to Steal a Million (1966), as well as clothing her off screen. [167] (#cite_note-givenchyvf-172) According to Moseley, fashion plays an unusually central role in many of Hepburn's films, stating that "the costume is not tied to the character, functioning 'silently' in the mise-en-scène (/wiki/Mise-en-sc%C3%A8ne) , but as 'fashion' becomes an attraction in the aesthetic in its own right". [169] (#cite_note-FOOTNOTEMoseley200239-174) She also became the face of Givenchy's first perfume, L'Interdit (/wiki/L%27Interdit) , in 1957. [170] (#cite_note-175) In addition to her partnership with Givenchy, Hepburn was credited with boosting the sales of Burberry (/wiki/Burberry) trench coats (/wiki/Trench_coat) when she wore one in Breakfast at Tiffany's , and was associated with Italian footwear brand Tod's (/wiki/Tod%27s) . [171] (#cite_note-FOOTNOTESheridan201092–95-176) In her private life, Hepburn preferred to wear casual and comfortable clothes, contrary to the haute couture (/wiki/Haute_couture) she wore on screen and at public events. [172] (#cite_note-autogenerated1-177) Despite being admired for her beauty, she never considered herself attractive, stating in a 1959 interview that "you can even say that I hated myself at certain periods. I was too fat, or maybe too tall, or maybe just plain too ugly... you can say my definiteness stems from underlying feelings of insecurity and inferiority. I couldn't conquer these feelings by acting indecisive. I found the only way to get the better of them was by adopting a forceful, concentrated drive." [173] (#cite_note-178) In 1989, she stated that "my look is attainable ... Women can look like Audrey Hepburn by flipping out their hair, buying the large glasses and the little sleeveless dresses." [165] (#cite_note-BBCfuss-170) Hepburn's influence as a style icon still continues several decades after the height of her acting career in the 1950s and 1960s. Moseley notes that especially after her death in 1993, she became increasingly admired, with magazines frequently advising readers on how to get her look, and fashion designers using her as inspiration. [174] (#cite_note-FOOTNOTEMoseley20021–10-179) [162] (#cite_note-moseleyguardian-167) Throughout her career and after her death, Hepburn received numerous accolades for her stylish appearance and attractiveness. For example, she was named the "most beautiful woman of all time" [175] (#cite_note-BBC-180) and "most beautiful woman of the 20th century" [176] (#cite_note-181) in polls by Evian (/wiki/Evian) and QVC (/wiki/QVC) respectively, and in 2015, was voted "the most stylish Brit of all time" in a poll commissioned by Samsung (/wiki/Samsung) . [177] (#cite_note-182) Her film costumes fetch large sums of money in auctions: one of the " little black dresses (/wiki/Black_Givenchy_dress_of_Audrey_Hepburn) " designed by Givenchy for Breakfast at Tiffany's was sold by Christie's (/wiki/Christie%27s) for a record sum of £467,200 in 2006. [178] (#cite_note-183) [f] (#cite_note-188) In 1999, HarperCollins (/wiki/HarperCollins) published Audrey's Style by Pamela Keogh, a 340 page tome devoted to Hepburn's personality, beliefs and style. The book included interviews with some of the people who knew her best, and also included many photographs of her, some of which had been rarely seen before. [183] (#cite_note-189) Filmography and stage roles [ edit ] Main article: Audrey Hepburn on screen and stage (/wiki/Audrey_Hepburn_on_screen_and_stage) Hepburn was considered by some to be one of the most beautiful women of all time. [184] (#cite_note-190) [185] (#cite_note-191) Remembered as a film and style icon, she was ranked as the third greatest screen legend in American cinema (/wiki/AFI%27s_100_Years...100_Stars) by the American Film Institute (/wiki/American_Film_Institute) . [186] (#cite_note-192) [187] (#cite_note-style-193) [188] (#cite_note-194) [189] (#cite_note-195) Her debut was as a flight stewardess in the 1948 Dutch film Dutch in Seven Lessons (/wiki/Dutch_in_Seven_Lessons) . [48] (#cite_note-FOOTNOTEWoodward201254-51) Hepburn then performed on the British stage as a chorus girl in the musicals High Button Shoes (/wiki/High_Button_Shoes) (1948), and Sauce Tartare (1949). Two years later she made her Broadway (/wiki/Broadway_theatre) debut as the title character in the play Gigi (/wiki/Gigi_(play)) . Hepburn's Hollywood (/wiki/Cinema_of_the_United_States) debut as a runaway princess in William Wyler (/wiki/William_Wyler) 's Roman Holiday (/wiki/Roman_Holiday) (1953) opposite Gregory Peck (/wiki/Gregory_Peck) made her a star. [187] (#cite_note-style-193) [190] (#cite_note-FOOTNOTEWoodward2012139-196) [191] (#cite_note-197) For her performance she received the Academy Award for Best Actress (/wiki/Academy_Award_for_Best_Actress) , the BAFTA Award for Best British Actress (/wiki/BAFTA_Award_for_Best_Actress_in_a_Leading_Role) , and the Golden Globe Award for Best Actress in a Motion Picture – Drama (/wiki/Golden_Globe_Award_for_Best_Actress_in_a_Motion_Picture_%E2%80%93_Drama) . [192] (#cite_note-198) [193] (#cite_note-199) [194] (#cite_note-200) In 1954 she played a chauffeur's daughter caught in a love triangle in Billy Wilder (/wiki/Billy_Wilder) 's romantic comedy Sabrina (/wiki/Sabrina_(1954_film)) opposite Humphrey Bogart (/wiki/Humphrey_Bogart) and William Holden (/wiki/William_Holden) . [195] (#cite_note-FOOTNOTEGitlin2009115-201) [196] (#cite_note-202) In the same year Hepburn garnered the Tony Award for Best Actress in a Play (/wiki/Tony_Award_for_Best_Actress_in_a_Play) for portraying the titular water nymph in the play Ondine (/wiki/Ondine_(play)) . [197] (#cite_note-FOOTNOTEWoodward2012393-203) [198] (#cite_note-FOOTNOTEGitlin2009116-204) Awards and honours [ edit ] Main article: List of awards and honours received by Audrey Hepburn (/wiki/List_of_awards_and_honours_received_by_Audrey_Hepburn) Hepburn received numerous awards and honours during her career. Hepburn won, or was nominated for, awards for her work in motion pictures, television, spoken-word recording, on stage, and humanitarian work. She was five-times nominated for an Academy Award (/wiki/Academy_Award) , and she was awarded the 1953 Academy Award for Best Actress (/wiki/Academy_Award_for_Best_Actress) for her performance in Roman Holiday (/wiki/Roman_Holiday) and the Jean Hersholt Humanitarian Award (/wiki/Jean_Hersholt_Humanitarian_Award) in 1993, posthumously, for her humanitarian work. From five nominations, she won a record three BAFTA Awards (/wiki/Bafta_Award) for Best British Actress in a Leading Role (/wiki/BAFTA_Award_for_Best_Actress_in_a_Leading_Role#Superlatives) , and received a BAFTA Special Award in 1992. [199] (#cite_note-bafta-205) [200] (#cite_note-206) [201] (#cite_note-la_times-207) See also [ edit ] L'Interdit (/wiki/L%27Interdit) List of EGOT winners (/wiki/List_of_EGOT_winners) Sophia (robot) (/wiki/Sophia_(robot)) – A humanoid robot (/wiki/Humanoid_robot) modelled after Audrey Hepburn White floral Givenchy dress of Audrey Hepburn (/wiki/White_floral_Givenchy_dress_of_Audrey_Hepburn) (Academy Awards, 1954) Notes [ edit ] ^ (#cite_ref-3) When asked about her background, Hepburn identified as half-Dutch, [1] (#cite_note-1) as her mother was a Dutch noblewoman. Furthermore, she spent a significant number of her formative years in the Netherlands and was able to speak Dutch fluently. She solely held British nationality since at the time of her birth Dutch women were not permitted to pass on their nationality to their children; the Dutch law did not change in this regard until 1985. [2] (#cite_note-2) Her ancestry is covered in the " Early life (#Early_life) " section. ^ (#cite_ref-18) Spoto writes that Hepburn's maternal great-grandmother's maiden name was Kathleen Hepburn. ^ (#cite_ref-23) Walker writes that it is unclear for what kind of company he worked; he was listed as a "financial adviser" in a Dutch business directory, and the family often traveled among the three countries. ^ (#cite_ref-52) She had been offered the scholarship already in 1945, but had had to decline it due to "some uncertainty regarding her national status". [44] (#cite_note-FOOTNOTEWoodward201252-47) ^ (#cite_ref-99) Overall, about 90% of her singing was dubbed, despite being promised that most of her vocals would be used. Hepburn's voice remains in one line in "I Could Have Danced All Night", in the first verse of "Just You Wait", and in the entirety of its reprise in addition to sing-talking in parts of "The Rain in Spain" in the finished film. When asked about the dubbing of an actress with such distinctive vocal tones, Hepburn frowned and said, "You could tell, couldn't you? And there was Rex (/wiki/Rex_Harrison) , recording all his songs as he acted ... next time —" She bit her lip to prevent her saying more. [84] (#cite_note-archer-88) She later admitted that she would have never accepted the role knowing that Warner intended to have nearly all of her singing dubbed. ^ (#cite_ref-188) This was the highest price paid for a dress from a film, [179] (#cite_note-184) until it was surpassed by the $4.6 million paid in June 2011 for Marilyn Monroe's "subway dress" from The Seven Year Itch (/wiki/The_Seven_Year_Itch) . [180] (#cite_note-185) Of the two dresses that Hepburn wore on screen, one is held in the Givenchy archives while the other is displayed in the Museum of Costume in Madrid. [181] (#cite_note-BBC2-186) A subsequent London auction of Hepburn's film wardrobe in December 2009 raised £270,200, including £60,000 for the black Chantilly lace cocktail gown from How to Steal a Million . [182] (#cite_note-187) References [ edit ] ^ (#cite_ref-1) "Remembering Audrey Hepburn: A look back at the movie icon's life in words and images" (https://us.hola.com/celebrities/2018012219879/audrey-hepburn-biography-facts/) . ¡Hola! (/wiki/%C2%A1Hola!) . 22 January 2018. Archived (https://web.archive.org/web/20210724131030/https://us.hola.com/celebrities/2018012219879/audrey-hepburn-biography-facts/) from the original on 24 July 2021 . Retrieved 12 December 2019 . ^ (#cite_ref-2) de Hart, Betty (10 July 2017). "Loss of Dutch nationality ex lege: EU law, gender and multiple nationality" (http://globalcit.eu/loss-of-dutch-nationality-ex-lege-eu-law-gender-and-multiple-nationality/) . Global Citizenship Observatory . 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Moseley, Rachel (2002). Growing Up with Audrey Hepburn: Text, Audience, Resonance . Manchester University Press (/wiki/Manchester_University_Press) . ISBN (/wiki/ISBN_(identifier)) 978-0-7190-6310-7 . Paris, Barry (/wiki/Barry_Paris) (2001) [1996]. Audrey Hepburn . Berkley Books (/wiki/Berkley_Books) . ISBN (/wiki/ISBN_(identifier)) 978-0-425-18212-3 . Sheridan, Jayne (2010). Fashion, Media, Promotion: The New Black Magic . Wiley-Blackwell (/wiki/Wiley-Blackwell) . ISBN (/wiki/ISBN_(identifier)) 978-1-4051-9421-1 . Spoto, Donald (/wiki/Donald_Spoto) (2006). Enchantment: The Life of Audrey Hepburn . Harmony Books. ISBN (/wiki/ISBN_(identifier)) 978-0-307-23758-3 . Steele, Valerie (/wiki/Valerie_Steele) (2010). The Berg Companion to Fashion . Berg Publishers. ISBN (/wiki/ISBN_(identifier)) 978-1-84788-592-0 . Thurman, Judith (/wiki/Judith_Thurman) (1999). Secrets of the Flesh: A Life of Colette . New York: Alfred A. Knopf (/wiki/Alfred_A._Knopf) . ISBN (/wiki/ISBN_(identifier)) 978-0-3945-8872-8 . Vermilye, Jerry (1995). The Complete Films of Audrey Hepburn . New York: Citadel Press. ISBN (/wiki/ISBN_(identifier)) 0-8065-1598-8 . Walker, Alexander (/wiki/Alexander_Walker_(critic)) (1997) [1994]. Audrey, Her Real Story . London: Macmillan. ISBN (/wiki/ISBN_(identifier)) 0-312-18046-2 . Wilson, Julie (14 March 2011). "A new kind of star is born: Audrey Hepburn and the global governmentalisation of female stardom". Celebrity Studies . 2 (1). Informa UK Limited: 56–68. doi (/wiki/Doi_(identifier)) : 10.1080/19392397.2011.544163 (https://doi.org/10.1080%2F19392397.2011.544163) . ISSN (/wiki/ISSN_(identifier)) 1939-2397 (https://www.worldcat.org/issn/1939-2397) . S2CID (/wiki/S2CID_(identifier)) 144559753 (https://api.semanticscholar.org/CorpusID:144559753) . Woodward, Ian (31 May 2012). Audrey Hepburn: Fair Lady of the Screen . Ebury Publishing. ISBN (/wiki/ISBN_(identifier)) 978-1-4481-3293-5 . Further reading [ edit ] Brizel, Scott (18 November 2009). Audrey Hepburn: International Cover Girl . Chronicle Books. ISBN (/wiki/ISBN_(identifier)) 978-0-8118-6820-4 . Byczynski, Stuart J. (1 January 1998). Audrey Hepburn: A Secret Life . Brunswick Publishing Corporation. ISBN (/wiki/ISBN_(identifier)) 978-1-55618-168-9 . Cheshire, Ellen (19 October 2011). Audrey Hepburn . Perseus Books Group. ISBN (/wiki/ISBN_(identifier)) 978-1-84243-547-2 . Hepburn-Ferrer, Sean (5 April 2005). Audrey Hepburn, An Elegant Spirit . Simon and Schuster. ISBN (/wiki/ISBN_(identifier)) 978-0-671-02479-6 . Hofstede, David (31 August 1994). Audrey Hepburn: a bio-bibliography . Greenwood Press. ISBN (/wiki/ISBN_(identifier)) 9780313289095 . Karney, Robyn (/wiki/Robyn_Karney) (1995). Audrey Hepburn: A Star Danced . Arcade Publishing. ISBN (/wiki/ISBN_(identifier)) 978-1-55970-300-0 . Keogh, Pamela Clarke (2009). Audrey Style . Aurum Press, Limited. ISBN (/wiki/ISBN_(identifier)) 978-1-84513-490-7 . Kidney, Christine (1 February 2010). Audrey Hepburn . Pulteney Press. ISBN (/wiki/ISBN_(identifier)) 978-1-906734-57-2 . Life: Remembering Audrey 15 Years Later . Life Magazine, Time Inc. Home Entertainment. 1 August 2008. ISBN (/wiki/ISBN_(identifier)) 978-1-60320-536-8 . Marsh, June (June 2013). Audrey Hepburn in Hats . Reel Art Press. ISBN (/wiki/ISBN_(identifier)) 978-1-909526-00-6 . Maychick, Diana (1 May 1996). Audrey Hepburn: An Intimate Portrait . Carol Publishing Group. ISBN (/wiki/ISBN_(identifier)) 978-0-8065-8000-5 . Meyer-Stabley, Bertrand (2010). La Véritable Audrey Hepburn (in French). Pygmalion. ISBN (/wiki/ISBN_(identifier)) 978-2-7564-0321-2 . Morley, Sheridan (/wiki/Sheridan_Morley) (1993). Audrey Hepburn: A Celebration . Pavilion Books. ISBN (/wiki/ISBN_(identifier)) 978-1-85793-136-5 . Nirwing, Sandy (26 January 2006). An American in Paris: Audrey Hepburn and the City of Light – A historical analysis of genre cinema & gender roles . GRIN Verlag. ISBN (/wiki/ISBN_(identifier)) 978-3-638-46087-3 . Nourmand, Tony (2006). Audrey Hepburn: The Paramount Years . Boxtree. ISBN (/wiki/ISBN_(identifier)) 978-0-7522-2603-3 . Paris, Barry (/wiki/Barry_Paris) (11 January 2002). Audrey Hepburn . Berkley Pub Group. ISBN (/wiki/ISBN_(identifier)) 978-0-425-18212-3 . Ricci, Stefania (June 1999). Audrey Hepburn: una donna, lo stile (in Italian). Leonardo Arte. ISBN (/wiki/ISBN_(identifier)) 978-88-7813-550-5 . Wasson, Sam (/wiki/Sam_Wasson) (22 June 2010). Fifth Avenue, 5 A.M.: Audrey Hepburn, Breakfast at Tiffany's, and The Dawn of the Modern Woman . HarperCollins. ISBN (/wiki/ISBN_(identifier)) 978-0-06-200013-2 . Willoughby, Bob (/wiki/Bob_Willoughby) (2010). Audrey Hepburn: Photographs 1953-1966 . Taschen. ISBN (/wiki/ISBN_(identifier)) 978-3-8365-1889-5 . Yapp, Nick (20 November 2009). Audrey Hepburn . Endeavour. ISBN (/wiki/ISBN_(identifier)) 9781873913109 . External links [ edit ] Audrey Hepburn at Wikipedia's sister projects Media (https://commons.wikimedia.org/wiki/Audrey_Hepburn) from Commons Quotations (https://en.wikiquote.org/wiki/Audrey_Hepburn) from Wikiquote Data (https://www.wikidata.org/wiki/Q42786) from Wikidata Audrey Hepburn Society (https://web.archive.org/web/20160605075750/https://www.unicefusa.org/supporters/donors/audrey-hepburn-society) (archived) at UNICEF USA (/wiki/U.S._Fund_for_UNICEF) Audrey Hepburn (https://www.imdb.com/name/nm0000030/) at IMDb (/wiki/IMDb_(identifier)) Audrey Hepburn (https://www.rottentomatoes.com/celebrity/audrey_hepburn) at Rotten Tomatoes (/wiki/Rotten_Tomatoes) Audrey Hepburn (https://www.allmovie.com/artist/p31869) at AllMovie (/wiki/AllMovie) Audrey Hepburn (https://www.discogs.com/artist/1130742) discography at Discogs (/wiki/Discogs) Audrey Hepburn (https://www.tcm.com/tcmdb/person/85047%7C16768/wp) at the TCM Movie Database (/wiki/Turner_Classic_Movies) Audrey Hepburn (https://www.ibdb.com/broadway-cast-staff/44925) at the Internet Broadway Database (/wiki/Internet_Broadway_Database) Audrey Hepburn (http://topics.nytimes.com/top/reference/timestopics/people/h/audrey_hepburn/index.html) collected news and commentary at The New York Times (/wiki/The_New_York_Times) Awards for Audrey Hepburn (/wiki/List_of_awards_and_honours_received_by_Audrey_Hepburn) v t e Academy Award for Best Actress (/wiki/Academy_Award_for_Best_Actress) 1928–1950 Janet Gaynor (/wiki/Janet_Gaynor) (1928) Mary Pickford (/wiki/Mary_Pickford) (1929) Norma Shearer (/wiki/Norma_Shearer) (1930) Marie Dressler (/wiki/Marie_Dressler) (1931) Helen Hayes (/wiki/Helen_Hayes) (1932) Katharine Hepburn (/wiki/Katharine_Hepburn) (1933) Claudette Colbert (/wiki/Claudette_Colbert) (1934) Bette Davis (/wiki/Bette_Davis) (1935) Luise Rainer (/wiki/Luise_Rainer) (1936) Luise Rainer (/wiki/Luise_Rainer) (1937) Bette Davis (/wiki/Bette_Davis) (1938) Vivien Leigh (/wiki/Vivien_Leigh) (1939) Ginger Rogers (/wiki/Ginger_Rogers) (1940) Joan Fontaine (/wiki/Joan_Fontaine) (1941) Greer Garson (/wiki/Greer_Garson) (1942) Jennifer Jones (/wiki/Jennifer_Jones) (1943) Ingrid Bergman (/wiki/Ingrid_Bergman) (1944) Joan Crawford (/wiki/Joan_Crawford) (1945) Olivia de Havilland (/wiki/Olivia_de_Havilland) (1946) Loretta Young (/wiki/Loretta_Young) (1947) Jane Wyman (/wiki/Jane_Wyman) (1948) Olivia de Havilland (/wiki/Olivia_de_Havilland) (1949) Judy Holliday (/wiki/Judy_Holliday) (1950) 1951–1975 Vivien Leigh (/wiki/Vivien_Leigh) (1951) Shirley Booth (/wiki/Shirley_Booth) (1952) Audrey Hepburn (1953) Grace Kelly (/wiki/Grace_Kelly) (1954) Anna Magnani (/wiki/Anna_Magnani) (1955) Ingrid Bergman (/wiki/Ingrid_Bergman) (1956) Joanne Woodward (/wiki/Joanne_Woodward) (1957) Susan Hayward (/wiki/Susan_Hayward) (1958) Simone Signoret (/wiki/Simone_Signoret) (1959) Elizabeth Taylor (/wiki/Elizabeth_Taylor) (1960) Sophia Loren (/wiki/Sophia_Loren) (1961) Anne Bancroft (/wiki/Anne_Bancroft) (1962) Patricia Neal (/wiki/Patricia_Neal) (1963) Julie Andrews (/wiki/Julie_Andrews) (1964) Julie Christie (/wiki/Julie_Christie) (1965) Elizabeth Taylor (/wiki/Elizabeth_Taylor) (1966) Katharine Hepburn (/wiki/Katharine_Hepburn) (1967) Katharine Hepburn (/wiki/Katharine_Hepburn) / Barbra Streisand (/wiki/Barbra_Streisand) (1968) Maggie Smith (/wiki/Maggie_Smith) (1969) Glenda Jackson (/wiki/Glenda_Jackson) (1970) Jane Fonda (/wiki/Jane_Fonda) (1971) Liza Minnelli (/wiki/Liza_Minnelli) (1972) Glenda Jackson (/wiki/Glenda_Jackson) (1973) Ellen Burstyn (/wiki/Ellen_Burstyn) (1974) Louise Fletcher (/wiki/Louise_Fletcher) (1975) 1976–2000 Faye Dunaway (/wiki/Faye_Dunaway) (1976) Diane Keaton (/wiki/Diane_Keaton) (1977) Jane Fonda (/wiki/Jane_Fonda) (1978) Sally Field (/wiki/Sally_Field) (1979) Sissy Spacek (/wiki/Sissy_Spacek) (1980) Katharine Hepburn (/wiki/Katharine_Hepburn) (1981) Meryl Streep (/wiki/Meryl_Streep) (1982) Shirley MacLaine (/wiki/Shirley_MacLaine) (1983) Sally Field (/wiki/Sally_Field) (1984) Geraldine Page (/wiki/Geraldine_Page) (1985) Marlee Matlin (/wiki/Marlee_Matlin) (1986) Cher (/wiki/Cher) (1987) Jodie Foster (/wiki/Jodie_Foster) (1988) Jessica Tandy (/wiki/Jessica_Tandy) (1989) Kathy Bates (/wiki/Kathy_Bates) (1990) Jodie Foster (/wiki/Jodie_Foster) (1991) Emma Thompson (/wiki/Emma_Thompson) (1992) Holly Hunter (/wiki/Holly_Hunter) (1993) Jessica Lange (/wiki/Jessica_Lange) (1994) Susan Sarandon (/wiki/Susan_Sarandon) (1995) Frances McDormand (/wiki/Frances_McDormand) (1996) Helen Hunt (/wiki/Helen_Hunt) (1997) Gwyneth Paltrow (/wiki/Gwyneth_Paltrow) (1998) Hilary Swank (/wiki/Hilary_Swank) (1999) Julia Roberts (/wiki/Julia_Roberts) (2000) 2001–present Halle Berry (/wiki/Halle_Berry) (2001) Nicole Kidman (/wiki/Nicole_Kidman) (2002) Charlize Theron (/wiki/Charlize_Theron) (2003) Hilary Swank (/wiki/Hilary_Swank) (2004) Reese Witherspoon (/wiki/Reese_Witherspoon) (2005) Helen Mirren (/wiki/Helen_Mirren) (2006) Marion Cotillard 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(/wiki/Katie_Johnson_(English_actress)) (1955) Virginia McKenna (/wiki/Virginia_McKenna) (1956) Heather Sears (/wiki/Heather_Sears) (1957) Irene Worth (/wiki/Irene_Worth) (1958) Audrey Hepburn (1959) Rachel Roberts (/wiki/Rachel_Roberts_(actress)) (1960) Dora Bryan (/wiki/Dora_Bryan) (1961) Leslie Caron (/wiki/Leslie_Caron) (1962) Rachel Roberts (/wiki/Rachel_Roberts_(actress)) (1963) Audrey Hepburn (1964) Julie Christie (/wiki/Julie_Christie) (1965) Elizabeth Taylor (/wiki/Elizabeth_Taylor) (1966) Edith Evans (/wiki/Edith_Evans) (1967) Foreign Simone Signoret (/wiki/Simone_Signoret) (1952) Leslie Caron (/wiki/Leslie_Caron) (1953) Cornell Borchers (/wiki/Cornell_Borchers) (1954) Betsy Blair (/wiki/Betsy_Blair) (1955) Anna Magnani (/wiki/Anna_Magnani) (1956) Simone Signoret (/wiki/Simone_Signoret) (1957) Simone Signoret (/wiki/Simone_Signoret) (1958) Shirley MacLaine (/wiki/Shirley_MacLaine) (1959) Shirley MacLaine (/wiki/Shirley_MacLaine) (1960) Sophia Loren (/wiki/Sophia_Loren) (1961) 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(/wiki/Eddie_Murphy) (2023) No Award (2024) v t e David di Donatello Award for Best Foreign Actress (/wiki/David_di_Donatello_for_Best_Foreign_Actress) Ingrid Bergman (/wiki/Ingrid_Bergman) (1957) Deborah Kerr (/wiki/Deborah_Kerr) (1959) Audrey Hepburn (1960) Brigitte Bardot (/wiki/Brigitte_Bardot) (1961) Audrey Hepburn (1962) Geraldine Page (/wiki/Geraldine_Page) (1963) Shirley MacLaine (/wiki/Shirley_MacLaine) (1964) Audrey Hepburn (1965) Julie Andrews (/wiki/Julie_Andrews) (1966) Julie Christie (/wiki/Julie_Christie) / Elizabeth Taylor (/wiki/Elizabeth_Taylor) (1967) Faye Dunaway (/wiki/Faye_Dunaway) / Katharine Hepburn (/wiki/Katharine_Hepburn) (1968) Mia Farrow (/wiki/Mia_Farrow) / Barbra Streisand (/wiki/Barbra_Streisand) (1969) Liza Minnelli (/wiki/Liza_Minnelli) (1970) Ali MacGraw (/wiki/Ali_MacGraw) (1971) Elizabeth Taylor (/wiki/Elizabeth_Taylor) (1972) Liza Minnelli (/wiki/Liza_Minnelli) (1973) Barbra Streisand (/wiki/Barbra_Streisand) / Tatum O'Neal (/wiki/Tatum_O%27Neal) 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(1987) Yves Montand (/wiki/Yves_Montand) (1988) Bette Davis (/wiki/Bette_Davis) (1989) James Stewart (/wiki/James_Stewart) (1990) Audrey Hepburn (1991) Gregory Peck (/wiki/Gregory_Peck) (1992) Jack Lemmon (/wiki/Jack_Lemmon) (1993) Robert Altman (/wiki/Robert_Altman) (1994) Shirley MacLaine (/wiki/Shirley_MacLaine) (1995) Clint Eastwood (/wiki/Clint_Eastwood) (1996) Sean Connery (/wiki/Sean_Connery) (1997) Martin Scorsese (/wiki/Martin_Scorsese) (1998) Mike Nichols (/wiki/Mike_Nichols) (1999) Al Pacino (/wiki/Al_Pacino) (2000) Jane Fonda (/wiki/Jane_Fonda) (2001) Francis Ford Coppola (/wiki/Francis_Ford_Coppola) (2002) Susan Sarandon (/wiki/Susan_Sarandon) (2003) Michael Caine (/wiki/Michael_Caine) (2004) Dustin Hoffman (/wiki/Dustin_Hoffman) (2005) Jessica Lange (/wiki/Jessica_Lange) (2006) Diane Keaton (/wiki/Diane_Keaton) (2007) Meryl Streep (/wiki/Meryl_Streep) (2008) Tom Hanks (/wiki/Tom_Hanks) (2009) Michael Douglas (/wiki/Michael_Douglas) (2010) Sidney Poitier (/wiki/Sidney_Poitier) (2011) Catherine Deneuve (/wiki/Catherine_Deneuve) (2012) Barbra Streisand (/wiki/Barbra_Streisand) (2013) Rob Reiner (/wiki/Rob_Reiner) (2014) Robert Redford (/wiki/Robert_Redford) (2015) Morgan Freeman (/wiki/Morgan_Freeman) (2016) Robert De Niro (/wiki/Robert_De_Niro) (2017) Helen Mirren (/wiki/Helen_Mirren) (2018) Spike Lee (/wiki/Spike_Lee) (2020) Cate Blanchett (/wiki/Cate_Blanchett) (2022) Viola Davis (/wiki/Viola_Davis) (2023) Jeff Bridges (/wiki/Jeff_Bridges) (2024) v t e Golden Globe Award for Best Actress in a Motion Picture – Drama (/wiki/Golden_Globe_Award_for_Best_Actress_in_a_Motion_Picture_%E2%80%93_Drama) 1943–1975 Jennifer Jones (/wiki/Jennifer_Jones) (1943) Ingrid Bergman (/wiki/Ingrid_Bergman) (1944) Ingrid Bergman (/wiki/Ingrid_Bergman) (1945) Rosalind Russell (/wiki/Rosalind_Russell) (1946) Rosalind Russell (/wiki/Rosalind_Russell) (1947) Jane Wyman (/wiki/Jane_Wyman) (1948) Olivia de Havilland (/wiki/Olivia_de_Havilland) (1949) Gloria Swanson (/wiki/Gloria_Swanson) (1950) Jane Wyman (/wiki/Jane_Wyman) (1951) Shirley Booth (/wiki/Shirley_Booth) (1952) Audrey Hepburn (1953) Grace Kelly (/wiki/Grace_Kelly) (1954) Anna Magnani (/wiki/Anna_Magnani) (1955) Ingrid Bergman (/wiki/Ingrid_Bergman) (1956) Joanne Woodward (/wiki/Joanne_Woodward) (1957) Susan Hayward (/wiki/Susan_Hayward) (1958) Elizabeth Taylor (/wiki/Elizabeth_Taylor) (1959) Greer Garson (/wiki/Greer_Garson) (1960) Geraldine Page (/wiki/Geraldine_Page) (1961) Geraldine Page (/wiki/Geraldine_Page) (1962) Leslie Caron (/wiki/Leslie_Caron) (1963) Anne Bancroft (/wiki/Anne_Bancroft) (1964) Samantha Eggar (/wiki/Samantha_Eggar) (1965) Anouk Aimée (/wiki/Anouk_Aim%C3%A9e) (1966) Edith Evans (/wiki/Edith_Evans) (1967) Joanne Woodward (/wiki/Joanne_Woodward) (1968) Geneviève Bujold (/wiki/Genevi%C3%A8ve_Bujold) (1969) Ali MacGraw (/wiki/Ali_MacGraw) (1970) Jane Fonda (/wiki/Jane_Fonda) (1971) Liv Ullmann (/wiki/Liv_Ullmann) (1972) Marsha Mason (/wiki/Marsha_Mason) (1973) Gena Rowlands (/wiki/Gena_Rowlands) (1974) Louise Fletcher (/wiki/Louise_Fletcher) (1975) 1976–2000 Faye Dunaway (/wiki/Faye_Dunaway) (1976) Jane Fonda (/wiki/Jane_Fonda) (1977) Jane Fonda (/wiki/Jane_Fonda) (1978) Sally Field (/wiki/Sally_Field) (1979) Mary Tyler Moore (/wiki/Mary_Tyler_Moore) (1980) Meryl Streep (/wiki/Meryl_Streep) (1981) Meryl Streep (/wiki/Meryl_Streep) (1982) Shirley MacLaine (/wiki/Shirley_MacLaine) (1983) Sally Field (/wiki/Sally_Field) (1984) Whoopi Goldberg (/wiki/Whoopi_Goldberg) (1985) Marlee Matlin (/wiki/Marlee_Matlin) (1986) Sally Kirkland (/wiki/Sally_Kirkland) (1987) Jodie Foster (/wiki/Jodie_Foster) / Shirley MacLaine (/wiki/Shirley_MacLaine) / Sigourney Weaver (/wiki/Sigourney_Weaver) (1988) Michelle Pfeiffer (/wiki/Michelle_Pfeiffer) (1989) Kathy Bates (/wiki/Kathy_Bates) (1990) Jodie Foster (/wiki/Jodie_Foster) (1991) Emma Thompson (/wiki/Emma_Thompson) (1992) Holly Hunter (/wiki/Holly_Hunter) (1993) Jessica Lange (/wiki/Jessica_Lange) (1994) Sharon Stone (/wiki/Sharon_Stone) (1995) Brenda Blethyn (/wiki/Brenda_Blethyn) (1996) Judi Dench (/wiki/Judi_Dench) (1997) Cate Blanchett (/wiki/Cate_Blanchett) (1998) Hilary Swank (/wiki/Hilary_Swank) (1999) Julia Roberts (/wiki/Julia_Roberts) (2000) 2001–present Sissy Spacek (/wiki/Sissy_Spacek) (2001) Nicole Kidman (/wiki/Nicole_Kidman) (2002) Charlize Theron (/wiki/Charlize_Theron) (2003) Hilary Swank (/wiki/Hilary_Swank) (2004) Felicity Huffman (/wiki/Felicity_Huffman) (2005) Helen Mirren (/wiki/Helen_Mirren) (2006) Julie Christie (/wiki/Julie_Christie) (2007) Kate Winslet (/wiki/Kate_Winslet) (2008) Sandra Bullock (/wiki/Sandra_Bullock) (2009) Natalie Portman (/wiki/Natalie_Portman) (2010) Meryl Streep (/wiki/Meryl_Streep) (2011) Jessica Chastain (/wiki/Jessica_Chastain) (2012) Cate Blanchett (/wiki/Cate_Blanchett) (2013) Julianne Moore (/wiki/Julianne_Moore) (2014) Brie Larson (/wiki/Brie_Larson) (2015) Isabelle Huppert (/wiki/Isabelle_Huppert) (2016) Frances McDormand (/wiki/Frances_McDormand) (2017) Glenn Close (/wiki/Glenn_Close) (2018) Renée Zellweger (/wiki/Ren%C3%A9e_Zellweger) (2019) Andra Day (/wiki/Andra_Day) (2020) Nicole Kidman (/wiki/Nicole_Kidman) (2021) Cate Blanchett (/wiki/Cate_Blanchett) (2022) Lily Gladstone (/wiki/Lily_Gladstone) (2023) v t e Grammy Award for Best Spoken Word Album for Children (/wiki/Grammy_Award_for_Best_Spoken_Word_Album_for_Children) 1993–2000 Audrey Hepburn's Enchanted Tales (/wiki/Audrey_Hepburn%27s_Enchanted_Tales) – Audrey Hepburn (1993) The Lion King Read-Along (/wiki/The_Lion_King) – Robert Guillaume (/wiki/Robert_Guillaume) & Various Artists (1994) Prokofiev: Peter and the Wolf (/wiki/Peter_and_the_Wolf) – Patrick Stewart (/wiki/Patrick_Stewart) (1995) Stellaluna (/wiki/Stellaluna) – David Holt (/wiki/David_Holt_(musician)) (1996) Winnie-the-Pooh (/wiki/Winnie-the-Pooh_(book)) – Charles Kuralt (/wiki/Charles_Kuralt) (1997) The Children's Shakespeare – Various Artists (1998) Listen to the Storyteller – Graham Greene (/wiki/Graham_Greene_(actor)) , Wynton Marsalis (/wiki/Wynton_Marsalis) , and Kate Winslet (/wiki/Kate_Winslet) (1999) Harry Potter and the Goblet of Fire (/wiki/Harry_Potter_and_the_Goblet_of_Fire) – Jim Dale (/wiki/Jim_Dale) (2000) 2001–2010 Mama Don't Allow – Tom Chapin (/wiki/Tom_Chapin) (2001) There Was an Old Lady Who Swallowed a Fly (/wiki/There_Was_an_Old_Lady_Who_Swallowed_a_Fly) – Tom Chapin (/wiki/Tom_Chapin) (2002) Prokofiev: Peter and the Wolf/Beintus: Wolf Tracks (/wiki/Wolf_Tracks_and_Peter_and_the_Wolf) – Bill Clinton (/wiki/Bill_Clinton) , Mikhail Gorbachev (/wiki/Mikhail_Gorbachev) , and Sophia Loren (/wiki/Sophia_Loren) (2003) The Train They Call the City of New Orleans – Tom Chapin (/wiki/Tom_Chapin) (2004) Marlo Thomas and Friends: Thanks & Giving All Year Long (/wiki/Marlo_Thomas_and_Friends:_Thanks_%26_Giving_All_Year_Long) – Marlo Thomas (/wiki/Marlo_Thomas) & Various Artists (2005) Blah Blah Blah: Stories About Clams, Swamp Monsters, Pirates and Dogs – Bill Harley (/wiki/Bill_Harley) (2006) Harry Potter and the Deathly Hallows (/wiki/Harry_Potter_and_the_Deathly_Hallows) – Jim Dale (/wiki/Jim_Dale) (2007) Yes to Running! Bill Harley Live – Bill Harley (/wiki/Bill_Harley) (2008) Aaaaah! Spooky, Scary Stories & Songs – Buck Howdy (/wiki/Steve_Vaus) (2009) Julie Andrews' Collection of Poems, Songs, and Lullabies – Julie Andrews (/wiki/Julie_Andrews) and Emma Walton Hamilton (/wiki/Emma_Walton_Hamilton) (2010) In 2011, the category was merged back into Best Children's Album (/wiki/Grammy_Award_for_Best_Children%27s_Album) . v t e Jean Hersholt Humanitarian Award (/wiki/Jean_Hersholt_Humanitarian_Award) 1956–2009 Y. Frank Freeman (/wiki/Y._Frank_Freeman) (1956) Samuel Goldwyn (/wiki/Samuel_Goldwyn) (1957) Bob Hope (/wiki/Bob_Hope) (1959) Sol Lesser (/wiki/Sol_Lesser) (1960) George Seaton (/wiki/George_Seaton) (1961) Steve Broidy (/wiki/Steve_Broidy) (1962) Edmond L. DePatie (/wiki/Edmond_L._DePatie) (1965) George Bagnall (1966) Gregory Peck (/wiki/Gregory_Peck) (1967) Martha Raye (/wiki/Martha_Raye) (1968) George Jessel (/wiki/George_Jessel_(actor)) (1969) Frank Sinatra (/wiki/Frank_Sinatra) (1970) Rosalind Russell (/wiki/Rosalind_Russell) (1972) Lew Wasserman (/wiki/Lew_Wasserman) (1973) Arthur B. Krim (/wiki/Arthur_B._Krim) (1974) Jules C. Stein (/wiki/Jules_C._Stein) (1975) Charlton Heston (/wiki/Charlton_Heston) (1977) Leo Jaffe (/wiki/Leo_Jaffe) (1978) Robert Benjamin (/wiki/Robert_Benjamin) (1979) Danny Kaye (/wiki/Danny_Kaye) (1981) Walter Mirisch (/wiki/Walter_Mirisch) (1982) M. J. Frankovich (/wiki/M._J._Frankovich) (1983) David L. Wolper (/wiki/David_L._Wolper) (1984) Charles "Buddy" Rogers (/wiki/Charles_%22Buddy%22_Rogers) (1985) Howard W. Koch (/wiki/Howard_W._Koch) (1989) Audrey Hepburn / Elizabeth Taylor (/wiki/Elizabeth_Taylor) (1992) Paul Newman (/wiki/Paul_Newman) (1993) Quincy Jones (/wiki/Quincy_Jones) (1994) Arthur Hiller (/wiki/Arthur_Hiller) (2001) Roger Mayer (/wiki/Roger_Mayer_(executive)) (2005) Sherry Lansing (/wiki/Sherry_Lansing) (2007) Jerry Lewis (/wiki/Jerry_Lewis) (2009) 2011–present Oprah Winfrey (/wiki/Oprah_Winfrey) (2011) Jeffrey Katzenberg (/wiki/Jeffrey_Katzenberg) (2012) Angelina Jolie (/wiki/Angelina_Jolie) (2013) Harry Belafonte (/wiki/Harry_Belafonte) (2014) Debbie Reynolds (/wiki/Debbie_Reynolds) (2015) Geena Davis (/wiki/Geena_Davis) (2019) Tyler Perry (/wiki/Tyler_Perry) / Motion Picture & Television Fund (/wiki/Motion_Picture_%26_Television_Fund) (2020) Danny Glover (/wiki/Danny_Glover) (2021) Michael J. Fox (/wiki/Michael_J._Fox) (2022) Michelle Satter (/wiki/Michelle_Satter) (2023) Richard Curtis (/wiki/Richard_Curtis) (2024) v t e New York Film Critics Circle Award for Best Actress (/wiki/New_York_Film_Critics_Circle_Award_for_Best_Actress) 1935–1950 Greta Garbo (/wiki/Greta_Garbo) (1935) Luise Rainer (/wiki/Luise_Rainer) (1936) Greta Garbo (/wiki/Greta_Garbo) (1937) Margaret Sullavan (/wiki/Margaret_Sullavan) (1938) Vivien Leigh (/wiki/Vivien_Leigh) (1939) Katharine Hepburn (/wiki/Katharine_Hepburn) (1940) Joan Fontaine (/wiki/Joan_Fontaine) (1941) Agnes Moorehead (/wiki/Agnes_Moorehead) (1942) Ida Lupino (/wiki/Ida_Lupino) (1943) Tallulah Bankhead (/wiki/Tallulah_Bankhead) (1944) Ingrid Bergman (/wiki/Ingrid_Bergman) (1945) Celia Johnson (/wiki/Celia_Johnson) (1946) Deborah Kerr (/wiki/Deborah_Kerr) (1947) Olivia de Havilland (/wiki/Olivia_de_Havilland) (1948) Olivia de Havilland (/wiki/Olivia_de_Havilland) (1949) Bette Davis (/wiki/Bette_Davis) (1950) 1951–1975 Vivien Leigh (/wiki/Vivien_Leigh) (1951) Shirley Booth (/wiki/Shirley_Booth) (1952) Audrey Hepburn (1953) Grace Kelly (/wiki/Grace_Kelly) (1954) Anna Magnani (/wiki/Anna_Magnani) (1955) Ingrid Bergman (/wiki/Ingrid_Bergman) (1956) Deborah Kerr (/wiki/Deborah_Kerr) (1957) Susan Hayward (/wiki/Susan_Hayward) (1958) Audrey Hepburn (1959) Deborah Kerr (/wiki/Deborah_Kerr) (1960) Sophia Loren (/wiki/Sophia_Loren) (1961) No Award (1962) Patricia Neal (/wiki/Patricia_Neal) (1963) Kim Stanley (/wiki/Kim_Stanley) (1964) Julie Christie (/wiki/Julie_Christie) (1965) Lynn Redgrave (/wiki/Lynn_Redgrave) / Elizabeth Taylor (/wiki/Elizabeth_Taylor) (1966) Edith Evans (/wiki/Edith_Evans) (1967) Joanne Woodward (/wiki/Joanne_Woodward) (1968) Jane Fonda (/wiki/Jane_Fonda) (1969) Glenda Jackson (/wiki/Glenda_Jackson) (1970) Jane Fonda (/wiki/Jane_Fonda) (1971) Liv Ullmann (/wiki/Liv_Ullmann) (1972) Joanne Woodward (/wiki/Joanne_Woodward) (1973) Liv Ullmann (/wiki/Liv_Ullmann) (1974) Isabelle Adjani (/wiki/Isabelle_Adjani) (1975) 1976–2000 Liv Ullmann (/wiki/Liv_Ullmann) (1976) Diane Keaton (/wiki/Diane_Keaton) (1977) Ingrid Bergman (/wiki/Ingrid_Bergman) (1978) Sally Field (/wiki/Sally_Field) (1979) Sissy Spacek (/wiki/Sissy_Spacek) (1980) Glenda Jackson (/wiki/Glenda_Jackson) (1981) Meryl Streep (/wiki/Meryl_Streep) (1982) Shirley MacLaine (/wiki/Shirley_MacLaine) (1983) Peggy Ashcroft (/wiki/Peggy_Ashcroft) (1984) Norma Aleandro (/wiki/Norma_Aleandro) (1985) Sissy Spacek (/wiki/Sissy_Spacek) (1986) Holly Hunter (/wiki/Holly_Hunter) (1987) Meryl Streep (/wiki/Meryl_Streep) (1988) Michelle Pfeiffer (/wiki/Michelle_Pfeiffer) (1989) Joanne Woodward (/wiki/Joanne_Woodward) (1990) Jodie Foster (/wiki/Jodie_Foster) (1991) Emma Thompson (/wiki/Emma_Thompson) (1992) Holly Hunter (/wiki/Holly_Hunter) (1993) Linda Fiorentino (/wiki/Linda_Fiorentino) (1994) Jennifer Jason Leigh (/wiki/Jennifer_Jason_Leigh) (1995) Emily Watson (/wiki/Emily_Watson) (1996) Julie Christie (/wiki/Julie_Christie) (1997) Cameron Diaz (/wiki/Cameron_Diaz) (1998) Hilary Swank (/wiki/Hilary_Swank) (1999) Laura Linney (/wiki/Laura_Linney) (2000) 2001–present Sissy Spacek (/wiki/Sissy_Spacek) (2001) Diane Lane (/wiki/Diane_Lane) (2002) Hope Davis (/wiki/Hope_Davis) (2003) Imelda Staunton (/wiki/Imelda_Staunton) (2004) Reese Witherspoon (/wiki/Reese_Witherspoon) (2005) Helen Mirren (/wiki/Helen_Mirren) (2006) Julie Christie (/wiki/Julie_Christie) (2007) Sally Hawkins (/wiki/Sally_Hawkins) (2008) Meryl Streep (/wiki/Meryl_Streep) (2009) Annette Bening (/wiki/Annette_Bening) (2010) Meryl Streep (/wiki/Meryl_Streep) (2011) Rachel Weisz (/wiki/Rachel_Weisz) (2012) Cate Blanchett (/wiki/Cate_Blanchett) (2013) Marion Cotillard (/wiki/Marion_Cotillard) (2014) Saoirse Ronan (/wiki/Saoirse_Ronan) (2015) Isabelle Huppert (/wiki/Isabelle_Huppert) (2016) Saoirse Ronan (/wiki/Saoirse_Ronan) (2017) Regina Hall (/wiki/Regina_Hall) (2018) Lupita Nyong'o (/wiki/Lupita_Nyong%27o) (2019) Sidney Flanigan (/wiki/Sidney_Flanigan) (2020) Lady Gaga (/wiki/Lady_Gaga) (2021) Cate Blanchett (/wiki/Cate_Blanchett) (2022) Lily Gladstone (/wiki/Lily_Gladstone) (2023) v t e Screen Actors Guild Life Achievement Award (/wiki/Screen_Actors_Guild_Life_Achievement_Award) Eddie Cantor (/wiki/Eddie_Cantor) (1962) Stan Laurel (/wiki/Stan_Laurel) (1963) No Award (1964) Bob Hope (/wiki/Bob_Hope) (1965) Barbara Stanwyck (/wiki/Barbara_Stanwyck) (1966) William Gargan (/wiki/William_Gargan) (1967) James Stewart (/wiki/James_Stewart) (1968) Edward G. Robinson (/wiki/Edward_G._Robinson) (1969) Gregory Peck (/wiki/Gregory_Peck) (1970) Charlton Heston (/wiki/Charlton_Heston) (1971) Frank Sinatra (/wiki/Frank_Sinatra) (1972) Martha Raye (/wiki/Martha_Raye) (1973) Walter Pidgeon (/wiki/Walter_Pidgeon) (1974) Rosalind Russell (/wiki/Rosalind_Russell) (1975) Pearl Bailey (/wiki/Pearl_Bailey) (1976) James Cagney (/wiki/James_Cagney) (1977) Edgar Bergen (/wiki/Edgar_Bergen) (1978) Katharine Hepburn (/wiki/Katharine_Hepburn) (1979) Leon Ames (/wiki/Leon_Ames) (1980) No Award (1981) Danny Kaye (/wiki/Danny_Kaye) (1982) Ralph Bellamy (/wiki/Ralph_Bellamy) (1983) Iggie Wolfington (/wiki/Iggie_Wolfington) (1984) Paul Newman (/wiki/Paul_Newman) and Joanne Woodward (/wiki/Joanne_Woodward) (1985) Nanette Fabray (/wiki/Nanette_Fabray) (1986) Red Skelton (/wiki/Red_Skelton) (1987) Gene Kelly (/wiki/Gene_Kelly) (1988) Jack Lemmon (/wiki/Jack_Lemmon) (1989) Brock Peters (/wiki/Brock_Peters) (1990) Burt Lancaster (/wiki/Burt_Lancaster) (1991) Audrey Hepburn (1992) Ricardo Montalban (/wiki/Ricardo_Montalban) (1993) George Burns (/wiki/George_Burns) (1994) Robert Redford (/wiki/Robert_Redford) (1995) Angela Lansbury (/wiki/Angela_Lansbury) (1996) Elizabeth Taylor (/wiki/Elizabeth_Taylor) (1997) Kirk Douglas (/wiki/Kirk_Douglas) (1998) Sidney Poitier (/wiki/Sidney_Poitier) (1999) Ossie Davis (/wiki/Ossie_Davis) and Ruby Dee (/wiki/Ruby_Dee) (2000) Ed Asner (/wiki/Ed_Asner) (2001) Clint Eastwood (/wiki/Clint_Eastwood) (2002) Karl Malden (/wiki/Karl_Malden) (2003) James Garner (/wiki/James_Garner) (2004) Shirley Temple (/wiki/Shirley_Temple) (2005) Julie Andrews (/wiki/Julie_Andrews) (2006) Charles Durning (/wiki/Charles_Durning) (2007) James Earl Jones (/wiki/James_Earl_Jones) (2008) Betty White (/wiki/Betty_White) (2009) Ernest Borgnine (/wiki/Ernest_Borgnine) (2010) Mary Tyler Moore (/wiki/Mary_Tyler_Moore) (2011) Dick Van Dyke (/wiki/Dick_Van_Dyke) (2012) Rita Moreno (/wiki/Rita_Moreno) (2013) Debbie Reynolds (/wiki/Debbie_Reynolds) (2014) Carol Burnett (/wiki/Carol_Burnett) (2015) Lily Tomlin (/wiki/Lily_Tomlin) (2016) Morgan Freeman (/wiki/Morgan_Freeman) (2017) Alan Alda (/wiki/Alan_Alda) (2018) Robert De Niro (/wiki/Robert_De_Niro) (2019) No Award (2020) Helen Mirren (/wiki/Helen_Mirren) (2021) Sally Field (/wiki/Sally_Field) (2022) Barbra Streisand (/wiki/Barbra_Streisand) (2023) v t e Silver Shell for Best Actress (/wiki/Silver_Shell_for_Best_Actress) Julita Martínez (/wiki/Julia_Mart%C3%ADnez) (1953) Marisa de Leza (/wiki/Marisa_de_Leza) (1954) No Award (1955) Luisa Della Noce (/wiki/Luisa_Della_Noce) (1956) Giulietta Masina (/wiki/Giulietta_Masina) (1957) Jacqueline Sassard (/wiki/Jacqueline_Sassard) (1958) Audrey Hepburn (1959) Joanne Woodward (/wiki/Joanne_Woodward) (1960) Pina Pellicer (/wiki/Pina_Pellicer) (1961) Anne Bancroft (/wiki/Anne_Bancroft) (1962) Lee Remick (/wiki/Lee_Remick) (1963) Ava Gardner (/wiki/Ava_Gardner) (1964) Lilli Palmer (/wiki/Lilli_Palmer) (1965) Evangelina Salazar (/wiki/Evangelina_Salazar) (1966) Serena Vergano (/wiki/Serena_Vergano) (1967) Monica Vitti (/wiki/Monica_Vitti) (1968) Stefania Sandrelli (/wiki/Stefania_Sandrelli) / Ludmila Tchoursina (1969) Stéphane Audran (/wiki/St%C3%A9phane_Audran) (1970) Graciela Borges (/wiki/Graciela_Borges) (1971) Mia Farrow (/wiki/Mia_Farrow) (1972) Françoise Fabian (/wiki/Fran%C3%A7oise_Fabian) / Glenda Jackson (/wiki/Glenda_Jackson) (1973) Sophia Loren (/wiki/Sophia_Loren) (1974) Gena Rowlands (/wiki/Gena_Rowlands) (1975) Helen Morse (/wiki/Helen_Morse) (1976) Katherine Hunter (/wiki/Kaki_Hunter) (1977) Carol Burnett (/wiki/Carol_Burnett) (1978) Laura Betti (/wiki/Laura_Betti) (1979) No Award (1980–1984) Mercedes Sampietro (/wiki/Mercedes_Sampietro) (1985) Ángela Molina (/wiki/%C3%81ngela_Molina) (1986) Victoria Abril (/wiki/Victoria_Abril) (1987) Cipe Lincovski (/wiki/Cipe_Lincovsky) / Liv Ullmann (/wiki/Liv_Ullmann) (1988) Mirjana Joković (/wiki/Mirjana_Jokovi%C4%87) (1989) Margherita Buy (/wiki/Margherita_Buy) (1990) Deborra-Lee Furness (/wiki/Deborra-Lee_Furness) / Noni Hazlehurst (/wiki/Noni_Hazlehurst) / Helen Jones / Fiona Press (1991) Krystyna Janda (/wiki/Krystyna_Janda) (1992) Niki Karimi (/wiki/Niki_Karimi) (1993) Ning Jing (/wiki/Ning_Jing) (1994) Victoria Abril (/wiki/Victoria_Abril) (1995) Norma Aleandro (/wiki/Norma_Aleandro) (1996) Julie Christie (/wiki/Julie_Christie) (1997) Jeanne Balibar (/wiki/Jeanne_Balibar) (1998) Aitana Sánchez-Gijón (/wiki/Aitana_S%C3%A1nchez-Gij%C3%B3n) (1999) Carmen Maura (/wiki/Carmen_Maura) (2000) Pilar López de Ayala (/wiki/Pilar_L%C3%B3pez_de_Ayala) (2001) Mercedes Sampietro (/wiki/Mercedes_Sampietro) (2002) Laia Marull (/wiki/Laia_Marull) (2003) Connie Nielsen (/wiki/Connie_Nielsen) (2004) Aňa Geislerová (/wiki/Anna_Geislerov%C3%A1) (2005) Nathalie Baye (/wiki/Nathalie_Baye) (2006) Blanca Portillo (/wiki/Blanca_Portillo) (2007) Tsilla Chelton (/wiki/Tsilla_Chelton) / Melissa Leo (/wiki/Melissa_Leo) (2008) Lola Dueñas (/wiki/Lola_Due%C3%B1as) (2009) Nora Navas (/wiki/Nora_Navas) (2010) María León (/wiki/Mar%C3%ADa_Le%C3%B3n_(actress)) (2011) Katie Coseni / Macarena García (/wiki/Macarena_Garc%C3%ADa) (2012) Marian Álvarez (/wiki/Marian_%C3%81lvarez) (2013) Paprika Steen (/wiki/Paprika_Steen) (2014) Yordanka Ariosa (2015) Fan Bingbing (/wiki/Fan_Bingbing) (2016) Sofía Gala Castiglione (/wiki/Sof%C3%ADa_Gala) (2017) PiaTjelta (/wiki/Pia_Tjelta) (2018) Greta Fernández (/wiki/Greta_Fern%C3%A1ndez) / Nina Hoss (/wiki/Nina_Hoss) (2019) Ia Sukhitashvili (/wiki/Ia_Sukhitashvili) (2020) v t e Special Tony Award (/wiki/Special_Tony_Award) 1947–1975 Dora Chamberlain (/wiki/Dora_Chamberlain) / Ira and Rita Katzenberg / Jules Leventhal (/wiki/Jules_Leventhal) / Burns Mantle (/wiki/Burns_Mantle) / P. A. MacDonald / Vincent Sardi Sr. (/wiki/Vincent_Sardi_Sr.) (1947) Vera Allen / Paul Beisman (/wiki/Paul_Beisman) / Joe E. Brown (/wiki/Joe_E._Brown) / Cast of The Importance of Being Earnest (/wiki/The_Importance_of_Being_Earnest) / Robert W. Dowling (/wiki/Robert_W._Dowling) / Experimental Theatre Inc. / Rosalind Gilder / June Lockhart (/wiki/June_Lockhart) / Mary Martin (/wiki/Mary_Martin) / George Pierce (/wiki/George_Pierce_(backstage_doorman)) / James Whitmore (/wiki/James_Whitmore) (1948) No award (1949) Maurice Evans (/wiki/Maurice_Evans_(actor)) / Philip Faversham / Brock Pemberton (/wiki/Brock_Pemberton) (1950) Ruth Green (1951) Charles Boyer (/wiki/Charles_Boyer) / Judy Garland (/wiki/Judy_Garland) / Edward Kook (/wiki/Edward_Kook) (1952) Danny Kaye (/wiki/Danny_Kaye) / Beatrice Lillie (/wiki/Beatrice_Lillie) (1953) No award (1954) Proscenium Productions (1955) Fourth Street Chekov Theatre / City Center (/wiki/New_York_City_Center) / The New York Public Library Theatre Collection (/wiki/New_York_Public_Library_for_the_Performing_Arts) / The Shakespearewrights / The Threepenny Opera (/wiki/The_Threepenny_Opera) (1956) American Shakespeare Festival (/wiki/American_Shakespeare_Theatre) / Jean-Louis Barrault (/wiki/Jean-Louis_Barrault) / Robert Russell Bennett (/wiki/Robert_Russell_Bennett) / William Hammerstein (/wiki/Willie_Hammerstein) / Joseph Harbuck / Paul Shyre (/wiki/Paul_Shyre) (1957) Mrs. Martin Beck (/wiki/Louise_Heims_Beck) / New York Shakespeare Festival (/wiki/Shakespeare_in_the_Park_(New_York_City)) (1958) Russel Crouse (/wiki/Russel_Crouse) and Howard Lindsay (/wiki/Howard_Lindsay) / John Gielgud (/wiki/John_Gielgud) / Cast of La Plume de Ma Tante (/wiki/La_Plume_de_Ma_Tante) (1959) Burgess Meredith (/wiki/Burgess_Meredith) and James Thurber (/wiki/James_Thurber) / John D. Rockefeller III (/wiki/John_D._Rockefeller_III) (1960) David Merrick (/wiki/David_Merrick) / The Theatre Guild (/wiki/Theatre_Guild) (1961) Brooks Atkinson (/wiki/Brooks_Atkinson) / Richard Rodgers (/wiki/Richard_Rodgers) / Franco Zeffirelli (/wiki/Franco_Zeffirelli) (1962) Alan Bennett (/wiki/Alan_Bennett) , Peter Cook (/wiki/Peter_Cook) , Jonathan Miller (/wiki/Jonathan_Miller) and Dudley Moore (/wiki/Dudley_Moore) / Irving Berlin (/wiki/Irving_Berlin) / W. McNeil Lowry (/wiki/W._McNeil_Lowry) (1963) Eva Le Gallienne (/wiki/Eva_Le_Gallienne) (1964) Gilbert Miller (/wiki/Gilbert_Miller) / Oliver Smith (/wiki/Oliver_Smith_(designer)) (1965) Helen Menken (/wiki/Helen_Menken) (1966) No award (1967) APA-Phoenix Theatre / Pearl Bailey (/wiki/Pearl_Bailey) / Carol Channing (/wiki/Carol_Channing) / Maurice Chevalier (/wiki/Maurice_Chevalier) / Marlene Dietrich (/wiki/Marlene_Dietrich) / Audrey Hepburn / David Merrick (/wiki/David_Merrick) (1968) Leonard Bernstein (/wiki/Leonard_Bernstein) / Carol Burnett (/wiki/Carol_Burnett) / Rex Harrison (/wiki/Rex_Harrison) / The National Theatre Company of Great Britain (/wiki/Royal_National_Theatre) / The Negro Ensemble Company (/wiki/Negro_Ensemble_Company) (1969) Noël Coward (/wiki/No%C3%ABl_Coward) / Lynn Fontanne (/wiki/Lynn_Fontanne) and Alfred Lunt (/wiki/Alfred_Lunt) / New York Shakespeare Festival (/wiki/Shakespeare_in_the_Park_(New_York_City)) / Barbra Streisand (/wiki/Barbra_Streisand) (1970) Ingram Ash / Elliot Norton (/wiki/Elliot_Norton) / Playbill (/wiki/Playbill) / Roger L. Stevens (/wiki/Roger_L._Stevens) (1971) Fiddler on the Roof (/wiki/Fiddler_on_the_Roof) / Ethel Merman (/wiki/Ethel_Merman) / Richard Rodgers (/wiki/Richard_Rodgers) / The Theatre Guild (/wiki/Theatre_Guild) -American Theatre Society (1972) The Actors Fund of America (/wiki/Entertainment_Community_Fund) / John Lindsay (/wiki/John_Lindsay) / Shubert Organization (/wiki/The_Shubert_Organization) (1973) Actors' Equity Association (/wiki/Actors%27_Equity_Association) / A Moon for the Misbegotten (/wiki/A_Moon_for_the_Misbegotten) / Candide (/wiki/Candide_(operetta)) / Peter Cook (/wiki/Peter_Cook) and Dudley Moore (/wiki/Dudley_Moore) / Harold Friedlander / Bette Midler (/wiki/Bette_Midler) / Liza Minnelli (/wiki/Liza_Minnelli) / Theatre Development Fund (/wiki/Theatre_Development_Fund) / John F. Wharton (/wiki/John_F._Wharton_(lawyer)) (1974) Al Hirschfeld (/wiki/Al_Hirschfeld) (1975) 1976–2000 George Abbott (/wiki/George_Abbott) / Richard Burton (/wiki/Richard_Burton) / Circle in the Square Theatre (/wiki/Circle_in_the_Square_Theatre) / Thomas H. Fitzgerald / Mathilde Pincus (/wiki/Mathilde_Pincus) (1976) Cheryl Crawford (/wiki/Cheryl_Crawford) / Equity Liberty Theatre / Barry Manilow (/wiki/Barry_Manilow) / National Theatre of the Deaf (/wiki/National_Theatre_of_the_Deaf) / Diana Ross (/wiki/Diana_Ross) / Lily Tomlin (/wiki/Lily_Tomlin) (1977) Irving Berlin (/wiki/Irving_Berlin) / Stan Dragoti (/wiki/Stan_Dragoti) and Charles Moss (1978) Walter F. Diehl / Eugene O'Neill Memorial Theater Center (/wiki/Eugene_O%27Neill_Theater_Center) / Henry Fonda (/wiki/Henry_Fonda) / Richard Rodgers (/wiki/Richard_Rodgers) (1979) Richard Fitzgerald / Helen Hayes (/wiki/Helen_Hayes) / Mary Tyler Moore (/wiki/Mary_Tyler_Moore) / Hobe Morrison (1980) Lena Horne (/wiki/Lena_Horne) (1981) Radio City Music Hall (/wiki/Radio_City_Music_Hall) / The Actors Fund of America (/wiki/Entertainment_Community_Fund) / Warner Communications (/wiki/WarnerMedia) (1982) No award (1983) A Chorus Line (/wiki/A_Chorus_Line) / Peter Feller (/wiki/Peter_Feller) / La Tragedie de Carmen (1984) Yul Brynner (/wiki/Yul_Brynner) / New York State Council on the Arts (/wiki/New_York_State_Council_on_the_Arts) (1985) No award (1986) George Abbott (/wiki/George_Abbott) / Jackie Mason (/wiki/Jackie_Mason) (1987) Brooklyn Academy of Music (/wiki/Brooklyn_Academy_of_Music) (1988) No award (1989) No award (1990–1992) Oklahoma! (/wiki/Oklahoma!) (1993) Hume Cronyn (/wiki/Hume_Cronyn) and Jessica Tandy (/wiki/Jessica_Tandy) (1994) Carol Channing (/wiki/Carol_Channing) / National Endowment for the Arts (/wiki/National_Endowment_for_the_Arts) / Harvey Sabinson (1995) No award (1996) Bernard B. Jacobs (/wiki/Bernard_B._Jacobs) (1997) Edward E. Colton / Ben Edwards (1998) Uta Hagen (/wiki/Uta_Hagen) / Arthur Miller (/wiki/Arthur_Miller) / Isabelle Stevenson (1999) Dame Edna: The Royal Tour (/wiki/Dame_Edna_Everage#2000–2009) / T. Edward Hambleton (2000) 2001–present Paul Gemignani (/wiki/Paul_Gemignani) (2001) Julie Harris (/wiki/Julie_Harris) / Robert Whitehead (2002) Cy Feuer (/wiki/Cy_Feuer) / Russell Simmons (/wiki/Russell_Simmons) ' Def Poetry Jam on Broadway (2003) James M. Nederlander (/wiki/James_M._Nederlander) (2004) Edward Albee (/wiki/Edward_Albee) (2005) Sarah Jones (/wiki/Sarah_Jones_(stage_actress)) / Harold Prince (/wiki/Harold_Prince) (2006) No award (2007) Robert Russell Bennett (/wiki/Robert_Russell_Bennett) / Stephen Sondheim (/wiki/Stephen_Sondheim) (2008) Jerry Herman (/wiki/Jerry_Herman) (2009) Alan Ayckbourn (/wiki/Alan_Ayckbourn) / Marian Seldes (/wiki/Marian_Seldes) (2010) Athol Fugard (/wiki/Athol_Fugard) / Philip J. Smith (2011) Actors' Equity Association (/wiki/Actors%27_Equity_Association) / Hugh Jackman (/wiki/Hugh_Jackman) (2012) Bernard Gersten (/wiki/Bernard_Gersten) / Ming Cho Lee (/wiki/Ming_Cho_Lee) / Paul Libin (2013) Jane Greenwood (/wiki/Jane_Greenwood) (2014) John Cameron Mitchell (/wiki/John_Cameron_Mitchell) / Tommy Tune (/wiki/Tommy_Tune) (2015) Sheldon Harnick (/wiki/Sheldon_Harnick) / Marshall W. Mason (/wiki/Marshall_W._Mason) / National Endowment for the Arts (/wiki/National_Endowment_for_the_Arts) / Miles Wilkin (2016) James Earl Jones (/wiki/James_Earl_Jones) (2017) John Leguizamo (/wiki/John_Leguizamo) / Andrew Lloyd Webber (/wiki/Andrew_Lloyd_Webber) / Chita Rivera (/wiki/Chita_Rivera) / Bruce Springsteen (/wiki/Bruce_Springsteen) (2018) Rosemary Harris (/wiki/Rosemary_Harris) / Marin Mazzie (/wiki/Marin_Mazzie) / Terrence McNally (/wiki/Terrence_McNally) / Sonny Tilders (/wiki/Sonny_Tilders) and Creature Technology Company / Jason Michael Webb / Harold Wheeler (/wiki/Harold_Wheeler_(musician)) (2019) The Broadway Advocacy Coalition / David Byrne's (/wiki/David_Byrne) American Utopia (/wiki/American_Utopia_(film)) / Freestyle Love Supreme (/wiki/Freestyle_Love_Supreme) / Graciela Daniele (/wiki/Graciela_Daniele) (2020/21) Angela Lansbury (/wiki/Angela_Lansbury) / James C. Nicola (/wiki/James_C._Nicola) (2022) Joel Grey (/wiki/Joel_Grey) / John Kander (/wiki/John_Kander) (2023) Alex Edelman (/wiki/Alex_Edelman) / Abe Jacob (/wiki/Abe_Jacob) / Nikiya Mathis / Jack O'Brien (/wiki/Jack_O%27Brien_(director)) / George C. Wolfe (/wiki/George_C._Wolfe) (2024) v t e Tony Award for Best Leading Actress in a Play (/wiki/Tony_Award_for_Best_Actress_in_a_Play) 1947–1975 Ingrid Bergman (/wiki/Ingrid_Bergman) / Helen Hayes (/wiki/Helen_Hayes) (1947) Judith Anderson (/wiki/Judith_Anderson) / Katharine Cornell (/wiki/Katharine_Cornell) / Jessica Tandy (/wiki/Jessica_Tandy) (1948) Martita Hunt (/wiki/Martita_Hunt) (1949) Shirley Booth (/wiki/Shirley_Booth) (1950) Uta Hagen (/wiki/Uta_Hagen) (1951) Julie Harris (/wiki/Julie_Harris) (1952) Shirley Booth (/wiki/Shirley_Booth) (1953) Audrey Hepburn (1954) Nancy Kelly (/wiki/Nancy_Kelly) (1955) Julie Harris (/wiki/Julie_Harris) (1956) Margaret Leighton (/wiki/Margaret_Leighton) (1957) Helen Hayes (/wiki/Helen_Hayes) (1958) Gertrude Berg (/wiki/Gertrude_Berg) (1959) Anne Bancroft (/wiki/Anne_Bancroft) (1960) Joan Plowright (/wiki/Joan_Plowright) (1961) Margaret Leighton (/wiki/Margaret_Leighton) (1962) Uta Hagen (/wiki/Uta_Hagen) (1963) Sandy Dennis (/wiki/Sandy_Dennis) (1964) Irene Worth (/wiki/Irene_Worth) (1965) Rosemary Harris (/wiki/Rosemary_Harris) (1966) Beryl Reid (/wiki/Beryl_Reid) (1967) Zoe Caldwell (/wiki/Zoe_Caldwell) (1968) Julie Harris (/wiki/Julie_Harris) (1969) Tammy Grimes (/wiki/Tammy_Grimes) (1970) Maureen Stapleton (/wiki/Maureen_Stapleton) (1971) Sada Thompson (/wiki/Sada_Thompson) (1972) Julie Harris (/wiki/Julie_Harris) (1973) Colleen Dewhurst (/wiki/Colleen_Dewhurst) (1974) Ellen Burstyn (/wiki/Ellen_Burstyn) (1975) 1976–2000 Irene Worth (/wiki/Irene_Worth) (1976) Julie Harris (/wiki/Julie_Harris) (1977) Jessica Tandy (/wiki/Jessica_Tandy) (1978) Constance Cummings (/wiki/Constance_Cummings) / Carole Shelley (/wiki/Carole_Shelley) (1979) Phyllis Frelich (/wiki/Phyllis_Frelich) (1980) Jane Lapotaire (/wiki/Jane_Lapotaire) (1981) Zoe Caldwell (/wiki/Zoe_Caldwell) (1982) Jessica Tandy (/wiki/Jessica_Tandy) (1983) Glenn Close (/wiki/Glenn_Close) (1984) Stockard Channing (/wiki/Stockard_Channing) (1985) Lily Tomlin (/wiki/Lily_Tomlin) (1986) Linda Lavin (/wiki/Linda_Lavin) (1987) Joan Allen (/wiki/Joan_Allen) (1988) Pauline Collins (/wiki/Pauline_Collins) (1989) Maggie Smith (/wiki/Maggie_Smith) (1990) Mercedes Ruehl (/wiki/Mercedes_Ruehl) (1991) Glenn Close (/wiki/Glenn_Close) (1992) Madeline Kahn (/wiki/Madeline_Kahn) (1993) Diana Rigg (/wiki/Diana_Rigg) (1994) Cherry Jones (/wiki/Cherry_Jones) (1995) Zoe Caldwell (/wiki/Zoe_Caldwell) (1996) Janet McTeer (/wiki/Janet_McTeer) (1997) Marie Mullen (/wiki/Marie_Mullen) (1998) Judi Dench (/wiki/Judi_Dench) (1999) Jennifer Ehle (/wiki/Jennifer_Ehle) (2000) 2001–present Mary-Louise Parker (/wiki/Mary-Louise_Parker) (2001) Lindsay Duncan (/wiki/Lindsay_Duncan) (2002) Vanessa Redgrave (/wiki/Vanessa_Redgrave) (2003) Phylicia Rashad (/wiki/Phylicia_Rashad) (2004) Cherry Jones (/wiki/Cherry_Jones) (2005) Cynthia Nixon (/wiki/Cynthia_Nixon) (2006) Julie White (/wiki/Julie_White) (2007) Deanna Dunagan (/wiki/Deanna_Dunagan) (2008) Marcia Gay Harden (/wiki/Marcia_Gay_Harden) (2009) Viola Davis (/wiki/Viola_Davis) (2010) Frances McDormand (/wiki/Frances_McDormand) (2011) Nina Arianda (/wiki/Nina_Arianda) (2012) Cicely Tyson (/wiki/Cicely_Tyson) (2013) Audra McDonald (/wiki/Audra_McDonald) (2014) Helen Mirren (/wiki/Helen_Mirren) (2015) Jessica Lange (/wiki/Jessica_Lange) (2016) Laurie Metcalf (/wiki/Laurie_Metcalf) (2017) Glenda Jackson (/wiki/Glenda_Jackson) (2018) Elaine May (/wiki/Elaine_May) (2019) Mary-Louise Parker (/wiki/Mary-Louise_Parker) (2020/21) Deirdre O'Connell (/wiki/Deirdre_O%27Connell_(actress)) (2022) Jodie Comer (/wiki/Jodie_Comer) (2023) Sarah Paulson (/wiki/Sarah_Paulson) (2024) v t e People who have won Academy, Emmy, Grammy, and Tony Awards (/wiki/List_of_EGOT_winners) listed by duration and year of completion Competitive EGOTs Richard Rodgers (/wiki/Richard_Rodgers) (1946–1962) Helen Hayes (/wiki/Helen_Hayes) (1932–1977) Rita Moreno (/wiki/Rita_Moreno) (1962–1977) John Gielgud (/wiki/John_Gielgud) (1948–1991) Audrey Hepburn (1954–1994) Marvin Hamlisch (/wiki/Marvin_Hamlisch) (1974–1995) Jonathan Tunick (/wiki/Jonathan_Tunick) (1978–1997) Mel Brooks (/wiki/Mel_Brooks) (1967–2001) Mike Nichols (/wiki/Mike_Nichols) (1961–2001) Whoopi Goldberg (/wiki/Whoopi_Goldberg) (1985–2002) Scott Rudin (/wiki/Scott_Rudin) (1984–2012) Robert Lopez (/wiki/Robert_Lopez) (2004–2014) John Legend (/wiki/John_Legend) (2006–2018) Andrew Lloyd Webber (/wiki/Andrew_Lloyd_Webber) (1980–2018) Tim Rice (/wiki/Tim_Rice) (1980–2018) Alan Menken (/wiki/Alan_Menken) (1990–2020) Jennifer Hudson (/wiki/Jennifer_Hudson) (2007–2022) Viola Davis (/wiki/Viola_Davis) (2001–2023) Elton John (/wiki/Elton_John) (1987–2024) Honorary recipients Barbra Streisand (/wiki/Barbra_Streisand) (1964–1970) Liza Minnelli (/wiki/Liza_Minnelli) (1965–1990) James Earl Jones (/wiki/James_Earl_Jones) (1969–2011) Harry Belafonte (/wiki/Harry_Belafonte) (1954–2014) Quincy Jones (/wiki/Quincy_Jones) (1964–2016) Frank Marshall (/wiki/Frank_Marshall_(filmmaker)) (2019–2023) Portals (/wiki/Wikipedia:Contents/Portals) : Film (/wiki/Portal:Film) Fashion (/wiki/Portal:Fashion) Authority control databases (/wiki/Help:Authority_control) International FAST (http://id.worldcat.org/fast/129498/) ISNI (https://isni.org/isni/000000011068327X) VIAF (https://viaf.org/viaf/66543141) WorldCat (https://id.oclc.org/worldcat/entity/E39PBJdMfck4V6JfDBKjY3rDv3) National Norway (https://authority.bibsys.no/authority/rest/authorities/html/90766433) Spain (http://catalogo.bne.es/uhtbin/authoritybrowse.cgi?action=display&authority_id=XX967338) France (https://catalogue.bnf.fr/ark:/12148/cb12360908f) BnF data (https://data.bnf.fr/ark:/12148/cb12360908f) Catalonia (https://cantic.bnc.cat/registre/981058512660406706) Germany (https://d-nb.info/gnd/118746731) Italy (https://opac.sbn.it/nome/RAVV088435) Israel (http://olduli.nli.org.il/F/?func=find-b&local_base=NLX10&find_code=UID&request=987007442624405171) Belgium (https://opac.kbr.be/LIBRARY/doc/AUTHORITY/21620591) United States (https://id.loc.gov/authorities/n84066746) Sweden (https://libris.kb.se/b8nqt6zv1vhxlwn) Latvia (https://kopkatalogs.lv/F?func=direct&local_base=lnc10&doc_number=000243714&P_CON_LNG=ENG) Japan (https://id.ndl.go.jp/auth/ndlna/00620813) Czech Republic (https://aleph.nkp.cz/F/?func=find-c&local_base=aut&ccl_term=ica=jn20000700695&CON_LNG=ENG) Australia (https://nla.gov.au/anbd.aut-an35830346) Greece (https://data.nlg.gr/resource/authority/record345840) Korea (https://lod.nl.go.kr/resource/KAC200901931) Croatia (http://katalog.nsk.hr/F/?func=direct&doc_number=000501904&local_base=nsk10) Netherlands (http://data.bibliotheken.nl/id/thes/p074312022) Poland (https://dbn.bn.org.pl/descriptor-details/9810564102905606) Academics CiNii (https://ci.nii.ac.jp/author/DA10061624?l=en) Artists Emmy Awards (https://www.emmys.com/bios/audrey-hepburn) Grammy Awards (https://www.grammy.com/artists/audrey-hepburn/11791) MusicBrainz (https://musicbrainz.org/artist/7ddb6325-7022-4d30-a585-78a8eab631ab) ULAN (https://www.getty.edu/vow/ULANFullDisplay?find=&role=&nation=&subjectid=500448945) People Netherlands (http://www.biografischportaal.nl/en/persoon/23359118) Deutsche Synchronkartei (https://www.synchronkartei.de/person/KbK-nFOBb) Deutsche Biographie (https://www.deutsche-biographie.de/pnd118746731.html?language=en) Trove (https://trove.nla.gov.au/people/1106975) Other SNAC (https://snaccooperative.org/ark:/99166/w6m43n7x) 2 (https://snaccooperative.org/ark:/99166/w6bs10xb) IdRef (https://www.idref.fr/032616694) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐bbhtp Cached time: 20240720162855 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 2.331 seconds Real time usage: 2.770 seconds Preprocessor visited node count: 24035/1000000 Post‐expand include size: 739704/2097152 bytes Template argument size: 160786/2097152 bytes Highest expansion depth: 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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=Audrey_Hepburn&oldid=1235367468 (https://en.wikipedia.org/w/index.php?title=Audrey_Hepburn&oldid=1235367468) " Categories (/wiki/Help:Category) : Audrey Hepburn (/wiki/Category:Audrey_Hepburn) 1929 births (/wiki/Category:1929_births) 1993 deaths (/wiki/Category:1993_deaths) 20th-century British actresses (/wiki/Category:20th-century_British_actresses) 20th-century British philanthropists (/wiki/Category:20th-century_British_philanthropists) Audiobook narrators (/wiki/Category:Audiobook_narrators) Best Actress Academy Award winners (/wiki/Category:Best_Actress_Academy_Award_winners) Best British Actress BAFTA Award winners (/wiki/Category:Best_British_Actress_BAFTA_Award_winners) Best Drama Actress Golden Globe (film) winners (/wiki/Category:Best_Drama_Actress_Golden_Globe_(film)_winners) British anti-poverty advocates (/wiki/Category:British_anti-poverty_advocates) British expatriate actresses in the United States (/wiki/Category:British_expatriate_actresses_in_the_United_States) British expatriates in Italy (/wiki/Category:British_expatriates_in_Italy) British expatriates in Switzerland (/wiki/Category:British_expatriates_in_Switzerland) British film actresses (/wiki/Category:British_film_actresses) British musical theatre actresses (/wiki/Category:British_musical_theatre_actresses) British people of Austrian descent (/wiki/Category:British_people_of_Austrian_descent) British people of Dutch descent (/wiki/Category:British_people_of_Dutch_descent) British people of Frisian descent (/wiki/Category:British_people_of_Frisian_descent) British stage actresses (/wiki/Category:British_stage_actresses) British women activists (/wiki/Category:British_women_activists) British women philanthropists (/wiki/Category:British_women_philanthropists) Burials in Switzerland (/wiki/Category:Burials_in_Switzerland) Cecil B. 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Filet crochet Filet crochet is a type of crocheted (/wiki/Crochet) fabric that imitates filet lace (/wiki/Filet_lace) . This type of crocheted lace (/wiki/Crocheted_lace) is gridlike because it uses only two crochet stitches: the chain stitch and the double crochet stitch (U.S. terminology; known in some other countries as chain stitch and treble ). Old filet patterns used a treble or triple stitch vertically but chained two between the vertical stitches. This was to prevent distortion of some patterns. Chain stitches use less yarn than double crochet stitches, which results in a visual difference in appearance between the two kinds of stitch. Filet crochet forms patterns by filling in parts of a mostly chain stitch mesh with double crochet stitches. [1] (#cite_note-1) Filet crochet is usually constructed from monotone crochet thread (/wiki/Crochet_thread) made of Mercerised cotton (/wiki/Mercerized_cotton) in white or ecru, and worked in rows. Filet crochet is often used for decorative applications, such as window curtains, tablecloths (/wiki/Tablecloth) , and place settings, such as coasters (/wiki/Beverage_coaster) and placemats (/wiki/Placemat) , but can also be used to create clothing, including yokes (/wiki/Yoke_(clothing)) , as well as accessories and small bags. Filet crochet is most often worked from a graph or a symbol diagram. Patterns are created by combining solid and open meshes, usually working the design in solid meshes and the background in open meshes. The size of the space is determined by the number of chain stitches between each double stitch. [2] (#cite_note-2) Filet crochet may also be worked by alternating chain stitches with another type of crochet stitch such as (U.S. terminology) half double or triple crochet, and may be worked from yarn instead of thread. See also [ edit ] List of crochet stitches (/wiki/List_of_crochet_stitches) Notes [ edit ] ^ (#cite_ref-1) Eckman, p. 264. ^ (#cite_ref-2) Eckman, pp. 265-266. References [ edit ] Wikimedia Commons has media related to Filet crochet (https://commons.wikimedia.org/wiki/Category:Filet_crochet) . Edie Eckman, The Crochet Answer Book , North Adams, Massachusetts: Storey Publishing, 2005. Kara Heun, Crochet Stitches: How to Filet Crochet, Prime Publishing LLC, 2017. http://www.allfreecrochet.com/Tutorials/Crochet-Stitches-How-to-Filet-Crochet (http://www.allfreecrochet.com/Tutorials/Crochet-Stitches-How-to-Filet-Crochet) v t e Crochet (/wiki/Crochet) Tools Crochet hook (/wiki/Crochet_hook) Cro-hook (/wiki/Cro-hook) Hook gauge (/wiki/Hook_gauge) List of yarns for crochet and knitting (/wiki/List_of_yarns_for_crochet_and_knitting) Scissors (/wiki/Scissors) Stitch marker (/wiki/Stitch_marker_(crochet)) Techniques and motifs Bead crochet (/wiki/Bead_crochet) Blocking (/wiki/Blocking_(textile_arts)) Gauge (/wiki/Gauge_(knitting)) Granny square (/wiki/Granny_square) List of crochet stitches (/wiki/List_of_crochet_stitches) Shell stitch (/wiki/Shell_stitch) Tapestry crochet (/wiki/Tapestry_crochet) Tunisian crochet (/wiki/Tunisian_crochet) Items Amigurumi (/wiki/Amigurumi) Noken or Bilum (/wiki/Noken) Doily (/wiki/Doily) Crocheted lace Broomstick lace (/wiki/Broomstick_lace) Crocheted lace (/wiki/Crocheted_lace) Filet crochet Hairpin lace (/wiki/Hairpin_lace) Irish crochet (/wiki/Irish_lace) Related Crochet thread (/wiki/Crochet_thread) Dye lot (/wiki/Dye_lot) Yarn (/wiki/Yarn) v t e Lace (/wiki/Lace) types Needle lace (/wiki/Needle_lace) Filet lace (/wiki/Filet_lace) Punto in Aria (/wiki/Punto_in_Aria) Point de Venise (/wiki/Point_de_Venise) Point de France (/wiki/Point_de_France) Alençon (/wiki/Alen%C3%A7on_lace) Aemilia Ars (/w/index.php?title=Aemilia_Ars&action=edit&redlink=1) Argentan (/wiki/Argentan_lace) Argentella (/wiki/Argentella) Armenian (/wiki/Armenian_needlelace) Burano (https://it.wikipedia.org/wiki/Merletto%20di%20Burano) Halas lace (/wiki/Halas_lace) Hedebo embroidery (/wiki/Hedebo_embroidery) Hollie Point (/wiki/Hollie_Point) Nallıhan (/wiki/Nall%C4%B1han_silk_needlelace) Point de Gaze (/wiki/Point_de_Gaze) Kenmare Lace (/wiki/Kenmare_lace) Ñandutí (/wiki/%C3%91andut%C3%AD) Oya (/wiki/Oya_(lace)) Pag (/wiki/Pag_lace) Puncetto Valsesiano (/w/index.php?title=Puncetto_Valsesiano&action=edit&redlink=1) Tenerife (/wiki/Tenerife_lace) Youghal (/wiki/Youghal_lace) Embroidery (/wiki/Embroidery) Buratto (/wiki/Buratto) Filet lace (/wiki/Filet_lace) Reticella (/wiki/Reticella) Limerick (/wiki/Limerick_lace) Needlerun net (/wiki/Needlerun_net) Tambour (/wiki/Tambour_lace) Cutwork (/wiki/Cutwork) Broderie anglaise (/wiki/Broderie_anglaise) Carrickmacross (/wiki/Carrickmacross_lace) Lefkara lace (/wiki/Lefkara_lace) Saba lace (/wiki/Saba_lace) Bobbin lace (/wiki/Bobbin_lace) Mesh grounds (/wiki/Mesh_grounded_bobbin_lace) Torchon (/wiki/Torchon_lace) Freehand (/wiki/Freehand_lace) Arras (/wiki/Arras_lace) Bayeux (/wiki/Bayeux_lace) Beeralu (/w/index.php?title=Beeralu&action=edit&redlink=1) Blonde (/wiki/Blonde_lace) Bucks point (/wiki/Bucks_point_lace) Chantilly (/wiki/Chantilly_lace) Chefoo (/w/index.php?title=Chefoo_lace&action=edit&redlink=1) Cogne (/wiki/Cogne_lace) Tønder (/wiki/T%C3%B8nder_lace) Beveren (/wiki/Beveren_lace) Lille (/wiki/Lille_lace) Binche (/wiki/Binche_lace) Flanders (/wiki/Flanders_lace) Paris (/wiki/Paris_lace) Valenciennes (/wiki/Valenciennes_lace) Antwerp (/wiki/Antwerp_lace) Mechlin (/wiki/Mechlin_lace) Ipswich (/wiki/Ipswich_lace) 's Gravenmoer (/w/index.php?title=%27s_Gravenmoer_lace&action=edit&redlink=1) Mundillo (/wiki/Mundillo) Guipure (/wiki/Guipure) Greek (/wiki/Greek_lace) Genoese (/wiki/Genoese_lace) Bedfordshire (/wiki/Bedfordshire_lace) Cluny (/wiki/Cluny_lace) Dentelle du Puy (https://fr.wikipedia.org/wiki/Dentelle_du_Puy) Liptov (/wiki/Liptov) Maltese (/wiki/Maltese_lace) Yak lace (/wiki/Yak_lace) Part laces (/wiki/Part_lace) Honiton (/wiki/Honiton_lace) Bruges (/wiki/Bruges_lace) Brussels (/wiki/Brussels_lace) Rosaline (/wiki/Rosaline_lace) Point d'Angleterre (/wiki/Brussels_lace#Point_d'Angleterre) Tape (/wiki/Bobbin_tape_lace) Cantù (/w/index.php?title=Cant%C3%B9_lace&action=edit&redlink=1) Milanese (/wiki/Milanese_bobbin_lace) Hinojosa (/w/index.php?title=Hinojosa_lace&action=edit&redlink=1) Russian (/wiki/Russian_lace) Idrija (/wiki/Idrija_lace) Schneeberg (/wiki/Schneeberg_lace) Peasant (/w/index.php?title=Peasant_lace&action=edit&redlink=1) Tape lace (/wiki/Tape_lace) Mezzopunto (/w/index.php?title=Mezzopunto&action=edit&redlink=1) Princess (/wiki/Princess_lace) Renaissance (/wiki/Renaissance_lace) Battenberg (/wiki/Battenberg_lace) Romanian point (/wiki/Romanian_point_lace) Branscombe (/wiki/Branscombe_lace) Crocheted lace (/wiki/Crocheted_lace) Broomstick lace (/wiki/Broomstick_lace) Irish crochet (/wiki/Irish_lace) Hairpin (/wiki/Hairpin_lace) Filet crochet Orvieto lace (/w/index.php?title=Orvieto_lace&action=edit&redlink=1) Machine (/wiki/Lace_machine) -made lace Bobbinet (/wiki/Bobbinet) Leavers (/wiki/Leavers_machine) Pusher (/wiki/Pusher_machine) Barmen (/wiki/Barmen_lace_machine) Curtain Machine (/wiki/Nottingham_lace_curtain_machine) Chemical (/wiki/Chemical_lace) Raschel (/wiki/Warp_knitting) Stocking Frame (/wiki/Stocking_frame) Warp Knit (/wiki/Warp_knitting) Other handmade laces Metal laces (/wiki/Metal_lace) Lace knitting (/wiki/Lace_knitting) Macramé (/wiki/Macram%C3%A9) Tatting (/wiki/Tatting) Punto a groppo (/wiki/Punto_a_groppo) Sprang (/wiki/Sprang) Liturgical lace (/wiki/Liturgical_lace) Media related to Lace (https://commons.wikimedia.org/wiki/Category:Lace) at Wikimedia Commons Fashion portal (/wiki/Portal:Fashion) Clothing portal (/wiki/Portal:Clothing) Authority control databases (/wiki/Help:Authority_control) : National France (https://catalogue.bnf.fr/ark:/12148/cb12392737k) BnF data (https://data.bnf.fr/ark:/12148/cb12392737k) Israel (http://olduli.nli.org.il/F/?func=find-b&local_base=NLX10&find_code=UID&request=987007565635305171) United States (https://id.loc.gov/authorities/sh85091053) Czech Republic (https://aleph.nkp.cz/F/?func=find-c&local_base=aut&ccl_term=ica=ph114533&CON_LNG=ENG) This textile arts (/wiki/Textile_arts) article is a stub (/wiki/Wikipedia:Stub) . You can help Wikipedia by expanding it (https://en.wikipedia.org/w/index.php?title=Filet_crochet&action=edit) . v t e NewPP limit report Parsed by mw‐api‐int.eqiad.main‐dc899b7cc‐5gmq5 Cached time: 20240720165648 Cache expiry: 2592000 Reduced expiry: false Complications: [] CPU time usage: 0.307 seconds Real time usage: 0.422 seconds Preprocessor visited node count: 1108/1000000 Post‐expand include size: 47732/2097152 bytes Template argument size: 1246/2097152 bytes Highest expansion depth: 14/100 Expensive parser function count: 7/500 Unstrip recursion depth: 0/20 Unstrip post‐expand size: 28342/5000000 bytes Lua time usage: 0.184/10.000 seconds Lua memory usage: 2911844/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 343.568 1 -total 37.56% 129.044 4 Template:Navbox 28.46% 97.795 1 Template:Crochet 27.53% 94.569 1 Template:Commons_category 26.82% 92.146 1 Template:Sister_project 26.15% 89.836 1 Template:Side_box 17.91% 61.530 2 Template:If_then_show 16.70% 57.386 1 Template:Authority_control 11.85% 40.725 1 Template:Reflist 9.84% 33.812 1 Template:Lace_types Saved in parser cache with key enwiki:pcache:idhash:52699-0!canonical and timestamp 20240720165648 and revision id 1227762604. Rendering was triggered because: api-parse esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Filet_crochet&oldid=1227762604 (https://en.wikipedia.org/w/index.php?title=Filet_crochet&oldid=1227762604) " Categories (/wiki/Help:Category) : Crocheted lace (/wiki/Category:Crocheted_lace) Textile arts stubs (/wiki/Category:Textile_arts_stubs) Hidden categories: Commons category link from Wikidata (/wiki/Category:Commons_category_link_from_Wikidata) Articles with BNF identifiers (/wiki/Category:Articles_with_BNF_identifiers) Articles with BNFdata identifiers (/wiki/Category:Articles_with_BNFdata_identifiers) Articles with J9U identifiers (/wiki/Category:Articles_with_J9U_identifiers) Articles with LCCN identifiers (/wiki/Category:Articles_with_LCCN_identifiers) Articles with NKC identifiers (/wiki/Category:Articles_with_NKC_identifiers) All stub articles (/wiki/Category:All_stub_articles) |
Undergarment for incontinence containment "Nappy" redirects here. For other uses, see Nappy (disambiguation) (/wiki/Nappy_(disambiguation)) and Diaper (disambiguation) (/wiki/Diaper_(disambiguation)) . The examples and perspective in this article may not represent a worldwide view (/wiki/Wikipedia:WikiProject_Countering_systemic_bias) of the subject . You may improve this article (https://en.wikipedia.org/w/index.php?title=Diaper&action=edit) , discuss the issue on the talk page (/wiki/Talk:Diaper) , or create a new article (/wiki/Wikipedia:Article_wizard) , as appropriate. ( May 2018 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Diaper Inside of a disposable baby diaper with resealable tapes and elasticated leg cuffs. Type protective clothing Different kinds of outer diapers. Diapers on a shelf. A diaper ( / (/wiki/Help:IPA/English) ˈ d aɪ p ə r / (/wiki/Help:IPA/English) , NAmE (/wiki/North_American_English) ) or a nappy ( BrE (/wiki/British_English) , AuE (/wiki/Australian_English) , IrE (/wiki/Hiberno-English) ) is a type of underwear that allows the wearer to urinate (/wiki/Urinate) or defecate (/wiki/Defecate) without using a toilet (/wiki/Toilet) , by absorbing or containing waste products to prevent soiling of outer clothing or the external environment. When diapers become wet or soiled, they require changing, generally by a second person such as a parent or caregiver. Failure to change a diaper on a sufficiently regular basis can result in skin problems (/wiki/Irritant_diaper_dermatitis) around the area covered by the diaper. Diapers are made of cloth (/wiki/Textile) or synthetic disposable (/wiki/Disposable) materials. Cloth diapers are composed of layers of fabric such as cotton (/wiki/Cotton) , hemp, bamboo, microfiber, or even plastic fibers such as PLA (/wiki/Polylactic_acid) or PU (/wiki/Polyurethane) , and can be washed and reused multiple times. Disposable diapers contain absorbent chemicals and are thrown away after use. Diapers are primarily worn by infants (/wiki/Infant) , toddlers (/wiki/Toddler) who are not yet toilet trained (/wiki/Toilet_training) , and by children (/wiki/Children) who experience bedwetting (/wiki/Nocturnal_enuresis) . They are also used by adults (/wiki/Adult_diaper) under certain circumstances or with various conditions, such as incontinence (/wiki/Urinary_incontinence) . Adult users can include those of advanced age (/wiki/Old_age) , patients bed-bound in a hospital, individuals with certain types of physical or mental (/wiki/Mental_disorder) disability (/wiki/Disability) , and people working in extreme conditions, such as astronauts (/wiki/Astronaut) . It is not uncommon for people to wear diapers under dry suits (/wiki/Dry_suit) . History Etymology " Another bear the ewer, the third a diaper " —One of the earliest known uses of the word in Shakespeare's (/wiki/William_Shakespeare) The Taming of the Shrew (/wiki/The_Taming_of_the_Shrew) . [1] (#cite_note-Shakespeare-1) The Middle English (/wiki/Middle_English) word diaper originally referred to a type of cloth rather than the use thereof; "diaper" was the term for a pattern of repeated, rhombic shapes, and later came to describe white cotton or linen fabric with this pattern. According to the Oxford Dictionary, it is a piece of soft cloth or other thick material that is folded around a baby's bottom and between its legs to absorb and hold its body waste. [2] (#cite_note-2) The first cloth diapers consisted of a specific type of soft tissue sheet, cut into geometric shapes. The pattern visible in linen and other types of woven fabric was called "diaper". This meaning of the word has been in use since the 1590s in England. By the 19th century, baby diapers were being sewn from linen, giving us the modern-day reading of the word "diaper". [3] (#cite_note-3) This usage stuck in the United States (/wiki/United_States) and Canada (/wiki/Canada) following the British colonization of North America (/wiki/British_colonization_of_the_Americas) , but in the United Kingdom (/wiki/United_Kingdom) , the word "nappy" took its place. Most sources believe nappy is a diminutive form of the word napkin (/wiki/Napkin) , which itself was originally a diminutive. [4] (#cite_note-4) Development Unpleasant duties (1631) by Adriaen Brouwer (/wiki/Adriaen_Brouwer) , depicting the changing of a diaper In the 19th century, the modern diaper began to take shape and mothers in many parts of the world used cotton material, held in place with a fastening—eventually the safety pin (/wiki/Safety_pin) . Cloth diapers in the United States were first mass-produced in 1887 by Maria Allen. In the UK, diapers were made out of terry towelling (/wiki/Terry_towelling) , often with an inner lining made out of soft muslin (/wiki/Muslin) . Here is an extract from 'The Modern Home Doctor' written by physicians in the UK in 1935. Nice old, soft bits of good Turkish towelling, properly washed, will make the softest of diaper coverings, inside which specially absorbent napkins (diapers), see below at 1A, soft, light, and easily washed, are contained. These should rarely be soiled once regular habits have been inculcated, especially during the night period in which it is most important to prevent habit formation 1A -(squares of butter muslin or Harrington's packed rolls of "mutton cloth" in packets, sold for polishing motor-cars, would do equally well and are very cheap and soft) Wool pants, or, once available, rubber pants (/wiki/Rubber_pants) , were sometimes used over the cloth diaper to prevent leakage. Doctors believed that rubber pants were harmful because they thought the rubber acted as a poultice (/wiki/Poultice) and damaged the skin of infants. [ citation needed ] The constant problem to be overcome was diaper rash, and the infection thereof. The concern was that lack of air circulation would worsen this condition. While lack of air circulation is a factor, it was later found that poor hygiene involving inefficiently washed diapers and infrequent changes of diapers, along with allowing the baby to lie for prolonged periods of time with fecal matter in contact with the skin, were the two main causes of these problems. [ citation needed ] In the 20th century, the disposable diaper was conceived. In the 1930s, Robinsons of Chesterfield had what were labeled "Destroyable Babies Napkins" listed in their catalogue for the wholesale market. [5] (#cite_note-test-5) In 1944, Hugo Drangel (/w/index.php?title=Hugo_Drangel&action=edit&redlink=1) of the Swedish paper company Pauliström (/wiki/Paulistr%C3%B6m) suggested a conceptual design which would entail the placing of sheets of paper tissue (cellulose wadding) inside the cloth diaper and rubber pants. However, cellulose wadding was rough against the skin and crumbled into balls when exposed to moisture. In 1946, Marion Donovan (/wiki/Marion_Donovan) used a shower curtain from her bathroom to create the "Boater", a diaper cover made from army surplus nylon parachute cloth. First sold in 1949 at Saks Fifth Avenue's flagship store in New York City, patents were later issued in 1951 to Donovan, who later sold the rights to the waterproof diaper for $1 million. [6] (#cite_note-6) Donovan also designed a paper disposable diaper, but was unsuccessful in marketing it. [7] (#cite_note-7) In 1947, Scottish housewife Valerie Hunter Gordon (/wiki/Valerie_Hunter_Gordon) started developing and making Paddi, a 2-part system consisting of a disposable pad (made of cellulose wadding covered with cotton wool) worn inside an adjustable plastic garment with press-studs/snaps. Initially, she used old parachutes for the garment. She applied for the patent in April 1948, and it was granted for the UK in October 1949. Initially, the big manufacturers were unable to see the commercial possibilities of disposable diapers. In 1948, Gordon made over 400 Paddis herself using her sewing machine at the kitchen table. Her husband had unsuccessfully approached several companies for help until he had a chance meeting with Sir Robert Robinson at a business dinner. In November 1949 Valerie Gordon signed a contract with Robinsons of Chesterfield who then went into full production. In 1950, Boots UK (/wiki/Boots_UK) agreed to sell Paddi in all their branches. In 1951 the Paddi patent was granted for the US and worldwide. Shortly after that, Playtex and several other large international companies tried unsuccessfully to buy out Paddi from Robinsons. Paddi was very successful for many years until the advent of 'all in one' diapers. [8] (#cite_note-8) [9] (#cite_note-9) In Sweden, Hugo Drangel's daughter Lil Karhola Wettergren (/wiki/Lil_Karhola_Wettergren) , in 1956 elaborated her father's original idea, by adding a garment (again making a 2-part system like Paddi). However she met the same problem, with the purchasing managers, declaring they would never allow their wives to "put paper on their children." [10] (#cite_note-10) [ unreliable source? ] After the Second World War, mothers increasingly wanted freedom from washing diapers so that they could work and travel, causing an increasing demand for disposable diapers. [11] (#cite_note-11) During the 1950s, companies such as Johnson and Johnson, Kendall, Parke-Davis, Playtex, and Molnlycke entered the disposable diaper market, and in 1956, Procter & Gamble began researching disposable diapers. Victor Mills (/wiki/Victor_Mills) , along with his project group including William Dehaas (both men who worked for the company) invented what would be trademarked "Pampers". Although Pampers were conceptualized in 1959, the diapers themselves were not launched into the market until 1961. [12] (#cite_note-12) Pampers (/wiki/Pampers) now accounts for more than $10 billion in annual revenue at Procter & Gamble (/wiki/Procter_%26_Gamble) . [13] (#cite_note-13) As Audrey Quinn recounts about the 1980s "Diaper Wars", Procter & Gamble took Kimberly-Clark to court for patent infringement (/wiki/Patent_infringement) — one diaper patent at a time. And Kimberly-Clark responded in pretty much the same way. — [14] (#cite_note-14) 'The Engineering of a Disposable Diaper' - video by Bill Hammack (/wiki/Bill_Hammack) Over the next few decades, the disposable diaper industry boomed and the competition between Procter & Gamble's Pampers and Kimberly Clark (/wiki/Kimberly_Clark) 's Huggies resulted in lower prices and drastic changes to diaper design. Several improvements were made, such as the use of double gussets to improve diaper fit and containment. As stated in Procter & Gamble's initial 1973 patent for the use of double gussets in a diaper, "The double gusset folded areas tend to readily conform to the thigh portions of the leg of the infant. This allows quick and easy fitting and provides a snug and comfortable diaper fit that will neither bind nor wad on the infant...as a result of this snugger fit obtained because of this fold configuration, the diaper is less likely to leak or, in other words, its containment characteristics are greatly enhanced." [15] (#cite_note-Double_Gussets_diaper_patent-15) Further developments in diaper design were made, such as the introduction of refastenable tapes, the "hourglass shape" so as to reduce bulk at the crotch area, and the 1984 introduction of super-absorbent material from polymers known as sodium polyacrylate (/wiki/Sodium_polyacrylate) that were originally developed in 1966. [16] (#cite_note-16) [17] (#cite_note-17) Types Disposable A baby wearing a disposable diaper The first waterproof diaper cover was invented in 1946 by Marion Donovan (/wiki/Marion_Donovan) , a professional-turned-housewife who wanted to ensure her children's clothing and bedding remained dry while they slept. [18] (#cite_note-18) She also invented the first paper diapers, but executives did not invest in this idea and it was consequently scrapped for over ten years until Procter & Gamble used Donovan's design ideas to create Pampers (/wiki/Pampers) . Another disposable diaper design was created by Valerie Hunter Gordon (/wiki/Valerie_Hunter_Gordon) and patented in 1948 [19] (#cite_note-19) [20] (#cite_note-20) Ever since their introduction product innovations include the use of superabsorbent polymers (/wiki/Superabsorbent_polymer) , resealable tapes, and elasticised (/wiki/Elastomer) waist bands. They are now much thinner and much more absorbent. The product range has more recently been extended into children's toilet training phase with the introduction of training pants and pant diapers, which are now undergarments. Modern disposable baby diapers and incontinence products have a layered construction, [21] (#cite_note-21) which allows the transfer and distribution of urine to an absorbent core structure where it is locked in. Basic layers are an outer shell of breathable polyethylene (/wiki/Polyethylene) film or a nonwoven and film composite which prevents wetness and soil transfer, an inner absorbent layer of a mixture of air-laid paper (/wiki/Air-laid_paper) and superabsorbent polymers (/wiki/Superabsorbent_polymer) for wetness, and a layer nearest the skin of nonwoven material (/wiki/Nonwoven_fabric) with a distribution layer directly beneath which will transfer wetness to the absorbent layer. Other common features of disposable diapers include one or more pairs of either adhesive or mechanical fastening tapes to keep the diaper securely fastened. Some diapers have tapes which are refastenable to allow adjusting of fit or reapplication after inspection. Elasticized fabric single and double gussets (/wiki/Gusset) around the leg and waist areas aid in fitting and in containing urine or stool which has not been absorbed. Baby diapers now have wetness indicators (/wiki/Wetness_indicator) , which consist of a moisture-sensitive ink printed in the front of the diaper as either a fading design or a color-changing line to alert the carer or user that the diaper is wet. [22] (#cite_note-22) A disposable diaper may also include an inner fabric designed to hold moisture against the skin for a brief period before absorption to alert a toilet training or bedwetting user that they have urinated. Most materials in the diaper are held together with the use of a hot-melt adhesive (/wiki/Hot-melt_adhesive) , which is applied in spray form or multi lines, an elastic hot melt is also used to help with pad integrity when the diaper is wet. Some disposable diapers include fragrance, lotions or essential oils (/wiki/Essential_oil) in order to help mask the smell of a soiled diaper, or to protect the skin. Care of disposable diapers is minimal, and primarily consists of keeping them in a dry place before use, with proper disposal in a garbage receptacle upon soiling. Stool is supposed to be deposited in the toilet, but is generally put in the garbage with the rest of the diaper. Buying the right size of disposable (/wiki/Disposable) diaper can be a little difficult for first time parents since different brands tend to have different sizing standards. Baby diaper sizes in general are based on the child's weight (kg or lbs) and not determined by age like in clothing or shoes. [23] (#cite_note-:2-23) Common disposable baby diaper brands in the US include Huggies (/wiki/Huggies) , Pampers (/wiki/Pampers) , and Luvs (/wiki/Luvs) . [23] (#cite_note-:2-23) Sizing Diaper Size [24] (#cite_note-24) Baby Weight (lbs) [25] (#cite_note-25) Baby weight (kg) Approx Child Age N <10 <4 first few weeks only 1 8-14 3-6 2–4 months 2 12-18 5-8 3–6 months 3 16-28 7-13 6–10 months 4 22-37 9-17 7–17 months 5 <27 <12 older than 2 years 6 <35 <16 older than 3 years 7 <41 <19 older than 4 years 8 46+ 21+ older than 5 years Cloth diaper Main article: Cloth diaper (/wiki/Cloth_diaper) Cloth diaper filled with extra cloth Baby with cloth diaper Cloth diapers are reusable and can be made from natural fibers, synthetic materials, or a combination of both. [26] (#cite_note-ip.com-26) They are often made from industrial cotton (/wiki/Cotton) which may be bleached (/wiki/Bleach) white or left the fiber's natural color. Other natural fiber cloth materials include wool (/wiki/Wool) , bamboo (/wiki/Bamboo) , and unbleached hemp (/wiki/Hemp) . Man-made materials such as an internal absorbent layer of microfiber (/wiki/Microfiber) toweling or an external waterproof layer of polyurethane laminate (/wiki/Polyurethane_laminate) (PUL) may be used. Polyester (/wiki/Polyester) fleece and faux suedecloth (/w/index.php?title=Suedecloth&action=edit&redlink=1) are often used inside cloth diapers as a "stay-dry" wicking (/wiki/Capillary_action) liner because of the non-absorbent properties of those synthetic fibers. Safe Diaper Clip from the mid-1960s Traditionally, cloth diapers consisted of a folded square or rectangle of cloth, fastened with safety pins (/wiki/Safety_pin) . Today, most cloth diapers are fastened with hook and loop tape (velcro) or snaps. Modern cloth diapers come in a host of shapes, including preformed cloth diapers, all-in-one diapers with waterproof exteriors, fitted diaper with covers and pocket or "stuffable" diapers, which consist of a water-resistant outer shell sewn with an opening for insertion of absorbent material inserts. [27] (#cite_note-27) Many design features of modern cloth diapers have followed directly from innovations initially developed in disposable diapers, such as the use of the hour glass shape, materials to separate moisture from skin and the use of double gussets, or an inner elastic band for better fit and containment of waste material. [26] (#cite_note-ip.com-26) Several cloth diaper brands use variations of Procter & Gamble (/wiki/Procter_%26_Gamble) 's original 1973 patent use of a double gusset in Pampers (/wiki/Pampers) . [15] (#cite_note-Double_Gussets_diaper_patent-15) Compostable diapers Compostable diapers can be made from a range of different plant-based materials. Dyper (/w/index.php?title=Dyper&action=edit&redlink=1) makes their compostable diapers from bamboo fibers. [28] (#cite_note-28) Usage Children Babies may have their diapers changed five or more times a day. [29] (#cite_note-29) Parents and other primary childcare givers often carry spare diapers and necessities for diaper changing in a specialized diaper bag (/wiki/Diaper_bag) . Diapering may possibly serve as a good bonding experience for parent and child. [30] (#cite_note-30) Children who wear diapers may experience skin irritation, commonly referred to as diaper rash (/wiki/Diaper_rash) , due to continual contact with fecal matter, as feces contains urease (/wiki/Urease) which catalyzes the conversion of the urea in urine to ammonia (/wiki/Ammonia) which can irritate the skin and can cause painful redness. [31] (#cite_note-31) The age at which children should cease regularly wearing diapers and toilet training (/wiki/Toilet_training) should begin is a subject of debate. Proponents of baby-led potty training (/wiki/Baby-led_potty_training) and Elimination Communication (/wiki/Elimination_Communication) argue that potty training can begin at birth with multiple benefits, with diapers only used as a backup. Keeping children in diapers beyond infancy can be controversial, with family psychologist John Rosemond (/wiki/John_Rosemond) claiming it is a "slap to the intelligence of a human being that one would allow baby to continue soiling and wetting himself past age two." [32] (#cite_note-Delayed-32) Pediatrician T. Berry Brazelton (/wiki/T._Berry_Brazelton) , however, believes that toilet training is the child's choice and has encouraged this view in various commercials for Pampers Size 6, a diaper for older children. [32] (#cite_note-Delayed-32) Brazelton warns that enforced toilet training can cause serious long-term problems, and that it is the child's decision when to stop wearing diapers, not the parents'. [32] (#cite_note-Delayed-32) [33] (#cite_note-Pampers6-33) Children typically achieve daytime continence and stop wearing diapers during the day between the ages of two and four, depending on culture, diaper type, parental habits, and the child's personality. [34] (#cite_note-34) However, it is becoming increasingly common for children five to eleven years old to still wear diapers during the day, due to the child's opposition to toilet training, neglect, or unconventional parenting techniques. [35] (#cite_note-:3-35) [36] (#cite_note-:4-36) Other children may use diapers past toileting age due to disability, developmental disorders, or other medical reasons. This can pose a number of problems if the child is sent to school wearing diapers, including teasing from classmates and health issues resulting from soiled diapers. [37] (#cite_note-NappySchool2-37) There has been recent pushback from teachers concerning a trend of more children in diapers. [35] (#cite_note-:3-35) If a child soils themselves or their diaper, the teacher has to stop the lesson to focus on one child, which is distracting, and take away from the learning environment. [36] (#cite_note-:4-36) Most children continue to wear diapers at night for a period of time following daytime continence. [38] (#cite_note-38) [39] (#cite_note-39) Older children may have problems with bladder control (primarily at night) and may wear diapers while sleeping to control bedwetting (/wiki/Bedwetting) . [40] (#cite_note-40) Approximately 16% of children in the U.S. over the age of 5 wet the bed, [41] (#cite_note-:1-41) 5% of children over 10 wet the bed, [42] (#cite_note-42) and 2% of children over 15 wet the bed. [43] (#cite_note-43) Some companies have diaper products specifically designed for bedwetting, traditionally hosting higher leak guards, and being pull on style similar to training pants. If bedwetting becomes a concern, the current recommendation is to consider forgoing the use of a diaper at night as they may prevent the child from wanting to get out of bed, although this is not a primary cause of bedwetting. This is particularly the case for children over the age of 8. [41] (#cite_note-:1-41) [44] (#cite_note-44) [45] (#cite_note-45) Training pants Main article: Training pants (/wiki/Training_pants) Manufacturers have designed "training pants" which bridge the gap between baby diapers and normal underwear during the toilet training process. These are similar to infant diapers in construction, but they can be pulled on like normal underwear. Training pants are available for children who experience enuresis (/wiki/Enuresis) . Adults Adult diapers may be worn for urinary and fecal incontinence. Main article: Adult diaper (/wiki/Adult_diaper) Although most commonly worn by and associated with babies and children, diapers are also worn by adults for a variety of reasons. In the medical community, they are usually referred to as "adult absorbent briefs" rather than diapers, which are associated with children and may have a negative connotation. The usage of adult diapers can be a source of embarrassment, [46] (#cite_note-WYGGYGG-46) and products are often marketed under euphemisms such as incontinence pads. The most common adult users of diapers are those with medical conditions which cause them to experience urinary incontinence (/wiki/Urinary_incontinence) (like bedwetting) or fecal incontinence (/wiki/Fecal_incontinence) , those who are bedridden or otherwise limited in their mobility, or for other emotional, physical, or mental needs. It is important that the user selects the proper type, size, and absorbency level for their needs as every diaper design is different. Scuba divers (/wiki/Scuba_diver) utilize diapers for their dry suits (/wiki/Dry_suit) for long exposures. [47] (#cite_note-pmid22752741-47) The Maximum Absorbency Garment (/wiki/Maximum_Absorbency_Garment) is an adult-sized diaper with extra absorption material that NASA (/wiki/NASA) astronauts (/wiki/Astronaut) wear during liftoff, landing, and extra-vehicular activity (EVA) (/wiki/Extra-vehicular_activity) . [48] (#cite_note-NASA-48) [49] (#cite_note-BarrattPool2008-49) The NASA Maximum Absorbency Garment is however only designed to retain 2 liters, [49] (#cite_note-BarrattPool2008-49) [50] (#cite_note-Jennings-50) while the commercial brand by "Tykables Diapers" known as their "Little Rawrs" diaper line is ISO rated to retain up to 7.5 liters of urine. [51] (#cite_note-51) Animals Diapers and diaperlike products are sometimes used on pets (/wiki/Pet) , laboratory animals (/wiki/Animal_testing) , or working animals (/wiki/Working_animal) . This is often due to the animal not being housebroken (/wiki/Housebreaking) , or for older, sick, or injured pets who have become incontinent. In some cases, these are simply baby diapers with holes cut for the tails to fit through. In other cases, they are diaperlike waste collection devices. The diapers used on primates, canines, etc. are much like the diapers used by humans. The diapers used on equines are intended to catch excretions, as opposed to absorbing them. In 2002, the Vienna (/wiki/Vienna) city council proposed that horses be made to wear diapers to prevent them from defecating in the street. This caused controversy amongst animal rights groups, who claimed that wearing diapers would be uncomfortable for the animals. The campaigners protested by lining the streets wearing diapers themselves, which spelled out the message "Stop pooh bags". [52] (#cite_note-Horses1-52) In the Kenyan (/wiki/Kenya) town of Limuru (/wiki/Limuru) , donkeys were also diapered at the council's behest. [53] (#cite_note-Donkey-53) A similar scheme in Blackpool (/wiki/Blackpool) ordered that horses be fitted with rubber and plastic diapers to stop them littering the promenade with dung. The council consulted the RSPCA (/wiki/Royal_Society_for_the_Prevention_of_Cruelty_to_Animals) to ensure that the diapers were not harmful to the horses' welfare. [54] (#cite_note-Horses2-54) [55] (#cite_note-Horses3-55) [56] (#cite_note-Horses4-56) Other animals that are sometimes diapered include female dogs when ovulating (/wiki/Ovulation) and thus bleeding, and monkeys and apes or chickens. [57] (#cite_note-57) Diapers are often seen on trained animals who appear on TV shows, in movies, or for live entertainment or educational appearances. Cost of disposable diapers More than US$9 billion is spent on disposable diapers in North America each year. [58] (#cite_note-:0-58) As of 2018, name-brand, mid-range disposable diapers in the U.S., such as Huggies (/wiki/Huggies) and Pampers (/wiki/Pampers) , were sold at an average cost of approximately $0.20–0.30 each, and their manufacturers earned about two cents in profit from each diaper sold. [58] (#cite_note-:0-58) Premium brands had eco-friendly features, and sold for approximately twice that price. [58] (#cite_note-:0-58) Generic disposable diapers cost less per diaper, at an average price of $0.15 each, and the typical manufacturer's profit was about one cent per diaper. [58] (#cite_note-:0-58) However, the low-cost diapers needed to be changed more frequently, so the total cost savings was limited, as the lower cost per diaper was offset by the need to buy more diapers. [58] (#cite_note-:0-58) In Latin America, some manufacturers sold disposable diapers at a price of approximately US$0.10 each. [58] (#cite_note-:0-58) Environmental impact of cloth versus disposable diapers Further information: environmental impact of paper (/wiki/Environmental_impact_of_paper) and environmental impact of plastics (/wiki/Environmental_impact_of_plastics) An average child will go through several thousand diapers in their life. [59] (#cite_note-59) Since disposable diapers are discarded after a single use (/wiki/Single_use) , usage of disposable diapers increases the burden on landfill (/wiki/Landfill) sites, and increased environmental awareness (/wiki/Environmental_awareness) has led to a growth in campaigns for parents to use reusable alternatives such as cloth or hybrid diapers. [60] (#cite_note-60) An estimated 27.4 billion disposable diapers are used each year in the US, resulting in a possible 3.4 million tons of used diapers adding to landfills each year. [61] (#cite_note-61) A discarded disposable diaper takes approximately 450 years to decompose. [62] (#cite_note-62) The environmental impact of cloth as compared to disposable diapers has been studied several times. In one cradle-to-grave study sponsored by the National Association of Diaper Services (NADS) and conducted by Carl Lehrburger and colleagues, results stated that disposable diapers produce seven times more solid waste (/wiki/Solid_waste) when discarded and three times more waste in the manufacturing process. In addition, effluents from the plastic, pulp, and paper industries (/wiki/Pulp_and_paper_industry) are believed far more hazardous than those from the cotton (/wiki/Cotton) -growing and -manufacturing processes. Single-use diapers consume less water (/wiki/Water_consumption) than reusables laundered at home, but more than those sent to a commercial diaper service. Washing cloth diapers at home uses 50 to 70 gallons (approx. 189 to 264 litres) of water every three days, which is roughly equivalent to flushing the toilet 15 times a day, unless the user has a high-efficiency washing machine. An average diaper service puts its diapers through an average of 13 water changes, but uses less water and energy (/wiki/Energy_use) per diaper than one laundry (/wiki/Laundry) load at home. [63] (#cite_note-63) In October 2008, "An updated lifecycle assessment study for disposable and reusable nappies" by the UK Environment Agency and Department for Environment, Food and Rural Affairs (/wiki/Department_for_Environment,_Food_and_Rural_Affairs) stated that reusable diapers can cause significantly less (up to 40 per cent) or significantly more damage to the environment than disposable ones, depending mostly on how parents wash and dry them. The "baseline scenario" showed that the difference in green-house emissions was insignificant (in fact, disposables even scored slightly better). However, much better results (emission cuts of up to 40 per cent) could be achieved by using reusable diapers more rationally. "The report shows that, in contrast to the use of disposable nappies, it is consumers' behaviour after purchase that determines most of the impacts from reusable nappies. Cloth nappy users can reduce their environmental impacts by: Line drying outside whenever possible Tumble drying as little as possible When replacing appliances, choosing more energy efficient appliances (A+ rated machines [according to the EU (/wiki/European_Union) environmental rating] are preferred) Not washing above 60 °C (140 °F) Washing fuller loads Using baby-led potty training (/wiki/Baby-led_potty_training) techniques to reduce number of soiled nappies. Reusing nappies on other children." [64] (#cite_note-64) There are variations in the care of cloth diapers that can account for different measures of environmental impact. For example, using a cloth diaper laundering service involves additional pollution from the vehicle that picks up and drops off deliveries. Yet such a service uses less water per diaper in the laundering process. [65] (#cite_note-65) Some people who launder cloth diapers at home wash each load twice, considering the first wash a "prewash", and thus doubling the energy and water usage from laundering. Cloth diapers are most commonly made of cotton. "Conventional cotton is one of the most chemically-dependent crops, sucking up 10% of all agricultural chemicals and 25% of insecticides (/wiki/Insecticide) on 3% of our arable land; that's more than any other crop per unit." [66] (#cite_note-66) This effect can be mitigated by using organic cotton or other materials, such as bamboo and hemp. [67] (#cite_note-67) Another aspect to consider when choosing between disposable diapers and cloth diapers is cost. It is estimated that an average baby will use from $1,500 to $2,000 or more in disposable diapers before being potty-trained. [68] (#cite_note-68) In contrast, cloth diapers, while initially more expensive than disposables, if bought new cost about $100 to $300 for a basic set, although costs can rise with more expensive versions. [69] (#cite_note-69) [70] (#cite_note-70) The cost of washing and drying diapers must also be considered. The basic set, if one-sized, can last from birth to potty-training. Another factor in reusable cloth diaper impact is the ability to re-use the diapers for subsequent children or sell them on. These factors can alleviate the environmental and financial impact from manufacture, sale and use of brand-new reusable diapers. See also Fashion portal (/wiki/Portal:Fashion) Medicine portal (/wiki/Portal:Medicine) Adult diaper (/wiki/Adult_diaper) Changing table (/wiki/Changing_table) Diaper bag (/wiki/Diaper_bag) Infant clothing (/wiki/Infant_clothing) Swim diaper (/wiki/Swim_diaper) Diaper Genie (/wiki/Diaper_Genie) Baby-led potty training (/wiki/Baby-led_potty_training) Diaper fetishism (/wiki/Diaper_fetishism) Marion Donovan (/wiki/Marion_Donovan) Training pants (/wiki/Training_pants) References ^ (#cite_ref-Shakespeare_1-0) "Diaper" (https://web.archive.org/web/20130525222029/http://machaut.uchicago.edu/?action=search&resource=Webster%27s&word=Diaper) . Webster's Dictionary . The University of Chicago Department of Romance Languages and Literature. Archived from the original (http://machaut.uchicago.edu/?action=search&resource=Webster%27s&word=Diaper) on May 25, 2013 . Retrieved April 2, 2013 . ^ (#cite_ref-2) "nappy" (https://www.oxfordlearnersdictionaries.com/definition/english/diaper?q=diaper) . Oxford Advanced Learner's Dictionary (/wiki/Oxford_Advanced_Learner%27s_Dictionary) . Archived (https://web.archive.org/web/20211213220704/https://www.oxfordlearnersdictionaries.com/definition/english/diaper?q=diaper) from the original on 13 December 2021 . Retrieved 7 May 2021 . ^ (#cite_ref-3) "Diaper" (http://www.etymonline.com/index.php?term=diaper) . eytomonline.com. Archived (https://web.archive.org/web/20211214011607/https://www.etymonline.com/word/diaper) from the original on 14 December 2021 . Retrieved 10 November 2009 . ^ (#cite_ref-4) "Nappy" (http://dictionary.oed.com/cgi/entry/00321105?query_type=word&queryword=nappy&first=1&max_to_show=10&sort_type=alpha&search_id=7XBH-OkOsBx-11004&result_place=1) . Oxford English Dictionary (/wiki/Oxford_English_Dictionary) . Retrieved 28 November 2007 . ^ (#cite_ref-test_5-0) White, Peter (1 January 2000). "9: From the Bottom Up". From Pill Boxes to Bandages... and Back Again: The Robinson Story 1839-2000 . Chesterfield, United Kingdom: Robinson & Co. p. 75. ASIN (/wiki/ASIN_(identifier)) B00AY5649M (https://www.amazon.com/dp/B00AY5649M) . Archived from the original (http://www.paddi.org.uk/From-the-Bottom-Up.php) on 12 May 2011 . Retrieved 3 March 2011 . ^ (#cite_ref-6) "Marion Donovan, 81, Solver Of the Damp-Diaper Problem" (https://www.nytimes.com/1998/11/18/business/marion-donovan-81-solver-of-the-damp-diaper-problem.html) . New York City Times. November 18, 1998. ^ (#cite_ref-7) "No. 2464: Engineering Diapers" (https://web.archive.org/web/20160304053144/http://www.uh.edu/engines/epi2464.htm) . uh.edu . Archived from the original (http://www.uh.edu/engines/epi2464.htm) on March 4, 2016 . Retrieved April 5, 2014 . ^ (#cite_ref-8) "Valerie Hunter Gordon, inventor of the disposable nappy – obituary" (https://www.telegraph.co.uk/obituaries/2016/10/20/valerie-hunter-gordon-inventor-of-the-disposable-nappy--obituary/) . The Daily Telegraph (/wiki/The_Daily_Telegraph) . 20 October 2016. 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(https://web.archive.org/web/20060211185921/http://www.creativechildonline.com/friends/bed_wetting.html) . Creativechildonline.com . Archived from the original (http://www.creativechildonline.com/friends/bed_wetting.html) on 2006-02-11 . Retrieved April 9, 2013 . ^ (#cite_ref-WYGGYGG_46-0) Stack, Jennie Borodko (February 2001). "When You've Gotta Go, You've Gotta Go" (https://thediaperrash.com/alternative-ways-for-adults-to-pee/) . Muscular Dystrophy Association (/wiki/Muscular_Dystrophy_Association) . Retrieved October 11, 2017 . ^ (#cite_ref-pmid22752741_47-0) Harris, Richard (December 2009). "Genitourinary infection and barotrauma as complications of 'P-valve' use in drysuit divers" (https://web.archive.org/web/20130526025635/http://archive.rubicon-foundation.org/xmlui/handle/123456789/9482) . Diving and Hyperbaric Medicine . 39 (4): 210–2. PMID (/wiki/PMID_(identifier)) 22752741 (https://pubmed.ncbi.nlm.nih.gov/22752741) . Archived from the original on May 26, 2013 . 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Standardized outfit worn by students of an educational institution The examples and perspective in this article deal primarily with the United States and do not represent a worldwide view (/wiki/Wikipedia:WikiProject_Countering_systemic_bias) of the subject . You may improve this article (https://en.wikipedia.org/w/index.php?title=School_uniform&action=edit) , discuss the issue on the talk page (/wiki/Talk:School_uniform) , or create a new article (/wiki/Wikipedia:Article_wizard) , as appropriate. ( July 2023 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Use of School Uniforms by Country Uniforms are widespread Uniforms are not common Students in school uniforms A school uniform is a uniform (/wiki/Uniform) worn by students (/wiki/Students) primarily for a school (/wiki/School) or otherwise an educational institution (/wiki/Educational_institution) . [1] (#cite_note-:1-1) They are common in primary (/wiki/Primary_school) and secondary schools (/wiki/Secondary_school) in various countries. An example of a uniform would be requiring button-down shirts (/wiki/Button-down_shirt) , trousers (/wiki/Pants) for boys and blouses (/wiki/Blouse) , pleated (/wiki/Pleat) skirts (/wiki/Skirt) for girls, with both wearing blazers (/wiki/Blazer) . A uniform can even be as simple as requiring collared shirts, or restricting colour choices and limiting items students are allowed to wear. Uniform [ edit ] Three students in Indonesia (/wiki/Education_in_Indonesia) wearing uniforms Although often used interchangeably, there is an important difference between dress codes (/wiki/Dress_codes) and school uniforms: according to scholars such as Nathan Joseph, clothing can only be considered a uniform when it "(a) serves as a group emblem, (b) certifies an institution's legitimacy by revealing individual's relative positions and (c) suppresses individuality." [2] (#cite_note-2) Conversely, a dress code (/wiki/Dress_code) is much less restrictive, and focuses "on promoting modesty and discouraging anti-social fashion statements", according to Marian Wilde. [3] (#cite_note-3) Examples of a dress code would be not allowing ripped clothing, no logos or limiting the amount of skin that can be shown. School uniforms are clothes that are usually used for school, each level of school has a different uniform. Each educational unit has its own distinctive school uniform. History [ edit ] Schoolgirls in Japanese Taiwan (/wiki/Taiwan_under_Japanese_rule) , 1927 It is difficult to trace the origins of the uniform as there is no comprehensive written history, but rather a variety of known influences. School uniforms are believed to be a practice which dates to the 16th century in the United Kingdom. It is believed that the Christ's Hospital (/wiki/Christ%27s_Hospital) School in England in 1552 was the first school to use a school uniform. [4] (#cite_note-4) Students were given a uniform that most notably consisted of a long blue coat and yellow, knee-high socks. [5] (#cite_note-:0-5) An almost identical uniform is still worn by students attending the school today. [5] (#cite_note-:0-5) The earliest documented proof of institutionalized use of a standard academic dress dates back to 1222 when the then Archbishop of Canterbury ordered the wearing of the cappa clausa. [6] (#cite_note-6) This monastic and academic practice evolved into collegiate uniforms in England, particularly in charity schools where uniform dress was often provided for poor children. Universities, primary schools and secondary schools used uniforms as a marker of class and status. [7] (#cite_note-7) Although school uniforms can often be considered conservative (https://en.wiktionary.org/wiki/conservative) and old-fashioned, uniforms in recent years have changed as societal dress codes have changed. [8] (#cite_note-8) Contemporary [ edit ] Kindergarten (/wiki/Kindergarten) schoolboy in Ghana (/wiki/Ghana) wearing a school uniform In the United States (/wiki/United_States) , a movement toward using uniforms in state schools (/wiki/State_school) began when Bill Clinton (/wiki/Bill_Clinton) addressed it in the 1996 State of the Union (/wiki/State_of_the_Union) , saying: "If it means that teenagers will stop killing each other over designer jackets, then our public schools should be able to require their students to wear uniforms." [9] (#cite_note-9) As of 1998 approximately 25% of all U.S. public elementary, middle and junior high schools had adopted a uniform policy or were considering a policy, and two-thirds were implemented between 1995 and 1997. [10] (#cite_note-10) New York City's then-new schools chancellor, Rudy Crew (/wiki/Rudy_Crew) , made it clear that he would not follow Clinton's idea. [11] (#cite_note-RudyCrew.NYTMarch96-11) There is an abundance of theories and empirical studies (/wiki/Empirical_studies) looking at school uniforms, making statements about their effectiveness. These theories and studies elaborate on the benefits and also the shortcomings of uniform policies. The issue of nature vs. nurture (/wiki/Nature_vs._nurture) comes into play, as uniforms affect the perceptions of masculinity (/wiki/Masculinity) and femininity (/wiki/Femininity) , over-simplify issues of gender classification, and attempt to suppress students' sexuality. [12] (#cite_note-12) Uniforms bring a variety of pros, cons, and major legal implications and controversies. There are two main empirical findings that are most often cited in the political rhetoric surrounding the uniform debate. One of these, the case study (/wiki/Case_study) of the Long Beach Unified School District (/wiki/Long_Beach_Unified_School_District) , is most often cited in support of school uniforms and their effectiveness whereas Effects of Student Uniforms on Attendance, Behavior Problems, Substance Use, and Academic Achievement is the most frequently cited research in opposition to the implementation of school uniform policies. Effects of uniforms on students [ edit ] In many Japanese schools, students take off their outdoor shoes and wear uwabaki (/wiki/Uwabaki) , an indoor soft slipper. The case study of the Long Beach Unified School District was the study of the first large, urban school in the United States to implement a uniform policy. In 1994, mandatory school uniforms were implemented for the districts elementary and middle schools as a strategy to address the students' behavior issues. The district simultaneously implemented a longitudinal study to research the effects of the uniforms on student behavior. The study attributed favorable student behavioral changes and a significant drop in school discipline issues to the mandatory uniform policy. Wearing school uniforms was associated with fewer absences and truancies and fewer referrals to the office for behavior problems. Suspensions and expulsions were reduced by 28% (elementary) and 36% (middle school), crime and vandalism by 74% (elementary) and 18% (middle school). However the school district also added other security measures such as security guards, and metal detectors so the success cannot be solely attributed to the uniforms. The district later removed the uniforms. [13] (#cite_note-nmu.edu-13) Brazilian primary school students with their teacher Other research found that uniforms were not an effective deterrent to decrease truancy, did not decrease behavior problems, decrease substance use, and in fact may be associated with poorer student achievement relative to students not required to wear school uniforms. [14] (#cite_note-Brunsma,_David_L._1998-14) Brunsma stated that despite the inconclusiveness of the effects of uniforms, they became more common because "this is an issue of children's rights, of social control, and one related to increasing racial, class and gender inequalities in our schools." [15] (#cite_note-Northen-15) Laws and rulings [ edit ] A group picture of Thai (/wiki/Thai_people) students (uniforms with dark blue shorts) and Singaporean (/wiki/Singaporean) students (uniforms with cyan skirts and shorts) in front of the Grand Palace (/wiki/Grand_Palace) As uniforms have become more normalised, there have also been an increasing number of lawsuits brought against school districts. According to David Brunsma, one in four public elementary schools and one in eight public middle and high schools in the United States have policies dictating what a student wears to school. [16] (#cite_note-16) The school code within states' constitutions typically asserts that it allows the board of school directors to make reasonable rules and regulations as they see fit in managing the school's affairs. As of 2008, there are currently 23 states that allow school districts to mandate school uniforms. [17] (#cite_note-17) The constitutional objections usually brought upon school districts tend to fall into one of the following two categories: (1) a violation of the students' First Amendment (/wiki/First_Amendment) right to free expression (2) a violation of parents' right to raise their children without government interference. Although up until this point, The Supreme Court has not ruled on a case involving school uniforms directly, in the 1968 decision Tinker v. Des Moines Independent Community School District (/wiki/Tinker_v._Des_Moines_Independent_Community_School_District) , the Court ruled that upon entering school, students do not shed their constitutional rights to freedom of speech. [18] (#cite_note-18) Internationally, there are differing views of school uniforms. In the Australian state of Queensland, Ombudsman Fred Albietz ruled in 1998 that state schools may not require uniforms. [19] (#cite_note-19) In the Philippines (/wiki/Philippines) , the Department of Education (/wiki/Department_of_Education_(Philippines)) abolished the requirement of school uniforms in public schools. [20] (#cite_note-20) In England and Wales (/wiki/England_and_Wales) , technically a state school may not permanently exclude students for "breaching school uniform policy", under a policy promulgated by the Department for Children, Schools and Families (/wiki/Department_for_Children,_Schools_and_Families) but students not wearing the correct uniform are asked to go home and change. In Scotland, some local councils (/wiki/Local_government_in_Scotland) (that have responsibility for delivering state education) do not insist on students wearing a uniform as a precondition to attending and taking part in curricular activities. [21] (#cite_note-21) Turkey abolished mandatory uniforms in 2010. [22] (#cite_note-22) Examples of lawsuits in the United States [ edit ] Canady v. Bossier Parish School Board [ edit ] In the Canady v. Bossier Parish School Board (/wiki/Bossier_Parish_School_Board) lawsuit in 2000, a Louisiana district court ruled in favour of the school board because it did not see how the free speech rights of the students were being violated due to the school board's uniform policy. Even though the plaintiff appealed the decision, the Fifth Circuit Court also ruled in favour of the school board after implementing a four-step system that is still used today. Firstly, a school board has to have the right to set up a policy. Secondly, the policy must be determined to support a fundamental interest of the board as a whole. Thirdly, the guidelines cannot have been set for the purpose of censorship. Finally, the limits on student expression cannot be greater than the interest of the board. As long as these four policies are in place, then no constitutional violation can be claimed. [23] (#cite_note-23) Littlefield v. Forney Independent School District [ edit ] In the Forney Independent School District (/wiki/Forney_Independent_School_District) of Forney, Texas (/wiki/Forney,_Texas) in 2001, the school board decided to implement a school uniform policy allowing the students to wear a polo shirt (/wiki/Polo_shirt) , oxford shirt (/wiki/Oxford_shirt) or blouse (/wiki/Blouse) in four possible colours, and blue or khaki (/wiki/Khaki#Tones_of_khaki) trousers or shirts, a skirt or jumper. While there was some flexibility with shoes, certain types were prohibited along with any sort of baggy clothes. The parents of the Littlefield family requested that their son be exempt from the policy, but were denied. In response, the Littlefields filed a lawsuit against the school district, under the pretenses that this uniform mandate infringed on their rights as parents to control how they brought up their children and their education. They even went as far as to cite an infringement on religious freedom, claiming that opting out of the uniforms on the grounds of religion allowed the school to rank the validity of certain religions. Before trial, the District Court dismissed the case, so the family appealed. Ultimately, the Fifth Circuit Court ruled that the students' rights were not being violated even though the claims presented were valid. They ruled that school rules derived from the education would override the parents' right to control their children's upbringing in this specific situation. As far as the religious freedom violation accusations, the court ruled that the policy did not have a religious goal, and thus did not infringe on religious freedom rights. [24] (#cite_note-24) Jacobs v. Clark County School District [ edit ] In 2003, Liberty High School, a school of the Clark County School District (/wiki/Clark_County_School_District) in Henderson, Nevada (/wiki/Henderson,_Nevada) , implemented a uniform policy of khakis and red, white or blue polo shirts. A junior by the name of Kimberly Jacobs was suspended a total of five times because she wore a religious shirt to school and got cited for uniform violations. Her family sued the Clark County School District under the claims that her First Amendment rights were being infringed upon and that the uniform policy was causing students to be deprived of due process (/wiki/Due_process) . The plaintiff's requests were for injunctive relief, the expunging of suspensions from Jacob's school record and awarding of damages. The injunction was granted to the family meaning that the school could no longer discipline her for breaking the uniform policy. At this ruling, the school district appealed. The next court ruled on the side of the school district as it determined that the uniform policy was in fact neutral and constitutional, and it dismissed the claims of the plaintiff. [25] (#cite_note-25) Frudden v. Washoe County School District [ edit ] In 2011, a Nevada public elementary school of the Washoe County School District (/wiki/Washoe_County_School_District) decided to add the school's motto, Tomorrow's Leaders embroidered in small letters on the shirt. In response, Mary and John Frudden, parents of a student sued the school district on the basis of it violating the 1st Amendment (/wiki/1st_Amendment) . The court ultimately dismissed the case filed by the Fruddens over the uniforms. However, the family appealed, and two years later, a three-judge panel of the 9th U.S. Circuit Court of Appeals heard the case. The court ruled to reverse the previous decision of dismissing the case, and also questioned the apparent policy for students that were part of a nationally recognised group such as Boy Scouts and Girl Scouts who were able to wear the uniforms in place of the school ones on regular meeting days. The 9th circuit panel ruled that the school had not provided enough evidence for why it instituted this policy, and that the family was never given a chance to argue. [26] (#cite_note-26) Social implications of school uniforms on gender [ edit ] Schoolgirls in Nepal (/wiki/Nepal) . Some school uniform policies (e.g. Vietnam) include trousers for girls. School girls in parts of South Asia can choose between skirts or shalwar kameez (/wiki/Shalwar_kameez) . There are several positive and negative social implications of uniforms on both the students wearing them and society as a whole. Perceptions of masculinity and femininity [ edit ] One of the criticisms of uniforms is that it imposes standards of masculinity and femininity from a young age. Uniforms are considered a form of discipline that schools use to control student behavior and often promote conventional gendered dress. [27] (#cite_note-27) [28] (#cite_note-Happel,_Alison_2013-28) Boys often are required to wear trousers, belts, and closed-toe shoes and have their shirts tucked in at all times. They are also often required to have their hair cut short. Some critics allege that this uniform is associated with the dress of a professional business man, which, they claim, gives boys at a young age the impression that masculinity is gained through business success. [29] (#cite_note-29) For girls, many uniforms promote femininity by requiring girls to wear skirts. Skirts are seen by some critics as a symbol of femininity because they restrict movement and force certain ways of sitting and playing. [28] (#cite_note-Happel,_Alison_2013-28) Uniforms that include an apron (/wiki/Apron) for girls may suggest that the appropriate feminine societal role is a primarily domestic one. Some girls' school uniforms have been criticized as having an uncomfortable design, which prevents girls from freedom of movement and exposes girls to cold during winter. [30] (#cite_note-30) School uniforms are embedded with gender symbolism. Schools that require students to wear a formal uniform almost universally provide trousers for boys and skirts or dresses for girls [ citation needed ] . Skirts differentiate the female from the male, thereby confirming traditional gender identities for students who must wear the correct attire corresponding to their sex. Skirts and dresses demand a particular type of feminine gender performance, whereas trousers demand a particular masculine gender performance. By forcing students to wear attire that corresponds with their sex inherently assigns the ways a student must perform their gender. This causes controversy when a student does not want to identify with a gender that does not align with their sex. There are rarely guidelines that allow for students to dress according to their performed gender, but almost always according to their sex assigned at birth. [31] (#cite_note-deakin.edu.au-31) [ page needed ] Sexualization of girls [ edit ] A K-pop (/wiki/K-pop) all-girls band group wearing uniform-like costumes during a performance, 2017 Around middle or junior school (/wiki/Middle_school) , students begin going through puberty. Uniforms can be seen as a way to restrict the sexualization of girls by taking the focus away from sexuality and focus it on academics in a school setting for girls. [32] (#cite_note-32) Sometimes the desire to prevent overtly sexualized clothing through uniforms can fail. As an example, miniskirts have been very popular in Japan, where they are common parts of school uniforms and came to be worn within the Kogal (/wiki/Kogal) culture. [33] (#cite_note-33) [34] (#cite_note-34) "The pleasure our culture derives from gazing at girls who look feminine conflicts with girls' freedom to run around unselfconsciously and to develop their gross motor talents as boys are encouraged to do" (Collins et al. 1996, p. 170). Schoolgirl uniforms are used in costumes in the context of "Sexy Schoolgirl" (/wiki/Uniform_fetishism#Schoolgirl_uniform) and are sold on costume sites year round. The idea of the female school uniform has become sexual and in Britain a new survey from Plan International UK found that a third of girls have been sexually harassed while wearing their school uniform. School uniforms can encourage harassment as children, as some cultures can define the "schoolgirl look" as sexual. Children as young as 8 years old report being victims of, or witnesses to, harassment. Two-thirds of the children questioned in the survey said they have experienced "unwanted sexual attention" in public, and 35 per cent said they have been touched, groped or grabbed without their consent. These experiences teach girls that being harassed by men is just a part of growing up. The perception of schoolgirl uniforms allows for men to harass girls at a young age, causing girls to self-objectify their bodies from the beginning of their schooling experience. [31] (#cite_note-deakin.edu.au-31) [35] (#cite_note-35) [36] (#cite_note-36) Controversies [ edit ] This section contains a pro and con list (/wiki/Wikipedia:Pro_and_con_lists) . Please help rewriting it (https://en.wikipedia.org/w/index.php?title=School_uniform&action=edit) into consolidated sections based on topics. ( April 2015 ) General [ edit ] Cuban high-school girls, 2009 Pupils in Taiwan (/wiki/Taiwan) Primary school boy and girl in Malaysia In some cultures, the topic of school uniforms has sparked a multitude of controversies and debates over the years. [37] (#cite_note-37) Debates concerning the constitutionality and economic feasibility of uniforms also contribute to the controversy. In the United States, the implementation of school uniforms began following ten years of research indicating the effectiveness of private schools (/wiki/Private_schools) . Some state-school reformers cited this research to support policies linked to private and Catholic school (/wiki/Catholic_school) success. Some public-school administrators hence began implementing uniform policies to improve the overall school environment and academic achievement of the students. This is based on the assumption that uniforms are the direct cause of behavioral and academic outcome changes. [14] (#cite_note-Brunsma,_David_L._1998-14) However, within the Catholic school literature, school uniforms have never been acknowledged as a primary factor in producing a Catholic school effect. [38] (#cite_note-38) [14] (#cite_note-Brunsma,_David_L._1998-14) Another area of controversy regarding school uniform and dress code policies revolve around the issue of gender. Nowadays, more teenagers are more frequently "dressing to articulate, or confound gender identity and sexual orientation (/wiki/Sexual_orientation) ", which brings about "responses from school officials that ranged from indifferences to applause to bans". [39] (#cite_note-nytimes.com-39) School girls of Argentina Positives [ edit ] Students in school uniform in the UK Ethiopian school children Students (/wiki/Student) of different nationalities at an international school (/wiki/International_school) in Shanghai (/wiki/Shanghai) , China, 2017. The school does not have a uniform. Advocates of uniforms have proposed several reasons supporting their implementation and claiming their success in schools. Advocates believe that uniforms affect student safety by decreasing student victimization, gang activity, and fights. [40] (#cite_note-faculty.unlv.edu-40) There has been no concrete evidence of this, and studies by Ohio State University and others showed that uniforms did not increase test scores, grades, or focus. However, attendance increased by less than half of a day. The students felt even less of a sense of belonging at a school with uniforms. [41] (#cite_note-OSUStudy-41) Kathleen Wade conducted an experiment to see if bullying and gang presence was higher in uniform or non-uniform schools. The research was done with multiple schools where she gave a questionnaire to both students and faculty to see if there was a significant difference. Her results showed that bullying and gang presence significantly decreases with students wearing school uniforms. [42] (#cite_note-doi.org-42) Differentiating strangers from students in school buildings For example, in the first year of the mandatory uniform policy in Long Beach, California, officials reported that fighting in schools decreased by more than 50%, assault and battery by 34%, sex offenses by 74%, and robbery by 66%. [42] (#cite_note-doi.org-42) However the district also added other safety measures like security guards so the success cannot be attributed to the uniforms solely. Advocates also believe that uniforms increase student learning and positive attitudes toward school through: Enhanced learning environments Heightened school pride Increased student achievement High levels of preparedness Conformity to organizational goals Currently, pros of school uniforms center around how uniforms affect school environments. Advocates say that uniforms may create a safe learning environment for students to help them focus on school work and can lead them to great academic accomplishments. Students who wear school uniforms may not feel anxious or nervous about peer pressure in buying new clothes to fit in or being teased by other classmates. [43] (#cite_note-43) Proponents have found a significant positive impact on school climate, safety, and students' self-perception from the implementation of uniforms. However, though modern studies and tests prove uniforms did not increase test scores, behavior, bullying, focus and attendance barely increased. [41] (#cite_note-OSUStudy-41) Negatives [ edit ] The opposing side of uniforms has claimed their ineffectiveness using a variety of justifications, a variety of which have research supporting them. Some of the cons to school uniforms include the following legal, financial, and questionable effectiveness concerns: [40] (#cite_note-faculty.unlv.edu-40) The primary concern with school uniforms or strict dress codes is that it limits the ability of students to express themselves. While in countries where uniforms are the norm it simply isn't the case. Clothing is viewed as a means of expression – making all students wear the same clothes or limit them to what they can wear can disrupt their sense of identity. One of the main controversies focuses on dress code policies versus freedom of speech. [44] (#cite_note-School_Dress_Codes_-_FindLaw-44) This establishes that students cannot wear the latest trends or clothes that the school finds that interrupt the learning environment. However, students can wear clothing that express their religion. "Both the Constitution and most state laws protect students' rights to wear religious attire... such as the wearing of a turban, yarmulke, or headscarf." [44] (#cite_note-School_Dress_Codes_-_FindLaw-44) Another negative aspect of school uniforms is that the policy can be sexist. Boys and girls are often not disciplined in the same ways when it comes to dress codes. Girls are more commonly disciplined for certain articles of clothing that are prohibited because they "distract" boys. "Transgender students have been sent home for wearing clothing different from what's expected of their legalness, while others have been excluded from yearbooks." [45] (#cite_note-Zhou-45) Schoolboys in France, 1880 Uniforms also generally disadvantage students, especially girls, in freedom of movement and comfort. The research was conducted on an Australian independent private school and its uniform. Comfort-wise, for boys, the blazer was too hot/cold and uncomfortable. For girls, the light coloured cotton school dress was restrictive, see-through, hot, uncomfortable, and impractical. Furthermore, the stockings were often cold, grey woolen kilt was too heavy and restrictive of movement, and the wind could cause it to reveal more than the girls wanted. When playing and moving around, for boys, the school tie was a choking hazard, and the trousers had no stretch. For girls, the dress/skirt caused modesty issues (e.g. hard to swing on monkey bars/run around while keeping her privacy, hence stop being active), and the kilts were too big and heavy. [46] (#cite_note-46) Research on how school uniforms and school dress codes influence the student can be inconclusive. "In the U.S., over half of public schools have a dress code, which frequently outline gender-specific policies." [45] (#cite_note-Zhou-45) Legal concerns Focus on the supposition that requiring a uniform violates children's individual rights (Thomas, 1994; Virginia State Dep’t of Edu, 1992) Mandatory uniform policies are being considered largely for urban school districts, and, hence are being forced on a predominantly minority and poor student population (Thomas, 1994) No effect on social status Many students felt the school uniform policy had little impact on the social dynamic of the school and students found ways to express individuality by making minor alterations to the school uniform (Da Costa, 2006 [47] (#cite_note-47) ). Some parents and students interviewed in a research about the social aspect of school uniforms said that uniforms were a violation of their rights and freedom. "Like adults, children's freedom to choose or to act is also circumscribed by the community – massively so by schools, with their high density, constant supervision and evaluation, lack of privacy, and the obligatory nature of their activities." (Bodine, 2003 [48] (#cite_note-48) ) Financial concerns Groups such as the American Civil Liberties Union (/wiki/American_Civil_Liberties_Union) have voiced concerns about the cost of uniforms, specifically that some disadvantaged parents are unable to afford them (Gursky, 1996) Questionable effectiveness of those policies Strongest opponents of uniform policies charge that no empirical evidence exists to support the numerous and varied claims of uniform proponents (LaPorte, Holoman, & Alleyne, 1992) School uniforms suppress students' individuality by mandating standardization of appearance and removing student expression (Joseph, 1986 [49] (#cite_note-49) ) While uniform policies have been linked to school climate, safety, and student self-perception, there is no evidence to indicate that a uniform policy increases academic achievement (Wade & Stafford, 2003 [50] (#cite_note-50) ) Students that do not wear uniforms can be just as successful as students who do wear school uniforms. The amount of effort and participation a student does during class determines their academic success, regardless of what they are wearing. Students who wear school uniforms does not grant them academic achievement. [51] (#cite_note-51) According to Marian Wilde, [52] (#cite_note-52) additional opponent arguments include that school uniforms: Are simply a Band-Aid on the issue of school violence Make students a target for bullies from other schools Are an unfair additional expense for parents who pay taxes for a free public education Are difficult to enforce in state/public (government) schools See also [ edit ] Fashion portal (/wiki/Portal:Fashion) Schools portal (/wiki/Portal:Schools) Catholic school uniform (/wiki/Catholic_school_uniform) School uniforms by country (/wiki/School_uniforms_by_country) Schoolbag (/wiki/Schoolbag) Sumptuary law (/wiki/Sumptuary_law) Uniform fetishism (/wiki/Uniform_fetishism) References [ edit ] ^ (#cite_ref-:1_1-0) Brunsma, David L. (2004). The school uniform movement and what it tells us about American education : a symbolic crusade . Lanham, Md.: ScarecrowEducation. ISBN (/wiki/ISBN_(identifier)) 1-57886-125-X . OCLC (/wiki/OCLC_(identifier)) 53951257 (https://www.worldcat.org/oclc/53951257) . ^ (#cite_ref-2) Joseph, Nathan (1986). Uniforms and nonuniforms: communication through clothing . New York: Greenwood Press. ISBN (/wiki/ISBN_(identifier)) 0313251959 . ^ (#cite_ref-3) Wilde, Marian. "Do Uniforms Make Schools Better" (http://www.greatschools.org/find-a-school/defining-your-ideal/121-school-uniforms.gs?page=2) . GreatSchools.net . ^ (#cite_ref-4) Scott, Jenny (5 September 2014). "School uniforms: A history of 'rebellion and conformity'." (https://www.bbc.com/news/uk-england-29047752) BBC News. Retrieved 13 January 2020. ^ Jump up to: a b "History of the Uniform" (https://www.christs-hospital.org.uk/about-ch/history-of-the-uniform/) . www.christs-hospital.org.uk . Retrieved 20 November 2018 . ^ (#cite_ref-6) David L. Brunsma. "A Brief History of School Uniforms and Dress Codes". The School Uniform Movement and What It Tells About American Education . pp. 3 ff. ^ (#cite_ref-7) Brunsma, David L. (2004). The School Uniform Movement and What it Tells Us about American Education : a Symbolic Crusade . Lanham, Md. [u.a.]: ScarecrowEducation. p. 4. ISBN (/wiki/ISBN_(identifier)) 157886125X . ^ (#cite_ref-8) Davidson, Alexander; Rae, John (19 February 1990). Blazers, Badges and Boaters: Pictorial History of School Uniform . Praeger. ISBN (/wiki/ISBN_(identifier)) 0906619254 . ^ (#cite_ref-9) Boutelle, Marsha (2003). "UNIFORMS: Are They A Good Fit?". Educational Digest . 73 (6): 34–37. ^ (#cite_ref-10) Wade, Kathleen; Stafford, Mary (August 2003). "Public School Uniforms: Effect on Perceptions of Gang Presence, School Climate, and Student Self-Perceptions". Education and Urban Society . 35 (4): 399–420. doi (/wiki/Doi_(identifier)) : 10.1177/0013124503255002 (https://doi.org/10.1177%2F0013124503255002) . S2CID (/wiki/S2CID_(identifier)) 145149716 (https://api.semanticscholar.org/CorpusID:145149716) . ^ (#cite_ref-RudyCrew.NYTMarch96_11-0) Kershaw, Sarah (30 March 1996). "Crew Will Not Pursue School Uniform Rule" (https://www.nytimes.com/1996/03/30/nyregion/crew-will-not-pursue-school-uniform-rule.html) . The New York Times . ^ (#cite_ref-12) Jane Tynan and Lisa Godson, eds., Uniform: Clothing and Discipline in the Modern World (London: Bloomsbury, 2019), ISBN (/wiki/ISBN_(identifier)) 9781350045576 (/wiki/Special:BookSources/9781350045576) ; Todd A. DeMitchell and Richard Fossey, The Challenges of Mandating School Uniforms in the Public Schools: Free Speech, Research, and Policy (London: Rowman & Littlefield, 2015), ISBN (/wiki/ISBN_(identifier)) 9781475809350 (/wiki/Special:BookSources/9781475809350) ; Esan Regmi, Stories of Intersex People from Nepal (Kathmandu: [n.p.], 2016). ^ (#cite_ref-nmu.edu_13-0) Reed, Joshua B. "Effects of a School Uniform Policy on an Urban School District." Northern Michigan University. N.p., 1 August 2011. Web. 19 April 2015. https://www.nmu.edu/sites/DrupalEducation/files/UserFiles/Files/Pre-Drupal/SiteSections/Students/GradPapers/Projects/Reed_Joshua_MP.pdf (https://www.nmu.edu/sites/DrupalEducation/files/UserFiles/Files/Pre-Drupal/SiteSections/Students/GradPapers/Projects/Reed_Joshua_MP.pdf) Wade, K. K., & Stafford, M. E. (2003). Public School Uniforms: Effect on Perceptions of Gang Presence, School Climate, and Student Self-Perceptions. Education and Urban Society, 35(4), 399–420. http://doi.org/10.1177/0013124503255002 (https://doi.org/10.1177/0013124503255002) ^ Jump up to: a b c Brunsma, David L.; Rockquemore, Kerry A. "Effects of Student Uniforms on Attendance, Behavior Problems, Substance Use, and Academic Achievement." The Journal of Educational Research 92.1 (1998): 53-62. 31 March 2015. ^ (#cite_ref-Northen_15-0) Northen, Stephanie (18 January 2011). "School uniform does not improve results – discuss" (https://www.theguardian.com/education/2011/jan/18/school-uniform-results) . The Guardian (/wiki/The_Guardian) . Retrieved 25 February 2017 . ^ (#cite_ref-16) Brunsma, David L. Uniforms in Public Schools: A Decade of Research and Debate. Lanham: Rowman & Littlefield Education, 2006. Print. ^ (#cite_ref-17) Colasanti, Michael. "School Uniforms and Dress Codes: State Policies." StateNote (2008). Education Commission of the States. Education Commission of the States. Web. 19 April 2015. http://www.ecs.org/clearinghouse/77/97/7797.pdf (http://www.ecs.org/clearinghouse/77/97/7797.pdf) ^ (#cite_ref-18) Kraft, Jacquelyn. Society's Perceptions and Attitudes Toward School Uniforms. Research Paper. University of Wisconsin-Stout. August 2003. Web http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.390.8124&rep=rep1&type=pdf (http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.390.8124&rep=rep1&type=pdf) . ^ (#cite_ref-19) "Those disgusting School Uniforms (B)" (https://web.archive.org/web/20210107115916/http://www.optionality.net/mag/oct98a.html) . Optionality Magazine. Archived from the original (http://www.optionality.net/mag/oct98a.html) on 7 January 2021 . Retrieved 30 November 2007 . ^ (#cite_ref-20) "DO 46, S. 2008 – Proper School Attire" (https://www.deped.gov.ph/2008/06/10/do-46-s-2008-proper-school-attire/) . DepEd Philippines. 10 June 2008. ^ (#cite_ref-21) "Authority Strategic Statement of Inverclyde Education Service" (https://web.archive.org/web/20100314064212/http://gourockhigh.inverclyde.sch.uk/GetAsset.aspx?id=fAAxADYANAB8AHwARgBhAGwAcwBlAHwAfAA0AHwA0) . Gourock High School. Archived from the original (http://gourockhigh.inverclyde.sch.uk/GetAsset.aspx?id=fAAxADYANAB8AHwARgBhAGwAcwBlAHwAfAA0AHwA0) on 14 March 2010 . Retrieved 28 September 2009 . ^ (#cite_ref-22) "School uniform requirement to be abolished" (https://web.archive.org/web/20190212011917/http://www.todayszaman.com/tz-web/news-210471-101-school-uniform-requirement-to-be-abolished.html) . todayszaman.com . Archived from the original (http://www.todayszaman.com/tz-web/news-210471-101-school-uniform-requirement-to-be-abolished.html) on 12 February 2019 . Retrieved 11 February 2019 . ^ (#cite_ref-23) "First Amendment Schools: The Five Freedoms - Court Case." First Amendment Schools: The Five Freedoms - Court Case. First Amendment Schools. Web. 19 April 2015. http://www.firstamendmentschools.org/freedoms/case.aspx?id=1690 (http://www.firstamendmentschools.org/freedoms/case.aspx?id=1690) ^ (#cite_ref-24) "First Amendment Schools: The Five Freedoms - Court Case." First Amendment Schools: The Five Freedoms - Court Case. First Amendment Schools. Web. 19 April 2015. http://www.firstamendmentschools.org/freedoms/case.aspx?id=1693 (http://www.firstamendmentschools.org/freedoms/case.aspx?id=1693) ^ (#cite_ref-25) "Jacobs v. Clark County School District." The Recorder. 12 May 2008. Web. 19 April 2015. http://www.therecorder.com/id=1202421325288/Jacobs-v-Clark-County-School-District?slreturn=20150319150918 (http://www.therecorder.com/id=1202421325288/Jacobs-v-Clark-County-School-District?slreturn=20150319150918) ^ (#cite_ref-26) "Appeals Court Revives Reno School Uniform Case." Elko Daily . Elko Daily Free Press, 16 February 2014. Web. 12 April 2015. http://elkodaily.com/news/appeals-court-revives-reno-school-uniform-case/article_a8e75868-973c-11e3-8412-001a4bcf887a.html (https://elkodaily.com/news/appeals-court-revives-reno-school-uniform-case/article_a8e75868-973c-11e3-8412-001a4bcf887a.html) ^ (#cite_ref-27) Connell, R. W. "Teaching the Boys: New Research on Masculinity, and Gender Strategies for Schools". Teachers College Record 98:2 (1996): 206-235. 31 March 2015. ^ Jump up to: a b Happel, Alison. "Ritualized girling: school uniforms and the compulsory performance of gender." Journal of Gender Studies 22:1 (2013): 92-96. 1 April 2015. ^ (#cite_ref-29) Craik, J. (2007). "Uniforms Exposed: The Proliferation of Uniforms in Popular Culture as Markers of Change and Identity." Uniformierungen in Bewegung. Ed. Gabreile Mentges, Dagmar Neuland-Kitzerow, and Birgit Richard. Munster: Waxmann Verlag. 7-53. ^ (#cite_ref-30) Freeman, Hadley (6 March 2017). "Not wearing the trousers: why do some schools still have sexist uniform rules?" (https://www.theguardian.com/fashion/2017/mar/06/sexist-school-uniform-rules-trousers-girls) . The Guardian . London . Retrieved 11 February 2019 . ^ Jump up to: a b Bennett, Susan (2015). "Gender Relations in Elite Coeducational Schools." (https://web.archive.org/web/20220222161613/https://dro.deakin.edu.au/eserv/DU:30081641/bennett-genderrelations-2016A.pdf) PhD diss., Deakin University (Victoria, Australia). ^ (#cite_ref-32) American Psychological Association, Task Force on the Sexualization of Girls. (2007). Report of the APA Task Force on the Sexualization of Girls. Washington, DC: American Psychological Association. Retrieved from www.apa.org/pi/wpo/sexualization.html ^ (#cite_ref-33) Uranaka, Taiga (12 November 2003). "Man who gave us loose white socks eyes comeback" (https://www.japantimes.co.jp/news/2003/11/12/business/man-who-gave-us-loose-white-socks-eyes-comeback/) . Retrieved 11 February 2019 – via Japan Times Online. ^ (#cite_ref-34) "Japan's schoolgirls set the trend" (http://www.independent.co.uk/news/japans-schoolgirls-set-the-trend-1295844.html) . The Independent . 23 November 1997 . Retrieved 11 February 2019 . ^ (#cite_ref-35) Southgate, Jessica, and Lucy Russell (2018). Street Harassment: It's Not OK - Girls' experiences and views. Plan International UK. Retrieved 28 April 2020. ^ (#cite_ref-36) Erickson, Amanda (8 October 2018). "'Sexualized and fetishized': Girls in Britain say their school uniforms make them a target of harassment." (https://www.washingtonpost.com/world/2018/10/08/sexualized-fetishized-girls-britain-say-their-school-uniforms-make-them-target-harassment/) The Washington Post (/wiki/The_Washington_Post) . Retrieved 28 April 2020. ^ (#cite_ref-37) "The Perspective on School Uniforms" (https://www.theperspective.com/debates/living/perspective-school-uniforms/) . The Perspective. 17 November 2017 . Retrieved 28 November 2017 . ^ (#cite_ref-38) The Catholic school effect is the thought that certain elements in a catholic school provide children with a stronger academic education ^ (#cite_ref-nytimes.com_39-0) Hoffman, Jan (6 November 2009). "Can a Boy Wear a Skirt to School?" (https://www.nytimes.com/2009/11/08/fashion/08cross.html) The New York Times . ^ Jump up to: a b Brunsma, David L., and Kerry A. Rockquemore. "Effects of Student Uniforms on Attendance, Behavior Problems, Substance Use, and Academic Achievement." The Journal of Educational Research 92.1 (1998): 53-62. Web. 31 March 2015. https://faculty.unlv.edu/sloe/Courses/EPY%20702/Class%20Exercises/Lecture%201%20Materials/Articles/Brunsma%20et%20al.%20(1998).pdf (https://faculty.unlv.edu/sloe/Courses/EPY%20702/Class%20Exercises/Lecture%201%20Materials/Articles/Brunsma%20et%20al.%20(1998).pdf) Archived (https://web.archive.org/web/20160305044251/https://faculty.unlv.edu/sloe/Courses/EPY) 5 March 2016 at the Wayback Machine (/wiki/Wayback_Machine) ^ Jump up to: a b Grabmeier, Jeff (20 December 2021). "School uniforms don't improve child behavior, study finds" (https://news.osu.edu/school-uniforms-dont-improve-child-behavior-study-finds/) . osu.edu . ^ Jump up to: a b Wade, K. K., & Stafford, M. E. (2003). Public School Uniforms: Effect on Perceptions of Gang Presence, School Climate, and Student Self-Perceptions. Education and Urban Society, 35(4), 399–420. http://doi.org/10.1177/0013124503255002 (https://doi.org/10.1177/0013124503255002) ^ (#cite_ref-43) Cui, Y., Fang, X., & Zhou, H (January 2018). "Green design and sustainable development of school uniforms" (https://doi.org/10.1088%2F1757-899X%2F301%2F1%2F012122) . IOP Conference Series: Materials Science and Engineering . 301 (1): 012122. Bibcode (/wiki/Bibcode_(identifier)) : 2018MS&E..301a2122C (https://ui.adsabs.harvard.edu/abs/2018MS&E..301a2122C) . doi (/wiki/Doi_(identifier)) : 10.1088/1757-899X/301/1/012122 (https://doi.org/10.1088%2F1757-899X%2F301%2F1%2F012122) . S2CID (/wiki/S2CID_(identifier)) 169699231 (https://api.semanticscholar.org/CorpusID:169699231) . {{ cite journal (/wiki/Template:Cite_journal) }} : CS1 maint: multiple names: authors list ( link (/wiki/Category:CS1_maint:_multiple_names:_authors_list) ) ^ Jump up to: a b "School Dress Codes - FindLaw" (http://education.findlaw.com/student-rights/school-dress-codes.html) . Findlaw . Retrieved 26 February 2016 . ^ Jump up to: a b Zhou, Li (20 October 2015). "Why School Dress Codes Are Sexist" (https://www.theatlantic.com/education/archive/2015/10/school-dress-codes-are-problematic/410962/) . The Atlantic . Retrieved 26 February 2016 . ^ (#cite_ref-46) "Research on school uniforms - it's clear, they disadvantage girls" (http://girlsuniformagenda.org/2017/06/14/research-girls-school-uniforms-clear-discriminate/) . Girls' Uniform Agenda . 14 June 2017 . Retrieved 19 November 2019 . ^ (#cite_ref-47) DaCosta, K. (2006). Dress code blues: An exploration of urban students' reactions to a public High School uniform policy. The Journal of Negro Education, 75(1), 49-59. ^ (#cite_ref-48) Bodine, A. (2003). School uniforms and discourses on childhood. Childhood, 10(1), 43-63. ^ (#cite_ref-49) Joseph, Nathan. Uniforms and Nonuniforms: Communication through Clothing. Greenwood Press, New York, NY, 1986. ProQuest. Web. 18 April 2015. ^ (#cite_ref-50) Wade, Kathleen Kiley, and Mary E. Stafford. "Public School Uniforms. Effect on Perceptions of Gang Presence, School Climate, and Student Self-Perceptions." Education and Urban Society 35.4 (2003): 399-420. ProQuest. Web. 18 April 2015. ^ (#cite_ref-51) Brunsma, David (2006). Uniforms in public schools: A decade of research and debate . Rowman & Littlefield Education. ^ (#cite_ref-52) Wilde, Marian (July 2006). "The Debate Over Dress Codes and Uniforms" (https://web.archive.org/web/20150427130140/http://www.btuonline.com/pdfs/Education%20News%20PDFs/uniformdebate.pdf) (PDF) . Boward Teacher's Union. Archived from the original (http://www.btuonline.com/pdfs/Education%20News%20PDFs/uniformdebate.pdf) (PDF) on 27 April 2015. External links [ edit ] Wikimedia Commons has media related to School uniform (https://commons.wikimedia.org/wiki/Category:School_uniforms) . Information and Resources: Public School Uniforms (http://thecuriousmindsnursery.com/node/96) Archived (https://web.archive.org/web/20150221204502/http://thecuriousmindsnursery.com/node/96) 21 February 2015 at the Wayback Machine (/wiki/Wayback_Machine) What's in a school uniform? (http://news.bbc.co.uk/2/hi/europe/4755367.stm) BBC (/wiki/BBC) School Uniform: Japan (http://histclo.com/schun/country/jap/schunjap.html) at Boys' Historical Clothing The Impossible Question of School Uniforms (https://www.racked.com/2017/5/3/15518542/public-school-uniforms-education-policy) at Racked Authority control databases (/wiki/Help:Authority_control) : National Germany (https://d-nb.info/gnd/4695960-9) Latvia (https://kopkatalogs.lv/F?func=direct&local_base=lnc10&doc_number=000110355&P_CON_LNG=ENG) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐8tm82 Cached time: 20240720165516 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.539 seconds Real time usage: 0.700 seconds Preprocessor visited node count: 3210/1000000 Post‐expand include size: 69346/2097152 bytes Template argument size: 3186/2097152 bytes Highest expansion depth: 17/100 Expensive parser function count: 18/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 128722/5000000 bytes Lua time usage: 0.320/10.000 seconds Lua memory usage: 6862106/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 588.655 1 -total 38.82% 228.495 1 Template:Reflist 15.36% 90.392 6 Template:Cite_book 12.90% 75.934 1 Template:Authority_control 10.13% 59.660 1 Template:Short_description 8.79% 51.745 14 Template:Cite_web 8.54% 50.278 1 Template:Globalize 8.00% 47.113 2 Template:Ambox 7.18% 42.267 1 Template:Commons_category 6.88% 40.473 1 Template:Sister_project Saved in parser cache with key enwiki:pcache:idhash:55615-0!canonical and timestamp 20240720165516 and revision id 1235323629. 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School uniforms used in Japan For the gyaru form of Japanese girls' school uniform, see Kogal (/wiki/Kogal) . You can help expand this article with text translated from the corresponding article (https://ja.wikipedia.org/wiki/%E6%97%A5%E6%9C%AC%E3%81%AE%E5%AD%A6%E6%A0%A1%E5%88%B6%E6%9C%8D) in Japanese . (June 2007) Click [show] for important translation instructions. View (https://translate.google.com/translate?&u=https%3A%2F%2Fja.wikipedia.org%2Fwiki%2F%E6%97%A5%E6%9C%AC%E3%81%AE%E5%AD%A6%E6%A0%A1%E5%88%B6%E6%9C%8D&sl=ja&tl=en&prev=_t&hl=en) a machine-translated version of the Japanese article. 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. 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For more guidance, see Wikipedia:Translation (/wiki/Wikipedia:Translation) . A typical sailor fuku with long sleeves for autumn and winter The Japanese school uniform is modeled in appearance similar to that of the European-style naval uniforms. It was first used in Japan in the late 19th century, replacing the traditional kimono (/wiki/Kimono) . [1] (#cite_note-chance-1) Today, school uniforms (/wiki/School_uniform) are common in many of the Japanese public and private school systems. The Japanese (/wiki/Japan) word for this type of uniform (/wiki/Uniform) is seifuku ( 制服 ) . History [ edit ] Bankara students in 1949, wearing hakama (/wiki/Hakama) and uniform caps The majority of Japan's junior high and high schools require students to wear uniforms. The Japanese school uniform is not only a symbol of youth but also plays an important role in the country's culture, as they are felt to help instill a sense of discipline and community among youth. There are many types of uniforms that range from standard to unique ones varying in the ensembles used. Japanese school uniforms have been around for 150 years. Originally students just wore standard everyday clothes to school; kimono (/wiki/Kimono) for female students, with hakama (/wiki/Hakama) for male students. During the Meiji period (/wiki/Meiji_period) , students began to wear uniforms modelled after Western dress. [2] (#cite_note-LJ123-2) Shimoda Utako (/wiki/Shimoda_Utako) in hakama (/wiki/Hakama) ; she was an advocate for dress reform (/wiki/Dress_reform) . [3] (#cite_note-intellectuals-3) Initially, in the 1880s, female students wore Western dress, but this was rather impractical. [4] (#cite_note-History_of_Gakushuin-4) Utako Shimoda (/wiki/Utako_Shimoda) (1854–1936), a women's activist (/wiki/Women%27s_activist) , educator and dress reformer (/wiki/Dress_reform) , found traditional kimono to be too restrictive, preventing women and girls from moving and taking part in physical activities, harming their health. While western dress was being adopted at the time, she also believed corsets (/wiki/Corset) to be restrictive and harmful to women's health. [3] (#cite_note-intellectuals-3) Utako Shimoda had worked as lady-in-waiting (/wiki/Lady-in-waiting) to Empress Shōken (/wiki/Empress_Sh%C5%8Dken) from 1871 to 1879. [5] (#cite_note-Shimoda-5) She adapted the clothing worn by ladies-in-waiting at the Japanese imperial court, which included hakama (/wiki/Hakama) , to make a uniform for her Jissen Women's School. During the Meiji period (1868–1912) and the following Taishō period (/wiki/Taish%C5%8D_period) (1912–1926), other women's schools also adopted the hakama . [3] (#cite_note-intellectuals-3) It became standard wear for high schools in Japan, [4] (#cite_note-History_of_Gakushuin-4) and is still worn by many women to their university graduations. A 1917 gakuran with cap During the Taishō period, male students began to wear gakuran (matching black trousers and a tunic with a standing collar and five gold buttons, and geta (/wiki/Geta_(footwear)) ). These, apart from the footwear, are still worn today. [2] (#cite_note-LJ123-2) There was then a fashion for European-style naval uniforms, called serafuku in Japanese, and first introduced in 1920. The idea was taken from scaled-down sailor suits worn by children coming from royal European families. It was relatively easy to sew and thus was easily adopted in the country. Talking about junior and senior high school uniforms, the traditional attire was taken from the Meiji period consisting of military-style uniform for boys and sailor outfit for girls. After which, many schools adopted a more Western-pattern Catholic uniform style. [2] (#cite_note-LJ123-2) Girls started wearing white blouses with ties, blazers with their school crests, and skirts. Boys also wore white shirts with ties, blazers, and tailored trousers. Schools in Japan do not have gender-exclusive locker rooms; thus, it is quite difficult to change from classroom uniforms into sports uniforms. As a result, most students wear their sports uniforms under their classroom uniforms. Some schools are very particular with the hairstyles as well as the footwear, too. Traditionally, school uniforms were worn outside of school. [ citation needed ] The gakuran and sailor-style dress have always been a part of Japan's "growing modern" culture due to its formal appearance and its existence as a concept. Old-fashioned textbooks state that the uniforms were based on the Imperial Japanese Army (/wiki/Imperial_Japanese_Army) uniform rather than the European uniforms. The sides of the uniform are similar to existing styles of Japanese dressmaking and the collar had straight lines. Many home economics (/wiki/Home_economics) classes in Japan up until the 1950s gave sewing sailor outfits as assignments. Girls sewed sailor outfits for younger children in their communities. In the 1980s, sukeban (/wiki/Sukeban) gangs began modifying uniforms by making skirts longer and shortening the tops, and so schools began switching to blazer (/wiki/Blazer) or sweater vest (/wiki/Sweater_vest) style uniforms to try to combat the effect. As of 2012 [update] (https://en.wikipedia.org/w/index.php?title=School_uniforms_in_Japan&action=edit) , 50% of Japanese junior high schools and 20% of senior high schools use sailor suit uniforms. The Asahi Shimbun (/wiki/Asahi_Shimbun) stated in 2012 that, "The sailor suit is changing from adorable and cute, a look that 'appeals to the boys,' to a uniform that 'girls like to wear for themselves.'" As of that year, contemporary sailor suits have front closures with zippers or snaps and more constructed bodices. The Asahi Shimbun stated that "the form is snug to enhance the figure—the small collar helps the head look smaller, for better balance." [ citation needed ] Usage [ edit ] In almost all schools, Japanese students are required to take off the shoes they wear outdoors and wear different indoor shoes. At some schools, students wear uwabaki (/wiki/Uwabaki) , a kind of soft slipper meant to be used only indoors. The Japanese junior and senior-high-school uniform traditionally consists of a military-styled uniform (#Gakuran) for boys and a sailor outfit (#Seifuku) for girls. These uniforms are based on Meiji-period formal military dress, themselves modeled on European-style naval uniforms. The sailor outfits replace the undivided hakama (/wiki/Hakama) (known as andon bakama ( 行灯袴 ) ) designed by Utako Shimoda between 1920 and 1930. [6] (#cite_note-6) [ better source needed ] While this style of uniform is still in use, many schools have moved to more Western-pattern Catholic school uniform (/wiki/Catholic_school_uniform) styles. These uniforms consist of a white shirt, tie, blazer with school crest, and tailored trousers (often not of the same colour as the blazer) for boys and a white blouse, tie, blazer with school crest, and tartan (/wiki/Tartan) culottes (/wiki/Culottes) or skirt for girls. Regardless of what type of uniform any particular school assigns its students, all schools have a summer version of the uniform (usually consisting of just a white dress shirt and the uniform slacks for boys and a reduced-weight traditional uniform or blouse and tartan skirt with tie for girls) and a sports-activity uniform (a polyester track suit for year-round use and a T-shirt and short pants for summer activities). Depending on the discipline level of any particular school, students may often wear different seasonal and activity uniforms within the same classroom during the day. Individual students may attempt to subvert the system of uniforms by wearing their uniforms incorrectly or by adding prohibited elements such as large loose socks (/wiki/Loose_socks) or badges. Girls may shorten their skirts, permanently or by wrapping up the top to decrease length; boys may wear trousers about the hips, omit ties, or keep their shirts unbuttoned. [ citation needed ] Since some schools do not have sex-segregated changing- or locker-rooms, students may change for sporting activities in their classrooms. As a result, such students may wear their sports uniforms under their classroom uniforms. Certain schools also regulate student hairstyles, footwear, and book bags; but these particular rules are usually adhered to only on special occasions, such as trimester opening and closing ceremonies and school photo days. It is normal for uniforms to be worn outside of school areas, but this is going out of fashion and many students wear casual dress outside of school. [7] (#cite_note-7) While not many public elementary schools in Japan require uniforms, many private schools and public schools run by the central government still do so. [ citation needed ] Gakuran [ edit ] An ōendan (/wiki/%C5%8Cendan) cheerleader in gakuran A cosplayer in gakuran The gakuran ( 学ラン ) , also called the tsume-eri ( 詰襟 ) , is the uniform (/wiki/Uniform) for many middle-school and high-school boys in Japan (/wiki/Japan) . The colour is normally black, but some schools use navy blue. The top has a standing collar buttoning down from top-to-bottom. Buttons are usually decorated with the school emblem to show respect to the school. Pants are straight leg and a black or dark-coloured belt is worn with them. Boys usually wear penny loafers (/wiki/Penny_loafer) or sneakers (/wiki/Sneakers) with this uniform. Some schools may require the students to wear collar-pins representing the school and/or class rank. Traditionally, the gakuran is also worn along with a matching (usually black) student cap (/wiki/Student_cap) , although this custom is less common in modern times. The gakuran is derived from the Prussian Waffenrock (/wiki/Waffenrock) or the Christian clergy cassock (/wiki/Cassock) . [ citation needed ] The term is a combination of gaku ( 学 ) meaning "study" or "student", and ran ( らん/蘭 ) meaning the Netherlands (/wiki/Netherlands) or, historically in Japan, the West (/wiki/Western_world) in general; thus, gakuran translates as "Western style clothes for student (uniform)". [8] (#cite_note-8) The original model of the present day gakuran was first established in 1873 for students of all schools. During the Japanese occupation, such clothing was also brought to school in Korea (/wiki/Korea_under_Japanese_rule) , pre-1980s Taiwan (/wiki/Taiwan_under_Japanese_rule) , Manchukuo (/wiki/Manchukuo) . Nowadays, the gakuran is still worn in some South Korean conservative high schools. While the gakuran is associated solely as the boys' uniform of both most middle schools and conservative high schools nowadays, blazers began to be adopted in most number of high schools in Japan (both public and private). Sailor fuku [ edit ] Masako Nakata (/wiki/Masako_Nakata) in Sailor fuku , c. 1928 A group of Japanese schoolgirls in sailor suits The sailor fuku ( セーラー服 , sērā fuku ) ( lit. ' sailor outfit ' ) is a common style of uniform worn by female middle school students, traditionally by high school students, and occasionally, elementary school students. It was introduced as a school uniform in 1920 at Heian Jogakuin (/wiki/Heian_Jogakuin_University) ( 平安女学院 ) [9] (#cite_note-9) and 1921 by the principal of Fukuoka Jo Gakuin University (/wiki/Fukuoka_Jo_Gakuin_University) ( 福岡女学院 ) , [10] (#cite_note-10) Elizabeth Lee. It was modeled after the uniform used by the British Royal Navy (/wiki/Royal_Navy) at the time, which Lee had experienced as an exchange student in the United Kingdom (/wiki/United_Kingdom) . Much like the male uniform, the gakuran , the sailor outfits bear a similarity to various military-styled naval (/wiki/Naval) uniforms. The uniform generally consists of a blouse (/wiki/Blouse) attached with a sailor-style collar and a pleated (/wiki/Pleat) skirt (/wiki/Skirt) . There are seasonal variations for summer and winter; sleeve length and fabric are adjusted accordingly. A ribbon is tied in the front and laced through a loop attached to the blouse. Several variations on the ribbon include neckties (/wiki/Necktie) , bolo ties (/wiki/Bolo_tie) , neckerchiefs (/wiki/Neckerchief) , and bows. Common colours include navy blue, white, gray, light green, and black. Shoes, socks, and other accessories are sometimes included as part of the uniform. These socks are typically navy or white. The shoes are typically brown or black penny loafers (/wiki/Penny_loafer) . Although not part of the prescribed uniform, alternate forms of legwear (such as loose socks (/wiki/Loose_socks) , knee-length stockings, or similar) are also commonly matched by more fashionable girls with their sailor outfits. The sailor uniform today is generally associated solely with both most middle schools and conservative high schools, since a majority of high schools have changed to more Western-style tartan (/wiki/Tartan) skirts or blazers (/wiki/Blazer) , similar to the Catholic school uniform (/wiki/Catholic_school_uniform) . Genderless uniforms [ edit ] Historically, school uniforms in Japan are decided on the basis of sex, with trousers for male students and skirts for female students. However, in April 2019, public junior high schools in Tokyo's Nakano Ward began allowing students to choose their uniform regardless of sex. This started with a sixth grader who did not want to wear skirts in junior high school and asked her female classmates for their opinions on uniforms. The responses showed that most of her classmates also wanted the freedom to choose their uniforms. The young student delivered the survey results to the mayor of Nakano, and all of the principals for the ward's public junior high schools agreed on the proposal, allowing students to freely choose their uniforms. [11] (#cite_note-11) Schools allowing trousers for female students rose to 600 in 2019 from only four in 1997, [12] (#cite_note-asahi.com-12) and over 400 schools adopted genderless uniforms for 2022's fiscal year. [13] (#cite_note-13) There was a lot of support from female students for the adaptation of genderless uniforms and the implementation of slacks since it allowed for more comfort by keeping their legs warm and making it easier to ride their bicycles. [14] (#cite_note-14) The decision for genderless uniforms is also in consideration of sexual minority students. [12] (#cite_note-asahi.com-12) In addition to changes made in the uniform, schools made adaptations to the school bags and uniforms for outside-of-class activities. In 2022, genderless swimwear was introduced at a few high schools and has quickly spread to more schools throughout Japan. [15] (#cite_note-15) Genderless swimwear gradually evolved from the need to protect against sunburn to a desire to deemphasize body shape by adding more coverage. Cultural significance [ edit ] Kogal (/wiki/Kogal) culture: Japanese schoolgirls wearing short skirts and loose socks (/wiki/Loose_socks) . School uniform varies throughout different schools in Japan, with some schools known for their particular uniforms. School uniform can have a nostalgic characteristic for former students, and are often associated with relatively carefree youth. Uniforms are sometimes modified by students as a means of exhibiting individualism. This is done in ways such as lengthening or shortening the skirt, removing the ribbon, hiding patches or badges under the collar, etc. In past decades, brightly coloured variants of the sailor outfits were also adopted by Japanese yankii (/wiki/Yankii) , sukeban (/wiki/Sukeban) and bōsōzoku (/wiki/B%C5%8Ds%C5%8Dzoku) biker gangs. [16] (#cite_note-Grigsby-16) See also [ edit ] Education in Japan (/wiki/Education_in_Japan) Sailor dress (/wiki/Sailor_dress) School uniforms by country#Japan (/wiki/School_uniforms_by_country#Japan) Portals (/wiki/Wikipedia:Contents/Portals) : Japan (/wiki/Portal:Japan) Schools (/wiki/Portal:Schools) Fashion (/wiki/Portal:Fashion) References [ edit ] ^ (#cite_ref-chance_1-0) Katarina Kottonen (August 25, 2017). "Seifuku" (https://web.archive.org/web/20180218155639/https://chanceandphysics.com/2017/08/25/seifuku/) . Chance and Physics. Archived from the original (https://chanceandphysics.com/2017/08/25/seifuku/) on February 18, 2018 . Retrieved November 5, 2017 . ^ Jump up to: a b c "From Tradition to Today: Japanese School Uniforms" (https://learnjapanese123.com/japanese-school-uniforms/) . LearnJapanese123 . December 23, 2020. ^ Jump up to: a b c Racel, Masako N. Thesis (2011). Finding their Place in the World: Meiji Intellectuals and the Japanese Construction of an East-West Binary, 1868-1912 (Thesis). Georgia State University. Source says:"See Shimoda, "Honbō joshi fukusō no enkaku本邦女子服装の沿革 [The Historical Development of Women’s Clothing in Japan]," Part I, Onna, 31 January 1901, in Shimoda Utako chosakushū, vol. 1, 1-3; "Joshi no tainin no han’i ni tsukite," Nihon Fujin, 25 April 1900, in Shimoda Utako chosakushū, vol. 4, 107-127." ^ Jump up to: a b "History of Gakushuin" (https://www.gakushuin.ac.jp/ad/kikaku/english/history/) . www.gakushuin.ac.jp . The Gakushuin School. ^ (#cite_ref-Shimoda_5-0) Suzuki, Mamiko (June 1, 2013). "Shimoda's Program for Japanese and Chinese Women's Education" (https://docs.lib.purdue.edu/clcweb/vol15/iss2/3/) . CLCWeb: Comparative Literature and Culture . 15 (2). doi (/wiki/Doi_(identifier)) : 10.7771/1481-4374.2212 (https://doi.org/10.7771%2F1481-4374.2212) . Retrieved July 17, 2021 . ^ (#cite_ref-6) "制服でたどる百年" (https://web.archive.org/web/20161210132640/http://www.hyogo-c.ed.jp/~kaibara-hs/gaiyo/100nen/33.htm) (in Japanese). Archived from the original (http://www.hyogo-c.ed.jp/~kaibara-hs/gaiyo/100nen/33.htm) on December 10, 2016 . Retrieved January 19, 2022 . ^ (#cite_ref-7) Sazaki, Ryo (April 2011). "Uniforms - The Japanese Fashion Everyone Loves" (https://hiraganatimes.com/highlights/uniforms-the-japanese-fashion-everyone-loves) . Hiragana Times (/wiki/Hiragana_Times) . Vol. 294. pp. 12–15. Archived (https://web.archive.org/web/20220120004536/https://hiraganatimes.com/highlights/uniforms-the-japanese-fashion-everyone-loves) from the original on January 20, 2022 . Retrieved January 19, 2022 . ^ (#cite_ref-8) Mackintosh, Jonathan D (2011). Homosexuality and manliness in Postwar Japan . London: Routledge. ISBN (/wiki/ISBN_(identifier)) 978-0-415-42186-7 . OCLC (/wiki/OCLC_(identifier)) 741525402 (https://www.worldcat.org/oclc/741525402) . ^ (#cite_ref-9) http://www.tombow.gr.jp/uniform_museum/style/change07.html (http://www.tombow.gr.jp/uniform_museum/style/change07.html) 女子生徒に洋装制服登場、大正モダン Archived (https://web.archive.org/web/20090609055725/http://www.tombow.gr.jp/uniform_museum/style/change07.html) 2009-06-09 at the Wayback Machine (/wiki/Wayback_Machine) ^ (#cite_ref-10) "平安女学院(京都)と福岡女学院(福岡)の間で、セーラー服の起源を巡る論争が勃発!" (http://design9.blog49.fc2.com/blog-entry-477.html) (in Japanese). October 7, 2007. [ user-generated source ] ^ (#cite_ref-11) "Junior high schoolers in Tokyo's Nakano free to choose skirt or pant uniform from spring" (https://mainichi.jp/english/articles/20190126/p2a/00m/0na/031000c) . Mainichi Daily News . January 26, 2019 . Retrieved March 4, 2023 . ^ Jump up to: a b "Gender-free uniforms at schools? Yes, it's happening | The Asahi Shimbun: Breaking News, Japan News and Analysis" (https://www.asahi.com/ajw/articles/13054286) . The Asahi Shimbun . Retrieved March 4, 2023 . ^ (#cite_ref-13) "Record number of schools update their uniforms to be more inclusive | The Asahi Shimbun: Breaking News, Japan News and Analysis" (https://www.asahi.com/ajw/articles/14693528) . The Asahi Shimbun . Retrieved March 4, 2023 . ^ (#cite_ref-14) "Schools across Japan work on adopting pants as option for all | The Asahi Shimbun: Breaking News, Japan News and Analysis" (https://www.asahi.com/ajw/articles/14645544) . The Asahi Shimbun . Retrieved March 4, 2023 . ^ (#cite_ref-15) Kamimoto, Moe (January 31, 2023). "Genderless uniform trend accelerating in Japan | Sustainability from Japan" (https://zenbird.media/genderless-uniform-trend-accelerating-in-japan/) . Zenbird . Retrieved March 4, 2023 . ^ (#cite_ref-Grigsby_16-0) Grigsby, Mary (1998). " Sailormoon : Manga (Comics) and Anime (Cartoon) Superheroine Meets Barbie: Global Entertainment Commodity Comes to the United States". The Journal of Popular Culture (/wiki/The_Journal_of_Popular_Culture) 32 (1):59–80. doi (/wiki/Doi_(identifier)) : 10.1111/j.0022-3840.1998.3201_59.x (https://doi.org/10.1111%2Fj.0022-3840.1998.3201_59.x) . External links [ edit ] Wikimedia Commons has media related to Japanese school uniform . School Uniform: Japan (http://histclo.com/schun/country/jap/schunjap.html) at Boys' Historical Clothing v t e Japanese clothing (/wiki/Japanese_clothing) List of items traditionally worn in Japan (/wiki/List_of_items_traditionally_worn_in_Japan) Traditional Chihaya (/wiki/Chihaya_(clothing)) Fundoshi (/wiki/Fundoshi) Furisode (/wiki/Furisode) Hanten (/wiki/Hanten) Hakama (/wiki/Hakama) Haori (/wiki/Haori) Happi (/wiki/Happi) Jinbei (/wiki/Jinbei) Jōe (/wiki/J%C5%8De) Jūnihitoe (/wiki/J%C5%ABnihitoe) Keikogi (/wiki/Keikogi) Kosode (/wiki/Kosode) Kimono (/wiki/Kimono) Kyahan (/wiki/Kyahan) Mawashi (/wiki/Mawashi) Mino (/wiki/Mino_(straw_cape)) Nemaki (/wiki/Nemaki) Samue (/wiki/Samue) Shitagi (/wiki/Shitagi) Sokutai (/wiki/Sokutai) Uwagi (/wiki/Uwagi) Yukata (/wiki/Yukata) Headgear Benkan (/wiki/Benkan) Hachimaki (/wiki/Hachimaki) Kanmuri (/wiki/Kanmuri_(headwear)) Kanzashi (/wiki/Kanzashi) Kasa (/wiki/Kasa_(hat)) Raikan (/wiki/Raikan) Shaguma (/wiki/Shaguma) Tenugui (/wiki/Tenugui) Tokin (/wiki/Tokin_(headwear)) Tsunokakushi (/wiki/Tsunokakushi) Belt / sash Obi (/wiki/Obi_(sash)) Uwa-obi (/wiki/Uwa-obi) Tasuki (/wiki/Tasuki_(sash)) Footwear Geta (/wiki/Geta_(footwear)) Jika-tabi (/wiki/Jika-tabi) Okobo (/wiki/Okobo) Tabi (/wiki/Tabi) Uwabaki (/wiki/Uwabaki) Waraji (/wiki/Waraji) Zōri (/wiki/Z%C5%8Dri) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐x9z49 Cached time: 20240720162901 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.640 seconds Real time usage: 0.900 seconds Preprocessor visited node count: 4174/1000000 Post‐expand include size: 110200/2097152 bytes Template argument size: 8486/2097152 bytes Highest expansion depth: 20/100 Expensive parser function count: 16/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 73933/5000000 bytes Lua time usage: 0.412/10.000 seconds Lua memory usage: 23027140/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 808.373 1 -total 21.03% 169.963 1 Template:Reflist 16.97% 137.200 74 Template:Transliteration 13.73% 110.968 1 Template:Japanese_clothing 13.51% 109.219 1 Template:Navbox 12.01% 97.114 9 Template:Cite_web 10.24% 82.794 1 Template:Commons 10.10% 81.635 1 Template:Sister_project 9.94% 80.345 1 Template:Side_box 9.32% 75.317 1 Template:Expand_Japanese Saved in parser cache with key enwiki:pcache:idhash:56085-0!canonical and timestamp 20240720162901 and revision id 1232494343. 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Pants/trousers made from denim or dungaree cloth "Blue Jeans" redirects here. For other uses, see Blue Jeans (disambiguation) (/wiki/Blue_Jeans_(disambiguation)) and Jeans (disambiguation) (/wiki/Jeans_(disambiguation)) . A pair of jeans Microscopic image of faded fabric Jeans are a type of trousers (/wiki/Trousers) made from denim (/wiki/Denim) or dungaree (/wiki/Dungaree_(fabric)) cloth. Often the term "jeans" refers to a particular style of trousers, called "blue jeans", with the addition of copper pocket rivets added by Jacob W. Davis (/wiki/Jacob_W._Davis) in 1871 [1] (#cite_note-1) and patented by Davis and Levi Strauss (/wiki/Levi_Strauss) on May 20, 1873. Prior to the patent, the term "blue jeans" had been long in use for various garments (including trousers, overalls, and coats), constructed from blue-colored denim. [2] (#cite_note-2) "Jean" also references a (historic) type of sturdy cloth commonly made with a cotton warp and wool weft (also known as "Virginia cloth"). Jean cloth can be entirely cotton as well, similar to denim. Originally designed for miners (/wiki/Miner) , modern jeans were popularized as casual wear by Marlon Brando (/wiki/Marlon_Brando) and James Dean (/wiki/James_Dean) in their 1950s films, particularly The Wild One (/wiki/The_Wild_One) and Rebel Without a Cause (/wiki/Rebel_Without_a_Cause) , [3] (#cite_note-3) leading to the fabric becoming a symbol of rebellion among teenagers, especially members of the greaser (/wiki/Greaser_(subculture)) subculture. From the 1960s onwards, jeans became common among various youth subcultures and subsequently young members of the general population. Nowadays, they are one of the most popular types of trousers in Western culture (/wiki/Western_culture) . Historic brands include Levi's (/wiki/Levi_Strauss_%26_Co.) , Lee (/wiki/Lee_(jeans)) , and Wrangler (/wiki/Wrangler_(jeans)) . History [ edit ] Fabric [ edit ] A traditional women's Genoese dress in "blue jeans" (1890s). Palazzo Spinola di Pellicceria (/wiki/Palazzo_Spinola_di_Pellicceria) , Genoa (/wiki/Genoa) , Italy. Research on the trade of jean fabric shows that it emerged in the cities of Genoa (/wiki/Genoa) , Italy, and Nîmes (/wiki/N%C3%AEmes) , France. Gênes, the French word for Genoa, may be the origin of the word " jeans (https://en.wiktionary.org/wiki/jeans) ". In Nîmes, weavers tried to reproduce jean fabric but instead developed a similar twill (/wiki/Twill) fabric that became known as denim, " de Nîmes" , meaning "from Nîmes". Genoa's jean fabric was a fustian (/wiki/Fustian) textile of "medium quality and of reasonable cost", very similar to cotton corduroy (/wiki/Corduroy) for which Genoa was famous, and was "used for work clothes in general". The Genoese navy (/wiki/Genoese_navy) equipped its sailors with jeans, as they needed a fabric that could be worn wet or dry. [4] (#cite_note-4) [5] (#cite_note-5) Nîmes's "denim" was coarser, considered higher quality, and was used "for over garments such as smocks or overalls". [6] (#cite_note-Gruber_2010-6) : 23 In 1576, a quantity of "jean fustians" arrived into the port of Barnstaple on a vessel from Bristol. [7] (#cite_note-7) Nearly all indigo (/wiki/Indigo) , needed for dyeing, came from indigo bush plantations in India until the late 19th century. It was replaced by indigo synthesis methods developed in Germany. [8] (#cite_note-8) Copper rivets (/wiki/Rivet) for reinforcing pockets are a characteristic feature of blue jeans. By the 17th century, jean was a crucial textile for working-class people in Northern Italy. This is seen in a series of genre paintings from around the 17th century attributed to an artist now referred to as the Master of the Blue Jeans. [6] (#cite_note-Gruber_2010-6) : 10 The ten paintings depict impoverished scenes with lower-class figures wearing a fabric that looks like denim. The fabric would have been Genoese jean, which was cheaper. Genre painting came to prominence in the late 16th century, and the non-nobility subject matter in all ten paintings places them among others that portray similar scenes. [9] (#cite_note-9) Dungaree was mentioned for the first time in the 17th century, when it was referred to as cheap, coarse thick cotton cloth, often colored blue but sometimes white, worn by impoverished people in what was then a region of Bombay (/wiki/Bombay) , India a dockside village called Dongri. This cloth was "dungri" in Hindi (/wiki/Hindi) . Dungri was exported to England and used for manufacturing of cheap, robust working clothes. In English, the word "dungri" became pronounced as "dungaree". [10] (#cite_note-10) [ relevant? ] Rivets [ edit ] Jacob Davis Levi Strauss The term jeans appears first in 1795, when a Swiss banker by the name Jean-Gabriel Eynard (/wiki/Jean-Gabriel_Eynard) and his brother Jacques went to Genoa and both were soon heading a flourishing commercial concern. In 1800 Massena (/wiki/Massena) 's troops entered the town and Jean-Gabriel was entrusted with their supply. In particular he furnished them with uniforms cut from blue cloth called "bleu de Genes" whence later derives the famous garment known worldwide as "blue jeans". [11] (#cite_note-Sullivan_2006-11) Levi Strauss (/wiki/Levi_Strauss) , as a young man in 1851, went from Germany to New York to join his older brothers who ran a goods store. In 1853, he moved to San Francisco to open his own dry goods business. Jacob Davis (/wiki/Jacob_Davis_(inventor)) was a tailor who often bought bolts of cloth from the Levi Strauss & Co (/wiki/Levi_Strauss_%26_Co) . wholesale house. In 1872, Davis wrote to Strauss asking to partner with him to patent and sell clothing reinforced with rivets (/wiki/Rivet) . [12] (#cite_note-Downey_2007-12) The copper rivets were to reinforce the points of stress, such as pocket corners and at the bottom of the button fly. Strauss accepted Davis's offer, [13] (#cite_note-13) and the two men received US patent No. 139,121 for an "Improvement in Fastening Pocket-Openings" on May 20, 1873. [14] (#cite_note-14) The classic label for Levi 501 jeans Davis and Strauss experimented with different fabrics. An early attempt was brown cotton duck (/wiki/Cotton_duck) , a bottom-weight fabric. [a] (#cite_note-15) Finding denim a more suitable material for work-pants, they began using it to manufacture their riveted pants. The denim used was produced by an American manufacturer. Popular legend incorrectly states that it was imported from Nîmes. A popular myth is that Strauss initially sold brown canvas pants to miners, later dyed them blue, turned to using denim, and only after Davis wrote to him, added rivets. [12] (#cite_note-Downey_2007-12) Initially, Strauss's jeans were simply sturdy trousers worn by factory workers (/wiki/Working_class) , miners, farmers, and cattlemen throughout the North American West. [15] (#cite_note-16) [16] (#cite_note-17) During this period, men's jeans had the fly (/wiki/Fly_(clothing)) down the front, whereas women's jeans had the fly down the left side. [17] (#cite_note-18) When Levi Strauss & Co. (/wiki/Levi_Strauss_%26_Co.) patented the modern, mass-produced prototype in 1873, there were two pockets in the front and a patch pocket on the back right reinforced with copper rivets. [11] (#cite_note-Sullivan_2006-11) The small riveted watch pocket was first added by Levi Strauss to their jeans in the late 1870s. [18] (#cite_note-19) 20th century evolution [ edit ] In 1901, Levi Strauss added the back left pocket to their 501 model. [19] (#cite_note-20) This created the now familiar and industry-standard five-pocket configuration with two large pockets and small watch pocket in front with two pockets on the rear. The popularity of "waist overalls", as jeans were sometimes called, expanded during World War II (/wiki/World_War_II) . [20] (#cite_note-21) By the 1960s, both men's and women's jeans had the zipper (/wiki/Zipper) down the front. Historic photographs indicate that in the decades before they became a staple of fashion, jeans generally fit quite loosely, much like a pair of bib overalls (/wiki/Overall) without the bib. Indeed, until 1960, Levi Strauss called its flagship product "waist overalls" rather than "jeans". After James Dean (/wiki/James_Dean) popularized them in the movie Rebel Without a Cause (/wiki/Rebel_Without_a_Cause) , wearing jeans became a symbol of youth rebellion during the 1950s. [21] (#cite_note-22) [22] (#cite_note-23) During the 1960s, the wearing of jeans became more acceptable, and by the 1970s it had become general fashion in the United States for casual wear. [23] (#cite_note-Smith_2003-24) In Japan in 1977, a professor of Osaka University (/wiki/Osaka_University) Philip Karl Pehda chastised a female student wearing jeans in the classroom. Then he was protested by the students, and a controversy arose in the country. [24] (#cite_note-25) [25] (#cite_note-26) Examples of intentional denim distressing strictly to make them more fashionable can be seen as early as 1935 in Vogue's June issue. [26] (#cite_note-27) Michael Belluomo, editor of Sportswear International Magazine , Oct/Nov 1987, p. 45, wrote that in 1965, Limbo, a boutique in the New York East Village, was "the first retailer to wash a new pair of jeans to get a used, worn effect, and the idea became a hit." He continued, "[Limbo] hired East Village artists to embellish the jeans with patches, decals, and other touches, and sold them for $200." In the early 1980s the denim industry introduced the stone-washing (/wiki/Stonewashed_jeans) technique developed by GWG also known as "Great Western Garment Co." Donald Freeland of Edmonton, Alberta (/wiki/Edmonton,_Alberta) , pioneered the method, [27] (#cite_note-28) which helped to bring denim to a larger and more versatile market. Acceptance of jeans continued through the 1980s and 1990s. Originally a utilitarian garment, jeans became a common fashion choice in the second half of the 20th century. [28] (#cite_note-29) Manufacturing processes [ edit ] Dyeing [ edit ] See also: Azo dye (/wiki/Azo_dye) Chemical structure of indigo dye (/wiki/Indigo_dye) , the blue of blue jeans Traditionally, [ vague ] jeans were dyed (/wiki/Dye) to a blue color using natural indigo dye (/wiki/Indigo_dye) . Most denim is now dyed using synthetic indigo. Approximately 20 thousand tons of indigo are produced annually for this purpose, though only a few grams of the dye are required for each pair. [29] (#cite_note-Steingruber_2004-30) For other colors of denim other dyes must be used. Currently, jeans are produced in any color that can be achieved with cotton. For more information on dyeing, refer to denim and the discussion there of using pigment dyes. Pre-shrinking [ edit ] Crowd of people wearing a variety of jean styles, including carpenter jeans (/wiki/Carpenter_jeans) , bootcut jeans (/wiki/Bootcut_jeans) , drainpipe jeans (/wiki/Drainpipe_jeans) and lowrise jeans (/wiki/Low-rise_jeans) (Rome, 2008) In 1962, Levi Strauss introduced their own pre-shrunk jeans (Lee and Wrangler jeans had already long been pre-shrunk); these did not shrink further after purchase, allowing the consumer to purchase a correctly fitting size. Pre-shrink is most common in jeans nowadays. [30] (#cite_note-31) These jeans were known as the 505 regular fit jeans. The 505s are almost identical to the 501s with the exception of the button-fly. The Levi's Corporation also introduced a slim boot-cut fit known as 517 and 527. The difference between the two is that the 517s sit at the waist line and the 527s sit below the waist line. Later, Levi's would develop other styles and fits such as the loose, slim, comfort, relaxed, skinny, and a regular fit with a tapered leg. Used and distressed looks [ edit ] Ronald Reagan (/wiki/Ronald_Reagan) wearing stonewash denim associated with Western clothing (/wiki/Western_clothing) , 1970s A significant amount of the aesthetic treatment of jeans may occur after the denim has been cut and sewn into the final garment. Many denim articles are washed to make them softer and to reduce or minimize shrinkage (/wiki/Shrinkage_(fabric)) even beyond what sanforization prevents. Significantly washed denim can resemble dry denim which has faded naturally over extended use. Such distressing may be supplemented by chemical treatments or physical techniques such as stone washing (/wiki/Stone_washing) . The used or " acid wash (/wiki/Stone_washing) " look is created by means of abrading the jeans or treating them with chemicals, such as acryl resin, phenol, a hypochlorite, potassium permanganate, caustic soda, acids etc. [31] (#cite_note-32) Ripping or distressing (/wiki/Distressing) of jeans, though also arising naturally as a result of wear and tear, is sometimes deliberately performed by suppliers—with distressed clothing sometimes selling for more than a nondistressed pair. For example, Pucci (/wiki/Emilio_Pucci) sold "embellished mid-rise boyfriend jeans" for £600 (US$860). [32] (#cite_note-33) Changes in appearance due to use [ edit ] Denim fibers from an old pair of jeans through a microscope Natural fading on a worn pair of selvedge jeans. Such patterns are sometimes referred to as 'whiskers' or 'honeycombs'. Over time dry denim will fade, which is considered fashionable in some circumstances. During the process of wear, fading will usually occur on those parts of the article that receive the most stress. On a pair of jeans, this includes the upper thighs, the ankles, and the areas behind the knees. Patterns of fading in jeans caused by prolonged periods of wear include: honeycombs – meshes of faded line-segments that form behind the knees whiskers – faded streaks that form radially from the crotch area stacks – irregular bands of fading above the ankle caused by accordioning of the fabric due to contact with the foot or shoe [33] (#cite_note-Shapira2016-34) train tracks – fading along the out-seams due to abrasion [33] (#cite_note-Shapira2016-34) Distressed jeans [ edit ] Ripped jeans were worn by singer Leigh Jones in this promotional photo. Distressed denim emerged from the cultural punk (/wiki/Punk_subculture) movement in the 1970s. Early punks tore apart consumer goods as an expression of their anger towards capitalism and corporate greed. Punks deliberately used safety pins in garments to encourage the youth to not buy endless, meaningless, fashion, and so fund corporations. Corporate bosses gentrified the notion, by selling clothes with safety pins already in them, to the next generation, so the original meaning of punk was lost. [34] (#cite_note-35) Denim became a key target of this politically fueled deconstruction, with both men and women donning torn pants and jackets, accessorized with safety pins and slogans. The trend became popular again in the 1990s with the emergence of grunge (/wiki/Grunge) fashion. The grunge youth wore loose-fitting ripped jeans, flannel shirts or woolen Pendletons (/wiki/Pendleton_Woolen_Mills) layered over T-shirts. Their anti-conformist approach to fashion led to the popularization of the casual chic look, a trend which continued into the 2000s. Environmental and humanitarian impact [ edit ] A typical pair of blue jeans uses 3,479 litres (919 US gal) of water during its life cycle. This includes the water to irrigate the cotton crop, manufacture the jeans, and the numerous washes by the consumer. [35] (#cite_note-Kaufman_2011-36) During production, the typical amount for washing with traditional Pullman machines reaches 90 litres per jeans, which can be reduced to about 27 litres using modern frontloaders. [36] (#cite_note-Klink_2022-37) Novel washing processes such as Droptima can reduce that to 6 litres fresh water plus 4 litres used water. [36] (#cite_note-Klink_2022-37) [37] (#cite_note-IKU_2022-38) [38] (#cite_note-ISI_2022-39) [39] (#cite_note-Dontscheff_2022-40) The production of jeans with a "used look" can be more environmentally damaging than regular jeans, depending on how the waste compounds are processed. Sandblasting and treating with sandpaper has the risk of causing silicosis (/wiki/Silicosis) to the workers, and in Turkey, more than 5,000 textile workers have been stricken with this disease, and 46 people are known to have died. Some companies have announced they are banning the use of sandblasting. [40] (#cite_note-41) Care and wear [ edit ] Despite most jeans being "pre-shrunk", they are still sensitive to slight further shrinkage and loss of color from being washed. The Levi Strauss company recommends avoiding washing jeans as much as possible. Carl Chiara, Levi Strauss director of brand and special projects, has a credo: The less you wash your jeans, the better your jeans become. [41] (#cite_note-Wash_My_Jeans?_Hardly-42) These and other suggestions to avoid washing jeans where possible have encountered criticism. Cory Warren, editor of LS&Co. Unzipped , clarifies in a response to such a criticism: Our advice is to wash less often, but clearly, you have to judge for yourself what's appropriate. Hot day, dirty job? Wash your jeans. Please! Cold day, office job? Maybe you can wear them twice or more before they go back to the washing machine. Personally, if I wear a pair of jeans to work on Friday—cool climate, office job—I tend to wear them on Saturday. And if Saturday is spent indoors and I'm not spilling food all over myself, I might even wear them on Sunday. — Corey Warren [41] (#cite_note-Wash_My_Jeans?_Hardly-42) For those who prefer to refrain from washing their jeans there have been suggestions to freeze them in order to kill the germs that cause odor. However, this advice has been proven ineffective. [42] (#cite_note-43) Legal cases [ edit ] Italian rape trial [ edit ] In Rome (/wiki/Rome) , Italy, in 1992, a 45-year-old driving instructor was accused of rape. When he picked up an 18-year-old girl for her first driving lesson, he allegedly raped her for an hour, then told her that if she was to tell anyone he would kill her. Later that night she told her parents and her parents agreed to help her press charges. While the alleged rapist was convicted and sentenced, the Italian Supreme Court of Cassation (/wiki/Supreme_Court_of_Cassation_(Italy)) overturned the conviction in 1998 because the victim wore tight jeans. It was argued that she must have necessarily had to help her attacker remove her jeans, thus making the act consensual (/wiki/Consensual) ("because the victim wore very, very tight jeans, she had to help him remove them... and by removing the jeans... it was no longer rape but consensual sex"). The court stated in its decision "it is a fact of common experience that it is nearly impossible to slip off tight jeans even partly without the active collaboration of the person who is wearing them." [43] (#cite_note-Faedi_2009-44) The ruling sparked widespread feminist protest. The day after the decision, women in the Italian Parliament (/wiki/Italian_Parliament) protested by wearing jeans and holding placards that read "Jeans: An Alibi for Rape". As a sign of support, the California Senate (/wiki/California_Senate) and the California Assembly (/wiki/California_Assembly) followed suit. Patricia Giggans (/wiki/Patricia_Giggans) , the executive director of the Los Angeles Commission on Assaults Against Women (now Peace Over Violence) soon made Denim Day (/wiki/Denim_Day) an annual event. As of 2011 [update] (https://en.wikipedia.org/w/index.php?title=Jeans&action=edit) at least 20 U.S. states officially recognize Denim Day in April. Wearing jeans on that day has become an international symbol of protest against such attitudes about sexual assault. In 2008 the Supreme Court of Cassation overturned the ruling, so there is no longer a "denim" defense to the charge of rape. [44] (#cite_note-45) [43] (#cite_note-Faedi_2009-44) Rokotov-Faibishenko case [ edit ] Main article: Rokotov-Faibishenko case (/wiki/Rokotov-Faibishenko_case) In 1957, during the 6th World Festival of Youth and Students (/wiki/6th_World_Festival_of_Youth_and_Students) held in Moscow (/wiki/Moscow) , Soviet Union (/wiki/Soviet_Union) (present-day Russia (/wiki/Russia) ), Western-made jeans were first introduced to the communist state and sparked "jeans fever" at the time. People preferred to wear Western-made blue jeans rather than local-made black ones. In Soviet ideology, such an action challenged communist-made jeans and symbolized Western victory. In 1961, two ringleaders, Y. T. Rokotov and V. P. Faibishenko, were caught with their group for smuggling currencies from other countries along with blue jeans and other contraband. Under the leadership of Nikita Khrushchev (/wiki/Nikita_Khrushchev) , the duo were executed. Trends [ edit ] Worldwide market for jeans [ edit ] North America accounts for 39% of global purchases for jeans, followed by Western Europe at 20%, Japan and Korea at 10% and the rest of the world at 31%. [45] (#cite_note-worldwide_denim_market_report-46) United States consumers spent more than US$14 billion on jeans in 2004 and US$15 billion in 2005. [11] (#cite_note-Sullivan_2006-11) US consumers bought US$13.8 billion of men's and women's jeans in the year that ended April 30, 2011 (~$18.4 billion in 2023), according to market-research firm NPD Group. [46] (#cite_note-WSJ-47) Soviet Union [ edit ] This section needs expansion . You can help by adding to it (https://en.wikipedia.org/w/index.php?title=Jeans&action=edit§ion=) . ( July 2015 ) In the Soviet Union (/wiki/Soviet_Union) , jeans were the symbol of the Western way of life. [47] (#cite_note-48) The "jeans fever" in the USSR started in 1957 during the World Festival of Youth and Students (/wiki/World_Festival_of_Youth_and_Students) . [48] (#cite_note-rua-49) According to a 1961 Soviet textile dictionary, jeans were initially referred to as a "worker's uniform" (рабочий костюм, rabochii kostyum ). [49] (#cite_note-50) The jeans brand Rokotov and Fainberg is named after the defendants in the Rokotov–Faibishenko case, Yan T. Rokotov and Vladislav P. Faibishenko, who were executed for, among other things, trafficking in jeans. [48] (#cite_note-rua-49) Although not outright banned, jeans were hard to come by in the Soviet Union since they were seen as a symbol of rebellion by the Soviet youth, who wanted to emulate the style of film and rock stars of the West. The Soviet government (/wiki/Soviet_government) resisted supplying the market with jeans as it would mean responding to the market (/wiki/Market_(economics)) , a capitalist (/wiki/Capitalist) principle. [50] (#cite_note-51) People went to great lengths, sometimes by resorting to violence and other illegal activities, to obtain real Western-made jeans. That led to the creation of black markets (/wiki/Black_markets) and to the bootlegging (/wiki/Counterfeit_consumer_goods) of jeans, which since has become an important cultural element of the history of the Soviet Union (/wiki/History_of_the_Soviet_Union) . [51] (#cite_note-52) Market-share shift to activewear [ edit ] In 2014, teens were buying more fashion and athleisure (/wiki/Athleisure) clothing from brands such as Nike (/wiki/Nike,_Inc.) and Lululemon (/wiki/Lululemon) over denim classics from brands like Abercrombie & Fitch (/wiki/Abercrombie_%26_Fitch) . [52] (#cite_note-53) Activewear (/wiki/Activewear) in 2014 comprised 28% of teens' apparel purchases, up from 6% in 2008. In 2014, Nike, Lululemon, Under Armour (/wiki/Under_Armour) , and Adidas (/wiki/Adidas) were the most popular brands for athletic apparel among teen consumers. Fashion retailers have begun to adjust their offerings accordingly. Bloomberg reports that Levi's stuck to its core product (denim) instead of adapting to consumer trends. As a result, Levi's sales decreased from over US$7 billion to US$4.8 billion in 2015. [53] (#cite_note-54) In February 2021, it was found that sales for athleisure (/wiki/Athleisure) had risen by 84% since March 2020 as a result of the COVID-19 lockdowns. [54] (#cite_note-55) Variations on the basic type [ edit ] Cigarette: Designed to fit quite closely, but not tightly, to the thigh area, with a less close fit to the calf [55] (#cite_note-Adhav_2020-56) Cropped: Where the leg is cut to a lesser length, to somewhere above the ankle [55] (#cite_note-Adhav_2020-56) Relaxed [55] (#cite_note-Adhav_2020-56) Skinny: Worn to flatter the figure in the fashion of tight or close fitting [55] (#cite_note-Adhav_2020-56) Wide-leg; or with cropped variant: The waist line rides up past the wearer's actual waist, material below the knee is altogether away from the leg and descends as a straight line, standard type descends down to the ankle; cropped variant: the leg ceases at the lower leg mid-way down (or stops further down toward the ankle) [55] (#cite_note-Adhav_2020-56) Mom/Mum: Jeans which have a high waist (above the belly button), and are loose around the thighs, with a somewhat tapered fit. [56] (#cite_note-published-57) Straight-leg: Jeans which are the same width at the leg opening as they are at the bottom of the leg, making for a slightly baggy fit. [57] (#cite_note-58) Boyfriend: Often with a mid-low waist, boyfriend jeans have a baggy, "borrowed from the boys" fit. [56] (#cite_note-published-57) Flared, or bell-bottomed (/wiki/Bell-bottoms) : Often fitted around the thigh area, then become wider from the knee down. [58] (#cite_note-59) High-waisted jeans (/wiki/High-waisted_jeans) were first popularized in the 1970s, but they have seen a resurgence in popularity in recent years. High-waisted jeans are characterized by a high rise that sits above the belly button. They can be fitted, relaxed, or loose-fitting, and they come in a variety of washes and colors. [59] (#cite_note-60) Low-rise jeans [ edit ] Media reported in 2017 that the trend of low-rise jeans (/wiki/Low-rise_pants) , famous in the 1990s and 2000s, was coming back into fashion due to a sparked by an interest in Y2K style. In the early 2000s, low-rise jeans were commonly seen on celebrities such as Jennifer Lopez (/wiki/Jennifer_Lopez) , Paris Hilton (/wiki/Paris_Hilton) , Gwen Stefani (/wiki/Gwen_Stefani) and Christina Aguilera (/wiki/Christina_Aguilera) , attributing to the Y2K style. In 2021, online searches for 'y2k fashion' had risen by 193%, [60] (#cite_note-61) showing that the fashion style was making a comeback, and low-rise jeans were becoming a common clothing item for teenagers and young adults. [61] (#cite_note-62) [62] (#cite_note-63) [63] (#cite_note-64) Low-rise jeans usually come 2–3 inches (5–8 cm) or more below the navel. [64] (#cite_note-65) Manufactured low-rise jeans have a shorter rise (distance between the waistband and crotch seam). The low-rise look can also be accomplished by letting jeans with longer rises fall lower than they are meant to. This is a less extreme version of sagging (/wiki/Sagging_(fashion)) , which was popularized by male hip-hop artists in the 1990s. Industrial production [ edit ] How denim fabric is stored in the factory Automated cutting machines are used in RMG factory to cut the pieces. P P Spray and P P Sponging being applied to jeans to give them a new look Adding 3D crunching, whiskers, and wrinkles to jeans to make them look more used Applying permanent wrinkles to jeans Hand scraping of jeans Resin treatment process on jeans Tacking on jeans, which adds strength to high-stress areas Socks dyeing machine in a washing plant for washing jeans The process of washing and drying jeans The final steps of preparing jeans for market Checking the fit on a live model Quality checking and quality assurance Jeans are displayed for the buyer in the RMG factory showroom. See also [ edit ] Fashion portal (/wiki/Portal:Fashion) Athleisure (/wiki/Athleisure) Baggy jeans (/wiki/Baggy_jeans) Daisy Dukes (/wiki/Shorts#Daisy_Dukes) Denim skirt (/wiki/Denim_skirt) ("jean" skirt) Designer jeans (/wiki/Designer_clothing#Designer_jeans) Drainpipe jeans (/wiki/Drainpipe_jeans) Jean jacket (/wiki/Jean_jacket) Jeggings (/wiki/Jeggings) Jorts (/wiki/Jorts) ("jean shorts") Mom jeans (/wiki/Mom_jeans) Trousers as women's clothing (/wiki/Trousers_as_women%27s_clothing) Western fashion (/wiki/Western_wear) Notes [ edit ] ^ (#cite_ref-15) Bottom weight fabric is a heavier fabric suitable for pants or skirts (a.k.a. bottoms). Not necessarily a thick or heavy fabric but heavier than something that would be used to make a blouse or shirt. References [ edit ] ^ (#cite_ref-1) Loverin, Jan (2006). "A Nevada Stylist: Your Denim Jeans Are a Nevada Invention" (https://web.archive.org/web/20130429105158/http://museums.nevadaculture.org/dmdocuments/mus-let37.pdf) (PDF) . Nevada State Museum Newsletter . 36 (3): 4. Archived from the original (http://museums.nevadaculture.org/dmdocuments/mus-let37.pdf) (PDF) on April 29, 2013 . Retrieved January 29, 2015 . ^ (#cite_ref-2) See, e.g., The Richmond Enquirer (Richmond, VA) March 25, 1823, wherein a paid notice described the ready-made apparel stolen by a thief : FIFTY DOLLARS REWARD, FOR JEREMIAH, or as he is commonly called Jerry Hatcher, lately a convict of the Penitentiary, who on the night of February 17 last did break through my store and carry off a variety of goods, together with about $20 in change and some ready made clothing, and has made his escape. He is about 4 1/2 or 5 feet high, stout and very well made, with light hair, and I expect has on blue Jeans coatee and brown pantaloons, as he took such from me and has been seen with them on. I expect he is either in Richmond, Petersburg or Lynchburg. Any person who will apprehend said Hatcher and deliver him to me, will meet with my thanks, and the above reward. BRIGHTBERRY BROWN [,] Red Mills, Buckingham [County, Virginia], March 14. ^ (#cite_ref-3) "The fascinating, tumultuous history of a fashion classic" (https://amuse.vice.com/en_us/article/pa5dx8/history-of-denim-jeans) . Vice . December 12, 2019. Archived (https://web.archive.org/web/20230708192529/https://amuse.vice.com/en_us/article/pa5dx8/history-of-denim-jeans) from the original on July 8, 2023 . Retrieved September 15, 2019 . ^ (#cite_ref-4) Howard, Michael C. (2011). Transnationalism and Society: An Introduction . McFarland. ISBN (/wiki/ISBN_(identifier)) 978-0-78648625-0 . Archived (https://web.archive.org/web/20231026064304/https://books.google.com/books?id=Qy4YtuIHsQcC&pg=PA235#v=onepage&q&f=false) from the original on October 26, 2023 . Retrieved August 14, 2017 . ^ (#cite_ref-5) "Jeans" (https://web.archive.org/web/20170619115433/http://facweb.cs.depaul.edu/sgrais/jeans.htm) . facweb.cs.depaul.edu . Archived from the original (http://facweb.cs.depaul.edu/sgrais/jeans.htm) on June 19, 2017 . Retrieved August 14, 2017 . ^ Jump up to: a b Gruber, Gerlinde (2010). The Master of the Blue Jeans: A New Painter of Reality in Late 17th Century Europe . Paris, France: Galerie Canesso. pp. 10, 23. Archived (https://web.archive.org/web/20200619181014/https://issuu.com/artsolution/docs/cat._maitre_toile_de_jeans_a) from the original on June 19, 2020 . Retrieved January 15, 2019 . ^ (#cite_ref-7) National Archives (February 18, 1576). "Import and Export books for the Port of Barnstaple". E 190/930/5. ^ (#cite_ref-8) "The synthesis of indigo" (https://web.archive.org/web/20160304084155/http://www.ingenious.org.uk/site.asp?s=RM&Param=1&SubParam=1&Content=1&ArticleID=%7BCBDF1082-9F5C-498F-A769-B33A7DA83B30%7D&ArticleID2=%7B3C4444FC-FC4D-4498-B0B4-8B8A47C5BA76%7D&MenuLinkID=%7BA54FA022-17E2-483C-B937-DEC8B8964C33%7D) . Ingenious.org.uk. Archived from the original (http://www.ingenious.org.uk/site.asp?s=RM&Param=1&SubParam=1&Content=1&ArticleID=%7BCBDF1082-9F5C-498F-A769-B33A7DA83B30%7D&ArticleID2=%7B3C4444FC-FC4D-4498-B0B4-8B8A47C5BA76%7D&MenuLinkID=%7BA54FA022-17E2-483C-B937-DEC8B8964C33%7D) on March 4, 2016 . Retrieved October 28, 2015 . ^ (#cite_ref-9) Welch, Evelyn (2005). Shopping in the Renaissance: Consumer Cultures in Italy 1400–1600 . New Haven: Yale University Press. p. 44. ^ (#cite_ref-10) William, Carrie (September 3, 2017). "Origin and History of Dungaree Fabric" (http://www.historyofjeans.com/jeans-history/history-of-dungaree-fabric/) . Historyofjeans.com. 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Archived (https://web.archive.org/web/20221020152045/https://outfitideashq.com/difference-bootcut-straight-skinny-flare-legged-jeans/) from the original on October 20, 2022 . Retrieved October 20, 2022 . ^ (#cite_ref-60) "high-rise" (https://dx.doi.org/10.5040/9781501365287.1334) , The Fairchild Books Dictionary of Fashion , Fairchild Books, p. 75, 2022, doi (/wiki/Doi_(identifier)) : 10.5040/9781501365287.1334 (https://doi.org/10.5040%2F9781501365287.1334) , ISBN (/wiki/ISBN_(identifier)) 978-1-5013-6669-7 , archived (https://web.archive.org/web/20231026064309/https://chooser.crossref.org/?doi=10.5040%2F9781501365287.1334) from the original on October 26, 2023 , retrieved June 24, 2023 ^ (#cite_ref-61) "The Anatomy of a Trend: Y2K" (https://blog.trendalytics.co/2021/08/23/anatomy-trend-y2k) . blog.trendalytics.co . August 23, 2021. Archived (https://web.archive.org/web/20221020145932/https://blog.trendalytics.co/2021/08/23/anatomy-trend-y2k) from the original on October 20, 2022 . Retrieved October 20, 2022 . ^ (#cite_ref-62) Jennings, Rebecca (April 6, 2021). "Low-rise jeans are back. Try not to scream" (https://www.vox.com/the-goods/22364404/low-rise-jeans-trend-y2k-fashion) . Vox . Archived (https://web.archive.org/web/20221020145930/https://www.vox.com/the-goods/22364404/low-rise-jeans-trend-y2k-fashion) from the original on October 20, 2022 . Retrieved October 20, 2022 . ^ (#cite_ref-63) "Low rise jeans are back – and the lower the better" (https://www.theguardian.com/fashion/2022/jan/15/low-rise-jeans-are-back-and-the-lower-the-better) . the Guardian . January 15, 2022. Archived (https://web.archive.org/web/20221020145930/https://www.theguardian.com/fashion/2022/jan/15/low-rise-jeans-are-back-and-the-lower-the-better) from the original on October 20, 2022 . Retrieved October 20, 2022 . ^ (#cite_ref-64) "How Low Can These Low-Rise Jeans Go?" (https://www.vogue.com/slideshow/low-rise-jeans) . Vogue . September 30, 2021. Archived (https://web.archive.org/web/20221020145932/https://www.vogue.com/slideshow/low-rise-jeans) from the original on October 20, 2022 . Retrieved October 20, 2022 . ^ (#cite_ref-65) "10 Types of Jeans" (https://ratedstar.com/blogs/news/10-types-of-jeans) . Rated Star . December 23, 2017. Archived (https://web.archive.org/web/20180529130249/https://ratedstar.com/blogs/news/10-types-of-jeans) from the original on May 29, 2018 . Retrieved June 2, 2018 . External links [ edit ] Wikimedia Commons has media related to Jeans (https://commons.wikimedia.org/wiki/Category:Jeans) . 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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=Jeans&oldid=1235911207 (https://en.wikipedia.org/w/index.php?title=Jeans&oldid=1235911207) " Categories (/wiki/Help:Category) : Jeans (/wiki/Category:Jeans) 19th-century fashion (/wiki/Category:19th-century_fashion) 20th-century fashion (/wiki/Category:20th-century_fashion) 21st-century fashion (/wiki/Category:21st-century_fashion) American fashion (/wiki/Category:American_fashion) American inventions (/wiki/Category:American_inventions) California Gold Rush (/wiki/Category:California_Gold_Rush) Canadian fashion (/wiki/Category:Canadian_fashion) Women's clothing (/wiki/Category:Women%27s_clothing) History of clothing (Western fashion) (/wiki/Category:History_of_clothing_(Western_fashion)) Trousers and shorts (/wiki/Category:Trousers_and_shorts) Western wear (/wiki/Category:Western_wear) Working-class culture in the United States (/wiki/Category:Working-class_culture_in_the_United_States) Workwear (/wiki/Category:Workwear) Hidden categories: CS1 Chinese-language sources (zh) (/wiki/Category:CS1_Chinese-language_sources_(zh)) CS1 Japanese-language sources (ja) (/wiki/Category:CS1_Japanese-language_sources_(ja)) CS1 German-language sources (de) (/wiki/Category:CS1_German-language_sources_(de)) 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 mdy dates from May 2024 (/wiki/Category:Use_mdy_dates_from_May_2024) All articles that may have off-topic sections (/wiki/Category:All_articles_that_may_have_off-topic_sections) Wikipedia articles that may have off-topic sections from February 2020 (/wiki/Category:Wikipedia_articles_that_may_have_off-topic_sections_from_February_2020) All Wikipedia articles needing clarification (/wiki/Category:All_Wikipedia_articles_needing_clarification) Wikipedia articles needing clarification from July 2024 (/wiki/Category:Wikipedia_articles_needing_clarification_from_July_2024) Articles containing potentially dated statements from 2011 (/wiki/Category:Articles_containing_potentially_dated_statements_from_2011) All articles containing potentially dated statements (/wiki/Category:All_articles_containing_potentially_dated_statements) Articles to be expanded from July 2015 (/wiki/Category:Articles_to_be_expanded_from_July_2015) All articles to be expanded (/wiki/Category:All_articles_to_be_expanded) Articles using small message boxes (/wiki/Category:Articles_using_small_message_boxes) Commons category link is on Wikidata (/wiki/Category:Commons_category_link_is_on_Wikidata) Articles with FAST identifiers (/wiki/Category:Articles_with_FAST_identifiers) Articles with BNF identifiers (/wiki/Category:Articles_with_BNF_identifiers) Articles with BNFdata identifiers (/wiki/Category:Articles_with_BNFdata_identifiers) Articles with GND identifiers (/wiki/Category:Articles_with_GND_identifiers) Articles with J9U identifiers (/wiki/Category:Articles_with_J9U_identifiers) Articles with LCCN identifiers (/wiki/Category:Articles_with_LCCN_identifiers) Articles with NDL identifiers (/wiki/Category:Articles_with_NDL_identifiers) Articles with NKC identifiers (/wiki/Category:Articles_with_NKC_identifiers) Articles with NARA identifiers (/wiki/Category:Articles_with_NARA_identifiers) |
American musician (1958–2016) This article is about the American singer and musician. For other uses, see Prince (disambiguation) (/wiki/Prince_(disambiguation)) . Prince Prince in 1981 Born Prince Rogers Nelson ( 1958-06-07 ) June 7, 1958 Minneapolis (/wiki/Minneapolis) , Minnesota, U.S. Died April 21, 2016 (2016-04-21) (aged 57) Chanhassen (/wiki/Chanhassen,_Minnesota) , Minnesota, U.S. Cause of death Accidental fentanyl overdose (/wiki/Fentanyl_overdose) Other names The Artist (Formerly Known as Prince) (TAFKAP) Camille Occupations Singer songwriter musician record producer actor Years active 1975–2016 Spouses Mayte Garcia (/wiki/Mayte_Garcia) ( m. 1996; div. 2000) Manuela Testolini ( m. 2001; div. 2007) Children 1 Parent John L. Nelson (/wiki/John_L._Nelson) (father) Relatives Tyka Nelson (/wiki/Tyka_Nelson) (sister) Musical career Genres Funk (/wiki/Funk) [1] (#cite_note-Brown-obit-1) rock (/wiki/Rock_music) [2] (#cite_note-Brown-2) [3] (#cite_note-3) R&B (/wiki/Contemporary_R%26B) pop (/wiki/Pop_music) [4] (#cite_note-4) neo-psychedelia (/wiki/Neo-psychedelia) [5] (#cite_note-5) progressive soul (/wiki/Progressive_soul) [6] (#cite_note-Himes-6) Instruments Vocals guitar keyboards bass drums Discography Albums (/wiki/Prince_albums_discography) singles (/wiki/Prince_singles_discography) Labels Warner Bros. (/wiki/Warner_Records) Paisley Park (/wiki/Paisley_Park_Records) NPG (/wiki/NPG_Records) EMI (/wiki/EMI_Group) Columbia (/wiki/Columbia_Records) Arista (/wiki/Arista_Records) Universal (/wiki/Universal_Music_Group) Formerly of The Revolution (/wiki/The_Revolution_(band)) The Family (/wiki/The_Family_(band)) Madhouse (/wiki/Madhouse_(band)) New Power Generation (/wiki/New_Power_Generation) Website prince (http://prince.com) .com (http://prince.com) Prince Rogers Nelson (June 7, 1958 – April 21, 2016) was an American singer, multi-instrumentalist, songwriter, record producer, and actor. The recipient of numerous awards and nominations (/wiki/List_of_awards_and_nominations_received_by_Prince) , he is regarded as one of the world's greatest musicians. [7] (#cite_note-ReferenceA-7) He was known for his flamboyant, androgynous (/wiki/Androgynous) persona; [8] (#cite_note-8) [9] (#cite_note-9) his wide vocal range, which included a far-reaching falsetto (/wiki/Falsetto) and high-pitched screams; and his skill as a multi-instrumentalist, often preferring to play all or most of the instruments on his recordings. [10] (#cite_note-:2-10) His music incorporated a wide variety of styles, including funk (/wiki/Funk) , R&B (/wiki/Rhythm_and_blues) , rock (/wiki/Rock_music) , new wave (/wiki/New_wave_music) , soul (/wiki/Soul_music) , synth-pop (/wiki/Synth-pop) , pop (/wiki/Pop_music) , jazz (/wiki/Jazz) , blues (/wiki/Blues) , and hip hop (/wiki/Hip_hop_music) . Prince produced his albums himself, pioneering the Minneapolis sound (/wiki/Minneapolis_sound) . Born and raised in Minneapolis (/wiki/Minneapolis) , Prince signed a record deal with Warner Bros. Records (/wiki/Warner_Bros._Records) at the age of 19, soon releasing the albums For You (/wiki/For_You_(Prince_album)) (1978) and Prince (/wiki/Prince_(album)) (1979). He went on to achieve critical success with the influential albums Dirty Mind (/wiki/Dirty_Mind) (1980), Controversy (/wiki/Controversy_(Prince_album)) (1981), and 1999 (/wiki/1999_(Prince_album)) (1982). His sixth album, Purple Rain (/wiki/Purple_Rain_(album)) (1984), was recorded with his new backing band the Revolution (/wiki/The_Revolution_(band)) and was also the soundtrack to the film of the same name (/wiki/Purple_Rain_(film)) in which he starred. Purple Rain garnered continued success for Prince and was a major commercial achievement, spending six consecutive months (/wiki/Billboard_200#Most_weeks_at_No._1) atop the US Billboard 200 (/wiki/Billboard_200) chart. [11] (#cite_note-11) The soundtrack also won Prince the Academy Award for Best Original Song Score (/wiki/Academy_Award_for_Best_Original_Score) whilst the movie grossed $70.3 million worldwide, against its $7.2 million budget and publications. Critics have regarded Purple Rain as one of the greatest musical films (/wiki/Musical_film) . [12] (#cite_note-Rockhall-12) [13] (#cite_note-13) After disbanding the Revolution, Prince released the album Sign o' the Times (/wiki/Sign_o%27_the_Times) (1987), widely hailed by critics as the greatest work of his career (/wiki/Magnum_opus) . In the midst of a contractual dispute with Warner Bros (/wiki/Warner_Bros.) . in 1993, he changed his stage name to the unpronounceable symbol (known to fans as the "Love Symbol") and was often referred to as The Artist Formerly Known as Prince (or TAFKAP ) or simply The Artist . [14] (#cite_note-14) [15] (#cite_note-15) After moving to Arista Records (/wiki/Arista_Records) in 1998, Prince reverted to his original name in 2000. Over the next decade, six of his albums entered the U.S. top 10 charts. [16] (#cite_note-auto-16) [17] (#cite_note-17) In April 2016, at the age of 57, Prince died after accidentally overdosing on fentanyl (/wiki/Fentanyl) at his Paisley Park (/wiki/Paisley_Park) home and recording studio in Chanhassen, Minnesota (/wiki/Chanhassen,_Minnesota) . He was a prolific musician who released 39 albums during his life, with a vast array of unreleased material (/wiki/Unreleased_Prince_projects) left in a custom-built bank vault underneath his home after his death, including fully completed albums and over 50 finished music videos. [18] (#cite_note-18) Numerous posthumous collections of his previously unheard work have been issued by his estate. Prince sold more than 100 million records worldwide during his lifetime, ranking him among the best-selling music artists of all time (/wiki/List_of_best-selling_music_artists) . [19] (#cite_note-19) His awards include the Grammy (/wiki/Grammy_Award) President's Merit Award (/wiki/28th_Annual_Grammy_Awards#Special_awards) , the American Music Awards for Achievement (/wiki/American_Music_Award_for_Achievement) and of Merit (/wiki/American_Music_Award_of_Merit) , the Billboard Icon Award (/wiki/Billboard_Icon_Award) , an Academy Award (/wiki/Academy_Awards) , and a Golden Globe Award (/wiki/Golden_Globe_Awards) . He was inducted into the Rock and Roll Hall of Fame (/wiki/Rock_and_Roll_Hall_of_Fame) in 2004, the U.K. Music Hall of Fame (/wiki/UK_Music_Hall_of_Fame) in 2006, and the Rhythm and Blues Music Hall of Fame (/wiki/Rhythm_and_Blues_Music_Hall_of_Fame) in 2016, and was inducted twice into the Black Music & Entertainment Walk of Fame (/wiki/Black_Music_%26_Entertainment_Walk_of_Fame) in 2022. [20] (#cite_note-20) [21] (#cite_note-21) Estimates of the complete number of songs written by Prince range anywhere from 500 to well over 1,000. [22] (#cite_note-22) Some of these songs were made popular after being covered by other musicians, including " Nothing Compares 2 U (/wiki/Nothing_Compares_2_U) " by Sinéad O'Connor (/wiki/Sin%C3%A9ad_O%27Connor) and " Manic Monday (/wiki/Manic_Monday) " by the Bangles (/wiki/The_Bangles) . [23] (#cite_note-23) Early life Prince Rogers Nelson was born in Minneapolis (/wiki/Minneapolis) on June 7, 1958, the son of jazz singer Mattie Della (née Shaw) and pianist and songwriter John Lewis Nelson (/wiki/John_L._Nelson) . [24] (#cite_note-24) All four of his grandparents were from Louisiana (/wiki/Louisiana) . [25] (#cite_note-25) His grand-aunt was the black nationalist (/wiki/Black_nationalist) Mittie Maude Lena Gordon (/wiki/Mittie_Maude_Lena_Gordon) , who established the Peace Movement of Ethiopia (/wiki/Peace_Movement_of_Ethiopia) and advocated emigration to West Africa (/wiki/Back-to-Africa_movement) in response to American white supremacy (/wiki/White_supremacy) . [26] (#cite_note-26) [27] (#cite_note-27) The jazz drummer Louis Hayes (/wiki/Louis_Hayes) was his paternal cousin. [28] (#cite_note-28) Prince was named after his father's most popular stage name, Prince Rogers, which his father used while performing with Prince's mother in a jazz group called the Prince Rogers Trio. [29] (#cite_note-BMRJ-29) In 1991, Prince's father told A Current Affair (/wiki/A_Current_Affair_(U.S._TV_series)) that he named his son "Prince" because he wanted Prince "to do everything I wanted to do". [30] (#cite_note-FOOTNOTEHahn2004-30) Prince was not fond of his name and wanted people to instead call him "Skipper", a name which stuck throughout his childhood. [29] (#cite_note-BMRJ-29) [31] (#cite_note-FOOTNOTEGulla2008483-31) [32] (#cite_note-FOOTNOTERo20116-32) Prince said he was "born epileptic (/wiki/Epilepsy) " and had seizures when he was young. He stated, "My mother told me one day I walked in to her and said, 'Mom, I'm not going to be sick anymore,' and she said, 'Why?' and I said, 'Because an angel told me so. ' " [33] (#cite_note-33) Prince's younger sister, Tyka (/wiki/Tyka_Nelson) , was born on May 18, 1960. [16] (#cite_note-auto-16) [34] (#cite_note-FOOTNOTENilsen200319-34) Both siblings developed a keen interest in music, which was encouraged by their father. [35] (#cite_note-prince-35) His parents were both members of the Seventh-day Adventist Church (/wiki/Seventh-day_Adventist_Church) , an evangelical (/wiki/Evangelicalism) denomination. [36] (#cite_note-36) In 2022, during a Minneapolis teachers' strike, Minneapolis-St. Paul (/wiki/Minneapolis-St._Paul) news station WCCO-TV (/wiki/WCCO-TV) was researching a previous teacher's strike in April 1970 and accidentally uncovered an interview they had done with Prince about that 1970 strike. Prince, who was 11 years old at the time, said about the strike, "I think they should get a better education too cause, um, and I think they should get some more money cause they work, they be working extra hours for us and all that stuff." While he never identifies himself in the interview, it was confirmed to be him through interviews with a historian in Minneapolis who is also a fan of Prince, as well as by a former classmate who was a member of Prince's first band. The video is one of very few videos of Prince from that stage of his life. [37] (#cite_note-37) Prince wrote his first song, "Funk Machine", on his father's piano when he was seven years old. [35] (#cite_note-prince-35) His parents divorced when he was 10. His mother remarried Hayward Baker, with whom she had a son named Omarr; Prince had a fraught relationship with Omarr, to the extent that it caused him to repeatedly switch homes, sometimes living with his father and sometimes with his mother and stepfather. [35] (#cite_note-prince-35) [38] (#cite_note-38) Baker took Prince to see James Brown (/wiki/James_Brown) in concert, and Prince credited Baker with improving the family's finances. After a brief period of living with his father, who bought him his first guitar, Prince moved into the basement of his neighbors, the Anderson family, after his father threw him out. [39] (#cite_note-39) He befriended the Andersons' son, Andre, who later collaborated with Prince and became known as André Cymone (/wiki/Andr%C3%A9_Cymone) . [40] (#cite_note-40) [41] (#cite_note-41) Prince attended Minneapolis' Bryant Junior High and then Central High School (/wiki/Central_High_School_(Minneapolis,_Minnesota)) , where he played football, basketball, and baseball. He played on Central's junior varsity (/wiki/Junior_varsity) basketball team, and continued to play basketball for fun as an adult. [42] (#cite_note-42) [43] (#cite_note-43) Prince may have been among the Bryant students who tested The Oregon Trail (/wiki/The_Oregon_Trail_(1971_video_game)) during its development in autumn 1971. [44] (#cite_note-gh20240411-44) He was trained in classical ballet at the Minnesota Dance Theatre (/wiki/Minnesota_Dance_Theatre) through the Urban Arts Program of Minneapolis Public Schools (/wiki/Minneapolis_Public_Schools) , [45] (#cite_note-45) Prince became an advocate for dancers, and used his wealth to save the failing Joffrey Ballet (/wiki/Joffrey_Ballet) in Chicago during the 1990s. [46] (#cite_note-46) [47] (#cite_note-47) He met songwriter and producer Jimmy Jam (/wiki/Jimmy_Jam_and_Terry_Lewis) in 1973 and impressed Jam with his musical talent, early mastery of a wide range of instruments, and work ethic. [48] (#cite_note-48) Career 1975–1984: Beginnings and breakthrough The Minneapolis house, seen here in August 2017, where Prince stayed with André Cymone (/wiki/Andr%C3%A9_Cymone) 's family In 1975, Pepe Willie (the husband of Prince's cousin Shauntel), formed the band 94 East (/wiki/94_East) with Marcy Ingvoldstad and Kristie Lazenberry, hiring André Cymone and Prince to record tracks. [49] (#cite_note-49) [50] (#cite_note-Draper2016-50) Willie wrote the songs, and Prince contributed guitar tracks, and Prince and Willie co-wrote the 94 East song, "Just Another Sucker". [51] (#cite_note-:1-51) The band recorded tracks which later became the album Minneapolis Genius – The Historic 1977 Recordings . [51] (#cite_note-:1-51) In 1976, shortly after graduating from Central High School, Prince created a demo tape with producer Chris Moon, in Moon's Minneapolis studio. [52] (#cite_note-52) Unable to secure a recording contract, Moon brought the tape to Owen Husney, a Minneapolis businessman, who signed Prince, age 19, to a management contract, and helped him create a demo at Sound 80 (/wiki/Sound_80) Studios in Minneapolis (with producer/engineer David Z). [53] (#cite_note-53) [54] (#cite_note-54) The demo recording, along with a press kit (/wiki/Press_kit) produced at Husney's ad agency, resulted in interest from several record companies, including Warner Bros. Records (/wiki/Warner_Bros._Records) , A&M Records (/wiki/A%26M_Records) , and Columbia Records (/wiki/Columbia_Records) . [55] (#cite_note-55) With the help of Husney, Prince signed a recording contract with Warner Bros. The record company agreed to give Prince creative control for three albums and retain his publishing rights. [56] (#cite_note-FOOTNOTELight201429-56) [57] (#cite_note-57) Husney and Prince then left Minneapolis and moved to Sausalito, California (/wiki/Sausalito,_California) , where Prince's first album, For You (/wiki/For_You_(Prince_album)) , was recorded at Record Plant (/wiki/Record_Plant) Studios. The album was mixed in Los Angeles and released on April 7, 1978. [58] (#cite_note-FOOTNOTEUptown200419-58) According to the For You album notes, Prince wrote, produced, arranged, composed, and played all 27 instruments on the recording, except for the song " Soft and Wet (/wiki/Soft_and_Wet) ", whose lyrics were co-written by Moon. The cost of recording the album was twice Prince's initial advance. Prince used the Prince's Music Co. to publish (/wiki/Music_publisher_(popular_music)) his songs. In the United States, "Soft and Wet" reached No. 12 on the Hot Soul Singles (/wiki/Hot_R%26B/Hip-Hop_Songs) chart and No. 92 on the Billboard Hot 100 (/wiki/Billboard_Hot_100) . The song " Just as Long as We're Together (/wiki/Just_as_Long_as_We%27re_Together) " reached No. 91 on the Hot Soul Singles chart. [ citation needed ] Ticket to Prince's first performance with his band in January 1979 In 1979, Prince created a band with André Cymone on bass, Dez Dickerson (/wiki/Dez_Dickerson) on guitar, Gayle Chapman and Doctor Fink (/wiki/Doctor_Fink) on keyboards, and Bobby Z. (/wiki/Bobby_Z.) on drums. Their first show was at the Capri Theater on January 5, 1979. Warner Bros. executives attended the show but decided that Prince and the band needed more time to develop his music. [59] (#cite_note-FOOTNOTEHill198959-59) [ page needed ] In October 1979, Prince released the album Prince (/wiki/Prince_(album)) , which was No. 4 on the Billboard Top R&B/Black Albums (/wiki/Top_R%26B/Hip-Hop_Albums) charts and No. 22 on the Billboard 200 (/wiki/Billboard_200) , and went platinum (/wiki/Platinum_record) . It contained two R&B hits: " Why You Wanna Treat Me So Bad? (/wiki/Why_You_Wanna_Treat_Me_So_Bad%3F) " and " I Wanna Be Your Lover (/wiki/I_Wanna_Be_Your_Lover) ", which sold over a million copies, and reached No. 11 on the Billboard Hot 100 and No. 1 for two weeks on the Hot Soul Singles chart. Prince performed both these songs on January 26, 1980, on American Bandstand (/wiki/American_Bandstand) . On this album, Prince used Ecnirp Music – BMI (/wiki/Broadcast_Music,_Inc.) . [60] (#cite_note-60) In 1980, Prince released the album Dirty Mind (/wiki/Dirty_Mind) , which contained sexually explicit material, including the title song, "Head", and the song "Sister", and was described by Stephen Thomas Erlewine (/wiki/Stephen_Thomas_Erlewine) as a "stunning, audacious amalgam of funk, new wave (/wiki/New_wave_music) , R&B, and pop, fueled by grinningly salacious sex and the desire to shock". [61] (#cite_note-Erlewine-61) Recorded in Prince's studio, this album was certified gold (/wiki/Certified_gold) , and the single " Uptown (/wiki/Uptown_(Prince_song)) " reached No. 5 on the Billboard Dance chart and No. 5 on the Hot Soul Singles chart. Prince was also the opening act for Rick James (/wiki/Rick_James) ' 1980 Fire It Up tour. [62] (#cite_note-62) Prince in 1980, the year Dirty Mind (/wiki/Dirty_Mind) was released In February 1981, Prince made his first appearance on Saturday Night Live (/wiki/Saturday_Night_Live) , performing "Partyup". In October 1981, Prince released the album Controversy (/wiki/Controversy_(Prince_album)) . He played several dates in support of it, as the first of three opening acts for the Rolling Stones (/wiki/The_Rolling_Stones) , on their US tour. In Los Angeles, Prince, who appeared in a trench coat and black bikini briefs, was forced off the stage after just three songs by audience members throwing trash at him. [63] (#cite_note-63) [64] (#cite_note-64) He began 1982 with a small tour of college towns where he was the headlining act. The songs on Controversy were published by Controversy Music [65] (#cite_note-65) – ASCAP (/wiki/American_Society_of_Composers,_Authors_and_Publishers) , a practice he continued until the Emancipation (/wiki/Emancipation_(Prince_album)) album in 1996. Controversy also marked the introduction of Prince's use of abbreviated spelling (/wiki/Sensational_spelling) , such as writing the words you as U , to as 2 , and for as 4 ; by 2002, MTV News noted that "[n]ow all of his titles, liner notes, and Web postings are written in his own shorthand spelling, as seen on 1999's Rave Un2 the Joy Fantastic , which featured 'Hot Wit U. ' " [66] (#cite_note-66) In 1981, Prince formed a side project band called The Time (/wiki/The_Time_(band)) . The band released four albums between 1981 and 1990, with Prince writing and performing most of the instrumentation and backing vocals (sometimes credited under the pseudonyms "Jamie Starr" or "The Starr Company"), with lead vocals by Morris Day (/wiki/Morris_Day) . [67] (#cite_note-FOOTNOTECashmore1997147-67) [68] (#cite_note-FOOTNOTEDraper2011-68) In late 1982, Prince released a double album, 1999 (/wiki/1999_(Prince_album)) , which sold over four million copies. [69] (#cite_note-69) [70] (#cite_note-70) The title track (/wiki/1999_(Prince_song)) was a protest against nuclear proliferation (/wiki/Nuclear_proliferation) and became Prince's first top 10 hit in countries outside the US. Prince's " Little Red Corvette (/wiki/Little_Red_Corvette) " was one of the first two videos by black artists (along with Michael Jackson (/wiki/Michael_Jackson) 's " Billie Jean (/wiki/Billie_Jean) ") played in heavy rotation on MTV (/wiki/MTV) , which had been perceived as against "black music" until CBS (/wiki/CBS) President Walter Yetnikoff (/wiki/Walter_Yetnikoff) threatened to pull all CBS videos. [71] (#cite_note-71) [72] (#cite_note-FOOTNOTEBuckley2003819-72) Prince and Jackson had a competitive rivalry which lasted for many years. [73] (#cite_note-73) The song " Delirious (/wiki/Delirious_(Prince_song)) " also placed in the top ten on the Billboard Hot 100 chart. " International Lover (/wiki/International_Lover) " earned Prince his first Grammy Award (/wiki/Grammy_Award) nomination at the 26th Annual Grammy Awards (/wiki/26th_Annual_Grammy_Awards) . [74] (#cite_note-GMP-74) 1984–1987: Purple Rain , Around the World in a Day and Parade Prince in 1984 During this period Prince referred to his band as the Revolution (/wiki/The_Revolution_(band)) . [75] (#cite_note-rhinoprtour-75) [76] (#cite_note-raftery-76) The band's name was also printed, in reverse, on the cover of 1999 inside the letter "I" of the word "Prince". [77] (#cite_note-FOOTNOTELight201450-77) The band consisted of Lisa Coleman (/wiki/Lisa_Coleman_(musician)) and Doctor Fink (/wiki/Doctor_Fink) on keyboards, Bobby Z. (/wiki/Bobby_Z.) on drums, Brown Mark (/wiki/Brownmark) on bass, and Dez Dickerson (/wiki/Dez_Dickerson) on guitar. Jill Jones (/wiki/Jill_Jones) , a backing singer, was also part of the lineup for the 1999 album and tour. [77] (#cite_note-FOOTNOTELight201450-77) Following the 1999 Tour (/wiki/1999_Tour) , Dickerson left the group for religious reasons. [78] (#cite_note-FOOTNOTEMoskowitz2015483–489-78) In the book Possessed: The Rise and Fall of Prince (2003), author Alex Hahn says that Dickerson was reluctant to sign a three-year contract and wanted to pursue other musical ventures. Dickerson was replaced by Coleman's friend Wendy Melvoin (/wiki/Wendy_Melvoin) . [75] (#cite_note-rhinoprtour-75) At first, the band was used sparsely in the studio, but this gradually changed during 1983. [77] (#cite_note-FOOTNOTELight201450-77) [78] (#cite_note-FOOTNOTEMoskowitz2015483–489-78) [79] (#cite_note-FOOTNOTELight2014163-79) "When Doves Cry" (1984) (/wiki/File:When_Doves_Cry_sample.ogg) Duration: 30 seconds. 0:30 The lead single from the album Purple Rain (/wiki/Purple_Rain_(album)) ; "When Doves Cry" became a signature song (/wiki/Signature_song) of Prince's. Problems playing this file? See media help (/wiki/Help:Media) . According to his former manager Bob Cavallo (/wiki/Bob_Cavallo) , in the early 1980s Prince required his management to obtain a deal for him to star in a major motion picture, even though his exposure at that point was limited to several pop and R&B hits, music videos and occasional TV performances. This resulted in the hit film Purple Rain (/wiki/Purple_Rain_(film)) (1984), which starred Prince and was loosely autobiographical, and the eponymous studio album (/wiki/Purple_Rain_(album)) , which was also the soundtrack to the film. [76] (#cite_note-raftery-76) The Purple Rain album sold more than 13 million copies in the US and spent 24 consecutive weeks at No. 1 on the Billboard 200 chart. The film won Prince an Academy Award for Best Original Song Score (/wiki/Academy_Award_for_Best_Original_Score#1980s) [80] (#cite_note-80) and grossed over $68 million in the US ($199 million in 2023 dollars [81] (#cite_note-inflation-US-81) ). [82] (#cite_note-82) [83] (#cite_note-83) Songs from the film were hits on pop charts around the world; " When Doves Cry (/wiki/When_Doves_Cry) " and " Let's Go Crazy (/wiki/Let%27s_Go_Crazy) " reached No. 1, and the title track (/wiki/Purple_Rain_(song)) reached No. 2 on the Billboard Hot 100. [84] (#cite_note-princeBBhits-84) At one point in 1984, Prince simultaneously had the No. 1 album, single, and film in the US; [85] (#cite_note-FOOTNOTEGulla2008482-85) it was the first time a singer had achieved this feat. [86] (#cite_note-FOOTNOTELight2014181-86) The Purple Rain album is ranked 8th in Rolling Stone (/wiki/Rolling_Stone) ' s "500 Greatest Albums of All Time" (/wiki/Rolling_Stone%27s_500_Greatest_Albums_of_All_Time) ; [87] (#cite_note-RollingStone-87) it is also included on the list of Time magazine's All-Time 100 Albums. [88] (#cite_note-TIMEMagazine-88) The album also produced two of Prince's first three Grammy Awards earned at the 27th Annual Grammy Awards (/wiki/27th_Annual_Grammy_Awards) —Best Rock Performance by a Duo or Group with Vocal and Best Score Soundtrack for Visual Media. [74] (#cite_note-GMP-74) In 1984, pop artist Andy Warhol (/wiki/Andy_Warhol) created the painting Orange Prince (1984) (/wiki/Prince_(painting)) . Andy Warhol was fascinated by Prince and ultimately created a total of twelve unique paintings of him in different colorways, all of which were kept in Warhol's personal collection. [89] (#cite_note-89) Four of these paintings are now in the collection of The Andy Warhol Museum (/wiki/The_Andy_Warhol_Museum) in Pittsburgh. In November 1984, Vanity Fair published Warhol's portrait to accompany the article Purple Fame [90] (#cite_note-VanityFair2016-90) by Tristan Fox, and claimed that Warhol's silkscreen image of Prince with its pop colors captured the recording artist "at the height of his powers". The Vanity Fair article was one of the first global media pieces written as a critical appreciation of the musician, which coincided with the start of the 98-date Purple Rain Tour (/wiki/Purple_Rain_Tour) . After Tipper Gore (/wiki/Tipper_Gore) heard her 11-year-old daughter Karenna (/wiki/Karenna_Gore) listening to Prince's song " Darling Nikki (/wiki/Darling_Nikki) " (which gained wide notoriety for its sexual lyrics and a reference to masturbation), she founded the Parents Music Resource Center (/wiki/Parents_Music_Resource_Center) . [91] (#cite_note-91) The center advocated the mandatory use of a warning label (" Parental Advisory (/wiki/Parental_Advisory) : Explicit Lyrics") on the covers of records that have been judged to contain language or lyrical content unsuitable for minors (/wiki/Unsuitable_for_minors) . The recording industry later voluntarily complied with this request. [92] (#cite_note-92) In 1985, Prince announced that he would discontinue live performances and music videos after the release of his next album. His subsequent recording, Around the World in a Day (/wiki/Around_the_World_in_a_Day) (1985), held the No. 1 spot on the Billboard 200 for three weeks. From that album, the single " Raspberry Beret (/wiki/Raspberry_Beret) " reached No. 2 on the Billboard Hot 100, and " Pop Life (/wiki/Pop_Life_(Prince_song)) " reached No. 7. [84] (#cite_note-princeBBhits-84) Prince performing in 1986 In 1986, his album Parade (/wiki/Parade_(Prince_album)) reached No. 3 on the Billboard 200 and No. 2 on the R&B charts. The first single, " Kiss (/wiki/Kiss_(Prince_song)) ", with the video choreographed by Louis Falco (/wiki/Louis_Falco) , reached No. 1 on the Billboard Hot 100. [84] (#cite_note-princeBBhits-84) (The song was originally written for a side project called Mazarati (/wiki/Mazarati) .) In the same year, the song " Manic Monday (/wiki/Manic_Monday) ", written by Prince and recorded by the Bangles (/wiki/The_Bangles) , reached No. 2 on the Hot 100 chart. The album Parade served as the soundtrack for Prince's second film, Under the Cherry Moon (/wiki/Under_the_Cherry_Moon) (1986). Prince directed and starred in the movie, which also featured Kristin Scott Thomas (/wiki/Kristin_Scott_Thomas) . Although the Parade album went platinum and sold two million copies, [93] (#cite_note-93) [94] (#cite_note-94) the film Under the Cherry Moon received a Golden Raspberry Award (/wiki/Golden_Raspberry_Award) for Worst Picture (tied with Howard the Duck (/wiki/Howard_the_Duck_(film)) ), and Prince received Golden Raspberry Awards for Worst Director, Worst Actor, and Worst Original Song (for the song "Love or Money"). [95] (#cite_note-95) [96] (#cite_note-FOOTNOTECorson2016196-96) Some critics later re-evaluated Under the Cherry Moon after Prince's death and declared it a cult classic (/wiki/Cult_classic) , comparing it to films such as 8½ (/wiki/8%C2%BD) , Casablanca (/wiki/Casablanca) and It Happened One Night (/wiki/It_Happened_One_Night) . [97] (#cite_note-97) [98] (#cite_note-98) [99] (#cite_note-99) In 1986, Prince began a series of live performances called the Hit n Run – Parade Tour (/wiki/Hit_n_Run_%E2%80%93_Parade_Tour) . After the tour, Prince disbanded the Revolution and fired Wendy & Lisa (/wiki/Wendy_%26_Lisa) . [76] (#cite_note-raftery-76) Brown Mark quit the band; keyboardist Doctor Fink remained. Prince recruited new band members Miko Weaver (/wiki/Miko_Weaver) on guitar, Atlanta Bliss (/wiki/Atlanta_Bliss) on trumpet, and Eric Leeds (/wiki/Eric_Leeds) on saxophone. [78] (#cite_note-FOOTNOTEMoskowitz2015483–489-78) 1987–1991: Sign o' the Times , Lovesexy , Batman and Graffiti Bridge Before disbanding the Revolution, Prince was working on two separate projects, the Revolution album Dream Factory (/wiki/Dream_Factory_(album)) and a solo effort, Camille (/wiki/Camille_(unreleased_Prince_album)) . [100] (#cite_note-FOOTNOTEDraper200876–78-100) Unlike the three previous band albums, Dream Factory included input from the band members and featured songs with lead vocals by Wendy & Lisa. [100] (#cite_note-FOOTNOTEDraper200876–78-100) The Camille project saw Prince create a new androgynous (/wiki/Androgynous) persona primarily singing in a sped-up, female-sounding voice. With the dismissal of the Revolution, Prince consolidated material from both shelved albums, along with some new songs, into a three-LP album to be titled Crystal Ball (/wiki/Crystal_Ball_(unreleased_album)) . [101] (#cite_note-FOOTNOTEDraper200880-101) Warner Bros. forced Prince to trim the triple album to a double album, and Sign o' the Times (/wiki/Sign_o%27_the_Times) was released on March 31, 1987. [102] (#cite_note-Billboard_Sign_o_the_times-102) The album peaked at No. 6 on the Billboard 200 albums chart. [102] (#cite_note-Billboard_Sign_o_the_times-102) The first single, " Sign o' the Times (/wiki/Sign_o%27_the_Times_(song)) ", charted at No. 3 on the Hot 100. [103] (#cite_note-Prince_chart_history_billboard-103) The follow-up single, " If I Was Your Girlfriend (/wiki/If_I_Was_Your_Girlfriend) ", charted at No. 67 on the Hot 100 but went to No. 12 on R&B chart. [103] (#cite_note-Prince_chart_history_billboard-103) The third single, a duet with Sheena Easton (/wiki/Sheena_Easton) , " U Got the Look (/wiki/U_Got_the_Look) ", charted at No. 2 on the Hot 100 and No. 11 on the R&B chart, [103] (#cite_note-Prince_chart_history_billboard-103) and the final single, " I Could Never Take the Place of Your Man (/wiki/I_Could_Never_Take_the_Place_of_Your_Man) ", finished at No. 10 on Hot 100 and No. 14 on the R&B chart. [103] (#cite_note-Prince_chart_history_billboard-103) It was named the top album of the year by the Pazz & Jop (/wiki/Pazz_%26_Jop) critics' poll and sold 3.2 million copies. [104] (#cite_note-FOOTNOTEDraper200881-104) In Europe, it performed well, and Prince promoted the album overseas with a lengthy tour. Putting together a new backing band from the remnants of the Revolution, Prince added bassist Levi Seacer Jr. (/wiki/Levi_Seacer_Jr.) , keyboardist Boni Boyer, and dancer/choreographer Cat Glover (/wiki/Cat_Glover) [105] (#cite_note-FOOTNOTEGregory1995246-105) to go with new drummer Sheila E (/wiki/Sheila_E) [106] (#cite_note-FOOTNOTEMatos200457-106) and holdovers Miko Weaver, Doctor Fink, Eric Leeds, Atlanta Bliss, and the Bodyguards (Jerome, Wally Safford, and Greg Brooks) for the Sign o' the Times Tour (/wiki/Sign_o%27_the_Times_Tour) . The Sign o' the Times tour was a success overseas, with Warner Bros. and Prince's managers wanting to bring it to the US to promote sales of the album. [107] (#cite_note-FOOTNOTEDraper200886–87-107) [108] (#cite_note-FOOTNOTEHahn2004118-108) Prince balked at a full US tour, as he was ready to produce a new album. [107] (#cite_note-FOOTNOTEDraper200886–87-107) As a compromise, the last two nights of the tour were filmed for release in movie theaters. The film quality was deemed subpar, and reshoots were performed at Prince's Paisley Park (/wiki/Paisley_Park) studios. [107] (#cite_note-FOOTNOTEDraper200886–87-107) The film Sign o' the Times (/wiki/Sign_o%27_the_Times_(film)) was released on November 20, 1987. The film got better reviews than Under the Cherry Moon , but its box-office receipts were minimal, and it quickly left theaters. [108] (#cite_note-FOOTNOTEHahn2004118-108) The next album intended for release was The Black Album (/wiki/The_Black_Album_(Prince_album)) . [109] (#cite_note-FOOTNOTEDraper200890-109) More instrumental and funk- and R&B-themed than recent releases, [110] (#cite_note-FOOTNOTEDraper200892-110) The Black Album also saw Prince experiment with hip hop (/wiki/Hip_hop_music) on the songs "Bob George" and "Dead on It". Prince was set to release the album with a monochromatic black cover with only the catalog number printed, but after 500,000 copies had been pressed, [111] (#cite_note-FOOTNOTEDraper200891-111) Prince had a spiritual epiphany that the album was evil and had it recalled. [112] (#cite_note-FOOTNOTEHahn2004121–122-112) It was later released by Warner Bros. as a limited edition album in 1994. Prince went back in the studio for eight weeks and recorded Lovesexy (/wiki/Lovesexy) . Released on May 10, 1988, Lovesexy serves as a spiritual opposite to the dark The Black Album . [113] (#cite_note-FOOTNOTEDraper200893-113) Every song is a solo effort by Prince, except "Eye No", which was recorded with his backing band at the time. Lovesexy reached No. 11 on the Billboard 200 and No. 5 on the R&B albums chart. [114] (#cite_note-Lovesexy_billboard-114) The lead single, " Alphabet St. (/wiki/Alphabet_St.) ", peaked at No. 8 on the Hot 100 and No. 3 on the R&B chart; [102] (#cite_note-Billboard_Sign_o_the_times-102) it sold 750,000 copies. [115] (#cite_note-FOOTNOTEDraper200894-115) Prince again took his post-Revolution backing band (minus the Bodyguards) on a three-leg, 84-show Lovesexy World Tour; although the shows were well-received by huge crowds, they failed to make a net profit due to the expensive sets and props. [116] (#cite_note-FOOTNOTEHahn2004152–153-116) [117] (#cite_note-FOOTNOTEDraper200895-117) Prince performing during the Nude Tour in Tokyo, Japan (/wiki/Tokyo) , in 1990 In 1989, Prince appeared on Madonna (/wiki/Madonna) 's studio album Like a Prayer (/wiki/Like_a_Prayer_(album)) , co-writing and singing the duet "Love Song" and playing electric guitar (uncredited) on the songs " Like a Prayer (/wiki/Like_a_Prayer_(song)) ", " Keep It Together (/wiki/Keep_It_Together_(song)) ", and "Act of Contrition". He also began work on several musical projects, including Rave Unto the Joy Fantastic (/wiki/Unreleased_Prince_projects) and early drafts of his Graffiti Bridge film, [118] (#cite_note-FOOTNOTEHahn2004155–156-118) [119] (#cite_note-FOOTNOTEDraper200896-119) but both were put on hold when he was asked by Batman (/wiki/Batman_(1989_film)) (1989) director Tim Burton (/wiki/Tim_Burton) to record several songs for the upcoming live-action adaptation. Prince went into the studio and produced an entire nine-track album that Warner Bros. released on June 20, 1989. Batman (/wiki/Batman_(album)) peaked at No. 1 on the Billboard 200, [120] (#cite_note-batman_billboard-120) selling 4.3 million copies. [121] (#cite_note-FOOTNOTEHahn2004157-121) The single " Batdance (/wiki/Batdance) " topped the Billboard Hot 100 and R&B charts. [102] (#cite_note-Billboard_Sign_o_the_times-102) The single " The Arms of Orion (/wiki/The_Arms_of_Orion) ", with Sheena Easton, charted at No. 36, and " Partyman (/wiki/Partyman) " (also featuring the vocals of Prince's then-girlfriend, nicknamed Anna Fantastic (/wiki/Anna_Fantastic) ) charted at No. 18 on the Hot 100 and at No. 5 on the R&B chart, while the love ballad " Scandalous! (/wiki/Scandalous!) " went to No. 5 on the R&B chart. [102] (#cite_note-Billboard_Sign_o_the_times-102) Prince had to sign away all publishing rights to the songs on the album to Warner Bros. as part of the deal to do the soundtrack. In 1990, Prince went back on tour with a revamped band for his back-to-basics Nude Tour. With the departures of Boni Boyer, Sheila E., the Horns, and Cat, Prince brought in keyboardist Rosie Gaines (/wiki/Rosie_Gaines) , drummer Michael Bland (/wiki/Michael_Bland) , and dancing trio the Game Boyz ( Tony M. (/wiki/Tony_M.) , Kirky J., and Damon Dickson). The European and Japanese tour was a financial success with a short, greatest hits setlist. [122] (#cite_note-FOOTNOTEHahn2004166-122) As the year progressed, Prince finished production on his fourth film, Graffiti Bridge (/wiki/Graffiti_Bridge_(film)) (1990), and the 1990 album of the same name (/wiki/Graffiti_Bridge_(album)) . Initially, Warner Bros. was reluctant to fund the film, but with Prince's assurances it would be a sequel to Purple Rain as well as the involvement of the original members of the Time, the studio greenlit the project. [123] (#cite_note-FOOTNOTEDraper2008104-123) Released on August 20, 1990, the album reached No. 6 on the Billboard 200 and R&B albums chart. [124] (#cite_note-Graffiti_Bridge_billboard-124) The single " Thieves in the Temple (/wiki/Thieves_in_the_Temple) " reached No. 6 on the Hot 100 and No. 1 on the R&B chart; [102] (#cite_note-Billboard_Sign_o_the_times-102) " Round and Round (/wiki/Round_and_Round_(Tevin_Campbell_song)) " placed at No. 12 on the US charts and No. 2 on the R&B charts. The song featured the teenage Tevin Campbell (/wiki/Tevin_Campbell) (who also had a role in the film) on lead vocals. The film, released on November 20, 1990, was a box-office flop, grossing $4.2 million. [125] (#cite_note-FOOTNOTEDraper2008105-125) After the release of the film and album, the last remaining members of the Revolution, Miko Weaver, and Doctor Fink, left Prince's band. 1991–1996: Name change, Diamonds and Pearls and The Gold Experience Prince performing during the Act I and II tour in Zürich, Switzerland (/wiki/Z%C3%BCrich) in 1993 1991 began with a performance in Rock in Rio II (/wiki/Rock_in_Rio_II) [126] (#cite_note-126) and marked the debut of Prince's new band, the New Power Generation (/wiki/The_New_Power_Generation) . With guitarist Miko Weaver and long-time keyboardist Doctor Fink gone, Prince added bass player Sonny T. (/wiki/Sonny_T.) , Tommy Barbarella (/wiki/Tommy_Barbarella) on keyboards, and a brass section known as the Hornheads (/wiki/The_Hornheads) to go along with Levi Seacer (/wiki/Levi_Seacer) (taking over on guitar), Rosie Gaines (/wiki/Rosie_Gaines) , Michael Bland (/wiki/Michael_Bland) , and the Game Boyz. [127] (#cite_note-:02-127) With significant input from his band members, Diamonds and Pearls (/wiki/Diamonds_and_Pearls) was released on October 1, 1991. Reaching No. 3 on the Billboard 200 album chart, [128] (#cite_note-FOOTNOTEHahn2004177-128) Diamonds and Pearls saw four hit singles released in the United States. " Gett Off (/wiki/Gett_Off) " peaked at No. 21 on the Hot 100 and No. 6 on the R&B charts, followed by " Cream (/wiki/Cream_(Prince_song)) ", which gave Prince his fifth US No. 1 single. The title track " Diamonds and Pearls (/wiki/Diamonds_and_Pearls_(song)) " became the album's third single, reaching No. 3 on the Hot 100 and the top spot on the R&B charts. " Money Don't Matter 2 Night (/wiki/Money_Don%27t_Matter_2_Night) " peaked at No. 23 and No. 14 on the Hot 100 and R&B charts respectively. [129] (#cite_note-billboard1-129) In 1992, Prince released his 14th studio album (/wiki/Love_Symbol_Album) , the second to feature the New Power Generation. It bore only an unpronounceable symbol on the cover (later copyrighted as "Love Symbol #2") as its title; [130] (#cite_note-Carter_1999-130) the symbol was explained as being a combination of the symbols (/wiki/Gender_symbol) for male (♂) and female (♀). Warner Bros. wanted " 7 (/wiki/7_(Prince_song)) " to be the first single, but Prince fought to release " My Name Is Prince (/wiki/My_Name_Is_Prince) ", as he believed its "hip-hoppery" would appeal to the audience that had purchased his previous album. [131] (#cite_note-FOOTNOTEHahn2004187-131) Prince got his way, but "My Name Is Prince" reached No. 36 on the Billboard Hot 100 and No. 23 on the R&B chart. The follow-up single, " Sexy MF (/wiki/Sexy_MF) ", charted at No. 66 on the Hot 100 and No. 76 on the R&B chart. "7" reached No. 7. [129] (#cite_note-billboard1-129) The album, later referred to as Love Symbol , peaked at No. 5 on the Billboard 200 [132] (#cite_note-132) and went on to sell 2.8 million copies worldwide. [131] (#cite_note-FOOTNOTEHahn2004187-131) After failed attempts in 1990 and 1991, [133] (#cite_note-FOOTNOTEHahn2004192–193-133) Warner Bros. released a greatest hits (/wiki/Greatest_hits_album) compilation with the three-disc The Hits/The B-Sides (/wiki/The_Hits/The_B-Sides) in 1993. The first two discs were also sold separately as The Hits 1 and The Hits 2 . The collection features the majority of Prince's hit singles (with the exception of "Batdance" and other songs that appeared on the Batman soundtrack), and several previously hard-to-find recordings, including B-sides (/wiki/A-side_and_B-side) from across Prince's career and previously unreleased tracks such as the Revolution-recorded "Power Fantastic" and a live recording of " Nothing Compares 2 U (/wiki/Nothing_Compares_2_U) " with Rosie Gaines. Two new songs, " Pink Cashmere (/wiki/Pink_Cashmere) " and " Peach (/wiki/Peach_(Prince_song)) ", were chosen as promotional singles. In 1993, in rebellion against Warner Bros., which refused to release Prince's enormous backlog of music at a steady pace, [134] (#cite_note-134) [135] (#cite_note-135) Prince formally adopted the "Love Symbol" as his stage name. [130] (#cite_note-Carter_1999-130) To use the symbol in print media, Warner Bros. organized a mass mailing of floppy disks (/wiki/Floppy_disk) with a custom font. [136] (#cite_note-136) At this time, Prince was often referred to as "the Artist Formerly Known as Prince" or "the Artist". [137] (#cite_note-bass_player-137) In 1994, Prince began to release albums in quick succession as a means of releasing himself from his contractual obligations to Warner Bros. He also began appearing with the word "slave" written on his face. [138] (#cite_note-138) He believed Warner Bros. was intent on limiting his artistic freedom by insisting he release albums more sporadically. He also blamed Warner Bros. for the poor commercial performance of Love Symbol , claiming they had marketed it insufficiently. It was out of these developments that the aborted The Black Album was officially released, seven years after its initial recording. The "new" release was already in wide circulation as a bootleg (/wiki/Bootleg_recording) . Warner Bros. then succumbed to Prince's wishes to release an album of new material, Come (/wiki/Come_(Prince_album)) . [ citation needed ] Prince pushed to have his next album, The Gold Experience (/wiki/The_Gold_Experience) , released simultaneously with Love Symbol– era material. Warner Bros. allowed the single " The Most Beautiful Girl in the World (/wiki/The_Most_Beautiful_Girl_in_the_World_(Prince_song)) " to be released via a small, independent distributor, Bellmark Records (/wiki/Bellmark_Records) , in February 1994. The release reached No. 3 on the US Billboard Hot 100 and No. 1 in many other countries, but it did not prove to be a model for subsequent releases. Warner Bros. still resisted releasing The Gold Experience , fearing poor sales and citing " market saturation (/wiki/Market_saturation) " as a defense. When released in September 1995, The Gold Experience reached the top 10 of the Billboard 200. The album was not in print for a long period due to a plagiarism case relating to "The Most Beautiful Girl in the World", but the album was released on streaming with Prince’s catalog in 2018, and reissued on CD and vinyl in 2022. [139] (#cite_note-139) Chaos and Disorder (/wiki/Chaos_and_Disorder) , released in 1996, was Prince's final album of new material for Warner Bros., as well as one of his least commercially successful releases. 1996–2000: Emancipation , Crystal Ball and Rave Un2 the Joy Fantastic Free of any further contractual obligations to Warner Bros., Prince attempted a major comeback later that year with the release of Emancipation (/wiki/Emancipation_(Prince_album)) , a 36-song, 3-CD set (each disc was exactly 60 minutes long). The album was released via his own NPG Records (/wiki/NPG_Records) with distribution through EMI (/wiki/EMI) . To publish his songs on Emancipation , Prince did not use Controversy Music – ASCAP , which he had used for all his records since 1981, but rather used Emancipated Music Inc. [140] (#cite_note-140) – ASCAP . Emancipation was certified Platinum (/wiki/RIAA_certification) by the RIAA (/wiki/Recording_Industry_Association_of_America) . It is the first Prince record featuring covers (/wiki/Cover_version) of other artists' songs: Joan Osborne (/wiki/Joan_Osborne) 's top ten hit song of 1995 " One of Us (/wiki/One_of_Us_(Joan_Osborne_song)) "; [141] (#cite_note-141) " Betcha by Golly Wow! (/wiki/Betcha_by_Golly_Wow!) " (written by Thom Bell (/wiki/Thom_Bell) and Linda Creed (/wiki/Linda_Creed) ); [142] (#cite_note-142) " I Can't Make You Love Me (/wiki/I_Can%27t_Make_You_Love_Me) " (written by James Allen Shamblin II and Michael Barry Reid); [143] (#cite_note-143) and " La-La (Means I Love You) (/wiki/La-La_(Means_I_Love_You)) " (written by Thom Bell and William Hart (/wiki/William_Hart_(singer)) ). [144] (#cite_note-144) Prince released Crystal Ball (/wiki/Crystal_Ball_(album_set)) , a five-CD collection of unreleased material, in 1998. The distribution of this album was disorderly, with some fans pre-ordering the album on his website up to a year before it was shipped; these pre-orders were delivered months after the record had gone on sale in retail stores. The retail edition has only four discs, as it is missing the Kamasutra disc. There are also two different packaging editions for retail; one is a four-disc sized jewel case with a white cover and the Love Symbol in a colored circle while the other contains all four discs in a round translucent snap jewel case. The discs are the same, as is the CD jacket. The Newpower Soul (/wiki/Newpower_Soul) album was released three months later. His collaborations on Chaka Khan (/wiki/Chaka_Khan) 's Come 2 My House (/wiki/Come_2_My_House) and Larry Graham (/wiki/Larry_Graham) 's GCS2000 (/wiki/GCS2000) , both released on the NPG label around the same time as Newpower Soul , were promoted by live appearances on Vibe with Sinbad (/wiki/Vibe_(magazine)) and the NBC (/wiki/NBC) Today (/wiki/Today_(NBC_program)) show's Summer Concert Series. In 1999, Prince once again signed with a major label, Arista Records (/wiki/Arista_Records) , to release a new record, Rave Un2 the Joy Fantastic (/wiki/Rave_Un2_the_Joy_Fantastic) . A few months earlier, Warner Bros. had also released The Vault: Old Friends 4 Sale (/wiki/The_Vault:_Old_Friends_4_Sale) , a collection of unreleased material recorded by Prince throughout his career. [145] (#cite_note-145) The pay-per-view concert, Rave Un2 the Year 2000 (/wiki/Rave_Un2_the_Year_2000) , was broadcast on December 31, 1999, and consisted of footage from the December 17 and 18 concerts of his 1999 tour. The concert featured appearances by guest musicians, including Lenny Kravitz (/wiki/Lenny_Kravitz) , George Clinton (/wiki/George_Clinton_(funk_musician)) , Jimmy Russell, and The Time. It was released to home video the following year. 2000–2007: Musicology and 3121 On May 16, 2000, Prince stopped using the Love Symbol as his name, since his publishing contract with Warner/Chappell (/wiki/Warner/Chappell_Music) had expired. In a press conference, he stated that after being freed from undesirable relationships associated with the name "Prince", he would revert to using his real name. Nevertheless, Prince continued to use the symbol as a logo and on album artwork and to play a Love Symbol–shaped guitar. For several years following the release of Rave Un2 the Joy Fantastic , Prince primarily released new music through his Internet subscription service, NPGOnlineLtd.com, which later became NPGMusicClub.com. [146] (#cite_note-146) Albums from this period are Rave In2 the Joy Fantastic (/wiki/Rave_In2_the_Joy_Fantastic) (2001), The Rainbow Children (/wiki/The_Rainbow_Children) (2001), One Nite Alone... (/wiki/One_Nite_Alone...) (2002), Xpectation (/wiki/Xpectation) (2003), C-Note (/wiki/C-Note_(album)) (2004), The Chocolate Invasion (/wiki/The_Chocolate_Invasion) (2004) and The Slaughterhouse (/wiki/The_Slaughterhouse) (2004). In 2001, Warner Bros. released a second compilation album, The Very Best of Prince (/wiki/The_Very_Best_of_Prince) , containing most of his commercially successful singles from the eighties. In 2002, Prince released his first live album, One Nite Alone... Live! (/wiki/One_Nite_Alone..._Live!) , which features performances from the One Nite Alone...Tour (/wiki/One_Nite_Alone...Tour) . The 3-CD box set also includes a disc of "aftershow" music entitled It Ain't Over! . During this time, Prince sought to engage more effectively with his fan base via the NPG Music Club (/wiki/NPG_Music_Club) , pre-concert sound checks, and at yearly "celebrations" at Paisley Park, his music studios. Fans were invited into the studio for tours, interviews, discussions and music-listening sessions. Some of these fan discussions were filmed for an unreleased documentary (/wiki/Unreleased_Prince_projects#Untitled_Kevin_Smith-directed_documentary) , directed by Kevin Smith (/wiki/Kevin_Smith) . On February 8, 2004, Prince appeared at the 46th Annual Grammy Awards (/wiki/46th_Annual_Grammy_Awards) with Beyoncé (/wiki/Beyonc%C3%A9) . [147] (#cite_note-billboardrys-147) [148] (#cite_note-guardiansweeting-148) In a performance that opened the show, they performed a medley of "Purple Rain", "Let's Go Crazy", " Baby I'm a Star (/wiki/Baby_I%27m_a_Star) ", and Beyoncé's " Crazy in Love (/wiki/Crazy_in_Love) ". [149] (#cite_note-usatodayryan-149) The following month, Prince was inducted into the Rock and Roll Hall of Fame (/wiki/Rock_and_Roll_Hall_of_Fame) . [150] (#cite_note-mtvwiederhorn-150) The award was presented to him by Alicia Keys along with Big Boi (/wiki/Big_Boi) and André 3000 (/wiki/Andr%C3%A9_3000) of OutKast (/wiki/OutKast) . [151] (#cite_note-151) As well as performing a trio of his own hits during the ceremony, Prince also participated in a tribute to fellow inductee George Harrison (/wiki/George_Harrison) in a rendering of Harrison's " While My Guitar Gently Weeps (/wiki/While_My_Guitar_Gently_Weeps) ", playing a two-minute guitar solo that ended the song. [152] (#cite_note-152) [153] (#cite_note-153) [154] (#cite_note-timelocker-154) He also performed the song " Red House (/wiki/Red_House_(song)) " as "Purple House" on the album Power of Soul: A Tribute to Jimi Hendrix (/wiki/Power_of_Soul:_A_Tribute_to_Jimi_Hendrix) . [155] (#cite_note-155) In April 2004, Prince released Musicology (/wiki/Musicology_(album)) through a one-album agreement with Columbia. The album rose as high as the top five on some international charts (including the US, UK, Germany, and Australia). The US chart success was assisted by the CDs being included as part of the concert ticket purchase, thereby qualifying each CD (as chart rules then stood) to count toward US chart placement. [156] (#cite_note-156) Three months later, Spin (/wiki/Spin_(magazine)) named him the greatest frontman (/wiki/Frontman) of all time. [157] (#cite_note-157) That same year, Rolling Stone magazine named Prince as the highest-earning musician in the world, with an annual income of $56.5 million, [158] (#cite_note-158) largely due to his Musicology Tour (/wiki/Musicology_Tour) , which Pollstar (/wiki/Pollstar) named as the top concert draw among musicians in the US. He played 96 concerts; the average ticket price for a show was US$61 (equivalent to $98 in 2023). Musicology went on to receive two Grammy wins, for Best Male R&B Vocal Performance (/wiki/Grammy_Award_for_Best_Male_R%26B_Vocal_Performance) for " Call My Name (/wiki/Call_My_Name_(Prince_song)) " and Best Traditional R&B Vocal Performance for the title track (/wiki/Musicology_(song)) . Musicology was also nominated for Best R&B Song and Best R&B Album, and " Cinnamon Girl (/wiki/Cinnamon_Girl_(Prince_song)) " was nominated for Best Male Pop Vocal Performance (/wiki/Grammy_Award_for_Best_Male_Pop_Vocal_Performance) . Rolling Stone ranked Prince No. 27 on their list of the 100 Greatest Artists of All Time (/wiki/Rolling_Stone%27s_100_Greatest_Artists_of_All_Time) . [159] (#cite_note-rollingstone2004-159) In April 2005, Prince played guitar (along with En Vogue (/wiki/En_Vogue) singing backing vocals) on Stevie Wonder (/wiki/Stevie_Wonder) 's single " So What the Fuss (/wiki/So_What_the_Fuss) ", Wonder's first since 1999. In late 2005, Prince signed with Universal Music (/wiki/Universal_Music) to release his album, 3121 (/wiki/3121_(album)) , on March 21, 2006. The first single was " Te Amo Corazón (/wiki/Te_Amo_Coraz%C3%B3n) ", the video for which was directed by actress Salma Hayek (/wiki/Salma_Hayek) and filmed in Marrakech (/wiki/Marrakech) , Morocco, featuring Argentine actress and singer Mía Maestro (/wiki/M%C3%ADa_Maestro) . The video for the second single, " Black Sweat (/wiki/Black_Sweat) ", was nominated at the MTV VMAs (/wiki/MTV_Video_Music_Awards) for Best Cinematography. The immediate success of 3121 gave Prince his first No. 1 debut on the Billboard 200 with the album. To promote the new album, Prince was the musical guest on Saturday Night Live on February 4, 2006, 17 years after his last SNL appearance on the 15th anniversary special, and nearly 25 years since his first appearance on a regular episode in 1981. [160] (#cite_note-160) At the 2006 Webby Awards (/wiki/2006_Webby_Awards) on June 12, Prince received a Webby (/wiki/Webby_Awards) Lifetime Achievement Award in recognition of his "visionary use of the Internet to distribute music and connect with audiences", exemplified by his decision to release his album Crystal Ball (1998) exclusively online. [161] (#cite_note-cnetsandoval-161) [162] (#cite_note-postohlheiser-162) In July 2006, weeks after winning a Webby Award, Prince shut down his NPG Music Club website, after more than five years of operation. [163] (#cite_note-efinn-163) [164] (#cite_note-billboardnpg-164) On the day of the music club's shutdown, a lawsuit was filed against Prince by the British company HM Publishing (owners of the Nature Publishing Group (/wiki/Nature_Publishing_Group) , also NPG). Despite these events occurring on the same day, Prince's attorney stated that the site did not close due to the trademark dispute. [163] (#cite_note-efinn-163) Prince appeared at multiple award ceremonies in 2006: on February 15, he performed at the 2006 Brit Awards (/wiki/2006_Brit_Awards) , along with Wendy & Lisa and Sheila E. (/wiki/Sheila_E.) , [165] (#cite_note-165) and on June 27, Prince appeared at the 2006 BET Awards (/wiki/BET_Awards_2006) , where he was awarded Best Male R&B Artist. Prince performed a medley of Chaka Khan songs for Khan's BET Lifetime Achievement Award. [166] (#cite_note-smhbet-166) In 2006, he was invited to dub the Prince XII cat in the film Garfield: A Tail of Two Kitties (/wiki/Garfield:_A_Tail_of_Two_Kitties) , but gave up for unknown reasons and was replaced by actor Tim Curry (/wiki/Tim_Curry) . In November 2006, Prince was inducted into the UK Music Hall of Fame (/wiki/UK_Music_Hall_of_Fame) ; [148] (#cite_note-guardiansweeting-148) he appeared to collect his award but did not perform. Also in November 2006, Prince opened a nightclub called 3121, in Las Vegas (/wiki/Las_Vegas_Valley) at the Rio All Suite Hotel and Casino (/wiki/Rio_All_Suite_Hotel_and_Casino) . He performed weekly on Friday and Saturday nights until April 2007, when his contract with the Rio ended. [167] (#cite_note-167) On August 22, 2006, Prince released Ultimate Prince (/wiki/Ultimate_Prince) . The double-disc set contains one CD of previous hits, and another of extended versions and mixes of material that had largely only previously been available on vinyl record B-sides. That same year, Prince wrote and performed a song for the hit animated film Happy Feet (/wiki/Happy_Feet) (2006). The song, " The Song of the Heart (/wiki/The_Song_of_the_Heart) ", appears on the film's soundtrack (/wiki/Happy_Feet:_Music_from_the_Motion_Picture) , which also features a cover of Prince's earlier hit "Kiss", sung by Nicole Kidman (/wiki/Nicole_Kidman) and Hugh Jackman (/wiki/Hugh_Jackman) . In January 2007, "The Song of the Heart" won a Golden Globe (/wiki/Golden_Globe_Award) for Best Original Song. [168] (#cite_note-168) 2007–2010: Super Bowl XLI show, Planet Earth and Lotusflower Prince's stage set for the Earth Tour in 2007 On February 4, 2007, Prince played at the Super Bowl XLI halftime show (/wiki/Super_Bowl_XLI_halftime_show) in Miami, Florida on a large stage shaped like his symbol. The event was carried to 140 million television viewers, his biggest-ever audience. [169] (#cite_note-Hoekstra-169) His 12-minute performance in the rain began with an intro of the Queen song " We Will Rock You (/wiki/We_Will_Rock_You) " and concluded with "Purple Rain". [170] (#cite_note-170) In 2015, Billboard (/wiki/Billboard_(magazine)) ranked it the greatest Super Bowl performance ever. [171] (#cite_note-171) Prince played 21 concerts at the O (/wiki/The_O2_Arena) 2 Arena (/wiki/The_O2_Arena) in London during the Earth Tour (/wiki/Earth_Tour_(Prince)) in mid-2007. Tickets for the 20,000-capacity venue were capped by Prince at £31.21 ($48.66). Featuring Maceo Parker (/wiki/Maceo_Parker) in his band, Prince's residency at the O 2 Arena was increased to 15 nights after all 140,000 tickets for the original seven sold out in 20 minutes, [172] (#cite_note-172) before it was then further extended to 21 nights. [173] (#cite_note-173) Prince performed with Sheila E. at the 2007 ALMA Awards (/wiki/ALMA_Award) . On June 28, 2007, the Mail on Sunday (/wiki/The_Mail_on_Sunday) stated that it had made a deal to give Prince's new album, Planet Earth (/wiki/Planet_Earth_(Prince_album)) , away for free with the paper, making it the first place in the world to get the album. This move sparked controversy among music distributors and also led the UK arm of Prince's distributor, Sony BMG (/wiki/Sony_BMG) , to withdraw from distributing the album in UK stores. [174] (#cite_note-174) The UK's largest high street music retailer, HMV (/wiki/HMV) , stocked the paper on release day due to the giveaway. On July 7, 2007, Prince returned to Minneapolis to perform three shows. He performed concerts at the Macy's (/wiki/Macy%27s) Auditorium (to promote his new perfume "3121") on Nicollet Mall (/wiki/Nicollet_Mall) , the Target Center (/wiki/Target_Center) arena, and First Avenue (/wiki/First_Avenue_(nightclub)) . [175] (#cite_note-175) It was the first time he had played at First Avenue (the club appeared in the film Purple Rain ) since 1987. [176] (#cite_note-176) Prince at the Coachella Festival (/wiki/Coachella_Festival) in 2008 From 2008, Prince was managed by UK-based Kiran Sharma. [177] (#cite_note-177) On April 25, 2008, Prince performed on The Tonight Show with Jay Leno (/wiki/The_Tonight_Show_with_Jay_Leno) , where he debuted a new song, "Turn Me Loose". Days after, he headlined the 2008 Coachella Festival (/wiki/Coachella_Valley_Music_and_Arts_Festival) . Prince was paid more than $5 million for his performance at Coachella, according to Reuters (/wiki/Reuters) . [178] (#cite_note-178) Prince canceled a concert, planned at Dublin's Croke Park (/wiki/Croke_Park) on June 16, 2008, at 10 days' notice. In October 2009 promoters MCD Productions (/wiki/MCD_Productions) went to court to sue him for €1.6 million to refund 55,126 tickets. Prince settled the case out of court in February 2010 for $2.95 million. [179] (#cite_note-179) [180] (#cite_note-180) During the trial, it was said that Prince had been offered $22 million for seven concerts as part of a proposed 2008 European tour. [181] (#cite_note-181) In October 2008, Prince released a live album entitled Indigo Nights (/wiki/Indigo_Nights) , a collection of songs performed live at aftershows in the IndigO2. Prince premiered four songs from his new album on LA's Indie rock radio station Indie 103.1 (/wiki/KDLD) on December 18, 2008. [182] (#cite_note-182) The radio station's programmers Max Tolkoff and Mark Sovel (/wiki/Mr._Shovel%27s_Check_One_Two) had been invited to Prince's home to hear the new rock-oriented music. Prince gave them a CD with four songs to premiere on their radio station. The music debuted the next day on Jonesy's Jukebox, hosted by former Sex Pistol (/wiki/Sex_Pistols) Steve Jones (/wiki/Steve_Jones_(musician)) . [183] (#cite_note-183) On January 3, 2009, the new website LotusFlow3r.com was launched; streaming and selling some of the recently aired material and concert tickets. On January 31, Prince released two more songs on LotusFlow3r.com: "Disco Jellyfish", and "Another Boy". "Chocolate Box", "Colonized Mind", and "All This Love" were later released on the website. Prince released a triple album set containing Lotusflower (/wiki/Lotusflower_(album)) , MPLSoUND , and an album credited to Bria Valente (/wiki/Bria_Valente) , called Elixer , on March 24, 2009, followed by a physical release on March 29. On July 18, 2009, Prince performed two shows at the Montreux Jazz Festival (/wiki/Montreux_Jazz_Festival) , backed by the New Power Generation, including Rhonda Smith, Renato Neto and John Blackwell (/wiki/John_Blackwell_(musician)) . On October 11, 2009, he gave two surprise concerts at the Grand Palais (/wiki/Grand_Palais) . [184] (#cite_note-184) On October 12, he gave another surprise performance at La Cigale (/wiki/La_Cigale) . On October 24, Prince played a concert at Paisley Park. [185] (#cite_note-185) 2010–2016: Final albums In January 2010, Prince wrote a new song, "Purple and Gold", inspired by his visit to a Minnesota Vikings (/wiki/Minnesota_Vikings) football game against the Dallas Cowboys (/wiki/Dallas_Cowboys) . [186] (#cite_note-Vikings-186) The following month, he let Minneapolis-St. Paul (/wiki/Minneapolis-St._Paul) public radio station 89.3 The Current (/wiki/KCMP) premiere his new song "Cause and Effect" as a gesture in support of independent radio (/wiki/Independent_radio) . [187] (#cite_note-187) In 2010, Prince was listed in Time (/wiki/Time_(magazine)) ' s annual ranking of the "100 Most Influential People in the World". [188] (#cite_note-188) He released a new single on Minneapolis-St. Paul (/wiki/Minneapolis-St._Paul) radio station 89.3 The Current (/wiki/89.3_The_Current) called "Hot Summer" on June 7, his 52nd birthday. The same month, Prince appeared on the cover of the July 2010 issue of Ebony (/wiki/Ebony_(magazine)) , [189] (#cite_note-189) and he received the Lifetime Achievement Award (/wiki/BET_Lifetime_Achievement_Award) at the 2010 BET Awards (/wiki/BET_Awards) . [190] (#cite_note-190) Prince released his album 20Ten (/wiki/20Ten) in July 2010 as a free covermount (/wiki/Covermount) with publications in the UK, Belgium, Germany, and France. [191] (#cite_note-191) He refused album access to digital download services and closed LotusFlow3r.com. On July 4, 2010, Prince began his 20Ten Tour (/wiki/20Ten_Tour) , a concert tour in two legs, with shows in Europe. The second leg began on October 15 [192] (#cite_note-192) and ended with a concert following the Abu Dhabi Grand Prix (/wiki/Abu_Dhabi_Grand_Prix) on November 14. [193] (#cite_note-193) The second half of the tour had a new band, John Blackwell, Ida Kristine Nielsen (/wiki/Ida_Kristine_Nielsen) , and Sheila E. [194] (#cite_note-194) Prince let Europe 1 (/wiki/Europe_1) debut the snippet of his new song "Rich Friends" from the new album 20Ten Deluxe on October 8, 2010. [195] (#cite_note-195) He embarked on the Welcome 2 (/wiki/Welcome_2) Tour on December 15, 2010. [196] (#cite_note-196) Prince was inducted into the Grammy Hall of Fame (/wiki/Grammy_Hall_of_Fame) on December 7, 2010. [197] (#cite_note-197) Prince performing in Paris, 2011 Prince presented Barbra Streisand (/wiki/Barbra_Streisand) with an award and donated $1.5 million to charities on February 12, 2011. [198] (#cite_note-198) On the same day, it was reported that he had not authorized the television show Glee (/wiki/Glee_(TV_series)) to cover his hit "Kiss", in an episode that had already been filmed. [199] (#cite_note-199) Prince headlined the Hop Farm Festival (/wiki/Hop_Farm_Festival) on July 3, 2011, marking his first UK show since 2007 and his first-ever UK festival appearance. [200] (#cite_note-200) Despite having previously rejected the Internet for music distribution, on November 24, 2011, he released a reworked version of the previously unreleased song "Extraloveable" through both iTunes (/wiki/ITunes) and Spotify (/wiki/Spotify) . [201] (#cite_note-201) Purple Music, a Switzerland-based record label, released a CD single "Dance 4 Me" on December 12, 2011, as part of a club remixes package including the Bria Valente CD single "2 Nite" released on February 23, 2012. The CD features club remixes by Jamie Lewis and David Alexander, produced by Prince. [202] (#cite_note-202) In January 2013, Prince released a lyric video (/wiki/Lyric_video) for a new song called "Screwdriver". [203] (#cite_note-203) In April 2013, Prince announced a West Coast tour titled Live Out Loud Tour (/wiki/Live_Out_Loud_Tour) with 3rdeyegirl (/wiki/3rdeyegirl) as his backing band. [204] (#cite_note-204) The final two dates of the first leg of the tour were in Minneapolis-St. Paul where former Revolution drummer Bobby Z. sat in as guest drummer on both shows. [205] (#cite_note-205) In May, Prince announced a deal with Kobalt Music to market and distribute his music. [206] (#cite_note-206) On August 14, 2013, Prince released a new solo single for download through the 3rdeyegirl.com website. [207] (#cite_note-207) The single "Breakfast Can Wait" had cover art featuring comedian Dave Chappelle (/wiki/Dave_Chappelle) 's impersonation of him, from a 2004 second-season Chappelle's Show (/wiki/Chappelle%27s_Show) comedy sketch on Comedy Central (/wiki/Comedy_Central) . [208] (#cite_note-208) In February 2014, he performed concerts with 3rdeyegirl in London titled the Hit and Run Tour (/wiki/Hit_and_Run_Tour_(Prince_tour_2014)) . Beginning with intimate shows, the first was held at the London home of singer Lianne La Havas (/wiki/Lianne_La_Havas) , followed by two performances of what Prince described as a "sound check" at the Electric Ballroom (/wiki/Electric_Ballroom) in Camden (/wiki/London_Borough_of_Camden) , [209] (#cite_note-209) and another at Shepherd's Bush Empire. [210] (#cite_note-210) On April 18, 2014, Prince released a new single entitled "The Breakdown". He re-signed with his former label, Warner Bros. Records after an 18-year split. Warner announced that Prince would release a remastered deluxe edition of Purple Rain in 2014 to celebrate the 30th anniversary of the album. In return, Warner gave Prince ownership of the master recordings of his recordings with the company. [211] (#cite_note-211) [212] (#cite_note-212) In February 2014, Prince began what was billed as his 'Hit N Run Part One' tour. This involved Prince's Twitter followers keeping an avid eye on second-by-second information as to the whereabouts of his shows. Many of these shows would only be announced on the day of the concert, and many of these concerts involved two performances: a matinee (https://en.wiktionary.org/wiki/matin%C3%A9e) and an evening show. These shows began at Camden (/wiki/Camden_Town) 's Electric Ballroom, billed as 'Soundchecks', and spread throughout the UK capital to KoKo Club, in Camden, Shepherd's Bush Empire and various other small venues. After his London dates, he moved on to other European cities. In May 2014, Prince began his 'Hit N Run Part Two' shows, which followed a more normal style of purchasing tickets online and being held in music arenas. In Spring 2014, he launched NPG Publishing , a music company to administer his own music and that of other artists without the restrictions of mainstream record companies. [213] (#cite_note-213) In May 2015, following the death of Freddie Gray (/wiki/Death_of_Freddie_Gray) and the subsequent riots (/wiki/2015_Baltimore_riots) , Prince released a song, "Baltimore", in tribute to Gray and in support of the protesters in that city. [214] (#cite_note-214) [215] (#cite_note-215) [216] (#cite_note-216) [217] (#cite_note-217) He also held a tribute concert for Gray at his Paisley Park estate called "Dance Rally 4 Peace" in which he encouraged fans to wear the color gray in honor of Freddie Gray. [218] (#cite_note-218) On May 10, he performed a special concert at the Royal Farms Arena (/wiki/Royal_Farms_Arena) in Baltimore (/wiki/Baltimore) called "Rally 4 Peace," which featured a special appearance by Baltimore State's Attorney (/wiki/State%27s_attorney) Marilyn Mosby (/wiki/Marilyn_Mosby) , and one set performed by Prince alone at a keyboard. [219] (#cite_note-219) Prince's penultimate (/wiki/Penultimate) album, Hit n Run Phase One (/wiki/Hit_n_Run_Phase_One) , was first made available on September 7, 2015, on the music streaming service Tidal (/wiki/Tidal_(service)) before being released on CD and for download on September 14. [220] (#cite_note-220) His final album, Hit n Run Phase Two (/wiki/Hit_n_Run_Phase_Two) , was meant as a continuation of this, and was released on Tidal for streaming and download on December 12, 2015. [221] (#cite_note-221) In February 2016, Prince embarked on the Piano & A Microphone Tour (/wiki/Piano_%26_A_Microphone_Tour) , a tour that saw his show stripped back to only him and a custom piano on stage. He performed a series of warm-up shows at Paisley Park in late January 2016 and the tour commenced in Melbourne, Australia, on February 16, 2016, to critical acclaim. [222] (#cite_note-222) The Australian and New Zealand legs of the tour were played in small-capacity venues, including the Sydney Opera House (/wiki/Sydney_Opera_House) . Hit n Run Phase Two CDs were distributed to every attendee after each performance. The tour continued to the United States but was cut abruptly short by illness in April 2016. Illness and death Following his death, fans left flowers, purple balloons and other mementos beneath Prince's star painted on the front of the First Avenue nightclub Prince saw Michael T. Schulenberg, a Twin Cities (/wiki/Minneapolis%E2%80%93Saint_Paul) specialist in family medicine (/wiki/Family_medicine) , in Excelsior (/wiki/Excelsior,_Minnesota) on April 7, 2016, and again on April 20. [223] (#cite_note-Lambert-223) On April 7, he postponed two performances at the Fox Theatre (/wiki/Fox_Theatre_(Atlanta)) from his Piano & a Microphone Tour (/wiki/Piano_%26_a_Microphone_Tour) ; the venue released a statement saying he had influenza. [224] (#cite_note-Radford-224) He rescheduled and performed what was to be his final show on April 14, despite still not feeling well. [225] (#cite_note-horgen-225) [226] (#cite_note-blog.thecurrent.org-226) While flying back to the Twin Cities early the next morning, he became unresponsive, and his private jet made an emergency landing at Quad Cities International Airport (/wiki/Quad_Cities_International_Airport) in Moline, Illinois (/wiki/Moline,_Illinois) , where he was hospitalized and received naloxone (/wiki/Naloxone) , a medication used to block the effects of opioids, especially following an overdose. Once he became conscious, he left against medical advice. [227] (#cite_note-Chanen-227) [228] (#cite_note-nytimes04-23-2016-228) Representatives said he was dehydrated and had influenza for several weeks. [225] (#cite_note-horgen-225) Prince was seen cycling the next day in his hometown of Chanhassen (/wiki/Chanhassen,_Minnesota) . [229] (#cite_note-WWLP-229) He shopped that evening at the Electric Fetus (/wiki/Electric_Fetus) in Minneapolis for Record Store Day (/wiki/Record_Store_Day) and made a brief appearance at an impromptu dance party at his Paisley Park recording studio complex, stating that he was feeling fine. [226] (#cite_note-blog.thecurrent.org-226) [230] (#cite_note-Bream-230) On April 19, he attended a performance by singer Lizz Wright (/wiki/Lizz_Wright) at the Dakota Jazz Club (/wiki/Dakota_Jazz_Club) . [231] (#cite_note-WCCO-231) On April 20, 2016, Prince's representatives called Howard Kornfeld, a California specialist in addiction medicine and pain management, seeking medical help for the star. Kornfeld scheduled to meet with him on April 22, and he contacted a local physician who cleared his schedule for an exam on April 21. [227] (#cite_note-Chanen-227) [232] (#cite_note-NYTcatchup-232) On April 21, at 9:43 am, the Carver County (/wiki/Carver_County,_Minnesota) Sheriff's Office received a 911 call requesting an ambulance be sent to Prince's home at Paisley Park. The caller initially told the dispatcher that an unidentified person at the home was unconscious, then moments later said he was dead, and finally identified the person as Prince. [233] (#cite_note-Variety-233) The caller was Kornfeld's son, who had flown in with buprenorphine (/wiki/Buprenorphine) that morning to devise a treatment plan for opioid addiction (/wiki/Opioid_use_disorder) . [227] (#cite_note-Chanen-227) Emergency responders found Prince unresponsive in an elevator and performed CPR (/wiki/Cardiopulmonary_resuscitation) , but a paramedic said he had already been dead for at least six hours, [234] (#cite_note-DChanen-234) and they were unable to revive him. They pronounced him dead at 10:07 am, 19 minutes after their arrival. [227] (#cite_note-Chanen-227) There were no signs of suicide or foul play. [227] (#cite_note-Chanen-227) A press release from the Midwest Medical Examiner's Office in Anoka County (/wiki/Anoka_County,_Minnesota) on June 2 stated that Prince had died of an accidental overdose (/wiki/Opioid_overdose) of fentanyl (/wiki/Fentanyl) , [235] (#cite_note-Strobl-235) at the age of 57. [236] (#cite_note-Coscarelli2016-236) The fentanyl that led to his overdose was in counterfeit pills made to look like a generic version of the painkiller hydrocodone/paracetamol (/wiki/Hydrocodone/paracetamol) . [237] (#cite_note-Forliti-237) The question of how and from what source Prince obtained the drug was the subject of investigations by several law enforcement agencies. [228] (#cite_note-nytimes04-23-2016-228) [232] (#cite_note-NYTcatchup-232) [234] (#cite_note-DChanen-234) A sealed (/wiki/Record_sealing) search warrant was issued for his estate, [238] (#cite_note-Sealed_Search_Warrant_for_Paisley_Park-238) and another unsealed search warrant was issued for the local Walgreens (/wiki/Walgreens) pharmacy. [239] (#cite_note-Walgreens_search_warrant-239) On April 19, 2018, the Carver County Attorney announced that the multi-agency investigation had ended with no criminal charges filed. [240] (#cite_note-240) [241] (#cite_note-241) The investigation did reveal that Prince was addicted to opioids. [242] (#cite_note-242) [237] (#cite_note-Forliti-237) [243] (#cite_note-243) Following an autopsy performed by Dr. A. Quinn Strobl, a protege of Janis Amatuzio (/wiki/Janis_Amatuzio) , [244] (#cite_note-244) Prince's remains were cremated. [245] (#cite_note-CNN0424-245) On April 26, 2016, Prince's sister Tyka Nelson filed court documents in Carver County, to open a probate (/wiki/Probate) case, stating that no will had been found. As of his death, the twice-divorced Prince was neither married nor known to have fathered any surviving children. Under Minnesota law, the absence of a will (/wiki/Intestacy) meant that, in addition to his full sister, Prince's five half-siblings also had a claim to an estate totaling millions of dollars in cash as well as real estate, stocks, and cars. [246] (#cite_note-Probate_Case_Opened-246) [247] (#cite_note-247) Within three weeks of his death, 700 people claimed to be half-siblings or descendants. [248] (#cite_note-Merriman-248) Bremer Trust (/wiki/Bremer_Trust) was given temporary control of his estate, had his vault drilled open, [249] (#cite_note-Vault-249) and was authorized to obtain a blood sample for DNA profiling (/wiki/DNA_profiling) from the coroner who had performed the autopsy. [250] (#cite_note-Puente-250) Prince's ashes were placed into a custom 3D-printed (/wiki/3D_printing) urn shaped like the Paisley Park estate. [251] (#cite_note-P4kurn-251) The urn was placed on display in the atrium of the Paisley Park complex in October 2016. [252] (#cite_note-slateurn-252) As of April 2019 [update] (https://en.wikipedia.org/w/index.php?title=Prince_(musician)&action=edit) , no additional estate claimants were recognized by the courts besides Prince's full sister and five half-siblings. [253] (#cite_note-Prince's_Estate_Remains_Unsettled-253) It was reported in August 2022 that the Prince estate had settled. Filings in the Minnesota First Judicial District ordered that the cash in Prince's estate be split evenly between Prince Legacy LLC and Prince OAT Holdings LLC. [254] (#cite_note-254) Remembrances and reactions Lowry Bridge (/wiki/Lowry_Bridge) in Minneapolis illuminated in purple, in remembrance of Prince Numerous musicians and cultural figures reacted to Prince's death. [255] (#cite_note-etonline2-255) [256] (#cite_note-fact2-256) President Obama (/wiki/Barack_Obama) mourned him, [257] (#cite_note-Jaffe-257) and the United States Senate (/wiki/United_States_Senate) passed a resolution praising his achievements "as a musician, composer, innovator, and cultural icon". [258] (#cite_note-US_Senate_Homage-258) Cities across the U.S. held tributes and vigils (/wiki/Vigil) , and lit buildings, bridges, and other structures in purple. [259] (#cite_note-AP0422-259) [260] (#cite_note-KTLA-260) [261] (#cite_note-WBZ-261) In the first five hours after the media reported his death, "Prince" was the top trending (most-used) term on Twitter, and Facebook had 61 million Prince-related interactions. [262] (#cite_note-Reuters0421-262) MTV interrupted its programming to air a marathon of Prince music videos and Purple Rain . [263] (#cite_note-Schwindt-263) AMC Theatres (/wiki/AMC_Theatres) and Carmike Cinemas (/wiki/Carmike_Cinemas) screened Purple Rain in select theaters over the following week. [264] (#cite_note-Solis-264) Saturday Night Live aired an episode in his honor, titled "Goodnight, Sweet Prince", featuring his performances from the show. [265] (#cite_note-Russell-265) Nielsen Music (/wiki/Nielsen_N.V.) reported that sales of his material spiked 42,000 percent. [2] (#cite_note-Brown-2) The artist's catalog sold 4.41 million albums and songs from April 21 to 28, with five albums simultaneously in the top ten of the Billboard 200, a first in the chart's history. [266] (#cite_note-Caulfield-266) At the 59th Grammy Awards (/wiki/59th_Annual_Grammy_Awards) , Morris Day with the Time and Bruno Mars (/wiki/Bruno_Mars) performed a tribute. [267] (#cite_note-267) The May 2, 2016, cover of The New Yorker featured an illustration of purple rain. [268] (#cite_note-268) In June 2016 Vanity Fair / Condé Nast (/wiki/Cond%C3%A9_Nast) , released a special edition commemorative magazine, The Genius of Prince . It celebrated the star's life and achievements, with new photography and archive articles, including the original Vanity Fair article from November 1984, written in the wake of the singer-songwriter's breakout success, with other content from the magazine, The New Yorker , Wired , and Pitchfork . The cover of The Genius of Prince featured a portrait by Andy Warhol, Orange Prince (1984). [90] (#cite_note-VanityFair2016-90) [269] (#cite_note-269) [270] (#cite_note-270) Casts of the musicals The Color Purple (/wiki/The_Color_Purple_(musical)) and Hamilton (/wiki/Hamilton_(musical)) paid tribute to the star during their curtain calls (/wiki/Curtain_call) with "Purple Rain" and "Let's Go Crazy", respectively. [271] (#cite_note-271) In 2016, Minnesota representative Joe Atkins (/wiki/Joe_Atkins) introduced a bill in the state legislature to memorialize Prince with a statue in the National Statuary Hall (/wiki/National_Statuary_Hall) in the United States Capitol (/wiki/United_States_Capitol) , in recognition of his contributions to music and the state of Minnesota. As of 2020, however, the bill has not had a second reading. [272] (#cite_note-272) On August 21, 2016, Prince was posthumously inducted into the Rhythm and Blues Music Hall of Fame (/wiki/Rhythm_and_Blues_Music_Hall_of_Fame) . [273] (#cite_note-:0-273) Posthumous projects 2016–2019 The first posthumous release from the Estate was 4Ever (/wiki/4Ever_(Prince_album)) on November 22, 2016. It was a compilation of Prince's hits plus one previously unreleased song, "Moonbeam Levels", originally recorded for the 1999 sessions in 1982. [274] (#cite_note-274) On February 9, 2017, Prince's estate signed a distribution deal with Universal Music Group (/wiki/Universal_Music_Group) , which includes the post-1995 recordings on his NPG Records label and unreleased tracks from his vault. [275] (#cite_note-275) On June 27, Comerica (/wiki/Comerica) (acting on behalf of the estate) requested that Carver County District Judge Kevin Eide cancel the estate's deal with Universal, as UMG's contract would interfere with a contract with Warner Music Group (/wiki/Warner_Music_Group) that Prince signed in 2014. After Universal's attorneys were granted access to the Warner contract, the attorneys also offered to cancel the deal. [276] (#cite_note-276) On July 13, the court voided Universal's deal with Prince's estate, though Universal will continue to administer Prince's songwriting credits and create merchandise. [277] (#cite_note-277) On April 19, an EP featuring six unreleased Prince recordings, Deliverance , was announced with an expected release date for later that week. [278] (#cite_note-278) The next day, Prince's estate was granted a temporary restraining order against George Ian Boxill, an engineer who co-produced the tracks and was in possession of the master tapes, and halted the release of the EP. [279] (#cite_note-279) On June 23, a deluxe reissue of (/wiki/Purple_Rain_(album)#Deluxe_and_expanded_editions) Purple Rain was released. [280] (#cite_note-billboard.com-280) The most expansive edition contained the first being a remaster of the original album made in 2015 and overseen by Prince himself, a bonus disc of previously unheard material called From the Vault & Previously Unreleased plus single and maxi-single edits, B-sides and the first DVD issue of Prince and the Revolution: Live recorded in Syracuse on the Purple Rain Tour. [281] (#cite_note-281) The album debuted at No. 4 on the Billboard 200 and at No. 1 on both the Billboard R&B Albums and Vinyl Albums charts. [280] (#cite_note-billboard.com-280) In April 2018, the previously unreleased original recording of "Nothing Compares 2 U" from 1984 was released as a single. [282] (#cite_note-282) A music video was also released consisting of edited rehearsal footage shot in the summer of 1984. [283] (#cite_note-283) Troy Carter, adviser for Prince's estate, later announced in an interview with Variety (/wiki/Variety_(magazine)) that a full-length album was planned for release on September 28. [284] (#cite_note-284) In June of that year, the Prince estate signed a distribution deal with Sony Music Entertainment (/wiki/Sony_Music_Entertainment) including the rights to all of Prince's studio albums, plus unreleased music, remixes, live recordings, music videos and B-sides. [285] (#cite_note-285) From 2021 onwards, Prince's Warner Bros. albums from 1978–1996 are distributed by Sony/ Legacy Recordings (/wiki/Legacy_Recordings) in the United States, with Warner Music Group still controlling the international rights. [286] (#cite_note-286) On August 17, all 23 post-Warner Bros. albums by Prince were released digitally on streaming platforms, together with a new compilation album entitled Anthology: 1995–2010 (/wiki/Anthology:_1995%E2%80%932010) . [287] (#cite_note-OCC-287) Only one song remained unavailable to stream, "The Most Beautiful Girl in the World", due to a plagiarism (/wiki/Plagiarism) lawsuit in Italy (/wiki/Italy) that was not resolved until 2022. On September 21, Piano and a Microphone 1983 (/wiki/Piano_and_a_Microphone_1983) was released, an intimate recording of Prince privately rehearsing with a piano. [288] (#cite_note-nyt-288) The Sony/Legacy reissues began in 2019. Throughout that year, Musicology , 3121 (/wiki/3121) , Planet Earth , Rave Un2 the Joy Fantastic , Rave In2 the Joy Fantastic , Chaos and Disorder and Emancipation were reissued on CD and vinyl. Ultimate Rave was also released, a 2 CD and 1 DVD set which included the concert film of Rave Un2 the Year 2000 . [289] (#cite_note-289) [290] (#cite_note-290) The Versace Experience - Prelude 2 Gold (/wiki/The_Versace_Experience_-_Prelude_2_Gold) was also reissued for Record Store Day (/wiki/Record_Store_Day) . [291] (#cite_note-291) In June, a compilation of Prince's original recordings of songs given to other artists, entitled Originals (/wiki/Originals_(Prince_album)) , was released - initially exclusively through TIDAL (/wiki/TIDAL) , then later on CD and vinyl. [292] (#cite_note-292) In October, a single of Prince's previously unheard original acoustic (/wiki/Acoustic_music) demo of " I Feel for You (/wiki/I_Feel_for_You) " [293] (#cite_note-293) was released digitally and as a limited 7" single. In October 2019, Prince's incomplete memoir The Beautiful Ones was published by Random House (/wiki/Random_House) . [294] (#cite_note-294) Prince had worked on the memoir project with Dan Piepenbring (/w/index.php?title=Dan_Piepenbring&action=edit&redlink=1) [ de (https://de.wikipedia.org/wiki/Dan_Piepenbring) ] during the Piano and a Microphone Tour in 2016 and had managed to complete around 50 pages before his death. [295] (#cite_note-295) The book includes those pages plus a lengthy account by Piepenbring of how the project came to be, a scrapbook of rare personal photos and miscellanea from the vault, and Prince's original handwritten concept for the film Purple Rain . In November, a Deluxe reissue of (/wiki/1999_(Prince_album)#Remastered,_deluxe_and_super_deluxe_editions) 1999 was released (/wiki/1999_(Prince_album)#Remastered,_deluxe_and_super_deluxe_editions) . This reissue had several configurations, the most expansive including 35 previously unreleased songs and two live concerts. [296] (#cite_note-296) 2020–present In 2020, a Super Deluxe reissue of (/wiki/Sign_o%27_the_Times#Remastered,_deluxe_and_super_deluxe_editions) Sign o' the Times was released. This reissue had various configurations, with the most expansive containing the original album, the single and maxi-single mixes, related B-sides, plus 45 previously unissued studio tracks, a live show from the Sign o' the Times Tour in Utrecht (/wiki/Utrecht) plus a DVD featuring the New Year's Eve 1987 show at Paisley Park. [297] (#cite_note-297) Pitchfork (/wiki/Pitchfork_(website)) rated the Super Deluxe version 10 out of 10 and named it Best New Reissue. [298] (#cite_note-298) In June 2021, The Truth (/wiki/The_Truth_(Prince_album)) was reissued on vinyl for Record Store Day (/wiki/Record_Store_Day) . [299] (#cite_note-299) The following month saw the release of Welcome 2 America (/wiki/Welcome_2_America) , a completely unheard album originally recorded and shelved in 2010. [300] (#cite_note-300) In 2022, Prince and the Revolution: Live (/wiki/Prince_and_the_Revolution:_Live) was reissued on Blu-Ray, along with the soundtrack which was also released on CD and vinyl for the first time. [301] (#cite_note-301) This year also saw the release of "The Most Beautiful Girl in the World" on streaming services. It had previously been unavailable due to a plagiarism (/wiki/Plagiarism) lawsuit in Italy (/wiki/Italy) which the estate has now resolved; Bruno Bergonzi and Michele Vicino are now legally recognized as co-writers in Italy. [302] (#cite_note-302) In 2023, a Super Deluxe reissue of (/wiki/Diamonds_and_Pearls#Super_Deluxe) Diamonds and Pearls was released, containing the original album plus remixes and B-sides from this era, 33 previously unheard tracks and a Blu-ray of a live concert recorded at Glam Slam as a rehearsal for the Diamonds and Pearls Tour . [303] (#cite_note-303) Artistry and legacy Music and image Prince street art (/wiki/Street_art) in Hagen, Germany (/wiki/Hagen) A costume worn by Prince and associated memorabilia, displayed at a Hard Rock Cafe (/wiki/Hard_Rock_Cafe) in Australia Prince is widely regarded as one of the greatest musicians of his generation. [7] (#cite_note-ReferenceA-7) Rolling Stone (/wiki/Rolling_Stone) ranked Prince at No. 27 on its list of 100 Greatest Artists, "the most influential artists of the rock & roll era". [159] (#cite_note-rollingstone2004-159) In 2010, Prince was ranked number 7 on VH1 (/wiki/VH1) 's "100 Greatest Artists of All Time". [304] (#cite_note-304) In 2023, Rolling Stone (/wiki/Rolling_Stone) ranked Prince at No. 16 on their list of the 200 Greatest Singers of All Time. [305] (#cite_note-305) In 2003, Rolling Stone ' s 500 Greatest Albums of All Time (/wiki/Rolling_Stone%27s_500_Greatest_Albums_of_All_Time) list included Purple Rain at number 72, [306] (#cite_note-306) Sign o' the Times at number 93, [307] (#cite_note-307) 1999 at number 163, [308] (#cite_note-308) and Dirty Mind at number 204. [309] (#cite_note-309) And in 2004, on their 500 Greatest Songs of All Time (/wiki/The_500_Greatest_Songs_of_All_Time) list, Rolling Stone included "When Doves Cry" at number 52, "Little Red Corvette" at number 108, "Purple Rain" at number 143, "1999" at number 212, "Sign o' the Times" at number 299, and "Kiss" at number 461. [310] (#cite_note-310) The Los Angeles Times (/wiki/Los_Angeles_Times) called Prince "our first post-everything pop star, defying easy categories of race, genre and commercial appeal". [311] (#cite_note-master_of_rock-311) Jon Pareles (/wiki/Jon_Pareles) of The New York Times (/wiki/The_New_York_Times) described him as "a master architect of funk, rock, R&B and pop", and highlighted his ability to defy labels, [312] (#cite_note-nytobituary-312) while Geoffrey Himes (/wiki/Geoffrey_Himes) described him as a leading artist in "a tradition of left-wing black music", or " progressive soul (/wiki/Progressive_soul) ", although even he conceded the term may be "too narrow". [6] (#cite_note-Himes-6) Los Angeles Times writer Randall Roberts called Prince "among the most versatile and restlessly experimental pop artists of our time," writing that his "early work connected disco (/wiki/Disco) and synthetic funk [while his] fruitful mid-period merged rock, soul, R&B and synth-pop (/wiki/Synthpop) ." [313] (#cite_note-latimes-313) Simon Reynolds (/wiki/Simon_Reynolds) called him a "pop polymath, flitting between funkadelia (https://en.wiktionary.org/wiki/funkadelia) , acid rock (/wiki/Acid_rock) , deep soul, schmaltz (https://en.wiktionary.org/wiki/schmaltz) —often within the same song". [314] (#cite_note-FOOTNOTEReynolds199049–55-314) AllMusic (/wiki/AllMusic) wrote that, "With each album he released, Prince showed remarkable stylistic growth and musical diversity, constantly experimenting with different sounds, textures, and genres [...] no other contemporary artist blended so many diverse styles into a cohesive whole." [315] (#cite_note-allmusic-315) Jon Pareles has named Prince among the "pantheon" of artists in the album era (/wiki/Album_era) , in which the album format was the dominant form of recorded music expression and consumption. [316] (#cite_note-316) As a performer, he was known for his flamboyant style and showmanship. [312] (#cite_note-nytobituary-312) He came to be regarded as a sex symbol (/wiki/Sex_symbol) for his androgynous, amorphous sexuality, [317] (#cite_note-floridian-317) play with signifiers of gender (/wiki/Gender) , [318] (#cite_note-Prince,_Bowie,_and_Gender-318) [319] (#cite_note-Transcended_Categories-319) and defiance of racial stereotypes (/wiki/Racial_stereotypes) . [320] (#cite_note-guard-320) His "audacious, idiosyncratic" fashion sense made use of "ubiquitous purple, alluring makeup and frilled garments". [311] (#cite_note-master_of_rock-311) His androgynous look has been compared to those of Little Richard (/wiki/Little_Richard) [317] (#cite_note-floridian-317) [321] (#cite_note-321) [322] (#cite_note-FOOTNOTEWhite2003125–126-322) and David Bowie (/wiki/David_Bowie) . [323] (#cite_note-FOOTNOTECole2005226-323) In 2016, Reynolds described it as "Prince's '80s evasion of conventional gender definitions speaks to us now in this trans-aware moment. But it also harks backwards in time to the origins of rock 'n' roll in racial mixture and sexual blurring". [324] (#cite_note-324) Prince was known for the strong female presence in his bands and his support for women in the music industry throughout his career. [325] (#cite_note-Strong_Female_Presence-325) Slate (/wiki/Slate_(magazine)) said he worked with an "astounding range of female stars" and "promised a world where men and women looked and acted like each other". [326] (#cite_note-Champion_of_Women-326) Prince also wore high-heeled shoes and boots both on and off-stage. Many artists have cited Prince as an influence and inspiration, including Beyoncé (/wiki/Beyonc%C3%A9) , Justin Timberlake (/wiki/Justin_Timberlake) , Bruno Mars (/wiki/Bruno_Mars) , Rihanna (/wiki/Rihanna) , Alicia Keys (/wiki/Alicia_Keys) , Usher (/wiki/Usher_(musician)) , Janelle Monáe (/wiki/Janelle_Mon%C3%A1e) , The Weeknd (/wiki/The_Weeknd) , Lady Gaga (/wiki/Lady_Gaga) , Lorde (/wiki/Lorde) , [327] (#cite_note-327) Marilyn Manson (/wiki/Marilyn_Manson) , [328] (#cite_note-328) Lenny Kravitz (/wiki/Lenny_Kravitz) , André 3000 (/wiki/Andr%C3%A9_3000) , Mark Speer (/wiki/Mark_Speer) , Jamie Lidell (/wiki/Jamie_Lidell) , Frank Ocean (/wiki/Frank_Ocean) , Miguel (/wiki/Miguel_(singer)) , [329] (#cite_note-329) [330] (#cite_note-330) Mya (/wiki/Mya_(singer)) , [331] (#cite_note-331) Robyn (/wiki/Robyn) , [332] (#cite_note-332) D'Angelo (/wiki/D%27Angelo) , H.E.R. (/wiki/H.E.R.) , [333] (#cite_note-333) Ciara (/wiki/Ciara) , [334] (#cite_note-334) The-Dream (/wiki/The-Dream) , [335] (#cite_note-335) St. Vincent (/wiki/St._Vincent_(musician)) , [336] (#cite_note-336) Ween (/wiki/Ween) , [337] (#cite_note-337) and Beck (/wiki/Beck) . [338] (#cite_note-338) [339] (#cite_note-339) [340] (#cite_note-Speer-340) [341] (#cite_note-Jamie-341) Bono (/wiki/Bono) of U2 (/wiki/U2) regarded Prince as one of his "favorite composers of the twentieth century". [342] (#cite_note-Bono-342) Beyoncé expressed her admiration for Prince in the book Prince: A Private View , calling him "my mentor" and also praising his independence: "He dared to fight for what was rightfully his: his freedom, wrapped up in words and music he created." [343] (#cite_note-343) In August 2017, Pantone (/wiki/Pantone) Inc. introduced a new shade of purple ( ) in their color system in honor of Prince. The shade is called Love Symbol #2 . [344] (#cite_note-344) [345] (#cite_note-345) [346] (#cite_note-346) [347] (#cite_note-347) Stars honoring Prince and his band the Revolution on the outside mural of the Minneapolis nightclub First Avenue Influences and musicianship Prince's music synthesized a wide variety of influences, [312] (#cite_note-nytobituary-312) and drew inspiration from a range of musicians, including Ike Turner (/wiki/Ike_Turner) , [348] (#cite_note-348) [349] (#cite_note-349) James Brown, [350] (#cite_note-FOOTNOTETouré20135–6-350) [351] (#cite_note-FOOTNOTELavezzoli200187-351) [352] (#cite_note-FOOTNOTEGulla2008494-352) [323] (#cite_note-FOOTNOTECole2005226-323) George Clinton, [350] (#cite_note-FOOTNOTETouré20135–6-350) [351] (#cite_note-FOOTNOTELavezzoli200187-351) [323] (#cite_note-FOOTNOTECole2005226-323) Joni Mitchell (/wiki/Joni_Mitchell) , [350] (#cite_note-FOOTNOTETouré20135–6-350) Duke Ellington (/wiki/Duke_Ellington) , [353] (#cite_note-FOOTNOTELavezzoli200188-353) Jimi Hendrix (/wiki/Jimi_Hendrix) , [350] (#cite_note-FOOTNOTETouré20135–6-350) [323] (#cite_note-FOOTNOTECole2005226-323) the Beatles (/wiki/The_Beatles) , [350] (#cite_note-FOOTNOTETouré20135–6-350) [323] (#cite_note-FOOTNOTECole2005226-323) Chuck Berry (/wiki/Chuck_Berry) , [350] (#cite_note-FOOTNOTETouré20135–6-350) David Bowie, [350] (#cite_note-FOOTNOTETouré20135–6-350) Earth, Wind & Fire (/wiki/Earth,_Wind_%26_Fire) , [350] (#cite_note-FOOTNOTETouré20135–6-350) Mick Jagger (/wiki/Mick_Jagger) , [350] (#cite_note-FOOTNOTETouré20135–6-350) Rick James, [350] (#cite_note-FOOTNOTETouré20135–6-350) Jerry Lee Lewis (/wiki/Jerry_Lee_Lewis) , [350] (#cite_note-FOOTNOTETouré20135–6-350) Little Richard, [350] (#cite_note-FOOTNOTETouré20135–6-350) Curtis Mayfield (/wiki/Curtis_Mayfield) , [350] (#cite_note-FOOTNOTETouré20135–6-350) [354] (#cite_note-354) Elvis Presley (/wiki/Elvis_Presley) , [350] (#cite_note-FOOTNOTETouré20135–6-350) Todd Rundgren (/wiki/Todd_Rundgren) , [355] (#cite_note-355) Carlos Santana (/wiki/Carlos_Santana) , [350] (#cite_note-FOOTNOTETouré20135–6-350) Sly Stone (/wiki/Sly_Stone) , [350] (#cite_note-FOOTNOTETouré20135–6-350) [356] (#cite_note-FOOTNOTEGulla2008418-356) [351] (#cite_note-FOOTNOTELavezzoli200187-351) [323] (#cite_note-FOOTNOTECole2005226-323) [357] (#cite_note-FOOTNOTERo20119-357) Jackie Wilson (/wiki/Jackie_Wilson) , [350] (#cite_note-FOOTNOTETouré20135–6-350) and Stevie Wonder. [357] (#cite_note-FOOTNOTERo20119-357) [358] (#cite_note-FOOTNOTEPerone2006xii-358) [359] (#cite_note-359) Prince has been compared with jazz (/wiki/Jazz) artist Miles Davis (/wiki/Miles_Davis) in regard to the artistic changes throughout his career. [350] (#cite_note-FOOTNOTETouré20135–6-350) [360] (#cite_note-Miles_&_Prince-360) Davis said he regarded Prince as an otherworldly blend of James Brown, Jimi Hendrix, Marvin Gaye (/wiki/Marvin_Gaye) , Sly Stone, Little Richard, Duke Ellington, and Charlie Chaplin (/wiki/Charlie_Chaplin) . [361] (#cite_note-Prince,_Charlie_Chaplin,_et_al.-361) [353] (#cite_note-FOOTNOTELavezzoli200188-353) [362] (#cite_note-FOOTNOTEWerner2006277-362) Prince and Miles Davis performed together for a Charity Event at Paisley Park. This performance was viewed as the pinnacle of their on-again, off-again partnership. [29] (#cite_note-BMRJ-29) Journalist Nik Cohn (/wiki/Nik_Cohn) described him as "rock's greatest ever natural talent". [363] (#cite_note-gqcohn-363) Prince was a natural tenor (/wiki/Tenor) , [364] (#cite_note-364) [365] (#cite_note-365) but he had a wide vocal range from falsetto (/wiki/Falsetto) to baritone (/wiki/Baritone) , and performed rapid, seemingly effortless shifts of register (/wiki/Vocal_register) . [366] (#cite_note-Petridis-366) Prince was also renowned as a multi-instrumentalist. [323] (#cite_note-FOOTNOTECole2005226-323) [367] (#cite_note-FOOTNOTELavezzoli200192-367) He is considered a guitar virtuoso and a master of drums, percussion, bass, keyboards, and synthesizer. [368] (#cite_note-FOOTNOTETouré20133-368) On his first five albums, he played nearly all the instruments, [369] (#cite_note-369) including 27 instruments on his debut album, [370] (#cite_note-FOOTNOTEHawkinsNiblock2012-370) among them various types of bass, keyboards and synthesizers. Prince was also quick to embrace technology in his music, [371] (#cite_note-blackent-371) making pioneering use of drum machines (/wiki/Drum_machine) like the Linn LM-1 (/wiki/Linn_LM-1) on his early '80s albums and employing a wide range of studio effects. [372] (#cite_note-fact14-372) The LA Times also noted his "harnessing [of] new-generation synthesizer sounds in service of the groove," laying the foundations for post-'70s funk music. [313] (#cite_note-latimes-313) Prince was also known for his prolific and virtuosic tendencies, which resulted in him recording large amounts of unreleased material. [373] (#cite_note-bill-373) Prince also wrote songs for other artists, and some songs of his were covered by musicians, such as the hit songs "Manic Monday" (performed by the Bangles), " I Feel for You (/wiki/I_Feel_for_You) ", originally on Prince's self-titled second album from 1979, covered by Chaka Khan, and "Nothing Compares 2 U", written for Prince's side project the Family (/wiki/The_Family_(band)) , and covered very successfully by Sinéad O'Connor. Prince co-wrote " Love... Thy Will Be Done (/wiki/Love..._Thy_Will_Be_Done) " with singer Martika (/wiki/Martika) , for her second album, Martika's Kitchen (/wiki/Martika%27s_Kitchen) , and also gifted Celine Dion (/wiki/Celine_Dion) a song for her second album, Celine Dion , titled "With This Tear"; it was a song Prince had written specifically for her. [374] (#cite_note-374) Prince also wrote "U" for Paula Abdul (/wiki/Paula_Abdul) , appearing on her 1991 release Spellbound . Signature and custom guitars HS Anderson/Hohner Madcat Telecaster copy (197?) Cloud Guitar White (1983) Cloud Guitar Gold (1983) Model C (19??) Cloud Guitar Yellow (1989) Cloud Guitar Blue (19??) Gold Fender Stratocaster (????) Prince Symbol Purple (19??) Prince Symbol Gold (19??) G1 Purple Special (2007) Gus G3 Prince Bass (2016) Equipment A guitar virtuoso, Prince was also known to have a stylish and flamboyant custom guitar collection, which consisted of 121 guitars. [375] (#cite_note-375) [376] (#cite_note-376) One notable series is his Cloud Guitars, which were commissioned and released in colored versions of white, yellow and purple. The white version is prominently shown in the Purple Rain film and the "Raspberry Beret" video. [377] (#cite_note-377) [378] (#cite_note-378) Other notable guitars are The Love Symbol guitars, which were designed in the separate colors of gold and purple. The guitar that was used for the majority of Prince's music career was the H.S. Anderson Madcat guitar – a Telecaster (/wiki/Telecaster) copy created by Hohner (/wiki/Hohner) . Several versions of the guitar were used throughout his career – due to one being donated for charitable reasons, while one or more were stolen. [379] (#cite_note-379) [380] (#cite_note-380) Another guitar primarily used in his later years was the Vox HDC-77 (/wiki/Vox_HDC-77) , which was introduced to him by 3rdeyegirl member Ida Kristine Nielsen, both a Blackburst version, and a White Ivory version. [381] (#cite_note-381) Two other noteworthy guitars are the G1 Purple Special, and the black-and-gold Gus G3 Prince bass, which would become the last two guitars to ever be made for him. [382] (#cite_note-382) [383] (#cite_note-383) [384] (#cite_note-384) [385] (#cite_note-385) Legal issues Pseudonyms In 1993, during negotiations regarding the release of The Gold Experience (/wiki/The_Gold_Experience) , a legal battle ensued between Warner Bros. and Prince over the artistic and financial control of his musical output. During the lawsuit, Prince appeared in public with the word "slave" written on his cheek. [386] (#cite_note-386) He explained that he had changed his name to an unpronounceable symbol to emancipate himself from his contract with Warner Bros., and that he had done it out of frustration because he felt his own name now belonged to the company. [387] (#cite_note-FOOTNOTEHeatley2008191-387) [388] (#cite_note-388) Prince sometimes used pseudonyms to separate himself from the music he had written, produced or recorded, and at one point stated that his ownership and achievement were strengthened by the act of giving away ideas. [137] (#cite_note-bass_player-137) Pseudonyms he adopted, at various times, include: Jamie Starr and The Starr Company (for the songs he wrote for the Time and many other artists from 1981 to 1984), Joey Coco (for many unreleased Prince songs in the late 1980s, as well as songs written for Sheena Easton and Kenny Rogers (/wiki/Kenny_Rogers) ), Alexander Nevermind (for writing the song " Sugar Walls (/wiki/Sugar_Walls) " (1984) by Sheena Easton), and Christopher (used for his songwriting credit of "Manic Monday" (1986) for the Bangles). Copyright issues On September 14, 2007, Prince announced that he was going to sue YouTube and eBay (/wiki/EBay) , because they hosted his copyrighted material, and he hired the international Internet-policing company Web Sheriff (/wiki/Web_Sheriff) . [389] (#cite_note-389) [390] (#cite_note-390) In October, Stephanie Lenz filed a lawsuit against Universal Music Publishing Group (/wiki/Lenz_v._Universal_Music_Corp.) claiming that they were abusing copyright law after the music publisher had YouTube take down Lenz's home movie in which the Prince song "Let's Go Crazy" played faintly in the background. [391] (#cite_note-391) [392] (#cite_note-392) On November 5, several Prince fan sites formed "Prince Fans United" to fight back against legal requests which, they claim, Prince made to prevent all use of photographs, images, lyrics, album covers, and anything linked to his likeness. [393] (#cite_note-393) Prince's lawyers claimed that this constituted copyright infringement (/wiki/Copyright_infringement) ; Prince Fans United said that the legal actions were "attempts to stifle all critical commentary about Prince". Prince's promoter AEG (/wiki/Anschutz_Entertainment_Group) stated that the only offending items on the three fansites were live shots from Prince's 21 nights in London at the O2 Arena (/wiki/The_O2_Arena) earlier in the year. [394] (#cite_note-394) On November 8, Prince Fans United received a song named "PFUnk", providing a kind of "unofficial answer" to their movement. The song originally debuted on the PFU main site, [395] (#cite_note-395) was retitled " F.U.N.K. (/wiki/F.U.N.K.) ", but this is not one of the selected songs available on the iTunes Store (/wiki/ITunes_Store) . On November 14, the satirical website b3ta.com (/wiki/B3ta.com) pulled their "image challenge of the week" devoted to Prince after legal threats from the star under the Digital Millennium Copyright Act (/wiki/Digital_Millennium_Copyright_Act) (DMCA). [396] (#cite_note-396) At the 2008 Coachella Valley Music and Arts Festival ("Coachella Festival"), Prince performed a cover of Radiohead (/wiki/Radiohead) 's " Creep (/wiki/Creep_(Radiohead_song)) "; however, immediately afterward, he forced YouTube and other sites to remove footage that fans had taken of the performance despite Radiohead's request to leave it on the website. [397] (#cite_note-397) Days later, YouTube reinstated the videos, as Radiohead had said: "It's our song, let people hear it." In 2009, Prince put the video of the Coachella performance on his official website. [ citation needed ] In 2010, Prince declared: "the internet is completely over", elaborating five years later that "the internet was over for anyone who wants to get paid... tell me a musician who's got rich off digital sales". [366] (#cite_note-Petridis-366) In 2013, the Electronic Frontier Foundation (/wiki/Electronic_Frontier_Foundation) granted Prince the inaugural "Raspberry Beret Lifetime Aggrievement Award" [398] (#cite_note-398) for what they said was abuse of the DMCA takedown process. [399] (#cite_note-399) In January 2014, Prince filed a lawsuit titled Prince v. Chodera against 22 online users for direct copyright infringement, unauthorized fixation, contributory copyright infringement, and bootlegging. [400] (#cite_note-400) Several of the users were fans who had shared links to bootlegged versions of Prince concerts through social media websites like Facebook. [401] (#cite_note-401) [402] (#cite_note-402) In the same month, he dismissed the entire action without prejudice. [403] (#cite_note-403) Prince was one of a small handful of musicians to deny "Weird Al" Yankovic (/wiki/%22Weird_Al%22_Yankovic) requests to parody his music. (Yankovic does not always need legal permission to parody songs, but he requests artists' permission as a professional courtesy.) [404] (#cite_note-404) [405] (#cite_note-405) By Yankovic's account, he'd done so "about a half-dozen times" and has been the sole artist not to give any explanation for his rejection beyond a flat "no". [406] (#cite_note-406) Personal life Paisley Park (/wiki/Paisley_Park) , Prince's home and recording studio in Chanhassen, Minnesota Relationships Prince was romantically linked with many women over the years, including Kim Basinger (/wiki/Kim_Basinger) , Madonna (/wiki/Madonna) , Vanity (/wiki/Vanity_(singer)) , Jill Jones (/wiki/Jill_Jones) , Sheila E. (/wiki/Sheila_E.) , Carmen Electra (/wiki/Carmen_Electra) , Susannah Melvoin (/wiki/Susannah_Melvoin) , and Sherilyn Fenn (/wiki/Sherilyn_Fenn) . [407] (#cite_note-407) [408] (#cite_note-bbc.com-408) [409] (#cite_note-409) [410] (#cite_note-410) [411] (#cite_note-411) Susannah Melvoin recalled how, around the time of Sign o' the Times , "Wendy [Melvoin, her twin sister] and Lisa [Coleman] and I lived together and we would have [Prince] stay at our place. We became really close. He got to be in a family of three women, and we got to have our Prince. Not many people had that kind of relationship with him." [408] (#cite_note-bbc.com-408) In 1990, he saw 16-year-old dancer Mayte García (/wiki/Mayte_Garc%C3%ADa) standing outside his tour bus and referred to her as his "future wife" when pointing her out to bandmate Rosie Gaines. García began working as one of his backup singers and dancers after graduating from high school. They were married on February 14, 1996, when he was 37 and she was 22. [412] (#cite_note-412) [413] (#cite_note-413) According to García, she and Prince had a son named Amiir (born October 16, 1996), who died a week after being born due to Pfeiffer syndrome (/wiki/Pfeiffer_syndrome) . Attempts by publications to independently verify the child's name, birth, and cause of death proved difficult due to Prince's focus on privacy. The distress of losing a child and García's subsequent miscarriage took a toll on the marriage, and the couple divorced in 2000. [414] (#cite_note-414) [415] (#cite_note-415) Prince married Manuela Testolini, a Canadian businesswoman of Italian and Egyptian descent, in a private ceremony in 2001; she hails from Toronto (/wiki/Toronto) , which led the couple to live there part-time. [416] (#cite_note-416) They separated in 2005 and filed for divorce in May 2006, [417] (#cite_note-417) which was finalized in October 2007. [418] (#cite_note-418) Religious beliefs Prince was an observant religious person from childhood and throughout his life. An abiding love of God and Jesus were recurring themes in his work, often closely intertwined with romance, sexuality and sensuality on songs such as "I Would Die 4 U" and albums such as Lovesexy . In March 2016, while discussing his childhood during a show in Oakland (/wiki/Oakland) , he told the audience: I wanted to be like my father and I loved everything he loved — my mother, the Bible, and music. [419] (#cite_note-419) A complete recitation of The Lord's Prayer (/wiki/The_Lord%27s_Prayer) featured in the full-length album version of his 1981 hit "Controversy." His 1984 track "Darling Nikki", while dealing with explicit subject matter involving an encounter with a sex worker, contained the following backward message: "Hello, how are you?/Fine, fine, ’cause I know that the Lord is coming soon/Coming, coming soon." This is often thought to have been an ironic response to the Satanic backmasking scandal of the 1980s (/wiki/Backmasking#Controversies) . [420] (#cite_note-420) That same year, he released a B-side simply entitled "God." Prince became a Jehovah's Witness (/wiki/Jehovah%27s_Witnesses) in 2001 as a result of his friendship with bassist Larry Graham (/wiki/Larry_Graham) . He did not consider it a conversion but a "realization", comparing his connection with Graham to Morpheus (/wiki/Morpheus_(The_Matrix)) and Neo (/wiki/Neo_(The_Matrix)) in the film The Matrix (/wiki/The_Matrix) . He attended meetings at a local Kingdom Hall (/wiki/Kingdom_Hall) and occasionally knocked on people's doors to discuss his faith. [421] (#cite_note-421) [422] (#cite_note-wsjhagertyaudi-422) His newfound faith would also heavily influence his 2001 album The Rainbow Children . The CD edition of his 2003 instrumental album N.E.W.S contained an Adobe Flash (/wiki/Adobe_Flash) file that slowly display the words "He Causes 2 Become" when the disc was inserted into a computer, being a reference to the name of Jehovah (/wiki/Jehovah) in Witness theology. [423] (#cite_note-423) Shortly after he became a Witness, former bandmates Melvoin and Coleman reached out to him for a potential reunion of their 1980s band The Revolution. Melvoin claims he declined due to her lesbian (/wiki/Lesbian) and Jewish (/wiki/Jewish) identities, then asked her to hold a press conference in which she would disavow homosexuality and become a Jehovah's Witness herself. She resigned herself to never hearing from him again. [424] (#cite_note-424) However, Prince later reunited with Melvoin in 2004 to perform a stripped-back acoustic version of the song "Reflection" on the Tavis Smiley Tonight Show [425] (#cite_note-425) and subsequently performed "Purple Rain" with her and Coleman at the Brit Awards 2006 (/wiki/Brit_Awards_2006) . Anti- gay marriage (/wiki/Gay_marriage) comments were attributed to him in 2008 but later denied by his management [426] (#cite_note-426) and walked back by him personally, as he later stated, "I have friends who are gay, and we study the Bible together." [427] (#cite_note-427) Despite his ambiguous, contradictory and evolving personal convictions throughout his lifetime, Prince is often considered a queer icon (/wiki/Queer_icon) by his fans for his influence on music, fashion and culture in a manner infused with religious themes. [428] (#cite_note-428) [429] (#cite_note-429) [430] (#cite_note-430) [431] (#cite_note-431) García said of Prince's religious beliefs: "He was always a spiritual seeker ... fascinated in all possibilities to integrate the signs of the zodiac (/wiki/Astrological_sign) and third eye (/wiki/Third_eye) and reincarnation (/wiki/Reincarnation) into the Christian beliefs his Baptist (/wiki/Baptists) mother and Seventh-day Adventist father had exposed him to." [432] (#cite_note-432) At the time of his passing, Prince's display picture on Twitter (/wiki/Twitter) was an illustration of him with both eyes closed and a third eye on his forehead open. [433] (#cite_note-433) Political beliefs and activism Prince rarely expressed partisan political beliefs directly for the majority of his career. However, he did not shy away from political themes and commentary in early songs such as "Partyup", "Ronnie Talk to Russia" (which directly addressed then-President Ronald Reagan (/wiki/Ronald_Reagan) ), "America", "Sign O' the Times" and later "Money Don't Matter 2 Night", in part a protest against the Gulf War (/wiki/Gulf_War) . His 2002 song "Avalanche" contained the lyric " Abraham Lincoln (/wiki/Abraham_Lincoln) was a racist" and discussed the Thirteenth Amendment (/wiki/Thirteenth_Amendment_to_the_United_States_Constitution) . In 2004, the music video for his single "Cinnamon Girl" depicted a young Muslim woman facing Islamophobia (/wiki/Islamophobia) and racial abuse and then detonating a suicide bomb in a crowded airport, before revealing it had all been a dream. [434] (#cite_note-434) In a 2009 interview with Tavis Smiley (/wiki/Tavis_Smiley) , when asked for his opinion on the recent election of Barack Obama, Prince replied that he did not vote for him and has in fact never voted at all. He also expressed a belief in the chemtrail conspiracy theory (/wiki/Chemtrail_conspiracy_theory) during the same interview. [435] (#cite_note-435) Towards the end of his life, Prince was a supporter of Black Lives Matter (/wiki/Black_Lives_Matter) . According to Al Sharpton (/wiki/Al_Sharpton) , he donated to the family of Trayvon Martin (/wiki/Trayvon_Martin) in 2012 and later arranged for Eric Garner (/wiki/Eric_Garner) 's family to attend one of his concerts. [436] (#cite_note-436) Before handing out the Grammy for Best Album in 2015, he told the audience, "Albums — remember those? Albums still matter. Albums, like books and black lives, still matter.” [437] (#cite_note-437) He organized a "Rally 4 Peace" concert in the city of Baltimore (/wiki/Baltimore) in the aftermath of the killing of Freddie Gray (/wiki/Killing_of_Freddie_Gray) . [438] (#cite_note-438) The following day, he released a single entitled "Baltimore" with lyrics that mentioned Gray and Michael Brown (/wiki/Killing_of_Michael_Brown) . The music video for "Baltimore" featured footage of Black Lives Matter protests in the city, and closed with a message from Prince: The system is broken. It’s going to take the young people to fix it this time. We need new ideas, new life. [439] (#cite_note-439) Animal rights Prince was an animal rights (/wiki/Animal_rights) activist who followed a vegan (/wiki/Vegan) diet for part of his life but later described himself as vegetarian. [440] (#cite_note-:5-440) [441] (#cite_note-441) [442] (#cite_note-442) He previously adhered to a pescetarian (/wiki/Pescetarianism) diet in the 2000s [443] (#cite_note-443) [444] (#cite_note-444) and according to an interview with the Vegetarian Times (/wiki/Vegetarian_Times) , Prince first expressed curiosity in removing meat from his diet around 1987 when he ceased eating all red meat (/wiki/Red_meat) . [440] (#cite_note-:5-440) Prince required Paisley Park guests and staff to maintain a vegetarian diet or pescetarian diet while present in order to keep the environment meatless. In honor of Prince's personal ethos, Paisley Park continues to require that individuals leave the premises if they would like to eat meat. [445] (#cite_note-445) The liner notes (/wiki/Liner_notes) for his album Rave Un2 the Joy Fantastic featured a message about the cruelty involved in wool (/wiki/Wool) production. [446] (#cite_note-446) Charitable endeavors Prince did not speak publicly about his charitable endeavors. The extent of his activism, philanthropy, and charity was only publicized after his death, and much of it remains undocumented. [447] (#cite_note-Anonymous_Activism,_Philanthropy_&_Charity-447) In 2001, he anonymously donated $12,000 to the Louisville Free Public Library (/wiki/Louisville_Free_Public_Library) system to keep the historic Western Branch Library (/wiki/Louisville_Free_Public_Library,_Western_Colored_Branch) (the country's first full-service library for African-Americans) from closure. [448] (#cite_note-Anonymous_$12,000,000_donation_to_the_Western_Branch_Library-448) That same year, he anonymously paid off the medical bills of drummer Clyde Stubblefield (/wiki/Clyde_Stubblefield) , who was undergoing cancer treatment. [449] (#cite_note-pr-stubblefield-449) In 2015, he conceived and launched YesWeCode (/wiki/Van_Jones##YesWeCode) , paying for many hackathons (/wiki/Hackathon) outright and performing musical acts at some of them. [447] (#cite_note-Anonymous_Activism,_Philanthropy_&_Charity-447) [450] (#cite_note-Inspiration_for_#YesWeCode-450) He also helped fund the Green for All (/wiki/Green_for_All) initiative. [447] (#cite_note-Anonymous_Activism,_Philanthropy_&_Charity-447) According to Australian musician Ed Le Brocq (/wiki/Ed_Le_Brocq) 's autobiography Danger Music , written about Le Brocq's time as a music teacher in Afghanistan (/wiki/Afghanistan) , Prince had "quietly donated to PARSA (Physiotherapy and Rehabilitation Services for Afghanistan) (/wiki/Mary_MacMakin) for years" which had funded the revival of the Afghanistan Scout Association (/wiki/Afghanistan_Scout_Association#Revival) . [451] (#cite_note-451) Achievements Main article: List of awards and nominations received by Prince (/wiki/List_of_awards_and_nominations_received_by_Prince) Prince sold at least 150 million records worldwide, [452] (#cite_note-452) ranking him among the best-selling music artists of all time (/wiki/List_of_best-selling_music_artists) . [453] (#cite_note-453) He was inducted into the Rock and Roll Hall of Fame (/wiki/Rock_and_Roll_Hall_of_Fame) in 2004, the UK Music Hall of Fame (/wiki/UK_Music_Hall_of_Fame) in 2006, and the Rhythm and Blues Music Hall of Fame (/wiki/Rhythm_and_Blues_Music_Hall_of_Fame) in 2016. [454] (#cite_note-454) [273] (#cite_note-:0-273) In 2016, he was posthumously honored with a Doctor of Humane Letters (/wiki/Doctor_of_Humane_Letters) by the University of Minnesota (/wiki/University_of_Minnesota) . [455] (#cite_note-455) He was inducted into the Black Music & Entertainment Walk of Fame (/wiki/Black_Music_%26_Entertainment_Walk_of_Fame) in 2022. [456] (#cite_note-456) Prince was named the 14th greatest guitarist of all time by Rolling Stone in 2023. [457] (#cite_note-457) He has won seven Grammy Awards (/wiki/Grammy_Award) , seven Brit Awards (/wiki/Brit_Awards) , six American Music Awards (/wiki/American_Music_Awards) , four MTV Video Music Awards (/wiki/MTV_Video_Music_Award) , an Academy Award (/wiki/Academy_Award) (for Best Original Song Score (/wiki/Academy_Award_for_Best_Original_Score) for the film Purple Rain ), and a Golden Globe Award (/wiki/Golden_Globe_Award) . [458] (#cite_note-:3-458) Two of his albums, Purple Rain and Sign o' the Times , received the Grammy Award for Album of the Year (/wiki/Grammy_Award_for_Album_of_the_Year) nominations. 1999 , Purple Rain and Sign o' the Times have all been inducted into the Grammy Hall of Fame (/wiki/Grammy_Hall_of_Fame) . [459] (#cite_note-:4-459) At the 28th Grammy Awards (/wiki/28th_Annual_Grammy_Awards) , Prince was awarded the President's Merit Award (/wiki/28th_Annual_Grammy_Awards) . [459] (#cite_note-:4-459) Prince was also honored with the American Music Award for Achievement (/wiki/American_Music_Award_for_Achievement) and American Music Award of Merit (/wiki/American_Music_Award_of_Merit) at the American Music Awards of 1990 (/wiki/American_Music_Awards_of_1990) and American Music Awards of 1995 (/wiki/American_Music_Awards_of_1995) respectively. At the 2013 (/wiki/2013_Billboard_Music_Awards) Billboard Music Awards (/wiki/2013_Billboard_Music_Awards) , he was honored with the Billboard Icon Award (/wiki/Billboard_Icon_Award) . [460] (#cite_note-460) [461] (#cite_note-461) [462] (#cite_note-462) In 2019, the 1984 film Purple Rain was added by the Library of Congress (/wiki/Library_of_Congress) for preservation in the National Film Registry (/wiki/National_Film_Registry) for being "culturally, historically, or aesthetically significant". [463] (#cite_note-Chow-463) Prince has been honored with a star on the outside mural of the Minneapolis nightclub First Avenue, [464] (#cite_note-FirstAveStars-464) recognizing performers that have played sold-out shows or have otherwise demonstrated a major contribution to the culture at the iconic venue. [465] (#cite_note-StarTribune2019-465) Receiving a star "might be the most prestigious public honor an artist can receive in Minneapolis", according to journalist Steve Marsh. [466] (#cite_note-MSPMag2019-466) The Revolution also has a star on the mural, to the immediate right of Prince's. Originally painted silver like the other stars on the mural, Prince's star was repainted in gold leaf during the night of May 4, 2016, about two weeks after Prince's death. [467] (#cite_note-StarTribune2016goldstar-467) Originally anonymous, the artist was revealed a few months later to be graphic designer and graffiti artist Peyton Russell, who had worked for Prince at his club Glam Slam in the 1990s and wanted to pay tribute. [468] (#cite_note-MSPMag2016-468) Discography Main articles: Prince albums discography (/wiki/Prince_albums_discography) , Prince singles discography (/wiki/Prince_singles_discography) , New Power Generation (/wiki/New_Power_Generation) , and Madhouse (/wiki/Madhouse_(band)) See also: Albums produced by Prince (/wiki/Category:Albums_produced_by_Prince_(musician)) and songs written by Prince (/wiki/Category:Songs_written_by_Prince_(musician)) For You (/wiki/For_You_(Prince_album)) (1978) Prince (/wiki/Prince_(album)) (1979) Dirty Mind (/wiki/Dirty_Mind) (1980) Controversy (/wiki/Controversy_(Prince_album)) (1981) 1999 (/wiki/1999_(Prince_album)) (1982) Purple Rain (/wiki/Purple_Rain_(album)) (1984) Around the World in a Day (/wiki/Around_the_World_in_a_Day) (1985) Parade (/wiki/Parade_(Prince_album)) (1986) Sign o' the Times (/wiki/Sign_o%27_the_Times) (1987) Lovesexy (/wiki/Lovesexy) (1988) Batman (/wiki/Batman_(album)) (1989) Graffiti Bridge (/wiki/Graffiti_Bridge_(album)) (1990) Diamonds and Pearls (/wiki/Diamonds_and_Pearls) (1991) Love Symbol Album (/wiki/Love_Symbol_Album) (1992) Come (/wiki/Come_(Prince_album)) (1994) The Black Album (/wiki/The_Black_Album_(Prince_album)) (1994 [a] (#cite_note-470) ) The Gold Experience (/wiki/The_Gold_Experience) (1995) Chaos and Disorder (/wiki/Chaos_and_Disorder) (1996) Emancipation (/wiki/Emancipation_(Prince_album)) (1996) Crystal Ball (/wiki/Crystal_Ball_(box_set)#Crystal_Ball) (1998) The Truth (/wiki/The_Truth_(Prince_album)) (1998) The Vault: Old Friends 4 Sale (/wiki/The_Vault:_Old_Friends_4_Sale) (1999) Rave Un2 the Joy Fantastic (/wiki/Rave_Un2_the_Joy_Fantastic) (1999) The Rainbow Children (/wiki/The_Rainbow_Children) (2001) One Nite Alone... (/wiki/One_Nite_Alone...) (2002) Xpectation (/wiki/Xpectation) (2003) N·E·W·S (/wiki/N%C2%B7E%C2%B7W%C2%B7S_(Prince_album)) (2003) Musicology (/wiki/Musicology_(album)) (2004) The Chocolate Invasion (/wiki/The_Chocolate_Invasion) (2004) The Slaughterhouse (/wiki/The_Slaughterhouse) (2004) 3121 (/wiki/3121) (2006) Planet Earth (/wiki/Planet_Earth_(Prince_album)) (2007) Lotusflow3r (/wiki/Lotusflow3r_(album_set)) (2009) MPLSound (/wiki/Lotusflow3r_(album_set)) (2009) 20Ten (/wiki/20Ten) (2010) Plectrumelectrum (/wiki/Plectrumelectrum) (2014) Art Official Age (/wiki/Art_Official_Age) (2014) HITnRUN Phase One (/wiki/Hit_n_Run_Phase_One) (2015) HITnRUN Phase Two (/wiki/Hit_n_Run_Phase_Two) (2015) Posthumous releases (excluding compilations and reissues): Piano and a Microphone 1983 (/wiki/Piano_and_a_Microphone_1983) (2018) Originals (/wiki/Originals_(Prince_album)) (2019) Welcome 2 America (/wiki/Welcome_2_America) (2021) Prince also released two albums credited to Madhouse (/wiki/Madhouse_(band)) , three albums credited to the New Power Generation (/wiki/New_Power_Generation) , and one credited to the NPG Orchestra: Madhouse (/wiki/Madhouse_(band)) : 8 (/wiki/Madhouse_(band)#Discography) (1987) 16 (/wiki/Madhouse_(band)#Discography) (1987) The New Power Generation (/wiki/New_Power_Generation) : Gold Nigga (/wiki/Gold_Nigga) (1993) Exodus (/wiki/Exodus_(New_Power_Generation_album)) (1995) Newpower Soul (/wiki/Newpower_Soul) (1998) NPG Orchestra: Kamasutra (/wiki/Kamasutra_(Prince_song)) (1997) Filmography Main article: Prince videography (/wiki/Prince_videography) Film Year Film Role Director 1984 Purple Rain (/wiki/Purple_Rain_(film)) The Kid Albert Magnoli (/wiki/Albert_Magnoli) 1986 Under the Cherry Moon (/wiki/Under_the_Cherry_Moon) Christopher Tracy Prince 1987 Sign o' the Times (/wiki/Sign_o%27_the_Times_(film)) Himself Prince 1990 Graffiti Bridge (/wiki/Graffiti_Bridge_(film)) The Kid Prince 1994 3 Chains o' Gold (/wiki/3_Chains_o%27_Gold) Himself Prince Television Year Show Role Notes 1997 Muppets Tonight (/wiki/Muppets_Tonight) Himself Episode 11 2014 New Girl (/wiki/New_Girl) Himself Episode: " Prince (/wiki/Prince_(New_Girl)) " 2020 Let's Go Crazy: Grammy Salute to Prince Himself (archive footage) Tours Prince Tour (1979–1980) Dirty Mind Tour (1980–1981) Controversy Tour (/wiki/Controversy_Tour) (1981–1982) 1999 Tour (1982–1983) Purple Rain Tour (/wiki/Purple_Rain_Tour) (1984–1985) Parade Tour (/wiki/Parade_Tour) (1986) Sign o' the Times Tour (1987) Lovesexy Tour (1988–1989) Nude Tour (/wiki/Nude_Tour) (1990) Diamonds and Pearls Tour (/wiki/Diamonds_and_Pearls_Tour) (1992) Act I and II (1993) Interactive Tour (1994) The Ultimate Live Experience (/wiki/The_Ultimate_Live_Experience) (1995) Gold Tour (/wiki/The_Ultimate_Live_Experience) (1996) Love 4 One Another Charities Tour (/wiki/Jam_of_the_Year_World_Tour) (1997) Jam of the Year World Tour (/wiki/Jam_of_the_Year_World_Tour) (1997–1998) New Power Soul Tour/Festival (1998) Hit n Run Tour (2000–2001) A Celebration (2001) One Nite Alone... Tour (2002) 2003–2004 World Tour (2003–2004) Musicology Live 2004ever (/wiki/Musicology_Live_2004ever) (2004) Per4ming Live 3121 (2006–2007) Earth Tour (/wiki/The_Earth_Tour:_21_Nights_in_London) (2007) 20Ten Tour (/wiki/Prince_20Ten) (2010) Welcome 2 (/wiki/Welcome_2) (2010–2012) Live Out Loud Tour (2013) Hit and Run Tour (/wiki/Hit_and_Run_Tour_(2014)) (2014–2015) Piano & a Microphone Tour (/wiki/Piano_%26_a_Microphone_Tour) (2016) Books Prince; Gydesen, Terry (1994). Prince Presents: The Sacrifice of Victor . Minnesota: Paisley Park Enterprises. ISBN (/wiki/ISBN_(identifier)) 9780967850115 . OCLC (/wiki/OCLC_(identifier)) 34307402 (https://www.worldcat.org/oclc/34307402) . Prince; Piepenbring, Dan (2019). The Beautiful Ones . New York: Spiegel & Grau. ISBN (/wiki/ISBN_(identifier)) 9780399589652 . OCLC (/wiki/OCLC_(identifier)) 1117550641 (https://www.worldcat.org/oclc/1117550641) . See also List of bestselling music artists (/wiki/List_of_bestselling_music_artists) List of highest-certified music artists in the United States (/wiki/List_of_highest-certified_music_artists_in_the_United_States) List of dancers (/wiki/List_of_dancers) Unreleased Prince projects (/wiki/Unreleased_Prince_projects) List of artists who reached number one in the United States (/wiki/List_of_artists_who_reached_number_one_in_the_United_States) Notes ^ (#cite_ref-470) The Black Album was meant to be released in 1987, yet was canceled after Prince had a bad experience with ecstasy (/wiki/MDMA) . [469] (#cite_note-black_album-469) References ^ (#cite_ref-Brown-obit_1-0) Brown, August; Rottenberg, Josh (April 21, 2016). "Prince, master of rock, soul, pop and funk, dies at 57" (https://www.latimes.com/local/obituaries/la-me-prince-20160421-story.html) . Los Angeles Times (/wiki/Los_Angeles_Times) . Archived (https://web.archive.org/web/20220315020756/https://www.latimes.com/local/obituaries/la-me-prince-20160421-story.html) from the original on March 15, 2022 . Retrieved March 15, 2022 . ^ Jump up to: a b Brown, August (April 25, 2016). "Prince album sales skyrocket after death" (https://latimes.com/entertainment/music/posts/la-et-ms-prince-album-sales-skyrocket-after-death-20160425-story.html) . Los Angeles Times . Archived (https://web.archive.org/web/20160426180517/http://www.latimes.com/entertainment/music/posts/la-et-ms-prince-album-sales-skyrocket-after-death-20160425-story.html) from the original on April 26, 2016 . Retrieved April 26, 2016 . ^ (#cite_ref-3) Barclay, Michael (April 21, 2016). "How Prince, rock's effortlessly dangerous superstar, changed the game" (https://macleans.ca/culture/arts/how-prince-rock-musics-effortlessly-dangerous-superstar-changed-the-game/) . Maclean's (/wiki/Maclean%27s) . Archived (https://web.archive.org/web/20240219211302/https://macleans.ca/culture/arts/how-prince-rock-musics-effortlessly-dangerous-superstar-changed-the-game/) from the original on February 19, 2024 . Retrieved February 19, 2024 . ^ (#cite_ref-4) "Prince: A genre-defying master architect of funk, rock, R&B and pop" (https://www.irishtimes.com/life-and-style/people/prince-a-genre-defying-master-architect-of-funk-rock-r-b-and-pop-1.2620742) . The Irish Times (/wiki/The_Irish_Times) . April 23, 2016. Archived (https://web.archive.org/web/20230407003657/https://www.irishtimes.com/life-and-style/people/prince-a-genre-defying-master-architect-of-funk-rock-r-b-and-pop-1.2620742) from the original on April 7, 2023 . Retrieved March 15, 2022 . ^ (#cite_ref-5) "Neo-Psychedelia" (http://www.allmusic.com/style/neo-psychedelia-ma0000012252) . AllMusic (/wiki/AllMusic) . Archived (https://web.archive.org/web/20130218023335/http://www.allmusic.com/style/neo-psychedelia-ma0000012252) from the original on February 18, 2013 . Retrieved December 30, 2023 . ^ Jump up to: a b Himes, Geoffrey (/wiki/Geoffrey_Himes) (October 31, 2013). "The Curmudgeon: Black Bohemian Music from Sly to Prince to Janelle Monáe" (https://web.archive.org/web/20200807014508/https://www.pastemagazine.com/music/janelle-mon-e/the-curmudgeon-black-bohemian-music-from-sly-to-pr/) . Paste (/wiki/Paste_(magazine)) . Archived from the original (https://www.pastemagazine.com/music/janelle-mon-e/the-curmudgeon-black-bohemian-music-from-sly-to-pr/) on August 7, 2020 . Retrieved March 15, 2022 . ^ Jump up to: a b "Prince Tribute: The Greatest Musical Talent of His Generation" (https://www.billboard.com/articles/news/magazine-feature/7348527/prince-tribute-greatest-musical-talent-of-his-generation) . Billboard . April 28, 2016. Archived (https://web.archive.org/web/20200423184043/https://www.billboard.com/articles/news/magazine-feature/7348527/prince-tribute-greatest-musical-talent-of-his-generation) from the original on April 23, 2020 . Retrieved March 17, 2020 . ^ (#cite_ref-8) "In Prince, an icon who defied easy categorization" (https://www.csmonitor.com/USA/Society/2016/0422/In-Prince-an-icon-who-defied-easy-categorization) . The Christian Science Monitor . April 22, 2016. ISSN (/wiki/ISSN_(identifier)) 0882-7729 (https://www.worldcat.org/issn/0882-7729) . Archived (https://web.archive.org/web/20210507122335/https://www.csmonitor.com/USA/Society/2016/0422/In-Prince-an-icon-who-defied-easy-categorization) from the original on May 7, 2021 . Retrieved May 6, 2021 . ^ (#cite_ref-9) Schonfeld, Zach (June 7, 2015). "Prince's 30 Best Screams, Ranked" (https://www.newsweek.com/princes-best-screams-ranked-340212) . Newsweek . Archived (https://web.archive.org/web/20210507122042/https://www.newsweek.com/princes-best-screams-ranked-340212) from the original on May 7, 2021 . Retrieved May 6, 2021 . ^ (#cite_ref-:2_10-0) Campbell, Michael (2008). Popular Music in America: The Beat Goes On . Cengage Learning, 2008. p. 300. ISBN (/wiki/ISBN_(identifier)) 978-0-495-50530-3 . ^ (#cite_ref-11) Caulfield, Keith; Trust, Gary (April 22, 2016). "Chart Royalty: Prince's Hot 100 & Billboard 200 Highlights" (https://www.billboard.com/articles/columns/chart-beat/7341617/princes-hot-100-billboard-200-highlights) . Billboard . Archived (https://web.archive.org/web/20170213010952/http://www.billboard.com/articles/columns/chart-beat/7341617/princes-hot-100-billboard-200-highlights) from the original on February 13, 2017 . Retrieved February 12, 2017 . ^ (#cite_ref-Rockhall_12-0) "Prince" (https://web.archive.org/web/20090803125236/http://www.rockhall.com/inductee/prince) . Rockhall . 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Retrieved October 14, 2023 . ^ (#cite_ref-:3_458-0) * "Prince – Past Grammy Awards" (https://www.google.co.uk/search?q=Prince+Grammy+Awards&oq=Prince+Grammy+Awards&gs_l=psy-ab.3..35i39k1j0i67k1j0j0i22i30k1l7.6338.6338.0.6633.1.1.0.0.0.0.83.83.1.1.0....0...1.1.64.psy-ab..0.1.82....0.6IJlA1fzRdQ) . Google.co.uk . "History" (https://web.archive.org/web/20190803104934/https://www.brits.co.uk/history/shows/1992) . BRIT Awards . Archived from the original (https://www.brits.co.uk/history/shows/1992) on August 3, 2019 . Retrieved June 10, 2019 . "Prince, American Music Awards" (https://www.google.co.uk/search?q=prince%2C+american+music+awards&oq=prince%2C+american+music+awards&aqs=chrome..69i57j0l5.3039j0j7) . Makitalo, Georgia (August 30, 2016). "MTV VMAs: Why Was There No Prince Or David Bowie Tribute?" (https://www.inquisitr.com/3463769/mtv-vmas-why-was-there-no-prince-or-david-bowie-tributes/) . www.inquisitr.com . Retrieved June 10, 2019 . 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"A Fountain of Youth at the American Music Awards : Pop Music: Milli Vanilli, New Kids on the Block, Bobby Brown, Paula Abdul and Janet Jackson win a popularity contest" (https://www.latimes.com/archives/la-xpm-1990-01-24-ca-550-story.html) . Los Angeles Times . Retrieved November 24, 2019 . ^ (#cite_ref-461) "Prince to Be Honored at Billboard Music Awards on May 19" (https://www.billboard.com/articles/events/bbma-2013/1510642/prince-to-be-honored-at-billboard-music-awards-on-may-19) . Billboard . Retrieved November 24, 2019 . ^ (#cite_ref-462) "Prince's Awards – Grammys, Brit Awards" (https://goldiesparade.co.uk/prince-awards/) . Goldies Parade . Retrieved November 24, 2019 . ^ (#cite_ref-Chow_463-0) Chow, Andrew R. (December 11, 2019). "See the 25 New Additions to the National Film Registry, From Purple Rain to Clerks" (https://time.com/5747503/national-film-registry-2019-additions/) . Time . New York, NY . Retrieved December 11, 2019 . ^ (#cite_ref-FirstAveStars_464-0) "The Stars" (https://web.archive.org/web/20200418135117/https://first-avenue.com/about/thestars) . First Avenue & 7th Street Entry . Archived from the original (http://first-avenue.com/about/thestars) on April 18, 2020 . Retrieved May 10, 2020 . ^ (#cite_ref-StarTribune2019_465-0) Bream, Jon (May 3, 2019). "10 things you'll learn about First Avenue in new Minnesota History Center show" (https://www.startribune.com/10-things-you-ll-learn-about-first-avenue-in-new-minnesota-history-center-show/509374312/) . Star Tribune (/wiki/Star_Tribune) . Minneapolis-St. Paul, Minnesota . Retrieved May 10, 2020 . ^ (#cite_ref-MSPMag2019_466-0) Marsh, Steve (May 13, 2019). "First Avenue's Star Wall" (http://mspmag.com/arts-and-culture/first-avenue-star-wall/) . Mpls.St.Paul Magazine . Minneapolis-St. Paul, Minnesota . Retrieved May 10, 2020 . ^ (#cite_ref-StarTribune2016goldstar_467-0) Farniok, Ben (May 5, 2016). "Prince gets a gold star at First Ave" (https://web.archive.org/web/20201027071344/https://www.startribune.com/prince-gets-a-gold-star-at-first-ave/378281421/) . Star Tribune (/wiki/Star_Tribune) . Minneapolis-St. Paul (/wiki/Minneapolis-St._Paul) . Archived from the original (https://www.startribune.com/prince-gets-a-gold-star-at-first-ave/378281421/) on October 27, 2020 . Retrieved May 26, 2020 . ^ (#cite_ref-MSPMag2016_468-0) Wood, Drew (December 5, 2016). "The Man Who Made It Gold" (http://mspmag.com/arts-and-culture/the-man-who-made-it-gold/) . Mpls.St.Paul Magazine . Minneapolis-St. Paul, Minnesota . Retrieved May 29, 2020 . ^ (#cite_ref-black_album_469-0) Price, Simon (March 24, 2016). "Battle Of The Black Album: Jay-Z vs Metallica vs Prince" (http://thequietus.com/articles/19922-metallica-jay-z-prince-black-album) . The Quietus (/wiki/The_Quietus) . Retrieved February 2, 2017 . Sources Austen, Jake (2005). TV-a-Go-Go: Rock on TV From American Bandstand to American Idol . Chicago Review Press (/wiki/Chicago_Review_Press) . ISBN (/wiki/ISBN_(identifier)) 1556525729 . Bream, Jon (1984). Prince: Inside the Purple Reign . Macmillan Publishing. ISBN (/wiki/ISBN_(identifier)) 9780020604105 . Buckley, Peter (2003). The Rough Guide to Rock . Rough Guides Ltd. ISBN (/wiki/ISBN_(identifier)) 978-1-84353-105-0 . Cashmore, Ellis (1997). The Black Culture Industry . London: Routledge. ISBN (/wiki/ISBN_(identifier)) 978-0415120821 . Cole, George (2005). The Last Miles: The Music of Miles Davis, 1980–1991 . Ann Arbor, Michigan (/wiki/Ann_Arbor,_Michigan) : University of Michigan Press (/wiki/University_of_Michigan_Press) . ISBN (/wiki/ISBN_(identifier)) 978-0472032600 . Corson, Keith (2016). Trying to Get Over: African American Directors after Blaxploitation, 1977-1986 . Austin, Texas (/wiki/Austin,_Texas) : University of Texas Press (/wiki/University_of_Texas_Press) . ISBN (/wiki/ISBN_(identifier)) 978-1477309087 . Draper, Jason (2011). Prince: Chaos, Disorder, and Revolution . Milwaukee, Wisconsin: Backbeat Books (/wiki/Hal_Leonard_Corporation) . ISBN (/wiki/ISBN_(identifier)) 9780879309619 . Draper, Jason (2008). Prince: Life & Times . Jawbone Press. ISBN (/wiki/ISBN_(identifier)) 978-1-906002-18-3 . Gregory, Hugh (1995). Soul Music A–Z . Da Capo Press (/wiki/Da_Capo_Press) . ISBN (/wiki/ISBN_(identifier)) 9780306806438 . Gulla, Bob (2008). Icons of R&B and Soul: An Encyclopedia of the Artists who Revolutionized Rhythm . Vol. 2. Greenwood Publishing (/wiki/Greenwood_Publishing) . ISBN (/wiki/ISBN_(identifier)) 978-0-313-34046-8 . Hahn, Alex (2004). Possessed: The Rise And Fall Of Prince . Billboard Books. ISBN (/wiki/ISBN_(identifier)) 0-8230-7749-7 . Hawkins, Stan; Niblock, Sarah (2012). Prince: The Making of a Pop Music Phenomenon . Abingdon-on-Thames, UK: Routledge. ISBN (/wiki/ISBN_(identifier)) 9780754668763 . Heatley, Michael (/wiki/Michael_Heatley) (2008). Where Were You... When the Music Played? 120 Unforgettable Moments in Music History . Penguin Books (/wiki/Penguin_Books) . ISBN (/wiki/ISBN_(identifier)) 978-0-7621-0988-3 . Hill, Dave (1989). Prince: A Pop Life . Harmony Books. ISBN (/wiki/ISBN_(identifier)) 9780517572825 . Lavezzoli, Peter (2001). The King of All, Sir Duke: Ellington and the Artistic Revolution . New York: Continuum (/wiki/Continuum_International_Publishing_Group) . ISBN (/wiki/ISBN_(identifier)) 978-0826414045 . Light, Alan (/wiki/Alan_Light) (2014). Let's Go Crazy: Prince and the Making of Purple Rain (2015 reprint ed.). Atria Books (/wiki/Simon_%26_Schuster) . ISBN (/wiki/ISBN_(identifier)) 978-1476776750 . Matos, Michelangelo (2004). Prince's Sign O' the Times . 33 1/3. New York: Continuum (/wiki/Continuum_International_Publishing_Group) . ISBN (/wiki/ISBN_(identifier)) 9781441141767 . Moskowitz, David V. (2015). "Prince and the Revolution (1979–1986)" (https://books.google.com/books?id=8XG9CgAAQBAJ&pg=PA483) . In Moskowitz, David V. (ed.). The 100 Greatest Bands of All Time: A Guide to the Legends Who Rocked the World . Vol. 2. Santa Barbara, California: Greenwood Press (/wiki/Greenwood_Press) . ISBN (/wiki/ISBN_(identifier)) 978-1440803390 . Nilsen, Per (2003). Dance Music Sex Romance: Prince: The First Decade . SAF. ISBN (/wiki/ISBN_(identifier)) 0-946719-64-0 . Perone, James E. (2006). The Sound of Stevie Wonder: His Words and Music . Praeger Publishers (/wiki/Greenwood_Publishing_Group) . ISBN (/wiki/ISBN_(identifier)) 0-275-98723-X . Reynolds, Simon (/wiki/Simon_Reynolds) (1990). Blissed Out: The Raptures of Rock . Serpent's Tail (/wiki/Serpent%27s_Tail) . ISBN (/wiki/ISBN_(identifier)) 1-85242-199-1 . Ro, Ronin (2011). Prince: Inside the Music and the Masks . St. Martin's Press (/wiki/St._Martin%27s_Press) . ISBN (/wiki/ISBN_(identifier)) 978-0-312-38300-8 . Touré (/wiki/Tour%C3%A9_(journalist)) (2013). I Would Die 4 U: Why Prince Became an Icon . New York: Atria Books (/wiki/Simon_%26_Schuster) . ISBN (/wiki/ISBN_(identifier)) 978-1476705491 . Uptown (2004). The Vault – The Definitive Guide to the Musical World of Prince . Nilsen Publishing. ISBN (/wiki/ISBN_(identifier)) 91-631-5482-X . Werner, Craig (2006). A Change is Gonna Come: Music, Race & the Soul of America . Ann Arbor, Michigan (/wiki/Ann_Arbor,_Michigan) : University of Michigan Press (/wiki/University_of_Michigan_Press) . ISBN (/wiki/ISBN_(identifier)) 0-472-03147-3 . White, Charles (2003). The Life and Times of Little Richard: The Authorized Press . Omnibus Press. ISBN (/wiki/ISBN_(identifier)) 0-306-80552-9 . Further reading Browne, David (May 5, 2016). "Prince in the Nineties: An Oral History" (https://www.rollingstone.com/music/music-news/prince-in-the-nineties-an-oral-history-40501/) . Rolling Stone . Retrieved October 1, 2023 . Jones, Liz (1998). Purple Reign: The Artist Formerly Known as Prince . Secaucus, N.J.: Birch Lane Press. ISBN (/wiki/ISBN_(identifier)) 978-1-55972-448-7 . OCLC (/wiki/OCLC_(identifier)) 632309219 (https://www.worldcat.org/oclc/632309219) . Ro, Ronin (2016). Prince: Inside the Music and the Masks . New York: St. Martin's Press. ISBN (/wiki/ISBN_(identifier)) 978-1-250-12754-9 . OCLC (/wiki/OCLC_(identifier)) 1054996845 (https://www.worldcat.org/oclc/1054996845) . Wall, Mick (2016). Prince: Purple Reign . London: Trapeze. ISBN (/wiki/ISBN_(identifier)) 9781409169208 . OCLC (/wiki/OCLC_(identifier)) 1064253410 (https://www.worldcat.org/oclc/1064253410) . External links Prince at Wikipedia's sister projects Media (https://commons.wikimedia.org/wiki/Category:Prince_(musician)) from Commons Quotations (https://en.wikiquote.org/wiki/Prince_(musician)) from Wikiquote Data (https://www.wikidata.org/wiki/Q7542) from Wikidata Official website (https://prince.com/) Prince (https://www.imdb.com/name/nm0002239/) at IMDb (/wiki/IMDb_(identifier)) Prince (https://www.allmusic.com/artist/p5182) at AllMusic (/wiki/AllMusic_(identifier)) Prince (https://www.billboard.com/artist/prince/chart-history/) at Billboard.com (/wiki/Billboard.com) Performance at Rock and Roll Hall of Fame (https://www.youtube.com/watch?v=6SFNW5F8K9Y) at his induction in 2004 v t e Prince Albums discography (/wiki/Prince_albums_discography) Singles discography (/wiki/Prince_singles_discography) Videography (/wiki/Prince_videography) Unreleased projects (/wiki/Unreleased_Prince_projects) Awards and nominations (/wiki/List_of_awards_and_nominations_received_by_Prince) Associates (/wiki/Prince_associates) Concerts Controversy Tour (/wiki/Controversy_Tour) Purple Rain Tour (/wiki/Purple_Rain_Tour) Parade Tour (/wiki/Parade_Tour) Nude Tour (/wiki/Nude_Tour) Diamonds and Pearls Tour (/wiki/Diamonds_and_Pearls_Tour) The Ultimate Live Experience (/wiki/The_Ultimate_Live_Experience) Jam of the Year World Tour (/wiki/Jam_of_the_Year_World_Tour) Musicology Live 2004ever (/wiki/Musicology_Live_2004ever) The Earth Tour: 21 Nights in London (/wiki/The_Earth_Tour:_21_Nights_in_London) Super Bowl XLI halftime show (/wiki/Super_Bowl_XLI_halftime_show) 20Ten Tour (/wiki/Prince_20Ten) Welcome 2 (/wiki/Welcome_2) Hit and Run Tour (/wiki/Hit_and_Run_Tour_(2014)) Piano & a Microphone Tour (/wiki/Piano_%26_a_Microphone_Tour) Filmography (/wiki/Prince_videography) Purple Rain (/wiki/Purple_Rain_(film)) Under the Cherry Moon (/wiki/Under_the_Cherry_Moon) Sign o' the Times (/wiki/Sign_o%27_the_Times_(film)) Graffiti Bridge (/wiki/Graffiti_Bridge_(film)) Videography (/wiki/Prince_videography) Prince and the Revolution: Live (/wiki/Prince_and_the_Revolution:_Live) Diamonds and Pearls Video Collection (/wiki/Diamonds_and_Pearls_Video_Collection) The Hits Collection (/wiki/The_Hits_Collection_(video)) 3 Chains o' Gold (/wiki/3_Chains_o%27_Gold) Rave Un2 the Year 2000 (/wiki/Rave_Un2_the_Year_2000) Live at the Aladdin Las Vegas (/wiki/Live_at_the_Aladdin_Las_Vegas) Software Prince Interactive (/wiki/Prince_Interactive) Stage productions Glam Slam Ulysses (/wiki/Glam_Slam_Ulysses) Billboards (/wiki/Billboards_(ballet)) Associated companies Paisley Park Records (/wiki/Paisley_Park_Records) NPG Records (/wiki/NPG_Records) Associated artists and bands The Time (/wiki/The_Time_(band)) Vanity 6 (/wiki/Vanity_6) Dez Dickerson (/wiki/Dez_Dickerson) The Revolution (/wiki/The_Revolution_(band)) Sheila E. (/wiki/Sheila_E.) Apollonia 6 (/wiki/Apollonia_6) Clare Fischer (/wiki/Clare_Fischer) The Family (/wiki/The_Family_(band)) Mazarati (/wiki/Mazarati) 94 East (/wiki/94_East) Madhouse (/wiki/Madhouse_(band)) Jill Jones (/wiki/Jill_Jones) Eric Leeds (/wiki/Eric_Leeds) The New Power Generation (/wiki/The_New_Power_Generation) Carmen Electra (/wiki/Carmen_Electra) 3rdeyegirl (/wiki/3rdeyegirl) Family Mayte Garcia (/wiki/Mayte_Garcia) (first wife) Manuela Testolini (#Personal_life) (second wife) John L. Nelson (/wiki/John_L._Nelson) (father) Tyka Nelson (/wiki/Tyka_Nelson) (sister) Related NPG Music Club (/wiki/NPG_Music_Club) Minneapolis sound (/wiki/Minneapolis_sound) Purplish Rain (/wiki/Purplish_Rain) v t e Prince albums (/wiki/Prince_albums_discography) Studio albums For You (/wiki/For_You_(Prince_album)) Prince (/wiki/Prince_(album)) Dirty Mind (/wiki/Dirty_Mind) Controversy (/wiki/Controversy_(Prince_album)) 1999 (/wiki/1999_(Prince_album)) Purple Rain (/wiki/Purple_Rain_(album)) Around the World in a Day (/wiki/Around_the_World_in_a_Day) Parade (/wiki/Parade_(Prince_album)) Sign o' the Times (/wiki/Sign_o%27_the_Times) Lovesexy (/wiki/Lovesexy) Batman (/wiki/Batman_(album)) Graffiti Bridge (/wiki/Graffiti_Bridge_(album)) Diamonds and Pearls (/wiki/Diamonds_and_Pearls) Love Symbol (/wiki/Love_Symbol) Come (/wiki/Come_(album)) The Black Album (/wiki/The_Black_Album_(Prince_album)) The Gold Experience (/wiki/The_Gold_Experience) Chaos and Disorder (/wiki/Chaos_and_Disorder) Emancipation (/wiki/Emancipation_(Prince_album)) Crystal Ball (/wiki/Crystal_Ball_(box_set)) The Truth (/wiki/Crystal_Ball_(box_set)#The_Truth) The Vault: Old Friends 4 Sale (/wiki/The_Vault:_Old_Friends_4_Sale) Rave Un2 the Joy Fantastic (/wiki/Rave_Un2_the_Joy_Fantastic) The Rainbow Children (/wiki/The_Rainbow_Children) One Nite Alone... (/wiki/One_Nite_Alone...) Xpectation (/wiki/Xpectation) N·E·W·S (/wiki/N%C2%B7E%C2%B7W%C2%B7S_(Prince_album)) Musicology (/wiki/Musicology_(album)) The Chocolate Invasion (/wiki/The_Chocolate_Invasion) The Slaughterhouse (/wiki/The_Slaughterhouse) 3121 (/wiki/3121) Planet Earth (/wiki/Planet_Earth_(Prince_album)) Lotusflow3r (/wiki/Lotusflow3r) MPLSound (/wiki/Lotusflow3r#MPLSound) 20Ten (/wiki/20Ten) Plectrumelectrum (/wiki/Plectrumelectrum) Art Official Age (/wiki/Art_Official_Age) Hit n Run Phase One (/wiki/Hit_n_Run_Phase_One) Hit n Run Phase Two (/wiki/Hit_n_Run_Phase_Two) Posthumous albums Welcome 2 America (/wiki/Welcome_2_America) † Demo albums Piano and a Microphone 1983 (/wiki/Piano_and_a_Microphone_1983) † Originals (/wiki/Originals_(Prince_album)) † Live albums One Nite Alone... Live! (/wiki/One_Nite_Alone..._Live!) C-Note (/wiki/C-Note_(album)) Indigo Nights (/wiki/Indigo_Nights) Prince and the Revolution: Live (/wiki/Prince_and_the_Revolution:_Live) † Remix albums Rave In2 the Joy Fantastic (/wiki/Rave_In2_the_Joy_Fantastic) Compilation albums The Hits/The B-Sides (/wiki/The_Hits/The_B-Sides) Girl 6 (/wiki/Girl_6_(album)) The Very Best of Prince (/wiki/The_Very_Best_of_Prince) Ultimate Prince (/wiki/Ultimate_Prince) 4Ever (/wiki/4Ever_(album)) † Anthology: 1995–2010 (/wiki/Anthology:_1995%E2%80%932010) † The NPG albums Gold Nigga (/wiki/Gold_Nigga) Exodus (/wiki/Exodus_(New_Power_Generation_album)) Newpower Soul (/wiki/Newpower_Soul) The NPG Orchestra albums Kamasutra (/wiki/Crystal_Ball_(box_set)#Kamasutra) Mixtapes The Versace Experience: Prelude 2 Gold (/wiki/The_Versace_Experience:_Prelude_2_Gold) Unreleased albums Camille (/wiki/Camille_(album)) Crystal Ball (/wiki/Crystal_Ball_(unreleased_album)) Dream Factory (/wiki/Dream_Factory_(album)) Other unreleased projects (/wiki/Unreleased_Prince_projects) †Released posthumously v t e Prince singles (/wiki/Prince_singles_discography) 1970s " Soft and Wet (/wiki/Soft_and_Wet) " " Just as Long as We're Together (/wiki/Just_as_Long_as_We%27re_Together) " " I Wanna Be Your Lover (/wiki/I_Wanna_Be_Your_Lover) " 1980s " Why You Wanna Treat Me So Bad? (/wiki/Why_You_Wanna_Treat_Me_So_Bad%3F) " " Still Waiting (/wiki/Still_Waiting_(Prince_song)) " " Sexy Dancer (/wiki/Sexy_Dancer) " " Uptown (/wiki/Uptown_(Prince_song)) " " Dirty Mind (/wiki/Dirty_Mind_(Prince_song)) " " Do It All Night (/wiki/Do_It_All_Night_(Prince_song)) " " Gotta Stop (Messin' About) (/wiki/Gotta_Stop_(Messin%27_About)) " " Controversy (/wiki/Controversy_(song)) " " Let's Work (/wiki/Let%27s_Work) " " Do Me, Baby (/wiki/Do_Me,_Baby) " " 1999 (/wiki/1999_(Prince_song)) " " Little Red Corvette (/wiki/Little_Red_Corvette) " " Delirious (/wiki/Delirious_(Prince_song)) " " Let's Pretend We're Married (/wiki/Let%27s_Pretend_We%27re_Married) " " When Doves Cry (/wiki/When_Doves_Cry) " " Let's Go Crazy (/wiki/Let%27s_Go_Crazy) " " Purple Rain (/wiki/Purple_Rain_(song)) " " I Would Die 4 U (/wiki/I_Would_Die_4_U) " " Take Me with U (/wiki/Take_Me_with_U) " " Paisley Park (/wiki/Paisley_Park_(song)) " " Raspberry Beret (/wiki/Raspberry_Beret) " " Pop Life (/wiki/Pop_Life_(Prince_song)) " " America (/wiki/America_(Prince_song)) " " Kiss (/wiki/Kiss_(Prince_song)) " " Mountains (/wiki/Mountains_(Prince_song)) " " Anotherloverholenyohead (/wiki/Anotherloverholenyohead) " " Girls & Boys (/wiki/Girls_%26_Boys_(Prince_song)) " " Sign "O" the Times (/wiki/Sign_o%27_the_Times_(song)) " " If I Was Your Girlfriend (/wiki/If_I_Was_Your_Girlfriend) " " U Got the Look (/wiki/U_Got_the_Look) " " I Could Never Take the Place of Your Man (/wiki/I_Could_Never_Take_the_Place_of_Your_Man) " " Alphabet St. (/wiki/Alphabet_St.) " " Glam Slam (/wiki/Glam_Slam) " " I Wish U Heaven (/wiki/I_Wish_U_Heaven) " " Batdance (/wiki/Batdance) " " Partyman (/wiki/Partyman) " " The Arms of Orion (/wiki/The_Arms_of_Orion) " " Scandalous! (/wiki/Scandalous!) " 1990s " The Future (/wiki/The_Future_(song)) " " Thieves in the Temple (/wiki/Thieves_in_the_Temple) " " New Power Generation (/wiki/New_Power_Generation_(song)) " " Gett Off (/wiki/Gett_Off) " " Cream (/wiki/Cream_(Prince_song)) " " Diamonds and Pearls (/wiki/Diamonds_and_Pearls_(song)) " " Money Don't Matter 2 Night (/wiki/Money_Don%27t_Matter_2_Night) " " Insatiable (/wiki/Insatiable_(Prince_song)) " " Thunder (/wiki/Thunder_(Prince_song)) " " Sexy MF (/wiki/Sexy_MF) " " My Name Is Prince (/wiki/My_Name_Is_Prince) " " 7 (/wiki/7_(Prince_song)) " " Damn U (/wiki/Damn_U) " " The Morning Papers (/wiki/The_Morning_Papers) " " Pink Cashmere (/wiki/Pink_Cashmere) " " Nothing Compares 2 U (/wiki/Nothing_Compares_2_U) " " Peach (/wiki/Peach_(Prince_song)) " " The Most Beautiful Girl in the World (/wiki/The_Most_Beautiful_Girl_in_the_World_(Prince_song)) " " Letitgo (/wiki/Letitgo) " " Space (/wiki/Space_(Prince_song)) " " Purple Medley (/wiki/Purple_Medley) " " I Hate U (/wiki/I_Hate_U_(Prince_song)) " " Gold (/wiki/Gold_(Prince_song)) " " Dinner with Delores (/wiki/Dinner_with_Delores) " " Betcha by Golly Wow! (/wiki/Betcha_by_Golly,_Wow) " " The Holy River (/wiki/The_Holy_River) " " The Truth (/wiki/The_Truth_(Prince_song)) " " The Greatest Romance Ever Sold (/wiki/The_Greatest_Romance_Ever_Sold) " 2000s " U Make My Sun Shine (/wiki/U_Make_My_Sun_Shine) " (with Angie Stone (/wiki/Angie_Stone) ) " When Will We B Paid? (/wiki/U_Make_My_Sun_Shine) " (with Audio Stepchild) " Supercute (/wiki/Supercute) " " The Work, pt. 1 (/wiki/The_Work,_pt._1) " " Days of Wild (/wiki/Days_of_Wild) " " Controversy (Live in Hawaii) (/wiki/Controversy_(song)#Live_in_Hawaii) " " Musicology (/wiki/Musicology_(song)) " " Cinnamon Girl (/wiki/Cinnamon_Girl_(Prince_song)) " " S.S.T. (/wiki/S.S.T._(song)) " " Te Amo Corazón (/wiki/Te_Amo_Coraz%C3%B3n) " " Black Sweat (/wiki/Black_Sweat) " " Fury (/wiki/Fury_(song)) " " Guitar (/wiki/Guitar_(song)) " " F.U.N.K. (/wiki/F.U.N.K.) " " Dance 4 Me (/wiki/Dance_4_Me_(Prince_song)) " 2010s " Rocknroll Loveaffair (/wiki/Rocknroll_Loveaffair) " " Breakfast Can Wait (/wiki/Breakfast_Can_Wait) " " Fallinlove2nite (/wiki/Fallinlove2nite) " " Breakdown (/wiki/Breakdown_(Prince_song)) " " This Could B Us (/wiki/This_Could_B_Us) " " Free Urself (/wiki/Free_Urself) " Promotional singles " When You Were Mine (/wiki/When_You_Were_Mine_(Prince_song)) " " Erotic City (/wiki/Erotic_City) " " Nothing Compares 2 U (/wiki/Nothing_Compares_2_U) " " Love Sign (/wiki/Love_Sign) " (with Nona Gaye (/wiki/Nona_Gaye) ) " Somebody's Somebody (/wiki/Somebody%27s_Somebody) " " It's About That Walk (/wiki/It%27s_About_That_Walk) " " Call My Name (/wiki/Call_My_Name_(Prince_song)) " " The Song of the Heart (/wiki/The_Song_of_the_Heart) " Internet downloads " Guitar (original "demo" version) (/wiki/Guitar_(song)) " New Power Generation " Get Wild (/wiki/Get_Wild) " " The War (/wiki/The_War_(The_New_Power_Generation_song)) " " Come On (/wiki/Come_On_(The_New_Power_Generation_song)) " EPs The Beautiful Experience (/wiki/The_Beautiful_Experience) NYC (/wiki/NYC_(Prince_EP)) 1999: The New Master (/wiki/1999:_The_New_Master) Other songs " I Feel for You (/wiki/I_Feel_for_You) " " Partyup (/wiki/Partyup) " " Private Joy (/wiki/Private_Joy) " " International Lover (/wiki/International_Lover) " " How Come U Don't Call Me Anymore? (/wiki/How_Come_U_Don%27t_Call_Me_Anymore%3F) " " The Beautiful Ones (/wiki/The_Beautiful_Ones) " " Computer Blue (/wiki/Computer_Blue) " " Darling Nikki (/wiki/Darling_Nikki) " " Baby I'm a Star (/wiki/Baby_I%27m_a_Star) " " 17 Days (/wiki/17_Days_(song)) " " Around the World in a Day (/wiki/Around_the_World_in_a_Day_(song)) " " Sometimes It Snows in April (/wiki/Sometimes_It_Snows_in_April) " " The Ballad of Dorothy Parker (/wiki/The_Ballad_of_Dorothy_Parker) " " Starfish and Coffee (/wiki/Starfish_and_Coffee_(song)) " " Adore (/wiki/Adore_(Prince_song)) " " Don't Talk 2 Strangers (/wiki/Don%27t_Talk_2_Strangers) " " I Can't Make U Love Me (/wiki/I_Can%27t_Make_You_Love_Me) " " La, La, La Means I Love U (/wiki/La-La_(Means_I_Love_You)) " " One of Us (/wiki/One_of_Us_(Joan_Osborne_song)) " " Everyday Is a Winding Road (/wiki/Everyday_Is_a_Winding_Road) " " A Case of U (/wiki/A_Case_of_You_(song)) " " Crimson and Clover (/wiki/Crimson_and_Clover) " " Moonbeam Levels (/wiki/Moonbeam_Levels) " Awards for Prince (/wiki/List_of_awards_and_nominations_received_by_Prince) v t e Academy Award for Best Original Score (/wiki/Academy_Award_for_Best_Original_Score) 1930s Louis Silvers (/wiki/Louis_Silvers) (1934) Max Steiner (/wiki/Max_Steiner) (1935) Leo F. Forbstein (/wiki/Leo_F._Forbstein) (1936) Charles Previn (/wiki/Charles_Previn) (1937) Erich Wolfgang Korngold (/wiki/Erich_Wolfgang_Korngold) / Alfred Newman (/wiki/Alfred_Newman) (1938) Herbert Stothart (/wiki/Herbert_Stothart) / Richard Hageman (/wiki/Richard_Hageman) , W. Franke Harling (/wiki/W._Franke_Harling) , John Leipold (/wiki/John_Leipold) and Leo Shuken (/wiki/Leo_Shuken) (1939) 1940s Leigh Harline (/wiki/Leigh_Harline) , Paul J. Smith (/wiki/Paul_Smith_(composer)) and Ned Washington (/wiki/Ned_Washington) / Alfred Newman (/wiki/Alfred_Newman) (1940) Bernard Herrmann (/wiki/Bernard_Herrmann) / Frank Churchill (/wiki/Frank_Churchill) and Oliver Wallace (/wiki/Oliver_Wallace) (1941) Max Steiner (/wiki/Max_Steiner) / Ray Heindorf (/wiki/Ray_Heindorf) and Heinz Roemheld (/wiki/Heinz_Roemheld) (1942) Alfred Newman (/wiki/Alfred_Newman) / Ray Heindorf (/wiki/Ray_Heindorf) (1943) Max Steiner (/wiki/Max_Steiner) / Morris Stoloff (/wiki/Morris_Stoloff) and Carmen Dragon (/wiki/Carmen_Dragon) (1944) Miklos Rozsa (/wiki/Mikl%C3%B3s_R%C3%B3zsa) / Georgie Stoll (/wiki/Georgie_Stoll) (1945) Hugo Friedhofer (/wiki/Hugo_Friedhofer) / Morris Stoloff (/wiki/Morris_Stoloff) (1946) Miklos Rozsa (/wiki/Mikl%C3%B3s_R%C3%B3zsa) / Alfred Newman (/wiki/Alfred_Newman) (1947) Brian Easdale (/wiki/Brian_Easdale) / Johnny Green (/wiki/Johnny_Green) and Roger Edens (/wiki/Roger_Edens) (1948) Aaron Copland (/wiki/Aaron_Copland) / Roger Edens (/wiki/Roger_Edens) and Lennie Hayton (/wiki/Lennie_Hayton) (1949) 1950s Franz Waxman (/wiki/Franz_Waxman) / Adolph Deutsch (/wiki/Adolph_Deutsch) and Roger Edens (/wiki/Roger_Edens) (1950) Franz Waxman (/wiki/Franz_Waxman) / Johnny Green (/wiki/Johnny_Green) and Saul Chaplin (/wiki/Saul_Chaplin) (1951) Dimitri Tiomkin (/wiki/Dimitri_Tiomkin) / Alfred Newman (/wiki/Alfred_Newman) (1952) Bronislau Kaper (/wiki/Bronis%C5%82aw_Kaper) / Alfred Newman (/wiki/Alfred_Newman) (1953) Dimitri Tiomkin (/wiki/Dimitri_Tiomkin) / Adolph Deutsch (/wiki/Adolph_Deutsch) and Saul Chaplin (/wiki/Saul_Chaplin) (1954) Alfred Newman (/wiki/Alfred_Newman) / Robert Russell Bennett (/wiki/Robert_Russell_Bennett) , Jay Blackton (/wiki/Jay_Blackton) and Adolph Deutsch (/wiki/Adolph_Deutsch) (1955) Victor Young (/wiki/Victor_Young) / Alfred Newman (/wiki/Alfred_Newman) and Ken Darby (/wiki/Ken_Darby) (1956) Malcolm Arnold (/wiki/Malcolm_Arnold) (1957) Dimitri Tiomkin (/wiki/Dimitri_Tiomkin) / Andre Previn (/wiki/Andre_Previn) (1958) Miklos Rozsa (/wiki/Mikl%C3%B3s_R%C3%B3zsa) / Andre Previn (/wiki/Andre_Previn) and Ken Darby (/wiki/Ken_Darby) (1959) 1960s Ernest Gold (/wiki/Ernest_Gold) / Morris Stoloff (/wiki/Morris_Stoloff) and Harry Sukman (/wiki/Harry_Sukman) (1960) Henry Mancini (/wiki/Henry_Mancini) / Saul Chaplin (/wiki/Saul_Chaplin) , Johnny Green (/wiki/Johnny_Green) , Sid Ramin (/wiki/Sid_Ramin) and Irwin Kostal (/wiki/Irwin_Kostal) (1961) Maurice Jarre (/wiki/Maurice_Jarre) / Ray Heindorf (/wiki/Ray_Heindorf) (1962) John Addison (/wiki/John_Addison) / Andre Previn (/wiki/Andre_Previn) (1963) Richard M. Sherman (/wiki/Richard_M._Sherman) and Robert B. Sherman (/wiki/Robert_B._Sherman) / Andre Previn (/wiki/Andre_Previn) (1964) Maurice Jarre (/wiki/Maurice_Jarre) / Irwin Kostal (/wiki/Irwin_Kostal) (1965) John Barry (/wiki/John_Barry_(composer)) / Ken Thorne (/wiki/Ken_Thorne) (1966) Elmer Bernstein (/wiki/Elmer_Bernstein) / Alfred Newman (/wiki/Alfred_Newman) and Ken Darby (/wiki/Ken_Darby) (1967) John Barry (/wiki/John_Barry_(composer)) / Johnny Green (/wiki/Johnny_Green) (1968) Burt Bacharach (/wiki/Burt_Bacharach) / Lennie Hayton (/wiki/Lennie_Hayton) and Lionel Newman (/wiki/Lionel_Newman) (1969) 1970s Francis Lai (/wiki/Francis_Lai) / The Beatles (/wiki/The_Beatles) ( John Lennon (/wiki/John_Lennon) , Paul McCartney (/wiki/Paul_McCartney) , George Harrison (/wiki/George_Harrison) and Ringo Starr (/wiki/Ringo_Starr) ) (1970) Michel Legrand (/wiki/Michel_Legrand) / John Williams (/wiki/John_Williams) (1971) Charlie Chaplin (/wiki/Charlie_Chaplin) , Raymond Rasch (/wiki/Raymond_Rasch) and Larry Russell (/wiki/Larry_Russell) / Ralph Burns (/wiki/Ralph_Burns) (1972) Marvin Hamlisch (/wiki/Marvin_Hamlisch) / Marvin Hamlisch (/wiki/Marvin_Hamlisch) (1973) Nino Rota (/wiki/Nino_Rota) and Carmine Coppola (/wiki/Carmine_Coppola) / Nelson Riddle (/wiki/Nelson_Riddle) (1974) John Williams (/wiki/John_Williams) / Leonard Rosenman (/wiki/Leonard_Rosenman) (1975) Jerry Goldsmith (/wiki/Jerry_Goldsmith) / Leonard Rosenman (/wiki/Leonard_Rosenman) (1976) John Williams (/wiki/John_Williams) / Jonathan Tunick (/wiki/Jonathan_Tunick) (1977) Giorgio Moroder (/wiki/Giorgio_Moroder) / Joe Renzetti (/wiki/Joe_Renzetti) (1978) Georges Delerue (/wiki/Georges_Delerue) / Ralph Burns (/wiki/Ralph_Burns) (1979) 1980s Michael Gore (/wiki/Michael_Gore) (1980) Vangelis (/wiki/Vangelis) (1981) John Williams (/wiki/John_Williams) / Henry Mancini (/wiki/Henry_Mancini) and Leslie Bricusse (/wiki/Leslie_Bricusse) (1982) Bill Conti (/wiki/Bill_Conti) / Michel Legrand (/wiki/Michel_Legrand) , Alan and Marilyn Bergman (/wiki/Alan_and_Marilyn_Bergman) (1983) Maurice Jarre (/wiki/Maurice_Jarre) / Prince (1984) John Barry (/wiki/John_Barry_(composer)) (1985) Herbie Hancock (/wiki/Herbie_Hancock) (1986) Ryuichi Sakamoto (/wiki/Ryuichi_Sakamoto) , David Byrne (/wiki/David_Byrne) and Cong Su (/wiki/Cong_Su) (1987) Dave Grusin (/wiki/Dave_Grusin) (1988) Alan Menken (/wiki/Alan_Menken) (1989) 1990s John Barry (/wiki/John_Barry_(composer)) (1990) Alan Menken (/wiki/Alan_Menken) (1991) Alan Menken (/wiki/Alan_Menken) (1992) John Williams (/wiki/John_Williams) (1993) Hans Zimmer (/wiki/Hans_Zimmer) (1994) Luis Bacalov (/wiki/Luis_Bacalov) / Alan Menken (/wiki/Alan_Menken) and Stephen Schwartz (/wiki/Stephen_Schwartz) (1995) Gabriel Yared (/wiki/Gabriel_Yared) / Rachel Portman (/wiki/Rachel_Portman) (1996) James Horner (/wiki/James_Horner) / Anne Dudley (/wiki/Anne_Dudley) (1997) Nicola Piovani (/wiki/Nicola_Piovani) / Stephen Warbeck (/wiki/Stephen_Warbeck) (1998) John Corigliano (/wiki/John_Corigliano) (1999) 2000s Tan Dun (/wiki/Tan_Dun) (2000) Howard Shore (/wiki/Howard_Shore) (2001) Elliot Goldenthal (/wiki/Elliot_Goldenthal) (2002) Howard Shore (/wiki/Howard_Shore) (2003) Jan A. P. Kaczmarek (/wiki/Jan_A._P._Kaczmarek) (2004) Gustavo Santaolalla (/wiki/Gustavo_Santaolalla) (2005) Gustavo Santaolalla (/wiki/Gustavo_Santaolalla) (2006) Dario Marianelli (/wiki/Dario_Marianelli) (2007) A. R. Rahman (/wiki/A._R._Rahman) (2008) Michael Giacchino (/wiki/Michael_Giacchino) (2009) 2010s Trent Reznor (/wiki/Trent_Reznor) and Atticus Ross (/wiki/Atticus_Ross) (2010) Ludovic Bource (/wiki/Ludovic_Bource) (2011) Mychael Danna (/wiki/Mychael_Danna) (2012) Steven Price (/wiki/Steven_Price_(composer)) (2013) Alexandre Desplat (/wiki/Alexandre_Desplat) (2014) Ennio Morricone (/wiki/Ennio_Morricone) (2015) Justin Hurwitz (/wiki/Justin_Hurwitz) (2016) Alexandre Desplat (/wiki/Alexandre_Desplat) (2017) Ludwig Göransson (/wiki/Ludwig_G%C3%B6ransson) (2018) Hildur Guðnadóttir (/wiki/Hildur_Gu%C3%B0nad%C3%B3ttir) (2019) 2020s Trent Reznor (/wiki/Trent_Reznor) , Atticus Ross (/wiki/Atticus_Ross) and Jon Batiste (/wiki/Jon_Batiste) (2020) Hans Zimmer (/wiki/Hans_Zimmer) (2021) Volker Bertelmann (/wiki/Hauschka) (2022) Ludwig Göransson (/wiki/Ludwig_G%C3%B6ransson) (2023) v t e American Music Award of Merit (/wiki/American_Music_Award_of_Merit) Bing Crosby (/wiki/Bing_Crosby) (1974) Berry Gordy (/wiki/Berry_Gordy) (1975) Irving Berlin (/wiki/Irving_Berlin) (1976) Johnny Cash (/wiki/Johnny_Cash) (1977) Ella Fitzgerald (/wiki/Ella_Fitzgerald) (1978) Perry Como (/wiki/Perry_Como) (1979) Benny Goodman (/wiki/Benny_Goodman) (1980) Chuck Berry (/wiki/Chuck_Berry) (1981) Stevie Wonder (/wiki/Stevie_Wonder) (1982) Kenny Rogers (/wiki/Kenny_Rogers) (1983) Michael Jackson (/wiki/Michael_Jackson) (1984) Loretta Lynn (/wiki/Loretta_Lynn) (1985) Paul McCartney (/wiki/Paul_McCartney) (1986) Elvis Presley (/wiki/Elvis_Presley) (1987) The Beach Boys (/wiki/The_Beach_Boys) (1988) Willie Nelson (/wiki/Willie_Nelson) (1989) Neil Diamond (/wiki/Neil_Diamond) (1990) Merle Haggard (/wiki/Merle_Haggard) (1991) James Brown (/wiki/James_Brown) (1992) Bill Graham (/wiki/Bill_Graham_(promoter)) (1993) Whitney Houston (/wiki/Whitney_Houston) (1994) Prince (1995) Tammy Wynette (/wiki/Tammy_Wynette) (1996) Little Richard (/wiki/Little_Richard) (1997) Frank Sinatra (/wiki/Frank_Sinatra) (1998) Billy Joel (/wiki/Billy_Joel) (1999) Gloria Estefan (/wiki/Gloria_Estefan) (2000) Janet Jackson (/wiki/Janet_Jackson) (2001) Garth Brooks (/wiki/Garth_Brooks) (2002) Alabama (/wiki/Alabama_(American_band)) (2003) Bon Jovi (/wiki/Bon_Jovi) (2004) Annie Lennox (/wiki/Annie_Lennox) (2008) Sting (/wiki/Sting_(musician)) (2016) v t e BET Award for Best Male R&B/Pop Artist (/wiki/BET_Award_for_Best_Male_R%26B/Pop_Artist) Musiq (/wiki/Musiq_Soulchild) (2001) Usher (/wiki/Usher_(musician)) (2002) Jaheim (/wiki/Jaheim) / R. Kelly (/wiki/R._Kelly) (2003) Usher (/wiki/Usher_(musician)) (2004) Usher (/wiki/Usher_(musician)) (2005) Prince (2006) Ne-Yo (/wiki/Ne-Yo) (2007) Chris Brown (/wiki/Chris_Brown) (2008) Ne-Yo (/wiki/Ne-Yo) (2009) Trey Songz (/wiki/Trey_Songz) (2010) Chris Brown (/wiki/Chris_Brown) (2011) Chris Brown (/wiki/Chris_Brown) (2012) Miguel (/wiki/Miguel_(singer)) (2013) Pharrell Williams (/wiki/Pharrell_Williams) (2014) Chris Brown (/wiki/Chris_Brown) (2015) Bryson Tiller (/wiki/Bryson_Tiller) (2016) Bruno Mars (/wiki/Bruno_Mars) (2017) Bruno Mars (/wiki/Bruno_Mars) (2018) Bruno Mars (/wiki/Bruno_Mars) (2019) Chris Brown (/wiki/Chris_Brown) (2020) Chris Brown (/wiki/Chris_Brown) (2021) The Weeknd (/wiki/The_Weeknd) (2022) Chris Brown (/wiki/Chris_Brown) and Usher (/wiki/Usher_(musician)) (2023) Usher (/wiki/Usher_(musician)) (2024) v t e Brit Award for International Male Solo Artist (/wiki/Brit_Award_for_International_Male_Solo_Artist) Michael Jackson (/wiki/Michael_Jackson) (1989) Michael Hutchence (/wiki/Michael_Hutchence) (1991) Lenny Kravitz (/wiki/Lenny_Kravitz) (1994) Prince (1995) Prince (1996) Beck (/wiki/Beck) (1997) Jon Bon Jovi (/wiki/Jon_Bon_Jovi) (1998) Beck (/wiki/Beck) (1999) Beck (/wiki/Beck) (2000) Eminem (/wiki/Eminem) (2001) Shaggy (/wiki/Shaggy_(musician)) (2002) Eminem (/wiki/Eminem) (2003) Justin Timberlake (/wiki/Justin_Timberlake) (2004) Eminem (/wiki/Eminem) (2005) Kanye West (/wiki/Kanye_West) (2006) Justin Timberlake (/wiki/Justin_Timberlake) (2007) Kanye West (/wiki/Kanye_West) (2008) Kanye West (/wiki/Kanye_West) (2009) Jay-Z (/wiki/Jay-Z) (2010) CeeLo Green (/wiki/CeeLo_Green) (2011) Bruno Mars (/wiki/Bruno_Mars) (2012) Frank Ocean (/wiki/Frank_Ocean) (2013) Bruno Mars (/wiki/Bruno_Mars) (2014) Pharrell Williams (/wiki/Pharrell_Williams) (2015) Justin Bieber (/wiki/Justin_Bieber) (2016) Drake (/wiki/Drake_(musician)) (2017) Kendrick Lamar (/wiki/Kendrick_Lamar) (2018) Drake (/wiki/Drake_(musician)) (2019) Tyler, the Creator (/wiki/Tyler,_the_Creator) (2020) The Weeknd (/wiki/The_Weeknd) (2021) v t e Brit Award for International Artist (/wiki/Brit_Award_for_International_Artist) International Artist Kid Creole and the Coconuts (/wiki/Kid_Creole_and_the_Coconuts) (1983) Michael Jackson (/wiki/Michael_Jackson) (1984) Prince and The Revolution (/wiki/The_Revolution_(band)) (1985) International Solo Artist Bruce Springsteen (/wiki/Bruce_Springsteen) (1986) Paul Simon (/wiki/Paul_Simon) (1987) Michael Jackson (/wiki/Michael_Jackson) (1988) Neneh Cherry (/wiki/Neneh_Cherry) (1990) Prince (1992) Prince (1993) International Artist Billie Eilish (/wiki/Billie_Eilish) (2022) Beyoncé (/wiki/Beyonc%C3%A9) (2023) SZA (/wiki/SZA) (2024) v t e Golden Globe Award for Best Original Song (/wiki/Golden_Globe_Award_for_Best_Original_Song) 1960s " Town Without Pity (/wiki/Town_Without_Pity_(song)) " – Music by Dimitri Tiomkin (/wiki/Dimitri_Tiomkin) ; Lyrics by Ned Washington (/wiki/Ned_Washington) (1961) No Award (1962) No Award (1963) "Circus World" – Music by Dimitri Tiomkin (/wiki/Dimitri_Tiomkin) ; Lyrics by Ned Washington (/wiki/Ned_Washington) (1964) " Forget Domani (/wiki/Forget_Domani) " – Music by Riz Ortolani (/wiki/Riz_Ortolani) ; Lyrics by Norman Newell (/wiki/Norman_Newell) (1965) " Strangers in the Night (/wiki/Strangers_in_the_Night) " – Music by Bert Kaempfert (/wiki/Bert_Kaempfert) ; Lyrics by Charles Singleton (/wiki/Charles_Singleton_(songwriter)) & Eddie Snyder (/wiki/Eddie_Snyder) (1966) "If Ever I Would Leave You" – Music by Frederick Loewe (/wiki/Frederick_Loewe) ; Lyrics by Alan Jay Lerner (/wiki/Alan_Jay_Lerner) (1967) " The Windmills of Your Mind (/wiki/The_Windmills_of_Your_Mind) " – Music by Michel Legrand (/wiki/Michel_Legrand) ; Lyrics by Alan and Marilyn Bergman (/wiki/Alan_and_Marilyn_Bergman) (1968) " Jean (/wiki/Jean_(song)) " – Music and Lyrics by Rod McKuen (/wiki/Rod_McKuen) (1969) 1970s "Whistling Away the Dark" – Music by Henry Mancini (/wiki/Henry_Mancini) ; Lyrics by Johnny Mercer (/wiki/Johnny_Mercer) (1970) "Life Is What You Make It" – Music by Marvin Hamlisch (/wiki/Marvin_Hamlisch) ; Lyrics by Johnny Mercer (/wiki/Johnny_Mercer) (1971) " Ben (/wiki/Ben_(song)) " – Music by Walter Scharf (/wiki/Walter_Scharf) ; Lyrics by Don Black (/wiki/Don_Black_(lyricist)) (1972) " The Way We Were (/wiki/The_Way_We_Were_(song)) " – Music by Marvin Hamlisch (/wiki/Marvin_Hamlisch) ; Lyrics by Alan and Marilyn Bergman (/wiki/Alan_and_Marilyn_Bergman) (1973) "I Feel Love" – Music by Euel Box (/wiki/Euel_Box) ; Lyrics by Betty Box (1974) " I'm Easy (/wiki/I%27m_Easy_(Keith_Carradine_song)) " – Music and Lyrics by Keith Carradine (/wiki/Keith_Carradine) (1975) " Evergreen (/wiki/Evergreen_(Love_Theme_from_A_Star_Is_Born)) " – Music by Barbra Streisand (/wiki/Barbra_Streisand) ; Lyrics by Paul Williams (/wiki/Paul_Williams_(songwriter)) (1976) " You Light Up My Life (/wiki/You_Light_Up_My_Life_(song)) " – Music and Lyrics by Joseph Brooks (/wiki/Joseph_Brooks_(songwriter)) (1977) " Last Dance (/wiki/Last_Dance_(Donna_Summer_song)) " – Music and Lyrics by Paul Jabara (/wiki/Paul_Jabara) (1978) " The Rose (/wiki/The_Rose_(song)) " – Music and Lyrics by Amanda McBroom (/wiki/Amanda_McBroom) (1979) 1980s " Fame (/wiki/Fame_(Irene_Cara_song)) " – Music by Michael Gore (/wiki/Michael_Gore) ; Lyrics by Dean Pitchford (/wiki/Dean_Pitchford) (1980) " Arthur's Theme (Best That You Can Do) (/wiki/Arthur%27s_Theme_(Best_That_You_Can_Do)) " – Music and Lyrics by Peter Allen (/wiki/Peter_Allen_(musician)) , Burt Bacharach (/wiki/Burt_Bacharach) , Christopher Cross (/wiki/Christopher_Cross) & Carole Bayer Sager (/wiki/Carole_Bayer_Sager) (1981) " Up Where We Belong (/wiki/Up_Where_We_Belong) " – Music by Jack Nitzsche (/wiki/Jack_Nitzsche) & Buffy Sainte-Marie (/wiki/Buffy_Sainte-Marie) ; Lyrics by Wilbur Jennings (/wiki/Will_Jennings) (1982) " Flashdance... What a Feeling (/wiki/Flashdance..._What_a_Feeling) " – Music by Giorgio Moroder (/wiki/Giorgio_Moroder) ; Lyrics by Irene Cara (/wiki/Irene_Cara) & Keith Forsey (/wiki/Keith_Forsey) (1983) " I Just Called to Say I Love You (/wiki/I_Just_Called_to_Say_I_Love_You) " – Music and Lyrics by Stevie Wonder (/wiki/Stevie_Wonder) (1984) " Say You, Say Me (/wiki/Say_You,_Say_Me) " – Music and Lyrics by Lionel Richie (/wiki/Lionel_Richie) (1985) " Take My Breath Away (/wiki/Take_My_Breath_Away) " – Music by Giorgio Moroder (/wiki/Giorgio_Moroder) ; Lyrics by Tom Whitlock (/wiki/Tom_Whitlock) (1986) " (I've Had) The Time of My Life (/wiki/(I%27ve_Had)_The_Time_of_My_Life) " – Music by John DeNicola (/wiki/John_DeNicola) & Donald Markowitz; Lyrics by Franke Previte (/wiki/Franke_Previte) (1987) " Let the River Run (/wiki/Let_the_River_Run) " – Music and Lyrics by Carly Simon (/wiki/Carly_Simon) / " Two Hearts (/wiki/Two_Hearts_(Phil_Collins_song)) " – Music by Lamont Dozier (/wiki/Lamont_Dozier) ; Lyrics by Phil Collins (/wiki/Phil_Collins) (1988) " Under the Sea (/wiki/Under_the_Sea) " – Music by Alan Menken (/wiki/Alan_Menken) ; Lyrics by Howard Ashman (/wiki/Howard_Ashman) (1989) 1990s " Blaze of Glory (/wiki/Blaze_of_Glory_(Jon_Bon_Jovi_song)) " – Music and Lyrics by Jon Bon Jovi (/wiki/Jon_Bon_Jovi) (1990) " Beauty and the Beast (/wiki/Beauty_and_the_Beast_(Disney_song)) " – Music by Alan Menken (/wiki/Alan_Menken) ; Lyrics by Howard Ashman (/wiki/Howard_Ashman) (1991) " A Whole New World (/wiki/A_Whole_New_World) " – Music by Alan Menken (/wiki/Alan_Menken) ; Lyrics by Tim Rice (/wiki/Tim_Rice) (1992) " Streets of Philadelphia (/wiki/Streets_of_Philadelphia) " – Music and Lyrics by Bruce Springsteen (/wiki/Bruce_Springsteen) (1993) " Can You Feel the Love Tonight (/wiki/Can_You_Feel_the_Love_Tonight) " – Music by Elton John (/wiki/Elton_John) ; Lyrics by Tim Rice (/wiki/Tim_Rice) (1994) " Colors of the Wind (/wiki/Colors_of_the_Wind) " – Music by Alan Menken (/wiki/Alan_Menken) ; Lyrics by Stephen Schwartz (/wiki/Stephen_Schwartz) (1995) " You Must Love Me (/wiki/You_Must_Love_Me) " – Music by Andrew Lloyd Webber (/wiki/Andrew_Lloyd_Webber) ; Lyrics by Tim Rice (/wiki/Tim_Rice) (1996) " My Heart Will Go On (/wiki/My_Heart_Will_Go_On) " – Music by James Horner (/wiki/James_Horner) ; Lyrics by Wilbur Jennings (/wiki/Will_Jennings) (1997) " The Prayer (/wiki/The_Prayer_(Celine_Dion_and_Andrea_Bocelli_song)) " – Music and Lyrics by David Foster (/wiki/David_Foster) , Tony Renis (/wiki/Tony_Renis) , Carole Bayer Sager (/wiki/Carole_Bayer_Sager) & Alberto Testa (/wiki/Alberto_Testa_(lyricist)) (1998) " You'll Be in My Heart (/wiki/You%27ll_Be_in_My_Heart) " – Music and Lyrics by Phil Collins (/wiki/Phil_Collins) (1999) 2000s " Things Have Changed (/wiki/Things_Have_Changed) " – Music and Lyrics by Bob Dylan (/wiki/Bob_Dylan) (2000) " Until... (/wiki/Until..._(Sting_song)) " – Music and Lyrics by Sting (/wiki/Sting_(musician)) (2001) " The Hands That Built America (/wiki/The_Hands_That_Built_America) " – Music and Lyrics by Bono (/wiki/Bono) , Adam Clayton (/wiki/Adam_Clayton) , The Edge (/wiki/The_Edge) & Larry Mullen Jr. (/wiki/Larry_Mullen_Jr.) (2002) " Into the West (/wiki/Into_the_West_(song)) " – Music and Lyrics by Annie Lennox (/wiki/Annie_Lennox) , Howard Shore (/wiki/Howard_Shore) & Frances Walsh (/wiki/Fran_Walsh) (2003) " Old Habits Die Hard (/wiki/Old_Habits_Die_Hard) " – Music and Lyrics by Mick Jagger (/wiki/Mick_Jagger) & David A. Stewart (/wiki/Dave_Stewart_(Eurythmics)) (2004) " A Love That Will Never Grow Old (/wiki/A_Love_That_Will_Never_Grow_Old) " – Music by Gustavo Santaolalla (/wiki/Gustavo_Santaolalla) ; Lyrics by Bernie Taupin (/wiki/Bernie_Taupin) (2005) " The Song of the Heart (/wiki/The_Song_of_the_Heart) " – Music and Lyrics by Prince Rogers Nelson (2006) " Guaranteed (/wiki/Guaranteed_(Eddie_Vedder_song)) " – Music and Lyrics by Eddie Vedder (/wiki/Eddie_Vedder) (2007) " The Wrestler (/wiki/The_Wrestler_(song)) " – Music and Lyrics by Bruce Springsteen (/wiki/Bruce_Springsteen) (2008) " The Weary Kind (/wiki/The_Weary_Kind) " – Music and Lyrics by Ryan Bingham (/wiki/Ryan_Bingham) & T Bone Burnett (/wiki/T_Bone_Burnett) (2009) 2010s " You Haven't Seen the Last of Me (/wiki/You_Haven%27t_Seen_the_Last_of_Me) " – Music and lyrics by Diane Warren (/wiki/Diane_Warren) (2010) " Masterpiece (/wiki/Masterpiece_(Madonna_song)) " – Music and lyrics by Madonna (/wiki/Madonna) , Julie Frost (/wiki/Julie_Frost) & Jimmy Harry (/wiki/Jimmy_Harry) (2011) " Skyfall (/wiki/Skyfall_(song)) " – Music and lyrics by Adele Adkins (/wiki/Adele) & Paul Epworth (/wiki/Paul_Epworth) (2012) " Ordinary Love (/wiki/Ordinary_Love_(U2_song)) " – Music and lyrics by Bono (/wiki/Bono) , Adam Clayton (/wiki/Adam_Clayton) , The Edge (/wiki/The_Edge) , Larry Mullen Jr. (/wiki/Larry_Mullen_Jr.) & Danger Mouse (/wiki/Danger_Mouse_(musician)) (2013) " Glory (/wiki/Glory_(Common_and_John_Legend_song)) " – Music and lyrics by Common (/wiki/Common_(rapper)) & John Legend (/wiki/John_Legend) (2014) " Writing's on the Wall (/wiki/Writing%27s_on_the_Wall_(Sam_Smith_song)) " – Music and lyrics by Sam Smith (/wiki/Sam_Smith) & Jimmy Napes (/wiki/Jimmy_Napes) (2015) " City of Stars (/wiki/City_of_Stars) " – Music by Justin Hurwitz (/wiki/Justin_Hurwitz) ; lyrics by Benj Pasek (/wiki/Pasek_and_Paul) & Justin Paul (/wiki/Justin_Paul) (2016) " This Is Me (/wiki/This_Is_Me_(The_Greatest_Showman_song)) " – Music and lyrics by Benj Pasek (/wiki/Pasek_and_Paul) & Justin Paul (/wiki/Justin_Paul) (2017) " Shallow (/wiki/Shallow_(Lady_Gaga_and_Bradley_Cooper_song)) " – Music and lyrics by Lady Gaga (/wiki/Lady_Gaga) , Mark Ronson (/wiki/Mark_Ronson) , Anthony Rossomando (/wiki/Anthony_Rossomando) & Andrew Wyatt (/wiki/Andrew_Wyatt) (2018) " (I'm Gonna) Love Me Again (/wiki/(I%27m_Gonna)_Love_Me_Again) " – Music by Elton John (/wiki/Elton_John) ; lyrics by Bernie Taupin (/wiki/Bernie_Taupin) (2019) 2020s " Io sì (Seen) (/wiki/Io_s%C3%AC_(Seen)) " – Music by Diane Warren (/wiki/Diane_Warren) ; Lyrics by Diane Warren (/wiki/Diane_Warren) , Laura Pausini (/wiki/Laura_Pausini) & Niccolò Agliardi (2020) " No Time to Die (/wiki/No_Time_to_Die_(song)) " – Music and Lyrics by Billie Eilish (/wiki/Billie_Eilish) & Finneas O'Connell (/wiki/Finneas_O%27Connell) (2021) " Naatu Naatu (/wiki/Naatu_Naatu) " – Music by M. M. Keeravani (/wiki/M._M._Keeravani) ; Lyrics by Chandrabose (/wiki/Chandrabose_(lyricist)) (2022) " What Was I Made For? (/wiki/What_Was_I_Made_For%3F) " – Music and Lyrics by Billie Eilish O'Connell (/wiki/Billie_Eilish) and Finneas O'Connell (/wiki/Finneas_O%27Connell) (2023) Complete List (/wiki/Template:Golden_Globe_Award_for_Best_Original_Song) (1960s) (/wiki/Template:Golden_Globe_Award_for_Best_Original_Song_1960s) (1970s) (/wiki/Template:Golden_Globe_Award_for_Best_Original_Song_1970s) (1980s) (/wiki/Template:Golden_Globe_Award_for_Best_Original_Song_1980s) (1990s) (/wiki/Template:Golden_Globe_Award_for_Best_Original_Song_1990s) (2000s) (/wiki/Template:Golden_Globe_Award_for_Best_Original_Song_2000s) (2010s) (/wiki/Template:Golden_Globe_Award_for_Best_Original_Song_2010s) (2020s) (/wiki/Template:Golden_Globe_Award_for_Best_Original_Song_2020s) v t e Golden Raspberry Award for Worst Actor (/wiki/Golden_Raspberry_Award_for_Worst_Actor) 1980s Neil Diamond (/wiki/Neil_Diamond) – The Jazz Singer (/wiki/The_Jazz_Singer_(1980_film)) (1980) Klinton Spilsbury (/wiki/Klinton_Spilsbury) – The Legend of the Lone Ranger (/wiki/The_Legend_of_the_Lone_Ranger) (1981) Laurence Olivier (/wiki/Laurence_Olivier) – Inchon (/wiki/Inchon_(film)) (1982) Christopher Atkins (/wiki/Christopher_Atkins) – A Night in Heaven (/wiki/A_Night_in_Heaven) (1983) Sylvester Stallone (/wiki/Sylvester_Stallone) – Rhinestone (/wiki/Rhinestone_(film)) (1984) Sylvester Stallone (/wiki/Sylvester_Stallone) – Rambo: First Blood Part II (/wiki/Rambo:_First_Blood_Part_II) and Rocky IV (/wiki/Rocky_IV) (1985) Prince – Under the Cherry Moon (/wiki/Under_the_Cherry_Moon) (1986) Bill Cosby (/wiki/Bill_Cosby) – Leonard Part 6 (/wiki/Leonard_Part_6) (1987) Sylvester Stallone (/wiki/Sylvester_Stallone) – Rambo III (/wiki/Rambo_III) (1988) William Shatner (/wiki/William_Shatner) – Star Trek V: The Final Frontier (/wiki/Star_Trek_V:_The_Final_Frontier) (1989) 1990s Andrew Dice Clay (/wiki/Andrew_Dice_Clay) – The Adventures of Ford Fairlane (/wiki/The_Adventures_of_Ford_Fairlane) (1990) Kevin Costner (/wiki/Kevin_Costner) – Robin Hood: Prince of Thieves (/wiki/Robin_Hood:_Prince_of_Thieves) (1991) Sylvester Stallone (/wiki/Sylvester_Stallone) – Stop! Or My Mom Will Shoot (/wiki/Stop!_Or_My_Mom_Will_Shoot) (1992) Burt Reynolds (/wiki/Burt_Reynolds) – Cop and a Half (/wiki/Cop_and_a_Half) (1993) Kevin Costner (/wiki/Kevin_Costner) – Wyatt Earp (/wiki/Wyatt_Earp_(film)) (1994) Pauly Shore (/wiki/Pauly_Shore) – Jury Duty (/wiki/Jury_Duty_(film)) (1995) Tom Arnold (/wiki/Tom_Arnold_(actor)) – Big Bully (/wiki/Big_Bully_(film)) , Carpool (/wiki/Carpool_(1996_film)) , and The Stupids (/wiki/The_Stupids_(film)) / Pauly Shore (/wiki/Pauly_Shore) – Bio-Dome (/wiki/Bio-Dome) (1996) Kevin Costner (/wiki/Kevin_Costner) – The Postman (/wiki/The_Postman_(film)) (1997) Bruce Willis (/wiki/Bruce_Willis) – Armageddon (/wiki/Armageddon_(1998_film)) , Mercury Rising (/wiki/Mercury_Rising) , and The Siege (/wiki/The_Siege) (1998) Adam Sandler (/wiki/Adam_Sandler) – Big Daddy (/wiki/Big_Daddy_(1999_film)) (1999) 2000s John Travolta (/wiki/John_Travolta) – Battlefield Earth (/wiki/Battlefield_Earth_(film)) and Lucky Numbers (/wiki/Lucky_Numbers) (2000) Tom Green (/wiki/Tom_Green) – Freddy Got Fingered (/wiki/Freddy_Got_Fingered) (2001) Roberto Benigni (/wiki/Roberto_Benigni) (dubbed Godzilla (/wiki/Godzilla) -style by Breckin Meyer (/wiki/Breckin_Meyer) ) – Pinocchio (/wiki/Pinocchio_(2002_film)) (2002) Ben Affleck (/wiki/Ben_Affleck) – Daredevil (/wiki/Daredevil_(film)) , Gigli (/wiki/Gigli) , and Paycheck (/wiki/Paycheck_(film)) (2003) George W. Bush (/wiki/George_W._Bush) – Fahrenheit 9/11 (/wiki/Fahrenheit_9/11) (2004) Rob Schneider (/wiki/Rob_Schneider) – Deuce Bigalow: European Gigolo (/wiki/Deuce_Bigalow:_European_Gigolo) (2005) Marlon Wayans (/wiki/Marlon_Wayans) and Shawn Wayans (/wiki/Shawn_Wayans) – Little Man (/wiki/Little_Man_(2006_film)) (2006) Eddie Murphy (/wiki/Eddie_Murphy) – Norbit (/wiki/Norbit) (2007) Mike Myers (/wiki/Mike_Myers) – The Love Guru (/wiki/The_Love_Guru) (2008) Jonas Brothers (/wiki/Jonas_Brothers) ( Joe (/wiki/Joe_Jonas) , Kevin (/wiki/Kevin_Jonas) , and Nick (/wiki/Nick_Jonas) ) – Jonas Brothers: The 3D Concert Experience (/wiki/Jonas_Brothers:_The_3D_Concert_Experience) (2009) 2010s Ashton Kutcher (/wiki/Ashton_Kutcher) – Killers (/wiki/Killers_(2010_film)) and Valentine's Day (/wiki/Valentine%27s_Day_(2010_film)) (2010) Adam Sandler (/wiki/Adam_Sandler) – Jack and Jill (/wiki/Jack_and_Jill_(2011_film)) and Just Go with It (/wiki/Just_Go_with_It) (2011) Adam Sandler (/wiki/Adam_Sandler) – That's My Boy (/wiki/That%27s_My_Boy_(2012_film)) (2012) Jaden Smith (/wiki/Jaden_Smith) – After Earth (/wiki/After_Earth) (2013) Kirk Cameron (/wiki/Kirk_Cameron) – Saving Christmas (/wiki/Saving_Christmas) (2014) Jamie Dornan (/wiki/Jamie_Dornan) – Fifty Shades of Grey (/wiki/Fifty_Shades_of_Grey_(film)) (2015) Dinesh D'Souza (/wiki/Dinesh_D%27Souza) – Hillary's America: The Secret History of the Democratic Party (/wiki/Hillary%27s_America:_The_Secret_History_of_the_Democratic_Party) (2016) Tom Cruise (/wiki/Tom_Cruise) – The Mummy (/wiki/The_Mummy_(2017_film)) (2017) Donald Trump (/wiki/Donald_Trump) – Death of a Nation (/wiki/Death_of_a_Nation_(2018_film)) and Fahrenheit 11/9 (/wiki/Fahrenheit_11/9) (2018) John Travolta (/wiki/John_Travolta) – The Fanatic (/wiki/The_Fanatic_(film)) and Trading Paint (/wiki/Trading_Paint) (2019) 2020s Mike Lindell (/wiki/Mike_Lindell) (The "My Pillow Guy") – Absolute Proof (/wiki/Absolute_Proof) (2020/21) LeBron James (/wiki/LeBron_James) – Space Jam: A New Legacy (/wiki/Space_Jam:_A_New_Legacy) (2021) Jared Leto (/wiki/Jared_Leto) – Morbius (/wiki/Morbius_(film)) (2022) Jon Voight (/wiki/Jon_Voight) – Mercy (/wiki/Mercy_(2023_film)) (2023) v t e Golden Raspberry Award for Worst Director (/wiki/Golden_Raspberry_Award_for_Worst_Director) 1980s Robert Greenwald (/wiki/Robert_Greenwald) – Xanadu (/wiki/Xanadu_(film)) (1980) Michael Cimino (/wiki/Michael_Cimino) – Heaven's Gate (/wiki/Heaven%27s_Gate_(film)) (1981) Ken Annakin (/wiki/Ken_Annakin) – The Pirate Movie (/wiki/The_Pirate_Movie) / Terence Young (/wiki/Terence_Young_(director)) – Inchon (/wiki/Inchon_(film)) (1982) Peter Sasdy (/wiki/Peter_Sasdy) – The Lonely Lady (/wiki/The_Lonely_Lady) (1983) John Derek (/wiki/John_Derek) – Bolero (/wiki/Bolero_(1984_film)) (1984) Sylvester Stallone (/wiki/Sylvester_Stallone) – Rocky IV (/wiki/Rocky_IV) (1985) Prince – Under the Cherry Moon (/wiki/Under_the_Cherry_Moon) (1986) Norman Mailer (/wiki/Norman_Mailer) – Tough Guys Don't Dance (/wiki/Tough_Guys_Don%27t_Dance_(film)) / Elaine May (/wiki/Elaine_May) – Ishtar (/wiki/Ishtar_(film)) (1987) Blake Edwards (/wiki/Blake_Edwards) – Sunset (/wiki/Sunset_(1988_film)) / Stewart Raffill (/wiki/Stewart_Raffill) – Mac and Me (/wiki/Mac_and_Me) (1988) William Shatner (/wiki/William_Shatner) – Star Trek V: The Final Frontier (/wiki/Star_Trek_V:_The_Final_Frontier) (1989) 1990s John Derek (/wiki/John_Derek) – Ghosts Can't Do It (/wiki/Ghosts_Can%27t_Do_It) (1990) Michael Lehmann (/wiki/Michael_Lehmann) – Hudson Hawk (/wiki/Hudson_Hawk) (1991) David Seltzer (/wiki/David_Seltzer) – Shining Through (/wiki/Shining_Through) (1992) Jennifer Lynch (/wiki/Jennifer_Lynch) – Boxing Helena (/wiki/Boxing_Helena) (1993) Steven Seagal (/wiki/Steven_Seagal) – On Deadly Ground (/wiki/On_Deadly_Ground) (1994) Paul Verhoeven (/wiki/Paul_Verhoeven) – Showgirls (/wiki/Showgirls) (1995) Andrew Bergman (/wiki/Andrew_Bergman) – Striptease (/wiki/Striptease_(film)) (1996) Kevin Costner (/wiki/Kevin_Costner) – The Postman (/wiki/The_Postman_(film)) (1997) Gus Van Sant (/wiki/Gus_Van_Sant) – Psycho (/wiki/Psycho_(1998_film)) (1998) Barry Sonnenfeld (/wiki/Barry_Sonnenfeld) – Wild Wild West (/wiki/Wild_Wild_West) (1999) 2000s Roger Christian (/wiki/Roger_Christian_(filmmaker)) – Battlefield Earth (/wiki/Battlefield_Earth_(film)) (2000) Tom Green (/wiki/Tom_Green) – Freddy Got Fingered (/wiki/Freddy_Got_Fingered) (2001) Guy Ritchie (/wiki/Guy_Ritchie) – Swept Away (/wiki/Swept_Away_(2002_film)) (2002) Martin Brest (/wiki/Martin_Brest) – Gigli (/wiki/Gigli) (2003) Pitof (/wiki/Pitof) – Catwoman (/wiki/Catwoman_(film)) (2004) John Asher (/wiki/John_Asher) – Dirty Love (/wiki/Dirty_Love_(film)) (2005) M. Night Shyamalan (/wiki/M._Night_Shyamalan) – Lady in the Water (/wiki/Lady_in_the_Water) (2006) Chris Sivertson (/wiki/Chris_Sivertson) – I Know Who Killed Me (/wiki/I_Know_Who_Killed_Me) (2007) Uwe Boll (/wiki/Uwe_Boll) – In the Name of the King (/wiki/In_the_Name_of_the_King) , Postal (/wiki/Postal_(film)) , and Tunnel Rats (/wiki/Tunnel_Rats_(film)) (2008) Michael Bay (/wiki/Michael_Bay) – Transformers: Revenge of the Fallen (/wiki/Transformers:_Revenge_of_the_Fallen) (2009) 2010s M. Night Shyamalan (/wiki/M._Night_Shyamalan) – The Last Airbender (/wiki/The_Last_Airbender_(film)) (2010) Dennis Dugan (/wiki/Dennis_Dugan) – Jack and Jill (/wiki/Jack_and_Jill_(2011_film)) and Just Go with It (/wiki/Just_Go_with_It) (2011) Bill Condon (/wiki/Bill_Condon) – The Twilight Saga: Breaking Dawn – Part 2 (/wiki/The_Twilight_Saga:_Breaking_Dawn_%E2%80%93_Part_2) (2012) Elizabeth Banks (/wiki/Elizabeth_Banks) , Steven Brill (/wiki/Steven_Brill_(filmmaker)) , Steve Carr (/wiki/Steve_Carr) , Rusty Cundieff (/wiki/Rusty_Cundieff) , James Duffy, Griffin Dunne (/wiki/Griffin_Dunne) , Peter Farrelly (/wiki/Peter_Farrelly) , Patrik Forsberg, Will Graham, James Gunn (/wiki/James_Gunn) , Bob Odenkirk (/wiki/Bob_Odenkirk) , Brett Ratner (/wiki/Brett_Ratner) , and Jonathan van Tulleken – Movie 43 (/wiki/Movie_43) (2013) Michael Bay (/wiki/Michael_Bay) – Transformers: Age of Extinction (/wiki/Transformers:_Age_of_Extinction) (2014) Josh Trank (/wiki/Josh_Trank) – Fantastic Four (/wiki/Fantastic_Four_(2015_film)) (2015) Dinesh D'Souza (/wiki/Dinesh_D%27Souza) and Bruce Schooley – Hillary's America: The Secret History of the Democratic Party (/wiki/Hillary%27s_America:_The_Secret_History_of_the_Democratic_Party) (2016) Tony Leondis (/wiki/Tony_Leondis) – The Emoji Movie (/wiki/The_Emoji_Movie) (2017) Etan Cohen (/wiki/Etan_Cohen) – Holmes & Watson (/wiki/Holmes_%26_Watson) (2018) Tom Hooper (/wiki/Tom_Hooper) – Cats (/wiki/Cats_(2019_film)) (2019) 2020s Sia (/wiki/Sia) – Music (/wiki/Music_(2021_film)) (2020/21) Christopher Ashley (/wiki/Christopher_Ashley) – Diana the Musical (/wiki/Diana_(musical)) (2021) Colson Baker (/wiki/Machine_Gun_Kelly_(musician)) and Mod Sun (/wiki/Mod_Sun) – Good Mourning (/wiki/Good_Mourning_(film)) (2022) Rhys Frake-Waterfield (/wiki/Rhys_Frake-Waterfield) – Winnie-the-Pooh: Blood and Honey (/wiki/Winnie-the-Pooh:_Blood_and_Honey) (2023) v t e Golden Raspberry Award for Worst Original Song (/wiki/Golden_Raspberry_Award_for_Worst_Original_Song) 1980s "The Man with Bogart's Face" – Music by George Duning (/wiki/George_Duning) ; Lyrics by Andrew Fenady (1980) "Baby Talk" – Music by David Shire (/wiki/David_Shire) ; Lyrics by Dave Frishberg (/wiki/Dave_Frishberg) (1981) "Pumpin' and Blowin'" – Music and Lyrics by Terry Britten (/wiki/Terry_Britten) , B. A. Robertson (/wiki/B._A._Robertson) , and Sue Shifrin (1982) "The Way You Do It" – Music and Lyrics by Jeff Harrington and Jeff Pennig (1983) "Drinkenstein" – Music and Lyrics by Dolly Parton (/wiki/Dolly_Parton) (1984) "Peace in Our Life" – Music by Frank Stallone (/wiki/Frank_Stallone) , Peter Schless, and Jerry Goldsmith (/wiki/Jerry_Goldsmith) ; Lyrics by Frank Stallone (/wiki/Frank_Stallone) (1985) "Love or Money" – Music and Lyrics by Prince and the Revolution (/wiki/The_Revolution_(band)) (1986) " I Want Your Sex (/wiki/I_Want_Your_Sex) " – Music and Lyrics by George Michael (/wiki/George_Michael) (1987) "Jack Fresh" – Music and Lyrics by Full Force (/wiki/Full_Force) (1988) " Bring Your Daughter... to the Slaughter (/wiki/Bring_Your_Daughter..._to_the_Slaughter) " – Music and Lyrics by Bruce Dickinson (/wiki/Bruce_Dickinson) (1989) 1990s "He's Comin' Back (The Devil)" – Music and Lyrics by Chris LeVrar (1990) " Addams Groove (/wiki/Addams_Groove) " – Music by MC Hammer (/wiki/MC_Hammer) ; Lyrics Felton C. Pilate II (1991) "High Times, Hard Times" – Music by Alan Menken (/wiki/Alan_Menken) ; Lyrics by Jack Feldman (/wiki/Jack_Feldman_(songwriter)) (1992) " Addams Family Whoomp! (/wiki/Whoomp!_(There_It_Is)) " – Music and Lyrics by Ralph Sall (/wiki/Ralph_Sall) , Steve Gibson, and Cecil Glenn (1993) "Marry the Mole" – Music by Barry Manilow (/wiki/Barry_Manilow) ; Lyrics by Jack Feldman (/wiki/Jack_Feldman_(songwriter)) and Bruce Sussman (/wiki/Bruce_Sussman) (1994) "Walk into the Wind" – Music by David Stewart (/wiki/Dave_Stewart_(Eurythmics)) ; Lyrics by Terry Hall (/wiki/Terry_Hall_(singer)) (1995) "(Pussy Pussy Pussy) Whose Kitty Cat Are You?" – Music and Lyrics by Marvin Montgomery (1996) The entire song score from The Postman (/wiki/The_Postman_(film)) – Music and Lyrics by Jeffrey Barr, Glenn Burke, John Coinman, Joe Flood, Blair Forward, Maria Machado, and Jono Manson (1997) "I Wanna Be Mike Ovitz (/wiki/Mike_Ovitz) !" – Music and Lyrics by Joe Eszterhas (/wiki/Joe_Eszterhas) and Gary G-Wiz (/wiki/Gary_G-Wiz) (1998) " Wild Wild West (/wiki/Wild_Wild_West_(Will_Smith_song)) " – Music and Lyrics by Stevie Wonder (/wiki/Stevie_Wonder) , Kool Moe Dee (/wiki/Kool_Moe_Dee) , and Will Smith (/wiki/Will_Smith) (1999) 2000s No Award (2000) No Award (2001) " I'm Not a Girl, Not Yet a Woman (/wiki/I%27m_Not_a_Girl,_Not_Yet_a_Woman) " – Music and Lyrics by Max Martin (/wiki/Max_Martin) , Rami Yacoub (/wiki/Rami_Yacoub) , and Dido (/wiki/Dido_(singer)) (2002) v t e Grammy Award for Best Rock Performance by a Duo or Group with Vocal (/wiki/Grammy_Award_for_Best_Rock_Performance_by_a_Duo_or_Group_with_Vocal) 1970s " Heartache Tonight (/wiki/Heartache_Tonight) " – Eagles (/wiki/Eagles_(band)) (1979) 1980s Against the Wind (/wiki/Against_the_Wind_(album)) – Bob Seger (/wiki/Bob_Seger) and the Silver Bullet Band (1980) " Don't Stand So Close to Me (/wiki/Don%27t_Stand_So_Close_to_Me) " – The Police (/wiki/The_Police) (1981) " Eye of the Tiger (/wiki/Eye_of_the_Tiger) " – Survivor (/wiki/Survivor_(band)) (1982) Synchronicity (/wiki/Synchronicity_(The_Police_album)) – The Police (/wiki/The_Police) (1983) " Purple Rain (/wiki/Purple_Rain_(album)) " – Prince and the Revolution (/wiki/The_Revolution_(band)) (1984) " Money for Nothing (/wiki/Money_for_Nothing_(song)) " – Dire Straits (/wiki/Dire_Straits) (1985) " Missionary Man (/wiki/Missionary_Man_(Eurythmics_song)) " – Eurythmics (/wiki/Eurythmics) (1986) The Joshua Tree (/wiki/The_Joshua_Tree) – U2 (/wiki/U2) (1987) " Desire (/wiki/Desire_(U2_song)) " – U2 (/wiki/U2) (1988) " Traveling Wilburys Vol. 1 (/wiki/Traveling_Wilburys_Vol._1) " – Traveling Wilburys (/wiki/Traveling_Wilburys) (1989) 1990s " Janie's Got a Gun (/wiki/Janie%27s_Got_a_Gun) " – Aerosmith (/wiki/Aerosmith) (1990) "Good Man, Good Woman" – Bonnie Raitt (/wiki/Bonnie_Raitt) and Delbert McClinton (/wiki/Delbert_McClinton) (1991) " Achtung Baby (/wiki/Achtung_Baby) " – U2 (/wiki/U2) (1992) " Livin' on the Edge (/wiki/Livin%27_on_the_Edge) " – Aerosmith (/wiki/Aerosmith) (1993) " Crazy (/wiki/Crazy_(Aerosmith_song)) " – Aerosmith (/wiki/Aerosmith) (1994) " Run-Around (/wiki/Run-Around_(song)) " – Blues Traveler (/wiki/Blues_Traveler) (1995) " So Much to Say (/wiki/So_Much_to_Say) " – Dave Matthews Band (/wiki/Dave_Matthews_Band) (1996) " One Headlight (/wiki/One_Headlight) " – The Wallflowers (/wiki/The_Wallflowers) (1997) " Pink (/wiki/Pink_(Aerosmith_song)) " – Aerosmith (/wiki/Aerosmith) (1998) " Put Your Lights On (/wiki/Put_Your_Lights_On) " – Everlast (/wiki/Everlast) and Santana (/wiki/Carlos_Santana) (1999) 2000s " Beautiful Day (/wiki/Beautiful_Day) " – U2 (/wiki/U2) (2000) " Elevation (/wiki/Elevation_(song)) " – U2 (/wiki/U2) (2001) " In My Place (/wiki/In_My_Place) " – Coldplay (/wiki/Coldplay) (2002) "Disorder in the House" – Bruce Springsteen (/wiki/Bruce_Springsteen) and Warren Zevon (/wiki/Warren_Zevon) (2003) " Vertigo (/wiki/Vertigo_(U2_song)) " – U2 (/wiki/U2) (2004) " Sometimes You Can't Make It on Your Own (/wiki/Sometimes_You_Can%27t_Make_It_on_Your_Own) " – U2 (/wiki/U2) (2005) " Dani California (/wiki/Dani_California) " – Red Hot Chili Peppers (/wiki/Red_Hot_Chili_Peppers) (2006) " Icky Thump (/wiki/Icky_Thump_(song)) " – The White Stripes (/wiki/The_White_Stripes) (2007) " Sex on Fire (/wiki/Sex_on_Fire) " – Kings of Leon (/wiki/Kings_of_Leon) (2008) " Use Somebody (/wiki/Use_Somebody) " – Kings of Leon (/wiki/Kings_of_Leon) (2009) 2010s " Tighten Up (/wiki/Tighten_Up_(The_Black_Keys_song)) " – The Black Keys (/wiki/The_Black_Keys) (2010) v t e Grammy Award for Best Score Soundtrack for Visual Media (/wiki/Grammy_Award_for_Best_Score_Soundtrack_for_Visual_Media) 1950s No Award (1958) Anatomy of a Murder (/wiki/Anatomy_of_a_Murder) – Duke Ellington (/wiki/Duke_Ellington) (1959) 1960s Exodus (/wiki/Exodus_(soundtrack)) – Ernest Gold (/wiki/Ernest_Gold) (1960) Breakfast at Tiffany's (/wiki/Breakfast_at_Tiffany%27s:_Music_from_the_Motion_Picture) – Henry Mancini (/wiki/Henry_Mancini) (1961) No Award (1962) Tom Jones (/wiki/Tom_Jones_(1963_film)) – John Addison (/wiki/John_Addison) (1963) Mary Poppins (/wiki/Mary_Poppins:_Original_Cast_Soundtrack) – Richard M. Sherman (/wiki/Richard_M._Sherman) & Robert B. Sherman (/wiki/Robert_B._Sherman) (1964) The Sandpiper (/wiki/The_Sandpiper) – Johnny Mandel (/wiki/Johnny_Mandel) (1965) Doctor Zhivago (/wiki/Doctor_Zhivago_(soundtrack)) – Maurice Jarre (/wiki/Maurice_Jarre) (1966) Music from Mission: Impossible (/wiki/Music_from_Mission:_Impossible) – Lalo Schifrin (/wiki/Lalo_Schifrin) (1967) The Graduate (/wiki/The_Graduate_(soundtrack)) – Dave Grusin (/wiki/Dave_Grusin) & Paul Simon (/wiki/Paul_Simon) (1968) Butch Cassidy and the Sundance Kid (/wiki/Butch_Cassidy_and_the_Sundance_Kid) – Burt Bacharach (/wiki/Burt_Bacharach) (1969) 1970s Let It Be (/wiki/Let_It_Be_(album)) – The Beatles (/wiki/The_Beatles) ( John Lennon (/wiki/John_Lennon) , Paul McCartney (/wiki/Paul_McCartney) , George Harrison (/wiki/George_Harrison) & Ringo Starr (/wiki/Ringo_Starr) ) (1970) Shaft (/wiki/Shaft_(Isaac_Hayes_album)) – Isaac Hayes (/wiki/Isaac_Hayes) (1971) The Godfather (/wiki/The_Godfather_(soundtrack)) – Nino Rota (/wiki/Nino_Rota) (1972) Jonathan Livingston Seagull (/wiki/Jonathan_Livingston_Seagull_(soundtrack)) – Neil Diamond (/wiki/Neil_Diamond) (1973) The Way We Were: Original Soundtrack Recording (/wiki/The_Way_We_Were:_Original_Soundtrack_Recording) – Alan and Marilyn Bergman (/wiki/Alan_and_Marilyn_Bergman) & Marvin Hamlisch (/wiki/Marvin_Hamlisch) (1974) Jaws (/wiki/Jaws_(soundtrack)) – John Williams (/wiki/John_Williams) (1975) Car Wash (/wiki/Car_Wash_(soundtrack)) – Norman Whitfield (/wiki/Norman_Whitfield) (1976) Star Wars (/wiki/Star_Wars_(soundtrack)) – John Williams (/wiki/John_Williams) (1977) Close Encounters of the Third Kind (/wiki/Close_Encounters_of_the_Third_Kind_(soundtrack)) – John Williams (/wiki/John_Williams) (1978) Superman (/wiki/Superman_(1978_film)) – John Williams (/wiki/John_Williams) (1979) 1980s The Empire Strikes Back (/wiki/The_Empire_Strikes_Back_(soundtrack)) – John Williams (/wiki/John_Williams) (1980) Raiders of the Lost Ark (/wiki/Raiders_of_the_Lost_Ark_(soundtrack)) – John Williams (/wiki/John_Williams) (1981) E.T. the Extra-Terrestrial (/wiki/E.T._the_Extra-Terrestrial_(soundtrack)) – John Williams (/wiki/John_Williams) (1982) Flashdance (/wiki/Flashdance_(soundtrack)) – Michael Boddicker (/wiki/Michael_Boddicker) , Irene Cara (/wiki/Irene_Cara) , Kim Carnes (/wiki/Kim_Carnes) , Doug Cotler (/wiki/Doug_Cotler) , Keith Forsey (/wiki/Keith_Forsey) , Richard Gilbert, Jerry Hey (/wiki/Jerry_Hey) , Duane Hitchings, Craig Krampf (/wiki/Craig_Krampf) , Ronald Magness, Dennis Matkosky, Giorgio Moroder (/wiki/Giorgio_Moroder) , Phil Ramone (/wiki/Phil_Ramone) , Michael Sembello (/wiki/Michael_Sembello) & Shandi Sinnamon (/wiki/Shandi_Sinnamon) (1983) Purple Rain (/wiki/Purple_Rain_(album)) – Prince and the Revolution (/wiki/The_Revolution_(band)) (1984) Beverly Hills Cop (/wiki/Beverly_Hills_Cop_(soundtrack)) – Marc Benno, Harold Faltermeyer (/wiki/Harold_Faltermeyer) , Keith Forsey (/wiki/Keith_Forsey) , Micki Free (/wiki/Micki_Free) , John Gilutin Hawk, Howard Hewett (/wiki/Howard_Hewett) , Bunny Hull, Howie Rice, Sharon Robinson (/wiki/Sharon_Robinson_(songwriter)) , Danny Sembello (/wiki/Danny_Sembello) , Sue Sheridan, Richard Theisen & Allee Willis (/wiki/Allee_Willis) (1985) Out of Africa (/wiki/Out_of_Africa_(film)) – John Barry (/wiki/John_Barry_(composer)) (1986) The Untouchables (/wiki/The_Untouchables_(film)) – Ennio Morricone (/wiki/Ennio_Morricone) (1987) The Last Emperor (/wiki/The_Last_Emperor_(album)) – David Byrne (/wiki/David_Byrne) , Cong Su (/wiki/Cong_Su) & Ryuichi Sakamoto (/wiki/Ryuichi_Sakamoto) (1988) The Fabulous Baker Boys (/wiki/The_Fabulous_Baker_Boys_(Motion_Picture_Soundtrack)) – Dave Grusin (/wiki/Dave_Grusin) (1989) 1990s Glory (/wiki/Glory_(1989_film)) – James Horner (/wiki/James_Horner) (1990) Dances with Wolves (/wiki/Dances_with_Wolves_(soundtrack)) – John Barry (/wiki/John_Barry_(composer)) (1991) Beauty and the Beast (/wiki/Beauty_and_the_Beast_(1991_soundtrack)) – Alan Menken (/wiki/Alan_Menken) (1992) Aladdin (/wiki/Aladdin_(1992_soundtrack)) – Alan Menken (/wiki/Alan_Menken) (1993) Schindler's List (/wiki/Schindler%27s_List_(soundtrack)) – John Williams (/wiki/John_Williams) (1994) Crimson Tide (/wiki/Crimson_Tide_(film)) – Hans Zimmer (/wiki/Hans_Zimmer) (1995) Independence Day (/wiki/Independence_Day_(1996_film)) – David Arnold (/wiki/David_Arnold) (1996) The English Patient (/wiki/The_English_Patient_(soundtrack)) – Gabriel Yared (/wiki/Gabriel_Yared) (1997) Saving Private Ryan (/wiki/Saving_Private_Ryan_(soundtrack)) – John Williams (/wiki/John_Williams) (1998) A Bug's Life (/wiki/A_Bug%27s_Life_(soundtrack)) – Randy Newman (/wiki/Randy_Newman) (1999) 2000s American Beauty (/wiki/American_Beauty:_Original_Motion_Picture_Score) – Thomas Newman (/wiki/Thomas_Newman) (2000) Crouching Tiger, Hidden Dragon (/wiki/Crouching_Tiger,_Hidden_Dragon_(soundtrack)) – Tan Dun (/wiki/Tan_Dun) (2001) The Lord of the Rings: The Fellowship of the Ring (/wiki/Music_of_The_Lord_of_the_Rings_film_series) – Howard Shore (/wiki/Howard_Shore) & John Kurlander (engineer/mixer) (2002) The Lord of the Rings: The Two Towers (/wiki/Music_of_The_Lord_of_the_Rings_film_series) – Howard Shore (/wiki/Howard_Shore) , John Kurlander (engineer/mixer) & Peter Cobbin (/wiki/Peter_Cobbin) (engineer/mixer) (2003) The Lord of the Rings: The Return of the King (/wiki/Music_of_The_Lord_of_the_Rings_film_series) – Howard Shore (/wiki/Howard_Shore) , John Kurlander (engineer/mixer) & Peter Cobbin (/wiki/Peter_Cobbin) (engineer/mixer) (2004) Ray (/wiki/Ray_(soundtrack)) – Craig Armstrong (/wiki/Craig_Armstrong_(composer)) (2005) Memoirs of a Geisha (/wiki/Memoirs_of_a_Geisha_(soundtrack)) – John Williams (/wiki/John_Williams) (2006) Ratatouille (/wiki/Ratatouille_(soundtrack)) – Michael Giacchino (/wiki/Michael_Giacchino) (2007) The Dark Knight (/wiki/The_Dark_Knight:_Original_Motion_Picture_Soundtrack) – Hans Zimmer (/wiki/Hans_Zimmer) & James Newton Howard (/wiki/James_Newton_Howard) (2008) Up (/wiki/Up_(soundtrack)) – Michael Giacchino (/wiki/Michael_Giacchino) (2009) 2010s Toy Story 3 (/wiki/Toy_Story_3_(soundtrack)) – Randy Newman (/wiki/Randy_Newman) (2010) The King's Speech (/wiki/The_King%27s_Speech_(soundtrack)) – Alexandre Desplat (/wiki/Alexandre_Desplat) (2011) The Girl with the Dragon Tattoo (/wiki/The_Girl_with_the_Dragon_Tattoo_(soundtrack)) – Trent Reznor (/wiki/Trent_Reznor) & Atticus Ross (/wiki/Atticus_Ross) (2012) Skyfall (/wiki/Skyfall:_Original_Motion_Picture_Soundtrack) – Thomas Newman (/wiki/Thomas_Newman) (2013) The Grand Budapest Hotel (/wiki/The_Grand_Budapest_Hotel_(soundtrack)) – Alexandre Desplat (/wiki/Alexandre_Desplat) (2014) Birdman (/wiki/Birdman_(film_score)) – Antonio Sánchez (/wiki/Antonio_S%C3%A1nchez_(drummer)) (2015) Star Wars: The Force Awakens (/wiki/Star_Wars:_The_Force_Awakens_(soundtrack)) – John Williams (/wiki/John_Williams) (2016) La La Land (/wiki/La_La_Land_(soundtrack)) – Justin Hurwitz (/wiki/Justin_Hurwitz) (2017) Black Panther (/wiki/Black_Panther_(soundtrack)) – Ludwig Göransson (/wiki/Ludwig_G%C3%B6ransson) (2018) Chernobyl (/wiki/Chernobyl:_Music_from_the_Original_TV_Series) – Hildur Guðnadóttir (/wiki/Hildur_Gu%C3%B0nad%C3%B3ttir) (2019) 2020s Joker (/wiki/Joker_(soundtrack)) – Hildur Guðnadóttir (/wiki/Hildur_Gu%C3%B0nad%C3%B3ttir) (2020) The Queen's Gambit (/wiki/The_Queen%27s_Gambit:_Music_from_the_Netflix_Limited_Series) – Carlos Rafael Rivera (/wiki/Carlos_Rafael_Rivera) / Soul (/wiki/Soul_(soundtrack)) – Jon Batiste (/wiki/Jon_Batiste) , Trent Reznor (/wiki/Trent_Reznor) & Atticus Ross (/wiki/Atticus_Ross) (2021) Encanto (/wiki/Encanto_(soundtrack)) – Germaine Franco (/wiki/Germaine_Franco) (2022) Oppenheimer (/wiki/Oppenheimer_(soundtrack)) – Ludwig Göransson (/wiki/Ludwig_G%C3%B6ransson) (2023) v t e MTV Video Music Award for Best Choreography (/wiki/MTV_Video_Music_Award_for_Best_Choreography) Michael Jackson (/wiki/Michael_Jackson) and Michael Peters 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Awards (https://www.grammy.com/artists/prince/5675) MusicBrainz (https://musicbrainz.org/artist/070d193a-845c-479f-980e-bef15710653e) 2 (https://musicbrainz.org/artist/d651d80e-6137-4440-81da-fff5a27a79c4) ULAN (https://www.getty.edu/vow/ULANFullDisplay?find=&role=&nation=&subjectid=500354776) People Deutsche Biographie (https://www.deutsche-biographie.de/pnd118866060.html?language=en) Trove (https://trove.nla.gov.au/people/1048605) Other SNAC (https://snaccooperative.org/ark:/99166/w60t20hk) IdRef (https://www.idref.fr/027754596) NewPP limit report Parsed by mw‐web.codfw.main‐69f74dcdf6‐hhssl Cached time: 20240721235004 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 3.998 seconds Real time usage: 4.487 seconds Preprocessor visited node count: 36585/1000000 Post‐expand include size: 1369302/2097152 bytes Template argument size: 179930/2097152 bytes Highest expansion depth: 22/100 Expensive parser function count: 61/500 Unstrip 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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=Prince_(musician)&oldid=1235930493 (https://en.wikipedia.org/w/index.php?title=Prince_(musician)&oldid=1235930493) " Categories (/wiki/Help:Category) : Prince (musician) (/wiki/Category:Prince_(musician)) 1958 births (/wiki/Category:1958_births) 2016 deaths (/wiki/Category:2016_deaths) 20th-century African-American male singers (/wiki/Category:20th-century_African-American_male_singers) 20th-century American male singers (/wiki/Category:20th-century_American_male_singers) 20th-century American singers (/wiki/Category:20th-century_American_singers) 20th-century American drummers (/wiki/Category:20th-century_American_drummers) 20th-century American guitarists (/wiki/Category:20th-century_American_guitarists) 20th-century American keyboardists (/wiki/Category:20th-century_American_keyboardists) 20th-century American male actors 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Italian actress (born 1952) Isabella Rossellini Rossellini at the 2015 Cannes Film Festival (/wiki/2015_Cannes_Film_Festival) Born Isabella Fiorella Elettra Giovanna Rossellini ( 1952-06-18 ) 18 June 1952 (age 72) Rome (/wiki/Rome) , Italy Citizenship Italy United States Occupation Actress Years active 1976–present Spouses Martin Scorsese (/wiki/Martin_Scorsese) ( m. 1979; div. 1982) Jonathan Wiedemann ( m. 1983; div. 1986) Partners David Lynch (/wiki/David_Lynch) (1986–1991) Gary Oldman (/wiki/Gary_Oldman) (1994–1996) Children 2, including Elettra Rossellini Wiedemann (/wiki/Elettra_Rossellini_Wiedemann) Parents Roberto Rossellini (/wiki/Roberto_Rossellini) (father) Ingrid Bergman (/wiki/Ingrid_Bergman) (mother) Relatives Pia Lindström (/wiki/Pia_Lindstr%C3%B6m) (maternal half-sister) Renzo Rossellini (/wiki/Renzo_Rossellini_(producer)) (paternal half-brother) Isabella Fiorella Elettra Giovanna Rossellini ( Italian: [izaˈbɛlla (/wiki/Help:IPA/Italian) rosselˈlini] (/wiki/Help:IPA/Italian) ; born 18 June 1952) [1] (#cite_note-1) is an Italian-American [2] (#cite_note-Silversea-2) [3] (#cite_note-3) actress and model. The daughter of Swedish actress Ingrid Bergman (/wiki/Ingrid_Bergman) and Italian film director Roberto Rossellini (/wiki/Roberto_Rossellini) , she is noted for her successful tenure as a Lancôme (/wiki/Lanc%C3%B4me) model and an established career in American cinema. She gained recognition as an actress after her breakthrough role in White Nights (/wiki/White_Nights_(1985_film)) (1985) and again in David Lynch (/wiki/David_Lynch) 's Blue Velvet (/wiki/Blue_Velvet_(film)) (1986) for which she received the Independent Spirit Award for Best Female Lead (/wiki/Independent_Spirit_Award_for_Best_Female_Lead) . Other notable films include Cousins (/wiki/Cousins_(1989_film)) (1989), Wild at Heart (/wiki/Wild_at_Heart_(film)) (1990), Death Becomes Her (/wiki/Death_Becomes_Her) (1992), Fearless (/wiki/Fearless_(1993_film)) (1993), Wyatt Earp (/wiki/Wyatt_Earp_(film)) (1994), Big Night (/wiki/Big_Night) (1996), Roger Dodger (/wiki/Roger_Dodger_(film)) (2002), Infamous (/wiki/Infamous_(2006_film)) (2006), Two Lovers (/wiki/Two_Lovers_(2008_film)) (2008), Enemy (/wiki/Enemy_(2013_film)) (2013), Joy (/wiki/Joy_(2015_film)) (2015), and La chimera (/wiki/La_chimera) (2023). She is also known for her voice roles in Incredibles 2 (/wiki/Incredibles_2) (2018), and Marcel the Shell with Shoes On (/wiki/Marcel_the_Shell_with_Shoes_On_(2021_film)) (2021), and her role as General Malice in Human Resources (/wiki/Human_Resources_(TV_series)) (2023). Rossellini received a Golden Globe Award (/wiki/Golden_Globe_Award) nomination for the HBO (/wiki/HBO) film Crime of the Century (/wiki/Crime_of_the_Century_(1996_film)) (1996). She received a Primetime Emmy Award for Outstanding Guest Actress in a Drama Series (/wiki/Primetime_Emmy_Award_for_Outstanding_Guest_Actress_in_a_Drama_Series) nomination for Chicago Hope (/wiki/Chicago_Hope) (1997). She also has guest starred in the sitcoms (/wiki/Sitcoms) Friends (/wiki/Friends) and 30 Rock (/wiki/30_Rock) as well as the dramas Alias (/wiki/Alias_(TV_series)) and The Blacklist (/wiki/The_Blacklist) . She portrayed Simone Beck (/wiki/Simone_Beck) in the HBO (/wiki/HBO) series Julia (/wiki/Julia_(2022_TV_series)) (2022). Early life [ edit ] Rossellini was born in Rome, the daughter of Swedish actress Ingrid Bergman (/wiki/Ingrid_Bergman) , who was of Swedish and German descent, and Italian director Roberto Rossellini (/wiki/Roberto_Rossellini) , who was born in Rome (/wiki/Rome) from a family originally from Pisa (/wiki/Pisa) , Tuscany (/wiki/Tuscany) . She has three siblings from her mother: her fraternal twin sister Isotta Ingrid Rossellini, who is an adjunct professor of Italian literature (/wiki/Italian_literature) ; a brother, Robertino Ingmar Rossellini; [4] (#cite_note-4) and a half-sister, Pia Lindström (/wiki/Pia_Lindstr%C3%B6m) , who formerly worked on television and is from her mother's first marriage with Petter Lindström (/wiki/Petter_Lindstr%C3%B6m) . She has four other siblings from her father's two other marriages: Romano (who died at age nine), Renzo, Gil, and Raffaella. [5] (#cite_note-5) Growing up, she received "a liberal Catholic (/wiki/Catholic) education". [6] (#cite_note-6) Isabella (first from right) with twin sister Isotta, brother Robertino and their mother Ingrid Bergman on the filming set of The Visit (/wiki/The_Visit_(1964_film)) . Rossellini was raised in Rome, as well as in Santa Marinella (/wiki/Santa_Marinella) and Paris. She underwent an operation for appendicitis at the age of five. [7] (#cite_note-7) At 11, she was diagnosed with scoliosis (/wiki/Scoliosis) . [8] (#cite_note-8) In order to correct it, she had to undergo an 18-month ordeal of painful stretchings, body casts and surgery on her spine using pieces of one of her shin bones. [ citation needed ] Consequently, she has incision scars on her back and shin. At 19, she went to New York City (/wiki/New_York_City) , where she attended Finch College (/wiki/Finch_College) , while working as a translator and as a television reporter for RAI (/wiki/RAI) . [9] (#cite_note-9) She also appeared intermittently on L'altra Domenica (/wiki/L%27altra_Domenica) ( The Other Sunday ), a TV show featuring Roberto Benigni (/wiki/Roberto_Benigni) . However, she decided not to stay full-time in New York until her marriage to Martin Scorsese (/wiki/Martin_Scorsese) (1979–1982), whom she met when she interviewed him for RAI. [10] (#cite_note-10) Career [ edit ] Modeling [ edit ] At the age of 28, her modeling career began, when she was photographed by Bruce Weber (/wiki/Bruce_Weber_(photographer)) for British Vogue (/wiki/British_Vogue) and by Bill King (/wiki/Bill_King_(photographer)) for American Vogue (/wiki/Vogue_(magazine)) . During her career, she has also worked with many other renowned photographers, including Richard Avedon (/wiki/Richard_Avedon) , Steven Meisel (/wiki/Steven_Meisel) , Helmut Newton (/wiki/Helmut_Newton) , Peter Lindbergh (/wiki/Peter_Lindbergh) , Norman Parkinson (/wiki/Norman_Parkinson) , Eve Arnold (/wiki/Eve_Arnold) , Francesco Scavullo (/wiki/Francesco_Scavullo) , Annie Leibovitz (/wiki/Annie_Leibovitz) , Denis Piel (/wiki/Denis_Piel) , and Robert Mapplethorpe (/wiki/Robert_Mapplethorpe) . Her image has appeared on such magazines as Marie Claire (/wiki/Marie_Claire) , Harper's Bazaar (/wiki/Harper%27s_Bazaar) , Vanity Fair (/wiki/Vanity_Fair_(magazine)) , and Elle (/wiki/Elle_(magazine)) . In March 1988, an exhibition dedicated to photographs of her, called Portrait of a Woman , was held at the Musee d'Art Moderne in Paris. Rossellini's modeling career led her into the world of cosmetics (/wiki/Cosmetics) , when she became the exclusive spokesmodel for the French cosmetics brand Lancôme (/wiki/Lanc%C3%B4me) in 1982, replacing Nancy Dutiel (/wiki/Nancy_Dutiel) in the United States and Carol Alt (/wiki/Carol_Alt) in Europe. At Lancôme, in 1990, she was involved in product development for the fragrance Trésor. In 1996, when she was 43, she was removed as the face of Lancôme for being "too old". In 2016, at the age of 63, she was rehired by Lancôme's new female CEO, Francoise Lehmann, as a global brand ambassador for the company. [11] (#cite_note-11) In October 1992, Rossellini modelled for Madonna (/wiki/Madonna) 's controversial book Sex (/wiki/Sex_(book)) . Rossellini also appeared in Madonna's music video for her successful Top 5 hit song " Erotica (/wiki/Erotica_(song)) ", released in autumn 1992. [12] (#cite_note-12) Rossellini was the inaugural brand ambassador for the Italian Silversea Cruises (/wiki/Silversea_Cruises) company in 2004, and she appeared in print ads and on their website. Barbara Muckermann, the senior vice-president of worldwide marketing and communications in 2004, said at the time of the announcement, "Isabella is the ideal personification of Silversea's exclusive standard of elegance, glamour and sophistication." [2] (#cite_note-Silversea-2) [13] (#cite_note-Week-13) Film and television [ edit ] Rossellini on location at Tempelhof Airport in Berlin in 1992 to shoot some scenes for the film The Innocent (/wiki/The_Innocent_(1993_film)) Rossellini made her film debut with a brief appearance as a nun opposite her mother in the 1976 film A Matter of Time (/wiki/A_Matter_of_Time_(film)) . Her first role was the 1979 film Il Prato , and then in 1980 she appeared in Renzo Arbore (/wiki/Renzo_Arbore) 's film Il pap'occhio (/wiki/Il_pap%27occhio) with Martin Scorsese (/wiki/Martin_Scorsese) . Following her mother's death in 1982, Rossellini was cast in her first American film, White Nights (/wiki/White_Nights_(1985_film)) (1985). This was followed by her notable role as the tortured nightclub singer (/wiki/Nightclub_singer) Dorothy Vallens in the David Lynch (/wiki/David_Lynch) film Blue Velvet (/wiki/Blue_Velvet_(film)) , in which she also contributed her own singing. Other significant film roles during this period include her work in Cousins (/wiki/Cousins_(1989_film)) (1989), Death Becomes Her (/wiki/Death_Becomes_Her) (1992), Fearless (/wiki/Fearless_(1993_film)) (1993), and Immortal Beloved (/wiki/Immortal_Beloved_(1994_film)) (1994). In 1996, she appeared as herself in an episode of the TV series Friends (/wiki/Friends) called " The One with Frank Jr. (/wiki/The_One_with_Frank_Jr.) " In 2003, Rossellini was a recurring character on the television series Alias (/wiki/Alias_(TV_series)) . In that same year, she also appeared in the Canadian film (/wiki/Canadian_film) The Saddest Music in the World (/wiki/The_Saddest_Music_in_the_World) , directed by Guy Maddin (/wiki/Guy_Maddin) . In 2004, she played the High Priestess Thar in the Sci-Fi Channel (/wiki/Sci-Fi_Channel) miniseries Legend of Earthsea (/wiki/Legend_of_Earthsea) , and the director Robert Lieberman stated that Rossellini "brings a very big persona to the screen. She carries a great deal of beauty. We needed someone who had a feeling of authority to be this kind of mother superior type and at the same time not be totally dour and unattractive." [14] (#cite_note-14) In 2006, Rossellini appeared in several television documentaries. First, she narrated a two-hour television special on Italy for the Discovery Channel (/wiki/Discovery_Channel) 's Discovery Atlas (/wiki/Discovery_Atlas) series. Then, alongside Segway PT (/wiki/Segway_PT) inventor Dean Kamen (/wiki/Dean_Kamen) , she spoke about her past and current activities on an episode of Iconoclasts (/wiki/Iconoclasts_(TV_series)) , a series that featured on the Sundance Channel (/wiki/SundanceTV) (known as SundanceTV from 2014 onwards), an independent film network founded by film industry veteran Robert Redford (/wiki/Robert_Redford) . [15] (#cite_note-15) The Sundance Channel then purchased the 2006 Guy Maddin-directed short film My Dad Is 100 Years Old , [16] (#cite_note-Paper-16) a tribute that Rossellini created for her father. In the film, she played almost every role, including Federico Fellini (/wiki/Federico_Fellini) , Alfred Hitchcock (/wiki/Alfred_Hitchcock) and her mother, Ingrid Bergman (/wiki/Ingrid_Bergman) . Rossellini's twin sister, Isotta Ingrid, [17] (#cite_note-Nat-17) criticized the short film, calling it an "inappropriate" tribute. [18] (#cite_note-18) In 2007, Rossellini guest starred on two episodes of the television show 30 Rock (/wiki/30_Rock) , playing Alec Baldwin (/wiki/Alec_Baldwin) 's character's ex-wife. [19] (#cite_note-19) Around the same time, Rossellini enrolled at Hunter College (/wiki/Hunter_College) in New York to study animal behavior, and the Sundance Channel commissioned her to contribute a short-film project to the environmental program The Green . [16] (#cite_note-Paper-16) Rossellini explained in a 2013 interview: They contacted me again when they had allocated some money to experiment in making a web series. At first, I thought I didn't know what to say, I didn't know what to write and then thought it might be really fun to do little short films about animals. This is how the first three episodes of Green Porno came about. When I showed them the pilot, Sundance commissioned eight more. It was a huge hit! [16] (#cite_note-Paper-16) Rossellini worked on Green Porno (/wiki/Green_Porno) with Jody Shapiro. Debuting in 2008, the first series of Green Porno (/wiki/Green_Porno) had over 4 million views on YouTube (/wiki/YouTube) and two further seasons were produced; there are 18 episodes in the series. Rossellini worked with a small budget for Green Porno and she was responsible for the scripts, helped to design the creatures, directed the episodes, and is the primary actor in the series. In each of the episodes, she acts out the mating rituals and reproductive behaviour of various animals while commentary is played. [20] (#cite_note-Time-20) Green Porno was followed by two other animal-themed television productions: Seduce Me: The Spawn of Green Porno and Mammas . Seduce Me: The Spawn of Green Porno is a five-episode online series that was premiered in mid-2010 and explores the topic of animal courtship. As with Green Porno , Rossellini wrote, directed and acted in the series; she is also a producer of the series. Rossellini explained in 2010, "I always wanted to make films about animals – there's not an enormous audience, but there's an enormous audience for sex." [21] (#cite_note-21) Rossellini at the 2013 Toronto Film Festival (/wiki/2013_Toronto_Film_Festival) Mammas debuted in the United States on 12 May 2013, Mother's Day weekend there, and is a celebration of the maternal aspects of the animal world. Rossellini is again the primary actor and plays the maternal versions of animals such as spiders and hamsters. [22] (#cite_note-22) Rossellini explained in a 2013 interview part of the research process for Mammas : "First of all it's about diversity. When talking about motherhood, I would find examples of ten different species that either don't get pregnant in the belly but in the mouth or back. Or species that abandon their children all-together so that I don't tell ten stories that are too similar." [16] (#cite_note-Paper-16) After the completion of her Green Porno productions, Rossellini acted in the film Enemy (/wiki/Enemy_(2013_film)) , with Jake Gyllenhaal (/wiki/Jake_Gyllenhaal) , which was shown at the 2013 Toronto International Film Festival (/wiki/Toronto_International_Film_Festival) (TIFF). Rossellini praised the film during a TIFF interview: "I love the subtlety of the film. It reminded me of Kafka. It's very metaphysical, but yet it's also a solid thriller. It made me leap up out of my seat at the end." Rossellini also played the silent film actor Rudolph Valentino (/wiki/Rudolph_Valentino) 's mother [23] (#cite_note-23) in Vlad Kozlov (/w/index.php?title=Vlad_Kozlov&action=edit&redlink=1) 's Silent Life (/w/index.php?title=Silent_Life&action=edit&redlink=1) , a feature-length version of the director's silent, black-and-white short film Daydreams of Rudolph Valentino . [24] (#cite_note-24) Kozlov's film was due for release in 2012, but, as of February 2014, the film has not been officially released. [25] (#cite_note-25) Rossellini was the president of the jury for the 61st Berlin International Film Festival (/wiki/61st_Berlin_International_Film_Festival) in 2011. [26] (#cite_note-26) In April 2015, she was announced as the president of the jury for the Un Certain Regard (/wiki/Un_Certain_Regard) section of the 2015 Cannes Film Festival (/wiki/2015_Cannes_Film_Festival) . [27] (#cite_note-27) In 2016, Rossellini was cast as Rita Marks, the matriarch of the Marks crime family in the Hulu (/wiki/Hulu) original series, Shut Eye (/wiki/Shut_Eye) . Stage and live performance [ edit ] In 2004, Rossellini acted in an Off-Broadway (/wiki/Off-Broadway) production of Terrence McNally (/wiki/Terrence_McNally) 's The Stendhal Syndrome , with Richard Thomas (/wiki/Richard_Thomas_(actor)) . [28] (#cite_note-28) Rossellini's friend, Carole Bouquet (/wiki/Carole_Bouquet) , also a model who later became an actress, suggested that Green Porno could be transformed into a lecture format with a longer duration. Bouquet then introduced Rossellini to the French filmmaker and screenwriter, Jean-Claude Carrière (/wiki/Jean-Claude_Carri%C3%A8re) , and they created a 70-minute-long monologue that expands upon the Green Porno films. The structure of the performance is in accordance with the types of reproductive systems: Some animals reproduce with male and female; some animals change sex – they start female and they end male or vice-versa. Some fish do that. Some animals are hermaphrodites – they don't need anybody, they have both vaginas and penises. Then we have animals that don't need sex at all, they just clone themselves. [20] (#cite_note-Time-20) In the live show, Rossellini explores the topics of homosexuality ("I think society has made the mistake of seeing the act of making love or mating as an act of reproduction, when actually it is used for other things, too. Animals use it for social events, bonding, solving conflict and so on.") and maternal instincts, and has explained that her research has influenced her perspective on societal notions of beauty: "If you look at nature, there is no perfection. Everything is always evolving and adapting according to whatever the environmental pressure. The more diversity there is, the more things are going to survive." [20] (#cite_note-Time-20) Rossellini debuted the live version of Green Porno at the Adelaide Festival of Arts (/wiki/Adelaide_Festival_of_Arts) on 15 March 2014 and was warmly received by the audience. The show was the first of the 2014 program to sell out. [29] (#cite_note-29) Much of the production and backstage documentary footage was shot and directed by her nephew, Tommaso Rossellini. Rossellini's "smallest circus in the world", a stage play exploring the ability of animals to think, was premiered in May 2018, at the Jerome Robbins Theater of the Baryshnikov Arts Center. The play "addresses the scientific discoveries about animal minds, intelligence, and emotions. Joined onstage by various animals portrayed by Pan, her trained dog, Rossellini transforms herself into Aristotle (/wiki/Aristotle) , Descartes (/wiki/Descartes) , B.F. Skinner (/wiki/B.F._Skinner) , Charles Darwin (/wiki/Charles_Darwin) , and more, to deliver a vivid monologue about the brilliance of the animal kingdom". [30] (#cite_note-30) Rossellini performed "Link Link Circus" (as in Ring Ring) as a benefit for The Gateway Performing Arts Center of Suffolk County, in Bellport, New York (/wiki/Bellport,_New_York) , the south shore Long Island village where she is a local organic farmer. "Link Link Circus" is performed by Rossellini in a black and red ringmaster's tailcoat, with the assistance of her dog, Peter Pan, who performs a few tricks and is costumed as other animals including a chicken and a dinosaur. In addition to Rossellini and Pan, the production includes puppets, handled by puppeteer Schuyler Beeman, and still photos, home movies, animation and excerpts from her "Green Porno" film series projected on a large screen behind the set decorated with Rossellini's childhood toys, including a marionette stage and a toy upright piano, which Rossellini plays in the show. The set was designed by Andy Byers, who is also the costume designer and composer for the show. In promoting the show, which was performed twice at The Gateway, Rossellini appeared in Long Island's Newsday . [31] (#cite_note-31) Proceeds from The Gateway production of "Link Link Circus" also benefited The Plaza Cinema & Media Arts Center, a non-profit located near Rossellini's Bellport home in Patchogue, New York (/wiki/Patchogue,_New_York) . Rossellini has been a frequent guest narrator at Disney's Candlelight Processional (/wiki/Disney%27s_Candlelight_Processional) at Walt Disney World (/wiki/Walt_Disney_World) , most recently appearing in the 2019 and 2022 seasons. [32] (#cite_note-32) Activism [ edit ] Rossellini is involved in conservation efforts. She is the president and director of the Howard Gilman Foundation (/wiki/Howard_Gilman_Foundation) – a leading institution focused on the preservation of wildlife, arts, photography and dance [33] (#cite_note-33) – and she has been a board member of the Wildlife Conservation Network (/wiki/Wildlife_Conservation_Network) . [34] (#cite_note-34) She received US$100,000 from Disney (/wiki/Disney) to help with her conservation efforts in those two organizations. [35] (#cite_note-35) She has also helped with the Central Park Conservancy (/wiki/Central_Park_Conservancy) , [36] (#cite_note-36) and is a major benefactor of the Bellport-Brookhaven Historical Society (/wiki/Bellport-Brookhaven_Historical_Society) in Bellport, Long Island (/wiki/Bellport,_New_York) , where she is a part-time resident. [37] (#cite_note-37) Rossellini is involved in training guide dogs (/wiki/Guide_dog) for the blind. [38] (#cite_note-38) She is a former trustee of the George Eastman House (/wiki/George_Eastman_House) and a 1997 George Eastman Award (/wiki/George_Eastman_Award) honoree for her support of film preservation (/wiki/Film_preservation) . [39] (#cite_note-39) She is also a National Ambassador (/wiki/List_of_UNICEF_Goodwill_Ambassadors#United_States_of_America) for the U.S. Fund for UNICEF (/wiki/U.S._Fund_for_UNICEF) . [40] (#cite_note-40) Personal life [ edit ] Rossellini with David Lynch (/wiki/David_Lynch) at the Cannes Film Festival (/wiki/Cannes_Film_Festival) (1990) Rossellini holds dual Italian and United States citizenship. [2] (#cite_note-Silversea-2) [41] (#cite_note-41) She speaks English, French and Italian fluently. [42] (#cite_note-42) She is a naturalized U.S. citizen. She was married to filmmaker Martin Scorsese (/wiki/Martin_Scorsese) from 1979 to 1982. [43] (#cite_note-43) After her marriage to Scorsese ended, she was married to Jon Wiedemann from 1983 to 1986. [44] (#cite_note-44) She has a daughter, Elettra Rossellini Wiedemann (/wiki/Elettra_Rossellini_Wiedemann) [13] (#cite_note-Week-13) (born 1983) and an adopted son, Roberto Rossellini (born 1993). [45] (#cite_note-45) Filmmaker David Lynch (/wiki/David_Lynch) and Rossellini were a couple from 1986/1987 to 1990/1991. Rossellini was engaged to English actor Gary Oldman (/wiki/Gary_Oldman) from 1994 to 1996. [46] (#cite_note-46) She has always lived near her fraternal twin sister Isotta Ingrid, [17] (#cite_note-Nat-17) while growing up in Rome, Italy or residing in New York City (/wiki/New_York_City) . Filmography [ edit ] Film [ edit ] Year Title Role Notes 1976 A Matter of Time (/wiki/A_Matter_of_Time_(film)) Sister Pia 1979 The Meadow (/wiki/The_Meadow_(film)) Eugenia 1980 In the Pope's Eye (/wiki/In_the_Pope%27s_Eye) Isabella 1985 White Nights (/wiki/White_Nights_(1985_film)) Darya Greenwood 1986 Blue Velvet (/wiki/Blue_Velvet_(film)) Dorothy Vallens 1987 Tough Guys Don't Dance (/wiki/Tough_Guys_Don%27t_Dance_(film)) Madeleine Regency Siesta (/wiki/Siesta_(film)) Marie Dark Eyes (/wiki/Dark_Eyes_(1987_film)) Claudia 1988 Zelly and Me (/wiki/Zelly_and_Me) Mademoiselle Zelly 1989 Cousins (/wiki/Cousins_(1989_film)) Maria Red Riding Hood (/wiki/Red_Riding_Hood_(1989_film)) Lady Jean 1990 Wild at Heart (/wiki/Wild_at_Heart_(film)) Perdita Durango Dames Galantes Victoire 1991 Caccia Alla Vedova Rosanna 1992 Death Becomes Her (/wiki/Death_Becomes_Her) Lisle von Rhuman 1993 The Pickle (/wiki/The_Pickle) Planet Cleveland Woman Uncredited The Innocent (/wiki/The_Innocent_(1993_film)) Maria Fearless (/wiki/Fearless_(1993_film)) Laura Klein 1994 Wyatt Earp (/wiki/Wyatt_Earp_(film)) Big Nose Kate Immortal Beloved (/wiki/Immortal_Beloved_(1994_film)) Anne Marie 1995 Croce e delizia Henriette 1996 Big Night (/wiki/Big_Night) Gabriella The Funeral (/wiki/The_Funeral_(1996_film)) Clara 1998 Left Luggage (/wiki/Left_Luggage_(film)) Mrs. Kalman The Impostors (/wiki/The_Impostors) The Veiled Queen 2000 Il Cielo cade Kathcen 2002 Empire (/wiki/Empire_(2002_film)) La Colombiana Roger Dodger (/wiki/Roger_Dodger_(film)) Joyce 2003 The Tulse Suitcases, Part 1: The Moab Story (/wiki/The_Tulse_Luper_Suitcases) Mme. Moitessier The Saddest Music in the World (/wiki/The_Saddest_Music_in_the_World) Lady Helen Port-Huntley 2004 The Tulse Luper Suitcases, Part 2: Vauz to the Sea (/wiki/The_Tulse_Luper_Suitcases) Mme. Moitessier Heights (/wiki/Heights_(film)) Liz King of the Corner (/wiki/King_of_the_Corner) Rachel Spivak 2005 La Fiesta Del Chivo (/wiki/The_Feast_of_the_Goat_(film)) Urania My Dad Is 100 Years Old Herself 2006 The Architect (/wiki/The_Architect_(2006_film)) Julia Walters Infamous (/wiki/Infamous_(2006_film)) Marella Agnelli (/wiki/Marella_Agnelli) 2007 The Last Jews of Libya (/wiki/The_Last_Jews_of_Libya) Narrator 2008 The Accidental Husband (/wiki/The_Accidental_Husband) Mrs. Bollenbecker 2009 Two Lovers (/wiki/Two_Lovers_(2008_film)) Ruth Kraditor My Dog Tulip (/wiki/My_Dog_Tulip) Ms. Cavenenini Voice [47] (#cite_note-btva2-47) 2010 The Solitude of Prime Numbers (/wiki/The_Solitude_of_Prime_Numbers) Adele 2011 Keyhole (/wiki/Keyhole_(film)) Haycinth Chicken with Plums (/wiki/Chicken_with_Plums_(film)) Parvine Silent Life Gabriella Late Bloomers (/wiki/Late_Bloomers_(2011_film)) Mary 2013 Enemy (/wiki/Enemy_(2013_film)) Mother 2014 The Zigzag Kid (/wiki/The_Zigzag_Kid) Lola 2015 Closet Monster (/wiki/Closet_Monster_(film)) Buffy Voice Joy (/wiki/Joy_(2015_film)) Trudy 2018 Incredibles 2 (/wiki/Incredibles_2) Ambassador Henrietta Selick Voice [47] (#cite_note-btva2-47) Vita & Virginia (/wiki/Vita_%26_Virginia) Lady Sackville (/wiki/Victoria_Sackville-West,_Baroness_Sackville) 2019 Preludio- Il Film Voice 2021 Land of Dreams (/wiki/Land_of_Dreams_(2021_film)) Jane Marcel the Shell with Shoes On (/wiki/Marcel_the_Shell_with_Shoes_On_(2021_film)) Connie Voice 2023 Cat Person (/wiki/Cat_Person_(film)) Dr. Enid Zabala Problemista (/wiki/Problemista) Narrator La chimera (/wiki/La_chimera) Flora 2024 Spaceman (/wiki/Spaceman_(2024_film)) Commissioner Tuma Conclave (/wiki/Conclave_(film)) Sister Agnes Post-production TBA Silent Retreat (/wiki/Silent_Retreat) Michelle Keaton Post-production Television [ edit ] Year Title Role Notes 1989–1990 The Tracey Ullman Show (/wiki/The_Tracey_Ullman_Show) Mae 3 episodes 1990 Ivory Hunters (/wiki/Ivory_Hunters) Maria DiConti Television film 1991 Lies of the Twins (/wiki/Lies_of_the_Twins) Rachel Marks Television film 1993 Fallen Angels (/wiki/Fallen_Angels_(American_TV_series)) Babe Lonsdale Episode: "The Frightening Frammis" 1994 The Gift (/wiki/The_Gift_(1994_film)) Gabriella Television film 1995 Tales from the Crypt (/wiki/Tales_from_the_Crypt_(TV_series)) Betty Spinelli Episode: "You, Murderer" 1996 Friends (/wiki/Friends) Herself Episode: "The One with Frank Jr." Crime of the Century (/wiki/Crime_of_the_Century_(1996_film)) Anna Hauptmann Television film 1997 Chicago Hope (/wiki/Chicago_Hope) Professor Marina Giannini 2 episodes The Odyssey (/wiki/The_Odyssey_(miniseries)) Athena (/wiki/Athena) Miniseries; 2 episodes 1998 Merlin (/wiki/Merlin_(miniseries)) Nimue Miniseries; 2 episodes 1999 The Simpsons (/wiki/The_Simpsons) Astrid Weller Voice, episode: " Mom and Pop Art (/wiki/Mom_and_Pop_Art) " 2000 Don Quixote (/wiki/Don_Quixote_(2000_film)) The Duchess Television film 2002 Napoléon (/wiki/Napol%C3%A9on_(miniseries)) Joséphine de Beauharnais (/wiki/Jos%C3%A9phine_de_Beauharnais) 4 episodes 2003 Monte Walsh (/wiki/Monte_Walsh_(2003_film)) Countess Martine Television film 2004 Earthsea (/wiki/Earthsea_(miniseries)) Thar Miniseries; 2 episodes 2004–2005 Alias (/wiki/Alias_(TV_series)) Katya Derevko 5 episodes 2006 Infected (/wiki/Infected_(2008_film)) Carla Plume Television film Filthy Gorgeous Antonia Television film 2007 30 Rock (/wiki/30_Rock) Bianca Donaghy 2 episodes 2008–2009 Green Porno (/wiki/Green_Porno) Various animals and insects 18 episodes 2009 The Phantom (/wiki/The_Phantom_(miniseries)) Dr. Bella Lithia 2 episodes 2012 Treme (/wiki/Treme_(TV_series)) Theresa Episode: "I Thought I Heard Buddy Bolden Say" 2013 The Blacklist (/wiki/The_Blacklist) Floriana Campo Episode: " The Freelancer (/wiki/The_Freelancer) " 2016–2017 Shut Eye (/wiki/Shut_Eye) Rita Marks 20 episodes 2019 Tuca & Bertie (/wiki/Tuca_%26_Bertie) Pat Voice, episode: " The Jelly Lakes (/wiki/The_Jelly_Lakes) " 2020–2021 The Owl House (/wiki/The_Owl_House) Bat Queen Voice, 3 episodes [47] (#cite_note-btva2-47) 2021 Domina (/wiki/Domina_(TV_series)) Balbina Episode: "Rise" 2022 Los Espookys (/wiki/Los_Espookys) Herself Episode: "El Eclipse (The Eclipse)" 2022–2023 Julia (/wiki/Julia_(2022_TV_series)) Simone Beck (/wiki/Simone_Beck) 6 episodes 2023 Human Resources (/wiki/Human_Resources_(TV_series)) General Malice Voice, 3 episodes Video games [ edit ] Year Title Role Notes 1996 Goosebumps: Escape from Horrorland (/wiki/Goosebumps:_Escape_from_Horrorland) Lady Cadaver Voice role 1997 Ceremony of Innocence (/wiki/Ceremony_of_Innocence) Sabine Strohem Voice role Music videos [ edit ] Year Title Role Musician Notes 1992 " Erotica (/wiki/Erotica_(song)) " Herself Madonna (/wiki/Madonna) Cameo (/wiki/Cameo_appearance) Accolades [ edit ] Also in 1997, Rossellini was awarded The George Eastman Award. [48] (#cite_note-48) In 1998, she received an Honourable Mention at the 48th Berlin International Film Festival (/wiki/48th_Berlin_International_Film_Festival) for her role in the film Left Luggage (/wiki/Left_Luggage_(film)) . In 2013, she was awarded with the Berlinale Camera at the 63rd Berlin International Film Festival (/wiki/63rd_Berlin_International_Film_Festival) . In 2016, she was granted an honorary doctorate (/wiki/Honorary_doctorate) by the Université du Québec à Montréal (/wiki/Universit%C3%A9_du_Qu%C3%A9bec_%C3%A0_Montr%C3%A9al) . [49] (#cite_note-49) Year Association Category Work Result Ref. 1986 (/wiki/2nd_Independent_Spirit_Awards) Independent Spirit Award (/wiki/Independent_Spirit_Award) Best Female Lead (/wiki/Independent_Spirit_Award_for_Best_Female_Lead) Blue Velvet (/wiki/Blue_Velvet_(film)) Won [50] (#cite_note-50) 1993 (/wiki/19th_Saturn_Awards) Saturn Award (/wiki/Saturn_Award) Saturn Award for Best Supporting Actress (/wiki/Saturn_Award_for_Best_Supporting_Actress) Death Becomes Her (/wiki/Death_Becomes_Her) Won 1996 (/wiki/54th_Golden_Globe_Awards) Golden Globe Award (/wiki/Golden_Globe_Award) Best Actress in a Mini-Series or Television Film (/wiki/Golden_Globe_Award_for_Best_Actress_%E2%80%93_Miniseries_or_Television_Film) Crime of the Century (/wiki/Crime_of_the_Century_(1996_film)) Nominated [51] (#cite_note-51) 1997 (/wiki/49th_Primetime_Emmy_Awards) Primetime Emmy Award (/wiki/Primetime_Emmy_Award) Outstanding Guest Actress in a Drama Series (/wiki/Primetime_Emmy_Award_for_Outstanding_Guest_Actress_in_a_Drama_Series) Chicago Hope (/wiki/Chicago_Hope) Nominated [52] (#cite_note-52) 1998 Berlin International Film Festival (/wiki/Berlin_International_Film_Festival) Special Mention Left Luggage (/wiki/Left_Luggage_(film)) Honored [53] (#cite_note-53) 2013 Berlinale Camera (/wiki/Berlinale_Camera) Honored [54] (#cite_note-54) Bibliography [ edit ] Rossellini has written four books: Some of Me (1997) Looking at Me (2002) In the name of the Father, the Daughter and the Holy Spirits: Remembering Roberto Rossellini (2006) My Chickens and I (2018) The 3rd title was published as a written tribute alongside the short film, My Dad Is 100 Years Old , and used the script from the short film as its basis. [55] (#cite_note-55) To accompany the third series of Green Porno , Rossellini produced a multimedia collection that contains a book and DVD, both of which give additional information for the series' third season. These were released in 2008. Further backstage material was released filmed by her nephew, Tommaso. [56] (#cite_note-56) References [ edit ] ^ (#cite_ref-1) "Isabella Rossellini" (https://web.archive.org/web/20140125092334/http://www.nytimes.com/movies/person/61690/Isabella-Rossellini?inline=nyt-per) . The New York Times (/wiki/The_New_York_Times) . 2014. Archived from the original (https://www.nytimes.com/movies/person/61690/Isabella-Rossellini?inline=nyt-per) on 25 January 2014 . Retrieved 11 February 2014 . - "18th June, Isabella Rossellini at 60 – The 60th birthday of Isabella Rossellini" (http://www.magnumphotos.com/C.aspx?VP3=SearchResult&ALID=2K1HRGQ5UW5) . Magnum Photos. Archived (https://web.archive.org/web/20140223233459/http://www.magnumphotos.com/C.aspx?VP3=SearchResult&ALID=2K1HRGQ5UW5) from the original on 23 February 2014 . Retrieved 11 February 2014 . - "Isabella Rossellini" (http://trovacinema.repubblica.it/attori-registi/isabella-rossellini/154396) . la Repubblica (in Italian). Archived (https://web.archive.org/web/20140221193703/http://trovacinema.repubblica.it/attori-registi/isabella-rossellini/154396) from the original on 21 February 2014 . Retrieved 11 February 2014 . ^ Jump up to: a b c "News: Actress Isabella Rossellini Joins Silversea" (http://www.cruisecritic.com/news/news.cfm?ID=1189) . Cruise Critic News . 11 October 2004. Archived (https://web.archive.org/web/20070927005855/http://www.cruisecritic.com/news/news.cfm?ID=1189) from the original on 27 September 2007 . Retrieved 9 February 2007 . ^ (#cite_ref-3) Rossellini, Isabella (6 November 2001). "In Defense of Fallaci" (https://query.nytimes.com/gst/fullpage.html?res=9A05E4D61539F935A35752C1A9679C8B63&sec=&spon=&partner=permalink&exprod=permalink) . The New York Times (/wiki/The_New_York_Times) . Archived (https://web.archive.org/web/20071014070027/http://query.nytimes.com/gst/fullpage.html?res=9A05E4D61539F935A35752C1A9679C8B63&sec=&spon=&partner=permalink&exprod=permalink) from the original on 14 October 2007 . Retrieved 9 February 2007 . ^ (#cite_ref-4) Mocci, Alessia (18 June 2010). "Isabella Rossellini: Happy Birthday!!! 18 giugno 2010" (https://web.archive.org/web/20170210144648/http://guide.supereva.it/registi_cinema/interventi/2010/06/isabella-rossellini-happy-birthday-18-giugno-2010) . SuperEva.it. Archived from the original (http://guide.supereva.it/registi_cinema/interventi/2010/06/isabella-rossellini-happy-birthday-18-giugno-2010) on 10 February 2017 . Retrieved 14 May 2011 . ^ (#cite_ref-5) MacNab, Geoffrey (6 September 2004). "Like Father..." (http://film.guardian.co.uk/venice/story/0,,1299861,00.html) Guardian Unlimited . London: Guardian News and Media Limited. Archived (https://web.archive.org/web/20071014070626/http://film.guardian.co.uk/venice/story/0,,1299861,00.html) from the original on 14 October 2007 . Retrieved 29 January 2007 . ^ (#cite_ref-6) Hoffman, Barbara (16 September 2000). "Isabella Rossellini Goes Into Training To Play A Jewish Mother Weighty Cultural Baggage" (https://nypost.com/2000/09/16/isabella-rossellini-goes-into-training-to-play-a-jewish-mother-weighty-cultural-baggage) . New York Post . Archived (https://web.archive.org/web/20200820145201/https://nypost.com/2000/09/16/isabella-rossellini-goes-into-training-to-play-a-jewish-mother-weighty-cultural-baggage/) from the original on 20 August 2020 . Retrieved 24 September 2020 . ^ (#cite_ref-7) "Ingrid and Daughter have Tearful Reunion" (https://news.google.com/newspapers?id=bIIyAAAAIBAJ&pg=4488,2831725&dq=isabella-rossellini&hl=en) . The Miami News . 8 July 1957. [ permanent dead link ] ^ (#cite_ref-8) Rossellini, Isabella (1997). "Deformity". Some of Me . Random House. ISBN (/wiki/ISBN_(identifier)) 978-0-679-45252-2 . When I was eleven years old, I was diagnosed with scoliosis. ^ (#cite_ref-9) Martone, Eric (2016). Italian Americans: The History and Culture of a People . ABC-CLIO. p. 291. ISBN (/wiki/ISBN_(identifier)) 9781610699952 . Archived (https://web.archive.org/web/20240305181011/https://books.google.com/books?id=MHJ1DQAAQBAJ&pg=PA291) from the original on 5 March 2024 . Retrieved 25 April 2017 . ^ (#cite_ref-10) Wolf, William (9 August 1982). "Heiress to Greatness" (https://books.google.com/books?id=EOgCAAAAMBAJ&pg=PA44) . New York Magazine . New York Media, LLC. Archived (https://web.archive.org/web/20240305181018/https://books.google.com/books?id=EOgCAAAAMBAJ&pg=PA44#v=onepage&q&f=false) from the original on 5 March 2024 . 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"ISABELLA ROSSELLINI ON HER NEW MOTHERHOOD WEB SERIES, MAMMAS" (http://www.papermag.com/2013/05/isabella_rossellini.php) . Paper Mag . Archived (https://web.archive.org/web/20140221234931/http://www.papermag.com/2013/05/isabella_rossellini.php) from the original on 21 February 2014 . Retrieved 17 February 2014 . ^ Jump up to: a b "Twins: Isabella & Isotta Ingrid" (http://thefilmexperience.net/blog/2012/5/31/twins-isabella-isotta-ingrid.html) . The Film Experience . Nathaniel Rogers. 31 May 2012. Archived (https://web.archive.org/web/20191021184313/http://thefilmexperience.net/blog/2012/5/31/twins-isabella-isotta-ingrid.html) from the original on 21 October 2019 . Retrieved 17 February 2014 . ^ (#cite_ref-18) Caryn James (8 May 2006). "Isabella Rossellini's Tribute to Her Father, Cinema's Great Neorealist Talking Belly" (https://www.nytimes.com/2006/05/08/movies/08ross.html) . The New York Times . 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Festival de Cannes. Archived (https://web.archive.org/web/20170211011124/http://www.festival-cannes.fr/en/article/61298.html) from the original on 11 February 2017 . Retrieved 10 April 2015 . ^ (#cite_ref-28) Ernio Hernandez (11 December 2003). "Thomas Replaces Langella in McNally's The Stendhal Syndrome Off-Broadway" (https://web.archive.org/web/20140222214733/http://www.playbill.com/news/article/83271-Thomas-Replaces-Langella-in-McNallys-The-Stendhal-Syndrome-Off-Broadway) . Playbill . Playbill, Inc. Archived from the original (http://www.playbill.com/news/article/83271-Thomas-Replaces-Langella-in-McNallys-The-Stendhal-Syndrome-Off-Broadway) on 22 February 2014 . Retrieved 17 February 2014 . ^ (#cite_ref-29) Boland, Michaela (17 March 2014). "Isabella Rossellini's animal act wows the crowd" (http://www.theaustralian.com.au/arts/stage/isabella-rossellinis-animal-act-wows-the-crowd/story-fn9d344c-1226856344923) . The Australian (/wiki/The_Australian) . 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Park and Recreation Magazine . National Recreation and Park Association. Archived from the original (http://www.nrpa.org/content/default.aspx?documentId=1520) on 21 May 2006 . Retrieved 29 January 2007 . ^ (#cite_ref-37) Mead, Julia C. (24 August 2003). "EXHIBITS; How the Gruccis' Pyrotechnics Grew" (https://query.nytimes.com/gst/fullpage.html?res=980DE2DB1539F937A1575BC0A9659C8B63&n=Top/Reference/Times%20Topics/People/M/Mead,%20Julia%20C.) . The New York Times (/wiki/The_New_York_Times) . Retrieved 2 December 2007 . ^ (#cite_ref-38) "Puppy Program" (https://web.archive.org/web/20061215204206/http://www.guidedog.org/Pupprog/pupprog.htm) . Guide Dog Foundation for the Blind, Inc. Archived from the original (http://www.guidedog.org/pupprog/pupprog.htm) on 15 December 2006 . Retrieved 29 January 2007 . - Dobnik, Verena (28 December 2004). 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Vance appointed National Ambassadors for the U.S. Fund for UNICEF" (https://web.archive.org/web/20060107074341/http://www.unicefusa.org/site/apps/nl/content2.asp?c=duLRI8O0H&b=86848&ct=127636) . United States Fund for UNICEF. 18 November 2003. Archived from the original (http://www.unicefusa.org/site/apps/nl/content2.asp?c=duLRI8O0H&b=86848&ct=127636) on 7 January 2006 . Retrieved 29 January 2007 . ^ (#cite_ref-41) Rossellini, Isabella (6 November 2001). "In Defense of Fallaci" (https://query.nytimes.com/gst/fullpage.html?res=9A05E4D61539F935A35752C1A9679C8B63&sec=&spon=&partner=permalink&exprod=permalink) . The New York Times (/wiki/The_New_York_Times) . Archived (https://web.archive.org/web/20071014070027/http://query.nytimes.com/gst/fullpage.html?res=9A05E4D61539F935A35752C1A9679C8B63&sec=&spon=&partner=permalink&exprod=permalink) from the original on 14 October 2007 . 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Behind The Voice Actors. Archived (https://web.archive.org/web/20221117102229/https://www.behindthevoiceactors.com/Isabella-Rossellini/) from the original on 17 November 2022 . Retrieved 1 October 2023 . A green check mark indicates that a role has been confirmed using a screenshot (or collage of screenshots) of a title's list of voice actors and their respective characters found in its opening and/or closing credits and/or other reliable sources of information. ^ (#cite_ref-48) List of award recipients (http://www.eastmanhouse.org/museum/awards.php) Archived (https://web.archive.org/web/20120415183637/http://www.eastmanhouse.org/museum/awards.php) 15 April 2012 at the Wayback Machine (/wiki/Wayback_Machine) at Eastman House web site ^ (#cite_ref-49) "Isabella Rossellini honoured by University of Quebec" (http://www.ctvnews.ca/entertainment/isabella-rossellini-honoured-by-university-of-quebec-1.2860378) . CTV News . 15 April 2016. 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Archived from the original (http://www.berlinale.de/en/presse/pressemitteilungen/alle/Alle-Detail_17365.html) on 31 January 2013 . Retrieved 28 January 2013 . ^ (#cite_ref-55) Clark, Alex (11 June 2006). "Daddy dearest" (https://www.theguardian.com/books/2006/jun/11/biography.features3) . The Guardian . Archived (https://web.archive.org/web/20200801210542/https://www.theguardian.com/books/2006/jun/11/biography.features3) from the original on 1 August 2020 . Retrieved 17 February 2014 . ^ (#cite_ref-56) Richard, Michael Graham (9 March 2009). "Isabella Rossellini's Green Porno Renewed for a 3rd Season and a Book" (https://web.archive.org/web/20091212080353/http://www.treehugger.com/files/2009/09/green-porno-season-3-book-isabella-rossellini-sundance-channel.php) . TreeHugger (/wiki/TreeHugger) . Archived from the original (http://www.treehugger.com/files/2009/09/green-porno-season-3-book-isabella-rossellini-sundance-channel.php) on 12 December 2009 . Retrieved 28 October 2009 . Further reading [ edit ] "Isabella Rossellini: Biography" (https://web.archive.org/web/20070129151534/http://www.iconoclaststv.com/) . Iconoclasts . Sundance Channel L.L.C. Archived from the original (http://www.iconoclaststv.com/) ( Flash (/wiki/Adobe_Flash) ) on 29 January 2007 . Retrieved 29 January 2007 . Rossellini, Isabella (1997). Some of Me . New York: Random House. ISBN (/wiki/ISBN_(identifier)) 0-679-45252-4 . Rossellini, Isabella (2002). Looking at Me: On Pictures and Photographers . Munich: Schirmer Art. ISBN (/wiki/ISBN_(identifier)) 3-8296-0057-7 . Rossellini, Isabella (2006). In the Name of the Father, the Daughter and the Holy Spirits: Remembering Roberto Rossellini . London: Haus Publishing (/wiki/Haus_Publishing) . ISBN (/wiki/ISBN_(identifier)) 1-904950-91-4 . External links [ edit ] Wikimedia Commons has media related to Isabella Rossellini (https://commons.wikimedia.org/wiki/Category:Isabella_Rossellini) . Wikiquote has quotations related to Isabella Rossellini (https://en.wikiquote.org/wiki/Special:Search/Isabella_Rossellini) . The Babelgum Metropolis Art Prize, of which Isabella Rossellini is the head judge. (https://web.archive.org/web/20100223083731/http://www.babelgum.com/metropolisartprize) Isabella Rossellini (https://www.imdb.com/name/nm0000618/) at IMDb (/wiki/IMDb_(identifier)) Isabella Rossellini (https://www.tcm.com/tcmdb/person/165789%7C0/wp) at the TCM Movie Database (/wiki/Turner_Classic_Movies) Isabella Rossellini (https://www.fashionmodeldirectory.com/models/isabella_rossellini/) at Fashion Model Directory (/wiki/Fashion_Model_Directory) Isabella Rossellini (https://web.archive.org/web/20070926235740/http://www.lortel.org/LLA_archive/index.cfm?search_by=people&first=Isabella&middle=&last=Rossellini) at the Internet Off-Broadway Database (http://www.iobdb.com) Interview with Isabella Rossellini before the release of (http://ae.philly.com/entertainment/ui/philly/film.html?id=127217&reviewId=15096) The Saddest Music in the World . (http://ae.philly.com/entertainment/ui/philly/film.html?id=127217&reviewId=15096) [ permanent dead link ] Interview with Isabella Rossellini after 14 years with Lancôme (https://web.archive.org/web/20071014065938/http://findarticles.com/p/articles/mi_m1285/is_n2_v26/ai_18082731/pg_1) Graham Fuller, "It's a family affair" (http://film.guardian.co.uk/interview/interviewpages/0,,2072828,00.html) , The Guardian , 5 May 2007. (Interview with Isabella Rossellini about her career and her parents' legacy.) Awards for Isabella Rossellini v t e Independent Spirit Award for Best Female Lead (/wiki/Independent_Spirit_Award_for_Best_Female_Lead) Geraldine Page (/wiki/Geraldine_Page) (1985) Isabella Rossellini (1986) Sally Kirkland (/wiki/Sally_Kirkland) (1987) Jodie Foster (/wiki/Jodie_Foster) (1988) Andie MacDowell (/wiki/Andie_MacDowell) (1989) Anjelica Huston (/wiki/Anjelica_Huston) (1990) Judy Davis (/wiki/Judy_Davis) (1991) Fairuza Balk (/wiki/Fairuza_Balk) (1992) Ashley Judd (/wiki/Ashley_Judd) (1993) Linda Fiorentino (/wiki/Linda_Fiorentino) (1994) Elisabeth Shue (/wiki/Elisabeth_Shue) (1995) Frances McDormand (/wiki/Frances_McDormand) (1996) Julie Christie (/wiki/Julie_Christie) (1997) Ally Sheedy (/wiki/Ally_Sheedy) (1998) Hilary Swank (/wiki/Hilary_Swank) (1999) Ellen Burstyn (/wiki/Ellen_Burstyn) (2000) Sissy Spacek (/wiki/Sissy_Spacek) (2001) Julianne Moore (/wiki/Julianne_Moore) (2002) Charlize Theron (/wiki/Charlize_Theron) (2003) Catalina Sandino Moreno 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Islamic head covering for women Part of a series (/wiki/Category:Islamic_female_clothing) on Islamic (/wiki/Islam) female (/wiki/Women_in_Islam) dress (/wiki/Islamic_clothing) Types (/wiki/Types_of_hijab) Abaya (/wiki/Abaya) Al-amira (/wiki/Al-amira) Battoulah (/wiki/Battoulah) Boshiya (/wiki/Boshiya) Burkini (/wiki/Burkini) Burqa (/wiki/Burqa) Çarşaf (/wiki/%C3%87ar%C5%9Faf) Chador (/wiki/Chador) Haik (/wiki/Haik_(garment)) Hijab Jilbaab (/wiki/Jilb%C4%81b) Kerudung (/wiki/Kerudung) Kimeshek (/wiki/Kimeshek) Khimar (/wiki/Khimar) Kurhars (/wiki/Kurhars) Mukena (/wiki/Mukena) Niqaab (/wiki/Niq%C4%81b) Paranja (/wiki/Paranja) Safseri (/wiki/Safseri) Selendang (/wiki/Selendang) Shayla (/wiki/Shayla) Tudong (/wiki/Tudong) Yashmak (/wiki/Yashmak) Practice and law by country (/wiki/Hijab_by_country) Australia (/wiki/Burka_ban_in_Australia) Britain (/wiki/British_debate_over_veils) Canada (/wiki/Islamic_veiling_practices_by_country#Canada) Egypt (/wiki/Niq%C4%81b_in_Egypt) France (/wiki/Islamic_scarf_controversy_in_France) Indonesia (/wiki/Women_in_Indonesia#National_law_and_sharia) Iran (/wiki/Hijab_in_Iran) Pakistan (/wiki/Women_in_Pakistan#Culture) Saudi Arabia (/wiki/Women%27s_rights_in_Saudi_Arabia#Hijab_and_dress_code) Taliban Afghanistan (/wiki/Taliban_treatment_of_women#Gender_policies) Turkey (/wiki/Headscarf_controversy_in_Turkey) Concepts Andaruni (/wiki/Andaruni) Awrah (/wiki/Intimate_parts_in_Islam) Fahisha (/wiki/Fahisha) Gender segregation (/wiki/Islam_and_gender_segregation) Haya (/wiki/Haya_(Islam)) Purdah (/wiki/Purdah) Zenana (/wiki/Zenana) Other Hijabophobia (/wiki/Hijabophobia) Hujum (/wiki/Hujum) Kashf-e hijab (/wiki/Kashf-e_hijab) My Stealthy Freedom (/wiki/My_Stealthy_Freedom) Wimple (/wiki/Wimple) World Hijab Day (/wiki/World_Hijab_Day) v t e A Tunisian woman wearing a hijab In modern usage, hijab ( Arabic (/wiki/Arabic_language) : حجاب , romanized (/wiki/Romanization_of_Arabic) : ḥijāb , pronounced [ħɪˈdʒaːb] (/wiki/Help:IPA/Arabic) ) generally refers to various head coverings conventionally worn by many Muslim women. [1] (#cite_note-1) [2] (#cite_note-2) It is similar to the tichel (/wiki/Tichel) or snood (/wiki/Snood_(headgear)) worn by Orthodox Jewish (/wiki/Orthodox_Jewish) women, certain headcoverings worn by some Christian women (/wiki/Christian_head_covering) , such as the mantilla (/wiki/Mantilla) , apostolnik (/wiki/Apostolnik) and wimple (/wiki/Wimple) , [3] (#cite_note-3) [4] (#cite_note-4) and the dupatta (/wiki/Dupatta) worn by many Hindu (/wiki/Hindus) and Sikh (/wiki/Sikhs) women. [5] (#cite_note-5) [6] (#cite_note-Spurgeon2016-6) [7] (#cite_note-7) Whilst a hijab can come in many forms, it often specifically refers to a scarf wrapped around the head, covering the hair, neck and ears but leaving the face visible. [8] (#cite_note-eogr-8) [9] (#cite_note-9) The use of the hijab has been on the rise worldwide since the 1970s and is viewed by many Muslims as expressing modesty and faith; it has also been worn for purposes of adornment. [8] (#cite_note-eogr-8) [10] (#cite_note-10) When it comes to the obligation for a Muslim woman to cover her hair and body, many have expressed confusion about the origin of this commandment. However, there has never been any debate within Sunni Islamic scholarship at any point in history regarding the obligation of hijab for all Muslim women who have reached the age of puberty. [11] (#cite_note-11) [12] (#cite_note-12) [ disputed – discuss (/wiki/Talk:Hijab#This_article_does_a_poor_job_of_highlighting_the_views_and_reasoning_of_scholars_who_believe_Hijab_isn't_mandatory) ] The term ḥijāb was originally used to denote a partition or a curtain and was sometimes used for Islamic rules of modesty (/wiki/Haya_(Islam)) . [8] (#cite_note-eogr-8) [13] (#cite_note-El_Guindi-13) This is the usage in the verses of the Qur'an (/wiki/Quran) , in which the term sometimes refers to a curtain separating visitors to Muhammad (/wiki/Muhammad) 's main house from his wives' lodgings. This has led some to claim that the mandate of the Qur'an applied only to the wives of Muhammad and not to all women. [14] (#cite_note-aslan-14) [15] (#cite_note-ahmedWomIslam-15) Another interpretation can also refer to the seclusion (/wiki/Seclusion) of women from men in the public sphere (/wiki/Public_sphere) , whereas a metaphysical (/wiki/Metaphysical) dimension may refer to "the veil which separates man, or the world, from God". [16] (#cite_note-Glasse,_Cyril_2001,_p.179-180-16) The Qur'an never uses the word hijab to refer to women's clothing, but passages discuss the attire of women using other terms jilbab and khimār . [17] (#cite_note-17) For some the term for headscarf in the Qur'an is khimār ( Arabic (/wiki/Arabic_language) : خِمار ). [8] (#cite_note-eogr-8) [18] (#cite_note-18) [13] (#cite_note-El_Guindi-13) [19] (#cite_note-19) [20] (#cite_note-20) There is no consensus over how much of a veil is a necessity. Some legal systems accept the hijab as an order to cover everything except the face and hands, [21] (#cite_note-21) [16] (#cite_note-Glasse,_Cyril_2001,_p.179-180-16) whilst others accept it as an order to cover the whole body, including the face and hands. [22] (#cite_note-22) These guidelines are found in texts of hadith and fiqh (/wiki/Fiqh) developed after the revelation of the Qur'an. Some believe these are derived from the verses ( ayahs (/wiki/Ayah) ) referring to hijab in the Qur'an; [23] (#cite_note-Muslim_World_2003_p.721-23) others believe that the Qur'an does not mandate that women need to wear a hijab. [24] (#cite_note-The_Quran_Does_Not_Mandate_Hijab-24) [25] (#cite_note-auto2-25) Some reformist groups consider the issue of veiling in Islam as only a recommendation made according to the conditions of the past and that regarding it as a necessity is an imposition of Islamist ideology. [24] (#cite_note-The_Quran_Does_Not_Mandate_Hijab-24) [25] (#cite_note-auto2-25) The practice of Islamic veiling varies around the world according to local laws and customs (/wiki/Islamic_veiling_practices_by_country) . The hijab is currently required by law to be worn by women in Iran (/wiki/Iran) [26] (#cite_note-26) and in Afghanistan (/wiki/Afghanistan) by the Taliban (/wiki/Taliban) government. [27] (#cite_note-27) Since 2018 it has no longer been required by law in Saudi Arabia (/wiki/Saudi_Arabia) . [28] (#cite_note-28) [29] (#cite_note-29) [30] (#cite_note-30) Other countries, both in Europe and in the Muslim world (/wiki/Muslim_world) , [31] (#cite_note-31) have passed laws banning some or all types of hijab in public or in certain types of locales. [32] (#cite_note-32) [33] (#cite_note-Gohari-33) [34] (#cite_note-Cainkar-34) Women in different parts of the world have also experienced unofficial pressure to wear or not wear a hijab. [33] (#cite_note-Gohari-33) [34] (#cite_note-Cainkar-34) Etymology [ edit ] The Arabic word hijab (Arabic: حجاب) is the verbal noun originating from the verb ﺣَﺠَﺐَ (hajaba), from the triliteral root ح ج ب (H-J-B), which forms a large class of words mostly relating to concepts of hide, conceal, block. [35] (#cite_note-35) [36] (#cite_note-36) In Islamic scripture [ edit ] Qur'an [ edit ] Qur'anic verses relating to dress codes use the terms khimār which translates to “veil” in English, (but, according to some, a headcovering [37] (#cite_note-haj-37) [38] (#cite_note-worldwideenc-38) ) and jilbāb (/wiki/Jilb%C4%81b) (a dress or cloak) rather than ḥijāb . [13] (#cite_note-El_Guindi-13) [nb 1] (#cite_note-39) About six verses refer specifically to the way a woman should dress and walk in public; [39] (#cite_note-Bucar,_Elizabeth_2012-40) Muslim scholars have differed as to how these verses should be applied, with some stating that a headscarf is required and others saying that a headscarf is not required. [40] (#cite_note-Asra-2015-41) The clearest verses on the requirement of modest dress are Surah 24 (/wiki/Surah_24) :30–31, telling both men and women to dress and act modestly, with more detail about modest dress focused on women. [41] (#cite_note-Islamonline-42) [42] (#cite_note-Hameed-43) ˹O Prophet!˺ Tell the believing men to lower their gaze and guard their chastity. That is purer for them. Surely Allah is All-Aware of what they do. And tell the believing women to lower their gaze and guard their chastity, and not to reveal their adornments except what normally appears. Let them draw their veils over their chests, and not reveal their ˹hidden˺ adornments except to their husbands, their fathers, their fathers-in-law, their sons, their stepsons, their brothers, their brothers’ sons or sisters’ sons, their fellow women, those ˹bondwomen˺ in their possession, male attendants with no desire, or children who are still unaware of women’s nakedness. Let them not stomp their feet, drawing attention to their hidden adornments. Turn to Allah in repentance all together, O believers, so that you may be successful. — Surah An-Nur (/wiki/An-Nur) 24:30-31 (https://quran.com/24?startingVerse=30) The word khimar , in the context of this verse, is translated as just a “veil" used on people. [37] (#cite_note-haj-37) [43] (#cite_note-44) [38] (#cite_note-worldwideenc-38) Such head coverings were worn by women in Arabia at the advent of Islam mostly to protect against the hot sun and desert. [44] (#cite_note-khimar1-45) Qur'an 33 (/wiki/Surah_33) :59 tells Muhammad to ask his family members and other Muslim women to wear outer garments when they go out, so that they are not harassed: [42] (#cite_note-Hameed-43) O Prophet! Ask your wives, daughters, and believing women to draw their cloaks over their bodies. In this way it is more likely that they will be recognized ˹as virtuous˺ and not be harassed. And Allah is All-Forgiving, Most Merciful. — Surah Al-Ahzab (/wiki/Al-A%E1%B8%A5z%C4%81b) 33:59 (https://quran.com/33?startingVerse=59) The Islamic commentators generally agree this verse refers to sexual harassment of women of Medina (/wiki/Medina) . It is also seen to refer to a free woman, for which Tabari (/wiki/Tabari) cites Ibn Abbas (/wiki/Abd_Allah_ibn_Abbas) . Ibn Kathir (/wiki/Ibn_Kathir) states that the jilbab distinguishes free Muslim women from those of Jahiliyyah (/wiki/Jahiliyyah) , so other men know they are free women and not slaves or prostitutes, indicating covering oneself does not apply to non-Muslims. He cites Sufyan al-Thawri (/wiki/Sufyan_al-Thawri) as commenting that while it may be seen as permitting looking upon non-Muslim women who adorn themselves, it is not allowed in order to avoid lust. Al-Qurtubi (/wiki/Al-Qurtubi) concurs with Tabari about this ayah being for those who are free. He reports that the correct view is that a jilbab covers the whole body. He also cites the Sahabah (/wiki/Sahabah) as saying it is no longer than a rida (a shawl or a wrapper that covers the upper body). He also reports a minority view which considers the niqab (/wiki/Niq%C4%81b) or head-covering as jilbab. Ibn Arabi (/wiki/Ibn_Arabi) considered that excessive covering would make it impossible for a woman to be recognised which the verse mentions, though both Qurtubi and Tabari agree that the word recognition is about distinguishing free women. [45] (#cite_note-Veil2011-46) : 111–113 Some scholars like Ibn Hayyan (/wiki/Ibn_Hayyan) , Ibn Hazm (/wiki/Ibn_Hazm) and Muhammad Nasiruddin al-Albani (/wiki/Muhammad_Nasiruddin_al-Albani) questioned the ayah's common explanation. Hayyan believed that "believing women" referred to both free women and slaves as the latter are bound to more easily entice lust and their exclusion is not clearly indicated. Hazm too believed that it covered Muslim slaves as it would violate the law of not molesting a slave or fornication with her like that with a free woman. He stated that anything not attributed to Muhammad should be disregarded. [45] (#cite_note-Veil2011-46) : 114 The word ḥijāb in the Qur'an refers not to women's clothing, but rather a spatial partition or curtain. [13] (#cite_note-El_Guindi-13) Sometimes its use is literal, as in the verse which refers to the screen that separated Muhammad's wives from the visitors to his house (33:53), while in other cases the word denotes separation between deity and mortals (42:51), wrongdoers and righteous (7:46, 41:5), believers and unbelievers (17:45), and light from darkness (/wiki/N%C5%ABr_(Islam)) (38:32). [13] (#cite_note-El_Guindi-13) The interpretations of the ḥijāb as separation can be classified into three types: as visual barrier, physical barrier, and ethical barrier. A visual barrier (for example, between Muhammad's family and the surrounding community) serves to hide from sight something, which places emphasis on a symbolic boundary. A physical barrier is used to create a space that provides comfort and privacy for individuals, such as elite women. An ethical barrier, such as the expression purity of hearts in reference to Muhammad's wives and the Muslim men who visit them, makes something forbidden. [39] (#cite_note-Bucar,_Elizabeth_2012-40) Hadith [ edit ] Main article: Women's prayer in Islam (/wiki/Women%27s_prayer_in_Islam) The hadith (/wiki/Hadith) sources specify the details of hijab for men and women, exegesis (/wiki/Tafsir) of the Qur'anic verses attributed to the sahabah (/wiki/Sahabah) , and are a major source which Muslim legal scholars (/wiki/Ulama) used to derive their rulings. [46] (#cite_note-47) [47] (#cite_note-48) [48] (#cite_note-Kamali-49) It is reported in Sahih al-Bukhari (/wiki/Sahih_al-Bukhari) on the authority of Aisha (/wiki/Aisha) that: ` Umar bin Al-Khattab (/wiki/Umar) used to say to Allah's Messenger (/wiki/Muhammad) (ﷺ) "Let your wives be veiled" But he did not do so. The wives of the Prophet (ﷺ) used to go out to answer the call of nature at night only at Al-Manasi.' Once Sauda (/wiki/Sawdah_bint_Zam%27ah) , the daughter of Zam`a went out and she was a tall woman. `Umar bin Al-Khattab saw her while he was in a gathering, and said, "I have recognized you, O Sauda!" He (`Umar) said so as he was anxious for some Divine orders regarding the veil (the veiling of women.) So Allah (/wiki/Allah) revealed the Verse of veiling. (Al-Hijab; a complete body cover excluding the eyes). [49] (#cite_note-FOOTNOTEAnwar2006170-50) [50] (#cite_note-FOOTNOTEBukhārī1997146Vol._8,_no._6240-51) Aisha also reported that when Quran 24:31 (https://quran.com/24?startingVerse=31) was revealed, ...the men of Ansar (/wiki/Ansar_(Islam)) went to the women of Ansar and recited to them the words Allah had revealed. Each man recited to his wife, his daughter, his sister and other female relatives. Each woman among them got up, took her decorated wrapper and wrapped herself up in it out of faith and belief in what Allah had revealed. They appeared behind the Messenger of Allah wrapped up, as if there were crows on their heads. [45] (#cite_note-Veil2011-46) : 118 A similar hadith is Abū Dawud 32:4090 (https://web.archive.org/web/19700101010101/http://cmje.usc.edu/religious-texts/hadith/abudawud/032-sat.php#032.4090) , which describes that, in response to the verses, "the women of Ansar came out as if they had crows hanging down over their heads." Although these narrations refer to black clothing ("crows on their heads"), other narrations indicate wives of the prophet also wore other colors like yellow or rose. [51] (#cite_note-52) [45] (#cite_note-Veil2011-46) : 124 Other hadith on hijab include: Narrated Safiya bint Shaiba (/wiki/Saffiyah_bint_%E2%80%98Abd_al-Muttalib) : "Aisha used to say: 'When (the Verse): "They should draw their veils (khimaar) over their breasts (juyyub) ," was revealed, (the ladies) cut their waist sheets at the edges and veiled themselves (Arabic: فَاخْتَمَرْنَ , lit. 'to put on a hijab') with the cut pieces.'" Sahih al-Bukhari (/wiki/Sahih_al-Bukhari) , 6:60:282 (https://web.archive.org/web/19700101010101/http://cmje.usc.edu/religious-texts/hadith/bukhari/060-sbt.php#006.060.282) , 32:4091 (https://web.archive.org/web/19700101010101/http://cmje.usc.edu/religious-texts/hadith/abudawud/032-sat.php#032.4091) . This hadith is often translated as "...and covered their heads and faces with the cut pieces of cloth," [52] (#cite_note-53) as the Arabic word used in the text (Arabic: فَاخْتَمَرْنَ ) could include or exclude the face and there was ikhtilaf (/wiki/Ikhtilaf) on whether covering the face is farḍ (/wiki/Fard) , or obligatory. The most prominent sharh , or explanation, of Sahih Bukhari is Fatḥ al-Bārī (/wiki/Fath_al-Bari) which states this included the face. Yahya related to me from Malik from Muhammad ibn Zayd ibn Qunfudh that his mother asked Umm Salama, the wife of the Prophet, may Allah bless him and grant him peace, "What clothes can a woman wear in prayer?" She said, "She can pray in the khimār (headscarf) and the diri' (Arabic: الدِّرْعِ , lit. 'shield, armature', transl. 'a woman's garment' ) that reaches down and covers the top of her feet." Muwatta Imam Malik (/wiki/Muwatta_Imam_Malik) book 8 hadith 37. Aishah narrated that Allah's Messenger said: "The Salat (/wiki/Salat) (prayer) of a woman who has reached the age of menstruation is not accepted without a khimār." Jami` at-Tirmidhi (/wiki/Jami%60_at-Tirmidhi) 377. Dress code [ edit ] See also: Awrah (/wiki/Awrah) Modern Muslim scholars usually require women to cover everything but their hands and face in public, [16] (#cite_note-Glasse,_Cyril_2001,_p.179-180-16) but do not require the niqab (/wiki/Niqab) (a face covering worn by some Muslim women). In nearly all Muslim cultures, young girls are not required to wear a hijab. [53] (#cite_note-54) Sunni [ edit ] Women wearing tudongs (/wiki/Tudong) (the Malay (/wiki/Malay_language) term for hijab) in Brunei (/wiki/Brunei) The four major Sunni schools of thought (/wiki/Madhhab) ( Hanafi (/wiki/Hanafi) , Shafi'i (/wiki/Shafi%27i) , Maliki (/wiki/Maliki) and Hanbali (/wiki/Hanbali) ) believe that it is obligatory (/wiki/Fard) for free women to cover their hair, [54] (#cite_note-amer37-55) and the entire body except her face and hands, while in the presence of people of the opposite sex other than close family members (/wiki/Mahram) . [55] (#cite_note-seekershub.org-56) [56] (#cite_note-ReferenceA-57) [57] (#cite_note-58) According to Hanafis and other scholars [ which? ] , these requirements extend to being around non-Muslim women as well, for fear that they may describe her physical features to unrelated men. [58] (#cite_note-59) The Sunni Permanent Committee for Islamic Research and Issuing Fatwas (/wiki/Permanent_Committee_for_Islamic_Research_and_Issuing_Fatwas) in Saudi Arabia, [59] (#cite_note-PermanentCommittee-60) and Muhammad ibn Adam Al-Kawthari (/wiki/Muhammad_ibn_Adam_Al-Kawthari) [60] (#cite_note-61) also believe women should cover their head. Men must cover from their belly buttons to their knees, though the schools differ on whether this includes covering the navel and knees or only what is between them. [61] (#cite_note-askimam.org-62) [62] (#cite_note-ReferenceB-63) [63] (#cite_note-academia.edu-64) [64] (#cite_note-darululoomtt.net-65) It is recommended that women wear clothing that is not form fitting to the body, such as modest forms of Western clothing (long shirts and skirts), or the more traditional jilbāb , a high-necked, loose robe that covers the arms and legs. A khimār or shaylah , a scarf or cowl that covers all but the face, is also worn in many different styles. [ citation needed ] Shia [ edit ] Women wearing chadors (/wiki/Chador) in Shiraz (/wiki/Shiraz) , Iran The major and most important Shia hadith collections such as Nahj Al-Balagha and Kitab Al-Kafi for the most part do not give any details about hijab requirements. However a quotation from Man La Yahduruhu al-Faqih (/wiki/Man_La_Yahduruhu_al-Faqih) Musa al-Kadhim (/wiki/Musa_al-Kadhim) in reply to his brother makes reference to female hijab requirements during the salat (prayer), stating "She covers her body and head with it then prays. And if her feet protrude from beneath, and she doesn't have the means to prevent that, there is no harm". [65] (#cite_note-66) In Shia jurisprudence, by consensus, it is obligatory for women to cover their hair, and the entire body except her hands and face, while in the presence of people of the opposite sex other than close family members. [ citation needed ] Miscellaneous [ edit ] In private, and in the presence of close relatives ( mahrams ), rules on dress relax. However, in the presence of the husband, most scholars stress the importance of mutual freedom and pleasure of the husband and wife. [66] (#cite_note-67) Traditional scholars had differences of opinion on covering the hands and face. The majority adopted the opinion that the face and hands are not part of their nakedness (/wiki/Intimate_parts_in_Islam) . [ citation needed ] Some held the opinion that covering the face is recommended (/wiki/Ahkam) if the woman's beauty is so great that it is distracting and causes temptation or public discord (/wiki/Fitna_(word)) . [ citation needed ] Alternative views [ edit ] Malala Yousafzai (/wiki/Malala_Yousafzai) , Pakistani education activist and 2014 Nobel Peace Prize laureate wears a head scarf. Leila Ahmed (/wiki/Leila_Ahmed) argues that head covering in Islam should not be seen as mandatory since it existed before the revelation of the Qur’an. It was introduced to Arabia through Arab interactions with Syria and Iran, where the hijab represented social status. Women who did not work in fields could afford to be secluded and veiled. [14] (#cite_note-aslan-14) [67] (#cite_note-68) Among her arguments is that while some Qur'anic verses enjoin women in general to "draw their Jilbabs (overgarment or cloak) around them to be recognized as believers and so that no harm will come to them" [Quran 33:58-59 (https://quran.com/33?startingVerse=58) ] and "guard their private parts ... and drape down khimar over their breasts [when in the presence of unrelated men]", [Quran 24:31 (https://quran.com/24?startingVerse=31) ] they urge modesty. The word khimar or “veil” refers to a piece of cloth that was popularly used to cover the head in ancient Arabia. [68] (#cite_note-69) While the term "hijab" was originally anything that was used to conceal, [69] (#cite_note-70) it became used to refer to concealing garments worn by women outside the house, specifically the headscarf or khimar. [70] (#cite_note-71) According to Karen Armstrong (/wiki/Karen_Armstrong) , Reza Aslan (/wiki/Reza_Aslan) and Leila Ahmed, the requirements of the hijab were initially intended solely for Muhammad's wives, serving to preserve their sanctity. This was because Muhammad conducted religious and civic matters in the mosque next to his home. [14] (#cite_note-aslan-14) Leila Ahmed further explains that Muhammad aimed at fostering a sense of privacy and protecting the intimate space of his wives from the constant presence of the bustling community at their doorstep. They argue that the term darabat al-hijab ('taking the veil') was used synonymously and interchangeably with ‘becoming Prophet Muhammad's wife’ and that during Muhammad's life no other Muslim woman wore the hijab. Aslan (/wiki/Reza_Aslan) suggests that Muslim women started to wear the hijab to emulate Muhammad's wives, who are revered as "Mothers of the Believers" in Islam, [14] (#cite_note-aslan-14) and states "there was no tradition of veiling until around 627 C.E. (/wiki/Common_Era) " in the Muslim community. [14] (#cite_note-aslan-14) [15] (#cite_note-ahmedWomIslam-15) Afghan (/wiki/Afghans) army and police officials wearing hijabs in Kandahar (/wiki/Kandahar) Khaled Abou El Fadl (/wiki/Khaled_Abou_El_Fadl) argues that all Islamic moderates agree that, in all cases, the decision whether to wear the hijab should be a woman's autonomous decision and that her choice must be respected because the moderate pro-choice position is based on the Quranic teachings that there ought to be no compulsion in religion. [71] (#cite_note-72) Many scholars argue that these contemporary views and arguments, however, contradict the hadith sources, the classical scholars, exegesis sources, historical consensus, and interpretations of the companions (/wiki/Sahabah) (such as Aisha (/wiki/Aisha) and Abdullah ibn Masud (/wiki/Abdullah_ibn_Masud) ). [ citation needed ] Some traditionalist Muslim scholars accept the contemporary views and arguments as those hadith sources are not sahih and ijma (/wiki/Ijma) would no longer be applicable if it is argued by scholars (even if it is argued by only one scholar). Notable examples of traditionalist Muslim scholars who accept these contemporary views include the Indonesian scholar Quraish Shihab (/wiki/Quraish_Shihab) . [72] (#cite_note-73) In 2012, Egyptian scholar Shaykh Mustapha Mohamed Rashed of Al Azhar University argued in his Ph.D. dissertation that hijab is not an Islamic duty. [73] (#cite_note-74) Contemporary practice [ edit ] Further information: Types of hijab (/wiki/Types_of_hijab) and Hijab by country (/wiki/Hijab_by_country) The styles and practices of hijab vary widely across the world. Duration: 2 minutes and 54 seconds. 2:54 Wearing or not wearing a hijab can also be an act of protest. In August 2014 a mother of one of the Camp Speicher massacre (/wiki/Camp_Speicher_massacre) victims threw her headscarf at the Iraqi parliament speaker, Salim al-Jabouri (/wiki/Salim_al-Jabouri) . An opinion poll conducted in 2014 by The University of Michigan's Institute for Social Research asked residents of seven Muslim-majority countries (Egypt, Iraq, Lebanon, Tunisia, Turkey, Pakistan, and Saudi Arabia) which style of women's dress they considered to be most appropriate in public. [74] (#cite_note-2014poll-75) The survey found that the headscarf (in its tightly- or loosely-fitting form) was chosen by the majority of respondents in Egypt, Iraq, Tunisia and Turkey. The response rate for people of Turkey was just about 60%. [74] (#cite_note-2014poll-75) In Saudi Arabia, 63% gave preference to the niqab (/wiki/Niqab) face veil; in Pakistan the niqab , the full-length chador (/wiki/Chador) robe and the headscarf, received about a third of the votes each; while in Lebanon half of the respondents in the sample (which included Christians and Druze) opted for no head covering at all. [74] (#cite_note-2014poll-75) [75] (#cite_note-q&a-76) The survey found "no significant difference" in the preferences between surveyed men and women, except in Pakistan, where more men favoured conservative women's dress. [75] (#cite_note-q&a-76) However, women more strongly support women's right to choose how to dress. [75] (#cite_note-q&a-76) People with university education are less conservative in their choice than those without one, and more supportive of women's right to decide their dress style, except in Saudi Arabia. [75] (#cite_note-q&a-76) Iriana (/wiki/Iriana) wearing a türban Some fashion-conscious women have been turning to non-traditional forms of hijab such as turbans. [76] (#cite_note-turban-77) [77] (#cite_note-78) While some regard turbans as a proper head cover, others argue that it cannot be considered a proper Islamic veil if it leaves the neck exposed. [76] (#cite_note-turban-77) Muna AbuSulayman (/wiki/Muna_AbuSulayman) wearing a turban In Iran, where wearing the hijab is legally required, many women push the boundaries of the state-mandated dress code, risking a fine or a spell in detention. [78] (#cite_note-79) The former Iranian president Hassan Rouhani (/wiki/Hassan_Rouhani) had vowed to rein in the morality police and their presence on the streets has decreased since he took office, but the powerful conservative forces in the country have resisted his efforts, and the dress codes are still being enforced, especially during the summer months. [79] (#cite_note-80) After Ebrahim Raisi (/wiki/Ebrahim_Raisi) became president, he started imposing hijab laws strictly, announcing use of facial recognition in public transport to enforce hijab law. [80] (#cite_note-81) An Iranian woman, Mahsa Amini (/wiki/Mahsa_Amini) , died in custody of 'morality police' after they arrested her on new stricter hijab laws, which led to widespread protests (/wiki/Mahsa_Amini_protests) . [81] (#cite_note-82) Women's resistance in Iran is gaining traction as an increasing number of women challenge the mandatory wearing of the hijab. Smith (2017) addressed the progress that Iranian women have made in her article, "Iran surprises by realizing Islamic dress code for women," [82] (#cite_note-Istanbul-83) published by The Times , a news organization based in the UK. The Iranian government has enforced their penal dress codes less strictly and instead of imprisonment as a punishment have implemented mandatory reform classes in the liberal capital, Tehran. General Hossein Rahimi, the Tehran's police chief stated, "Those who do not observe the Islamic dress code will no longer be taken to detention centers, nor will judicial cases be filed against them" (Smith, 2017). The remarks of Tehran's recent police chief in 2017 reflect political progress in contrast with the remarks of Tehran's 2006 police chief. [82] (#cite_note-Istanbul-83) [83] (#cite_note-84) Iranian women activists have made a headway since 1979 relying on fashion to enact cultural and political change. In Turkey the hijab was formerly banned in private and state universities and schools. The ban applied not to the scarf wrapped around the neck, traditionally worn by Anatolian villager women, but to the head covering pinned neatly at the sides, called türban in Turkey, which has been adopted by a growing number of educated urban women since the 1980s. As of the mid-2000s, over 60% of Turkish women covered their head outside home. However the majority of those wear a traditional, non-Islamic head covering and only 11% wore a türban . [84] (#cite_note-85) [85] (#cite_note-news.bbc.co.uk-86) [86] (#cite_note-87) [87] (#cite_note-salon.com-88) The ban was lifted from universities in 2008, [88] (#cite_note-89) from government buildings in 2013, [89] (#cite_note-90) and from schools in 2014. [90] (#cite_note-news24.com-91) The hijab is also a common cultural practice for Muslims in the West. For example, in a 2016 Environics poll, a large majority (73%) of Canadian Muslim women reported wearing some sort of head-covering in public (58% wear the hijab, 13% wear the chador (/wiki/Chador) and 2% wear the niqab (/wiki/Niqab) ). Wearing a head covering in public had increased since the 2006 survey. [91] (#cite_note-poll-92) Meanwhile, in a Pew Research Center poll from 2011, most Muslim American women also reported wearing hijab, 36% indicating they wore hijab whenever they were in public, with an additional 24% saying they wore it most or some of the time; 40% said they never wore hijab. [92] (#cite_note-93) History [ edit ] Pre-Islamic veiling practices [ edit ] Further information: Veil (/wiki/Veil) Greek bronze statuette of a veiled and masked dancer, 2nd–3rd century BC. Veiling did not originate with the advent of Islam. Statuettes depicting veiled priestesses date back as far as 2500 BC. [93] (#cite_note-94) Elite women in ancient Mesopotamia and in the Byzantine, Greek, and Persian empires wore the veil as a sign of respectability and high status. [94] (#cite_note-Ahmed_1992_15-95) In ancient Mesopotamia, Assyria had explicit sumptuary laws (/wiki/Sumptuary_laws) detailing which women must veil and which women must not, depending upon the woman's class, rank, and occupation in society. [94] (#cite_note-Ahmed_1992_15-95) Female slaves and prostitutes were forbidden to veil and faced harsh penalties if they did so. [13] (#cite_note-El_Guindi-13) Veiling was thus not only a marker of aristocratic rank, but also served to "differentiate between 'respectable' women and those who were publicly available". [13] (#cite_note-El_Guindi-13) [94] (#cite_note-Ahmed_1992_15-95) Strict seclusion and the veiling of matrons were also customary in ancient Greece. Between 550 and 323 BCE, prior to Christianity, respectable women in classical Greek society were expected to seclude themselves and wear clothing that concealed them from the eyes of strange men. [95] (#cite_note-96) Roman pagan custom included the practice of the head covering worn by the priestesses of Vesta (/wiki/Vesta_(mythology)) ( Vestal Virgins (/wiki/Vestal_Virgin) ). [96] (#cite_note-freund-97) Pre-Islamic relief showing veiled women, Temple of Baal (/wiki/Temple_of_Bel) , Palmyra, Syria, 1st century CE. It is not clear whether the Hebrew Bible contains prescriptions with regard to veiling, but rabbinic literature presents it as a question of modesty ( tzniut (/wiki/Tzniut) ). [96] (#cite_note-freund-97) Modesty became an important rabbinic virtue in the early Roman period, and it may have been intended to distinguish Jewish women from their non-Jewish counterparts in Babylonian and later in Greco-Roman society. [96] (#cite_note-freund-97) According to rabbinical precepts, married Jewish women have to cover their hair (cf. Mitpaḥat (/wiki/Mitpa%E1%B8%A5at) ). The surviving representations of veiled Jewish women may reflect general Roman customs rather than particular Jewish practices. [96] (#cite_note-freund-97) According to Fadwa El Guindi (/wiki/Fadwa_El_Guindi) , at the inception of Christianity, Jewish women were veiling their heads and faces. [13] (#cite_note-El_Guindi-13) Roman statue of a Vestal Virgin (/wiki/Vestal_Virgin) The best-known view on Christian headcovering (/wiki/Christian_headcovering) is delineated in the Bible (/wiki/Bible) within the passage in 1 Corinthians 11 (/wiki/1_Corinthians_11) :4-7, which states that "every woman who prays or prophesies with her head uncovered dishonors her head". [96] (#cite_note-freund-97) The early Church Fathers (/wiki/Early_Church_Fathers) , including Tertullian of Carthage (/wiki/Tertullian_of_Carthage) , Clement of Alexandria (/wiki/Clement_of_Alexandria) , Hippolytus of Rome (/wiki/Hippolytus_of_Rome) , John Chrysostom (/wiki/John_Chrysostom) and Augustine of Hippo (/wiki/Augustine_of_Hippo) attested in their writings that Christian women should wear a headcovering, while men should pray with their heads uncovered. [97] (#cite_note-OCIC-98) [98] (#cite_note-SJEOC2019-99) There is archaeological evidence demonstrating that headcovering was observed as an ordinance by women in early Christianity, [99] (#cite_note-Anderson-100) [96] (#cite_note-freund-97) and the practice of Christian headcovering continues among female adherents of many Christian denominations (/wiki/Christian_denomination) today, especially among Anabaptist Christians (/wiki/Anabaptist_Christian) , as well as among certain Eastern Orthodox Christians (/wiki/Eastern_Orthodox_Christian) , Oriental Orthodox Christians (/wiki/Oriental_Orthodox_Christian) and Reformed Christians (/wiki/Reformed_Christian) , among others. [100] (#cite_note-101) [98] (#cite_note-SJEOC2019-99) In the Indian subcontinent (/wiki/Indian_subcontinent) , some Hindu (/wiki/Hindu) women cover their heads with a veil in a practice known as ghoonghat (/wiki/Ghoonghat) . [101] (#cite_note-Gupta2003-102) [102] (#cite_note-Gupta1987-103) Intermixing of populations resulted in a convergence of the cultural practices of Greek, Persian, and Mesopotamian empires and the Semitic peoples of the Middle East. [13] (#cite_note-El_Guindi-13) Veiling and seclusion of women appear to have established themselves among Jews and Christians before spreading to urban Arabs of the upper classes and eventually among the urban masses. [13] (#cite_note-El_Guindi-13) In the rural areas it was common to cover the hair, but not the face. [13] (#cite_note-El_Guindi-13) According to Leila Ahmed, the rigid norms pertaining to veiling and seclusion of women found in Christian Byzantine literature had been influenced by ancient Persian traditions, and there is evidence to suggest that they differed significantly from actual practice. [103] (#cite_note-104) Leila Ahmed argues that "Whatever the cultural source or sources, a fierce misogyny was a distinct ingredient of Mediterranean and eventually Christian thought in the centuries immediately preceding the rise of Islam." [104] (#cite_note-Ahmed_1992_35-105) During Muhammad's lifetime [ edit ] Available evidence suggests that veiling was not introduced into Arabia by Muhammad, but already existed there, particularly in the towns, although it was probably not as widespread as in the neighbouring countries such as Syria and Palestine. [105] (#cite_note-ahmed55-56-106) Similarly to the practice among Greeks, Romans (Byzantines), Jews, and Assyrians, its use was associated with high social status. [105] (#cite_note-ahmed55-56-106) In the early Islamic texts, term hijab does not distinguish between veiling and seclusion, and can mean either "veil" or "curtain". [106] (#cite_note-107) The only verses in the Qur'an that specifically reference women's clothing are those promoting modesty, instructing women to guard their private parts and draw their scarves over their breast area in the presence of men. [107] (#cite_note-Ahmed_1992_55-108) The contemporary understanding of the hijab dates back to Hadith when the "verse of the hijab" descended upon the community in 627 CE. [108] (#cite_note-109) Now documented in Sura 33:53, the verse states, "And when you ask [his wives] for something, ask them from behind a partition. That is purer for your hearts and their hearts". [109] (#cite_note-110) This verse, however, was not addressed to women in general, but exclusively to Muhammad's wives. As Muhammad's influence increased, he entertained more and more visitors in the mosque, which was then his home. Often, these visitors stayed the night only feet away from his wives' apartments. It is commonly understood that this verse was intended to protect his wives from these strangers. [110] (#cite_note-Aslan_2005_66-111) During Muhammad's lifetime the term for donning the veil, darabat al-hijab , was used interchangeably with "being Muhammad's wife". [105] (#cite_note-ahmed55-56-106) Later pre-modern history [ edit ] The practice of veiling was borrowed from the elites of the Byzantine and Persian empires, where it was a symbol of respectability and high social status, during the Arab conquests (/wiki/Early_Muslim_conquests) of those empires. [111] (#cite_note-112) Reza Aslan argues that "The veil was neither compulsory nor widely adopted until generations after Muhammad's death, when a large body of male scriptural and legal scholars began using their religious and political authority to regain the dominance they had lost in society as a result of the Prophet's egalitarian reforms". [110] (#cite_note-Aslan_2005_66-111) Because Islam identified with the monotheistic religions of the conquered empires, the practice was adopted as an appropriate expression of Qur'anic ideals regarding modesty and piety. [112] (#cite_note-113) Veiling gradually spread to upper-class Arab women, and eventually it became widespread among Muslim women in cities throughout the Middle East. Veiling of Arab Muslim women became especially pervasive under Ottoman rule as a mark of rank and exclusive lifestyle, and Istanbul of the 17th century witnessed differentiated dress styles that reflected geographical and occupational identities. [13] (#cite_note-El_Guindi-13) Women in rural areas were much slower to adopt veiling because the garments interfered with their work in the fields. [113] (#cite_note-114) Since wearing a veil was impractical for working women, "a veiled woman silently announced that her husband was rich enough to keep her idle." [114] (#cite_note-115) By the 19th century, upper-class urban Muslim and Christian women in Egypt wore a garment which included a head cover and a burqa ( muslin (/wiki/Muslin) cloth that covered the lower nose and the mouth). [13] (#cite_note-El_Guindi-13) The name of this garment, harabah , derives from early Christian and Judaic religious vocabulary, which may indicate the origins of the garment itself. [13] (#cite_note-El_Guindi-13) Up to the first half of the twentieth century, rural women in the Maghreb and Egypt put on a form of niqab when they visited urban areas, "as a sign of civilization". [115] (#cite_note-116) Modern history [ edit ] A model displaying a fashionable hijab at "Moslema In Style Fashion Show" in Kuala Lumpur (/wiki/Kuala_Lumpur) , Malaysia (/wiki/Malaysia) . Western clothing largely dominated fashion in Muslim countries in the 1960s and 1970s. [116] (#cite_note-117) [117] (#cite_note-118) For example, in Pakistan (/wiki/Fashion_in_Pakistan) , Afghanistan and Iran, some women wore short skirts, flower printed hippie (/wiki/Hippie) dresses, flared trousers, [118] (#cite_note-119) and went out in public without the hijab. [ citation needed ] This changed following the Soviet–Afghan War (/wiki/Soviet%E2%80%93Afghan_War) , [ citation needed ] military dictatorship in Pakistan, and Iranian revolution (/wiki/Iranian_revolution) of 1979, when traditional conservative attire including the abaya (/wiki/Abaya) , jilbab and niqab made a comeback. [119] (#cite_note-120) [120] (#cite_note-121) There were demonstrations in Iran in March 1979 after the hijab law, decreeing that women in Iran would have to wear scarves to leave the house, was brought in. [121] (#cite_note-122) However, this phenomenon did not happen in all countries with a significant Muslim population; in Turkey there has been a decline on women wearing the hijab in recent years, [122] (#cite_note-123) although under Erdoğan Turkey is becoming more conservative and Islamic, as Turkey repeals the Atatürk (/wiki/Mustafa_Kemal_Atat%C3%BCrk) -era hijab ban, [123] (#cite_note-124) [124] (#cite_note-125) and the founding of new fashion companies catering to women who want to dress more conservatively. [125] (#cite_note-126) Gamal Abdel Nasser ( c. 1965 ) laughing at the Muslim Brotherhood for suggesting in 1953 that women should be required to wear the hijab. Egyptian leader President Gamal Abdel Nasser (/wiki/Gamal_Abdel_Nasser) claimed that, in 1953, he was told by the leader of the Muslim Brotherhood (/wiki/Muslim_Brotherhood) organization that they wanted to enforce the wearing of the hijab, to which Nasser responded, "Sir, I know you have a daughter in college, and she doesn't wear a headscarf or anything! Why don't you make her wear the headscarf? So you can't make one girl, your own daughter, wear it, and yet you want me to go and make ten million women wear it?" [126] (#cite_note-127) The late-twentieth century saw a resurgence of the hijab in Egypt after a long period of decline as a result of westernization. Already in the mid-1970s some college aged Muslim men and women began a movement meant to reunite and rededicate themselves to the Islamic faith. [127] (#cite_note-oxfordislamicstudies.com-128) [128] (#cite_note-Bullock_2000_22–53-129) This movement was named the Sahwah (/wiki/Islamic_revival) , [129] (#cite_note-130) or awakening, and sparked a period of heightened religiosity that began to be reflected in the dress code. [127] (#cite_note-oxfordislamicstudies.com-128) The uniform adopted by the young female pioneers of this movement was named al-Islāmī (Islamic dress) and was made up of an "al-jilbāb—an unfitted, long-sleeved, ankle-length gown in austere solid colors and thick opaque fabric—and al-khimār, a head cover resembling a nun's wimple (/wiki/Wimple) that covers the hair low to the forehead, comes under the chin to conceal the neck, and falls down over the chest and back". [127] (#cite_note-oxfordislamicstudies.com-128) In addition to the basic garments that were mostly universal within the movement, additional measures of modesty could be taken depending on how conservative the followers wished to be. Some women choose to also utilize a face covering (al-niqāb) that leaves only eye slits for sight, as well as both gloves and socks in order to reveal no visible skin. [ citation needed ] Soon this movement expanded outside of the youth realm and became a more widespread Muslim practice. Women viewed this way of dress as a way to both publicly announce their religious beliefs as well as a way to simultaneously reject western influences of dress and culture that were prevalent at the time. Despite many criticisms of the practice of hijab being oppressive and detrimental to women's equality, [128] (#cite_note-Bullock_2000_22–53-129) many Muslim women view the way of dress to be a positive thing. It is seen as a way to avoid harassment and unwanted sexual advances in public and works to desexualize women in the public sphere in order to instead allow them to enjoy equal rights of complete legal, economic, and political status. This modesty was not only demonstrated by their chosen way of dress but also by their serious demeanor which worked to show their dedication to modesty and Islamic beliefs. [127] (#cite_note-oxfordislamicstudies.com-128) Taekwondo (/wiki/Taekwondo) medalists from Spain, Britain, Iran and Egypt at Rio Olympics, 2016 [130] (#cite_note-131) Controversy erupted over the practice. Many people, both men and women from backgrounds of both Islamic and non-Islamic faith questioned the hijab and what it stood for in terms of women and their rights (/wiki/Women%27s_rights_in_Iran) . There was questioning of whether in practice the hijab was truly a female choice or if women were being coerced or pressured into wearing it. [127] (#cite_note-oxfordislamicstudies.com-128) As the awakening movement gained momentum, its goals matured and shifted from promoting modesty towards more of a political stance in terms of retaining support for Pan-Islamism (/wiki/Pan-Islamism) and a symbolic rejection of Western culture and norms. Today the hijab means many different things for different people. For Islamic women who choose to wear the hijab it allows them to retain their modesty, morals and freedom of choice. [128] (#cite_note-Bullock_2000_22–53-129) After the September 11 attacks (/wiki/September_11_attacks) , the discussion and discourse on the hijab in Western nations intensified as Islamic traditions and theology came under greater scrutiny. [ citation needed ] According to the Harvard University Pluralism Project: "Some Muslim women cover their head only during prayer in the mosque; other Muslim women wear the hijab; still others may cover their head with a turban or a loosely draped scarf." [131] (#cite_note-132) Around the world [ edit ] Further information: Hijab by country (/wiki/Hijab_by_country) Map [ needs update ] showing prevalence of hijab wearing across the world and indicating countries where there are restrictions on wearing it. Some governments encourage and even oblige women to wear the hijab, while others have banned it in at least some public settings. In many parts of the world women also experience informal pressure for or against wearing the hijab, including physical attacks. Legal enforcement [ edit ] In Gaza (/wiki/Gaza_Strip) , there was a campaign by religious conservatives such as Hamas (/wiki/Hamas) to impose the hijab on women during the First Intifada (/wiki/First_Intifada) . In 1990, the Unified National Leadership of the Uprising (/wiki/Unified_National_Leadership_of_the_Uprising) (UNLU) declared that it rejected the imposition of a hijab policy for women, but that declaration was argued to have come too late, as many women had already yielded to the pressure in order to avoid harassment. [132] (#cite_note-auto-133) After assuming the government in the Gaza Strip (/wiki/Battle_of_Gaza_(2007)) in June 2007, Hamas sought to enforce Islamic law, imposing the hijab on women at courts, institutions and schools. [133] (#cite_note-134) [134] (#cite_note-135) Iran (/wiki/Iran) went from banning all types of veils (/wiki/Kashf-e_hijab) in 1936, to making Islamic dress mandatory for women following the Islamic Revolution in 1979. [135] (#cite_note-Ramezani10-136) In April 1980, it was decided that women in government offices and educational institutions would be mandated to veil. [135] (#cite_note-Ramezani10-136) The 1983 penal code prescribed punishment of 74 lashes for women appearing in public without Islamic hijab ( hijab shar'ee ), leaving the definition of proper hijab ambiguous. [136] (#cite_note-bucar-137) [137] (#cite_note-138) The same period witnessed tensions around the definition of proper hijab, which sometimes resulted in vigilante harassment of women who were perceived to wear improper clothing. [135] (#cite_note-Ramezani10-136) [136] (#cite_note-bucar-137) In 1984, Tehran's public prosecutor announced that a stricter dress-code should be observed in public establishments, while clothing in other places should correspond to standards observed by the majority of the people. [135] (#cite_note-Ramezani10-136) A new regulation issued in 1988 by the Ministry of the Interior based on the 1983 law further specified what constituted violations of hijab. [138] (#cite_note-139) Iran's current penal code stipulates a fine or 10 days to two months in prison as punishment for failure to observe hijab in public, without specifying its form. [139] (#cite_note-kelly-breslin-140) [140] (#cite_note-141) The dress code has been subject of alternating periods of relatively strict and relaxed enforcement over the years, with many women pushing its boundaries, and its compulsory aspect has been a point of contention between conservatives and Hassan Rouhani (/wiki/Hassan_Rouhani) , who served as president (/wiki/President_of_Iran) from 2013 until 2021. [139] (#cite_note-kelly-breslin-140) [141] (#cite_note-142) [142] (#cite_note-143) The United Nations Human Rights Council recently called on Iran to guarantee the rights of those human rights defenders and lawyers supporting anti-hijab protests. [143] (#cite_note-144) In governmental and religious institutions, the dress code requires khimar-type headscarf and overcoat, while in other public places women commonly wear a loosely tied headscarf (rousari). [ citation needed ] The Iranian government (/wiki/Iranian_government) endorses and officially promotes stricter types of veiling, praising it by invoking both Islamic religious principles and pre-Islamic Iranian culture. [144] (#cite_note-145) The Indonesian province of Aceh (/wiki/Aceh) requires Muslim women to wear hijab in public. [145] (#cite_note-aceh-146) Indonesia's central government (/wiki/Government_of_Indonesia) granted Aceh's local government the right to impose Sharia (/wiki/Sharia) in 2001, although that no local regulations should conflict with Indonesian national laws, in a deal aiming to put an end to the separatist movement in the province. [145] (#cite_note-aceh-146) The Kingdom of Saudi Arabia (/wiki/Kingdom_of_Saudi_Arabia) formally required Muslim women to cover their hair and all women to wear a full-body garment, but it has not been strictly enforced. [146] (#cite_note-147) [147] (#cite_note-148) [148] (#cite_note-TheNewArab-149) Saudi women commonly wear the traditional abaya robe, while foreigners sometimes opt for a long coat. [149] (#cite_note-economist-saudi-150) These regulations are enforced by the religious police (/wiki/Committee_for_the_Promotion_of_Virtue_and_the_Prevention_of_Vice_(Saudi_Arabia)) and vigilantes. [149] (#cite_note-economist-saudi-150) In 2002, the Saudi religious police were accused by Saudi and international press of hindering the rescue of schoolgirls from a fire because they were not wearing hijabs, which resulted in 15 deaths. [150] (#cite_note-151) In 2018, the Saudi crown prince Mohammad bin Salman (/wiki/Mohammad_bin_Salman) told CBS News (/wiki/CBS_News) that Saudi law requires women to wear "decent, respectful clothing", and that women are free to decide what form it should take. [148] (#cite_note-TheNewArab-149) However, women are still required to wear the hijab in public in the holy cities of Mecca (/wiki/Mecca) and Medina (/wiki/Medina) which hosts the holiest sites in Islam (/wiki/Holiest_sites_in_Islam) . [ citation needed ] Legal bans [ edit ] Muslim world [ edit ] The tradition of veiling hair in Persian culture (/wiki/Culture_of_Iran) has ancient pre-Islamic origins, [151] (#cite_note-152) but the widespread custom was ended by Reza Shah (/wiki/Reza_Shah) 's government in 1936, as the hijab was considered to be incompatible with modernization and he ordered "unveiling" act or Kashf-e hijab (/wiki/Kashf-e_hijab) . In some cases the police arrested women who wore the veil and would forcibly remove it. These policies had popular support but outraged the Shi'a (/wiki/Shi%27a) clerics, to whom appearing in public without their cover was tantamount to nakedness. Some women refused to leave the house out of fear of being assaulted by Reza Shah's police. [152] (#cite_note-153) In 1941, the compulsory element in the policy of unveiling was abandoned. Turkey (/wiki/Turkey) had a ban on headscarves at universities until recently. In 2008, the Turkish government attempted to lift a ban on Muslim headscarves at universities, but were overturned by the country's Constitutional Court. [153] (#cite_note-154) In December 2010, however, the Turkish government ended the headscarf ban in universities, government buildings and schools. [154] (#cite_note-155) In Tunisia (/wiki/Tunisia) , women were banned from wearing the hijab in state offices in 1981; in the 1980s and 1990s, more restrictions were put in place. [155] (#cite_note-156) In June 2024, Tajikistan's parliament passed a bill banning "foreign clothing" and religious celebrations for children during the Islamic holidays of Eid al-Fitr and Eid al-Adha. The upper house, Majlisi Milli, approved the legislation on June 19, following approval by the lower house, Majlisi Namoyandagon, on May 8. The bill specifically targets the hijab, a traditional Islamic headscarf. This formalization of restrictions comes after years of Tajikistan unofficially discouraging Islamic attire, including headscarves and bushy beards. [156] (#cite_note-157) In 2007, the Ministry of Education banned both Islamic clothing and Western-style miniskirts in schools, a policy later extended to all public institutions. Minister of Culture Shamsiddin Orumbekzoda (/w/index.php?title=Shamsiddin_Orumbekzoda&action=edit&redlink=1) told Radio Free Europe (/wiki/Radio_Free_Europe/Radio_Liberty) that Islamic dress was "really dangerous". Under previous laws, women wearing hijabs are already banned from entering the country's government offices. [157] (#cite_note-158) [158] (#cite_note-159) Europe [ edit ] A veil-burning ceremony in USSR as part of Soviet Hujum policies (/wiki/Hujum) On 15 March 2004, France passed a law (/wiki/French_law_on_secularity_and_conspicuous_religious_symbols_in_schools) banning "symbols or clothes through which students conspicuously display their religious affiliation" in public primary schools, middle schools, and secondary schools. In the Belgian city of Maaseik (/wiki/Maaseik) , the niqāb has been banned since 2006. [159] (#cite_note-160) On 13 July 2010, France's lower house of parliament overwhelmingly approved a bill that would ban wearing the Islamic full veil in public. It became the first European country to ban the full-face veil in public places, [160] (#cite_note-:0-161) followed by Belgium, Latvia, Bulgaria, Austria, Denmark and some cantons of Switzerland in the following years. Belgium banned the full-face veil in 2011 in places like parks and on the streets. In September 2013, the electors of the Swiss canton of Ticino voted in favour of a ban on face veils in public areas. [161] (#cite_note-162) In 2016, Latvia and Bulgaria banned the burqa in public places. [162] (#cite_note-163) [163] (#cite_note-164) In October 2017, wearing a face veil became also illegal in Austria. This ban also includes scarves, masks and clown paint that cover faces to avoid discriminating against Muslim dress. [160] (#cite_note-:0-161) In 2016, Bosnia-Herzegovina's supervising judicial authority upheld a ban on wearing Islamic headscarves in courts and legal institutions, despite protests from the Muslim community that constitutes 40% of the country. [164] (#cite_note-165) [165] (#cite_note-166) In 2017, the European Court of Justice (/wiki/European_Court_of_Justice) ruled that companies were allowed to bar employees from wearing visible religious symbols, including the hijab. However, if the company has no policy regarding the wearing of clothes that demonstrate religious and political ideas, a customer cannot ask employees to remove the clothing item. [166] (#cite_note-167) In 2018, the Danish parliament passed a law banning the full-face veil in public places. [167] (#cite_note-168) In 2016, more than 20 French towns banned the use of the burqini (/wiki/Burqini) , a style of swimwear intended to accord with rules of hijab. [168] (#cite_note-rubin-169) [169] (#cite_note-170) [170] (#cite_note-171) Dozens of women were subsequently issued fines, with some tickets citing not wearing "an outfit respecting good morals and secularism", and some were verbally attacked by bystanders when they were confronted by the police. [168] (#cite_note-rubin-169) [171] (#cite_note-Cockburn-172) [172] (#cite_note-Quinn-173) [173] (#cite_note-row-escalates-174) Enforcement of the ban also hit beachgoers wearing a wide range of modest attire besides the burqini. [168] (#cite_note-rubin-169) [173] (#cite_note-row-escalates-174) Media reported that in one case the police forced a woman to remove part of her clothing on a beach in Nice. [171] (#cite_note-Cockburn-172) [172] (#cite_note-Quinn-173) [173] (#cite_note-row-escalates-174) The Nice mayor's office denied that she was forced to do so and the mayor condemned what he called the "unacceptable provocation" of wearing such clothes in the aftermath of the Nice terrorist attack (/wiki/2016_Nice_truck_attack) . [168] (#cite_note-rubin-169) [173] (#cite_note-row-escalates-174) A team of psychologists in Belgium have investigated, in two studies of 166 and 147 participants, whether the Belgians' discomfort with the Islamic hijab, and the support of its ban from the country's public sphere, is motivated by the defence of the values of autonomy and universalism (which includes equality), or by xenophobia/ethnic prejudice and by anti-religious sentiments. The studies have revealed the effects of subtle prejudice/racism, values (self-enhancement values and security versus universalism), and religious attitudes (literal anti-religious thinking versus spirituality), in predicting greater levels of anti-veil attitudes beyond the effects of other related variables such as age and political conservatism. [174] (#cite_note-175) In 2019, Austria banned the hijab in schools (/wiki/Education_in_Austria#Grundschule) for children up to ten years of age. The ban was motivated by the equality between men and women and improving social integration with respect to local customs. Parents who send their child to school with a headscarf will be fined 440 euro. [175] (#cite_note-176) The ban was overturned in 2020 by the Austrian Constitutional Court (/wiki/Austrian_Constitutional_Court) . [176] (#cite_note-177) In 2019, Staffanstorp Municipality (/wiki/Staffanstorp_Municipality) in Sweden banned all veils for school pupils up to sixth grade. [177] (#cite_note-178) India [ edit ] See also: Karnataka hijab controversy (/wiki/Karnataka_hijab_controversy) In India, Muslim women are allowed to wear the hijab and/or burqa (/wiki/Burqa) anytime, anywhere. [178] (#cite_note-thestar1-179) [179] (#cite_note-BBC_larger_bench-180) [180] (#cite_note-csm-181) However, in January 2022, a number of colleges in the South Indian state of Karnataka (/wiki/Karnataka) stopped female students wearing the hijab from entering the campus, following which the state government issued a circular banning 'religious clothes' in educational institutions where uniforms are prescribed. [181] (#cite_note-182) On 15 March 2022, the Karnataka High Court, in a verdict, upheld the hijab ban in educational institutions where uniforms are prescribed, arguing that the practice is non-essential in Islam. [182] (#cite_note-183) The hijab ban was condemned inside India and abroad by officials in countries including the United States (/wiki/United_States) , Bahrain (/wiki/Bahrain) and Pakistan (/wiki/Pakistan) , as well as by Human Rights Watch (/wiki/Human_Rights_Watch) , and by figures like Malala Yousafzai (/wiki/Malala_Yousafzai) . [183] (#cite_note-184) [184] (#cite_note-185) A study published by human rights body People’s Union for Civil Liberties (/wiki/People%27s_Union_for_Civil_Liberties) reported that the move to ban hijab has widened the social divide and increased fear among Muslims in Karnataka. [185] (#cite_note-186) Unofficial pressure to wear hijab [ edit ] During the Taliban (/wiki/Taliban) regime in Afghanistan (/wiki/Afghanistan) , the wearing of the hijab was mandated for women. The requirement extended to covering not only their heads but also their faces, as it was believed that doing so would prevent any perceived impropriety and maintain modesty in society. [33] (#cite_note-Gohari-33) In Srinagar (/wiki/Srinagar) , the capital of the Indian state of Jammu and Kashmir, a previously unknown militant group calling itself Lashkar-e-Jabbar (/w/index.php?title=Lashkar-e-Jabbar&action=edit&redlink=1) claimed responsibility for a series of acid attacks on women who did not wear the burqa (/wiki/Burqa) in 2001, threatening to punish women who do not adhere to their vision of Islamic dress. Women of Kashmir, most of whom are not fully veiled, defied the warning, and the attacks were condemned by prominent militant and separatist groups of the region. [186] (#cite_note-187) [187] (#cite_note-188) In April 2019 in Norway, telecom company Telia (/wiki/Telia_Company) received bomb threats after featuring a Muslim woman taking off her hijab in a commercial. Although the police did not evaluate the threat likely to be carried out, delivering threats is still a crime in Norway. [188] (#cite_note-189) Unofficial pressure against wearing the hijab [ edit ] In recent years, women wearing the hijab have been subjected to verbal and physical attacks worldwide, particularly following terrorist attacks. [189] (#cite_note-190) [34] (#cite_note-Cainkar-34) [190] (#cite_note-191) Louis A. Cainkar writes that the data suggest that women in hijab rather than men are the predominant target of anti-Muslim attacks, not because they are more easily identifiable as Muslims, but because they are seen to represent a threat to the local moral order that the attackers are seeking to defend. [34] (#cite_note-Cainkar-34) Some women stop wearing the hijab out of fear or following perceived pressure from their acquaintances, but many refuse to stop wearing it out of religious conviction, even when they are urged to do so for self-protection. [34] (#cite_note-Cainkar-34) Kazakhstan (/wiki/Kazakhstan) has no official ban on wearing the hijab, but those who wear it have reported that authorities use a number of tactics to discriminate against them. [191] (#cite_note-192) In 2015, authorities in Uzbekistan (/wiki/Uzbekistan) organized a "deveiling" campaign in the capital city Tashkent (/wiki/Tashkent) , during which women wearing the hijab were detained and taken to a police station. Those who agreed to remove their hijab were released "after a conversation", while those who refused were transferred to the counterterrorism department and given a lecture. Their husbands or fathers were then summoned to convince the women to obey the police. This followed an earlier campaign in the Fergana Valley (/wiki/Fergana_Valley) . [192] (#cite_note-193) After the election of Shavkat Mirziyoyev (/wiki/Shavkat_Mirziyoyev) as President of Uzbekistan in December 2016, Muslims were given the opportunity to openly express their religious identity, which manifested itself in the wider spread of hijabs in Uzbekistan. In July 2021, the state allowed the wearing of the hijab in public places. [193] (#cite_note-194) In Kyrgyzstan (/wiki/Kyrgyzstan) in 2016, the government sponsored street banners aiming to dissuade women from wearing the hijab. [194] (#cite_note-195) Workplace discrimination against hijab-wearing women [ edit ] See also: Hijabophobia (/wiki/Hijabophobia) The issue of discrimination against Muslims affects Muslim women more due to the hijab making them more identifiable compared to Muslim men. Particularly after the September 11 attacks (/wiki/September_11_attacks) and the coining of the term Islamophobia (/wiki/Islamophobia) , some of Islamophobia's manifestations are seen within the workplace. [195] (#cite_note-196) Women wearing the hijab are at risk of discrimination in their workplace because the hijab helps identify them for anyone who may hold Islamophobic attitudes. [196] (#cite_note-197) [197] (#cite_note-198) Their association with the Islamic faith automatically projects any negative stereotyping of the religion onto them. [198] (#cite_note-199) As a result of the heightened discrimination, some hijab-wearing Muslim women in the workplace resort to taking off their hijab in hopes to prevent any further prejudice acts. [199] (#cite_note-200) A number of hijab-wearing women who were interviewed expressed that perceived discrimination also poses a problem for them. [200] (#cite_note-:1-201) To be specific, Muslim women shared that they chose not to wear the headscarf out of fear of future discrimination. [200] (#cite_note-:1-201) The discrimination hijab-wearing Muslim women face goes beyond affecting their work experience; it also interferes with their decision to uphold religious obligations. As a result, hijab-wearing Muslim women in the United States have worries regarding their ability to follow their religion, because it might mean they are rejected employment. [201] (#cite_note-202) Ali, Yamada, and Mahmoud (2015) [202] (#cite_note-:2-203) state that women of color who also follow the religion of Islam are considered to be in what is called "triple jeopardy", due to being a part of two minority groups subject to discrimination. [ citation needed ] A study by Ali et al. (2015) [202] (#cite_note-:2-203) found a relationship between the discrimination Muslims face at work and their job satisfaction. In other words, the discrimination hijab-wearing Muslim women face at work is associated with their overall feeling of contentment of their jobs, especially compared to other religious groups. [203] (#cite_note-204) Hijab-wearing Muslim women not only experience discrimination whilst in their job environment; they also experience discrimination in their attempts to get a job. An experimental study conducted on potential hiring discrimination among Muslims found that in terms of overt discrimination there were no differences between Muslim women who wore traditional Islamic clothing and those who did not. However, covert discrimination was noted towards Muslim who wore the hijab, and as a result were dealt with in a hostile and rude manner. [204] (#cite_note-205) While observing hiring practices among 4,000 employers in the U.S., experimenters found that employers who self-identified as Republican (/wiki/Republican_Party_(United_States)) tended to avoid making interviews with candidates who appeared Muslim on their social network pages. [205] (#cite_note-206) One instance that some view as hijab discrimination in the workplace that gained public attention and made it to the Supreme Court was EEOC v. Abercrombie & Fitch (/wiki/Equal_Employment_Opportunity_Commission_v._Abercrombie_%26_Fitch_Stores) . The U.S Equal Employment Opportunity Commission (/wiki/Equal_Employment_Opportunity_Commission) took advantage of its power granted by Title VII and made a case for a young hijabi female who applied for a job, but was rejected due to her wearing a headscarf which violated Abercrombie & Fitch's pre-existing and longstanding policy against head coverings and all black garments. [206] (#cite_note-:3-207) Discrimination levels differ depending on geographical location; for example, South Asian Muslims in the United Arab Emirates do not perceive as much discrimination as their South Asian counterparts in the U.S. [207] (#cite_note-:4-208) Although, South Asian Muslim women in both locations are similar in describing discrimination experiences as subtle and indirect interactions. [207] (#cite_note-:4-208) The same study also reports differences among South Asian Muslim women who wear the hijab, and those who do not. For non-hijabis, they reported to have experienced more perceived discrimination when they were around other Muslims. [207] (#cite_note-:4-208) Perceived discrimination is detrimental to well-being, both mentally and physically. [208] (#cite_note-209) However, perceived discrimination may also be related to more positive well-being for the individual. [209] (#cite_note-:5-210) A study in New Zealand concluded that while Muslim women who wore the headscarf did in fact experience discrimination, these negative experiences were overcome by much higher feelings of religious pride, belonging, and centrality. [209] (#cite_note-:5-210) See also [ edit ] Islam portal (/wiki/Portal:Islam) Fashion portal (/wiki/Portal:Fashion) Types of hijab (/wiki/Types_of_hijab) Purdah (/wiki/Purdah) Islamic scarf controversy in France (/wiki/Islamic_scarf_controversy_in_France) Iranian compulsory hijab protests (/wiki/Iranian_protests_against_compulsory_hijab) List of religious headgear (/wiki/List_of_hats_and_headgear#Religious) Covering variants: cowl (/wiki/Cowl) , paranja (/wiki/Paranja) , purdah (/wiki/Purdah) , tagelmust (/wiki/Tagelmust) (worn by men), tudong (/wiki/Tudong) , yashmak (/wiki/Yashmak) Non-Muslim religious coverings: ghoonghat (/wiki/Ghoonghat) (Hindu), Christian headcovering (/wiki/Christian_headcovering) , religious habit (/wiki/Religious_habit) , tichel (/wiki/Tichel) Notes [ edit ] ^ (#cite_ref-39) The term hijab is used in the Qur'an in the sense of "a curtain" or "partition"; verses that use the term (eg. 7:46, 33:53) are not related to dress code. [38] (#cite_note-worldwideenc-38) [13] (#cite_note-El_Guindi-13) References [ edit ] Citations [ edit ] ^ (#cite_ref-1) Piela, Anna (6 April 2022). "Muslim Women and the Politics of the Headscarf" (https://daily.jstor.org/muslim-women-and-the-politics-of-the-headscarf/) . Jstor . Retrieved 12 January 2024 . ^ (#cite_ref-2) Mitchell, Travis (29 June 2021). "9. Religious clothing and personal appearance" (https://www.pewresearch.org/religion/2021/06/29/religious-clothing-and-personal-appearance/) . Retrieved 4 April 2023 . ^ (#cite_ref-3) Khir-Allah, Ghufran (24 May 2021). Framing Hijab in the European Mind: Press Discourse, Social Categorization and Stereotypes . Springer. ISBN (/wiki/ISBN_(identifier)) 9789811616532 . ^ (#cite_ref-4) Lindberg, Christine A. (2012). Oxford American Writer's Thesaurus . Oxford University Press. ISBN (/wiki/ISBN_(identifier)) 978-0-19-982992-7 . ^ (#cite_ref-5) "Religious clothing and personal appearance" (https://www.pewresearch.org/religion/2021/06/29/religious-clothing-and-personal-appearance/) . Pew Research Center . 29 June 2021 . Retrieved 5 May 2023 . ^ (#cite_ref-Spurgeon2016_6-0) Spurgeon, Andrew B. (14 August 2016). Twin Cultures Separated by Centuries: An Indian Reading of 1 Corinthians . Langham Publishing. p. 196. ISBN (/wiki/ISBN_(identifier)) 978-1-78368-139-6 . Ghoonghat (also ghunghat or jhund ) is the Hindi word used for a veil or a scarf that a woman in northern India wears to cover her head or face (in states such as Gujarat, Rajasthan, Haryana, Bihar, Uttar Pradesh, and Assam). Sometimes the end of a sari or dupatta (a long scarf) is pulled over the head or face to function as a ghoonghat . ^ (#cite_ref-7) Garcia, Myrian (15 March 2022). "How India's Religious Headwear Ban Affects Muslims And Not Hindus" (https://religionunplugged.com/news/2022/3/10/hinduism-why-indias-religious-headwear-ban-has-little-impact-on-women) . Religion Unplugged . Retrieved 5 May 2023 . ^ Jump up to: a b c d Mark Juergensmeyer, Wade Clark Roof, ed. (2012). "Hijab". Encyclopedia of Global Religion . Vol. 1. SAGE Publications. p. 516. doi (/wiki/Doi_(identifier)) : 10.4135/9781412997898 (https://doi.org/10.4135%2F9781412997898) . ISBN (/wiki/ISBN_(identifier)) 9780761927297 . ^ (#cite_ref-9) “Hijab.” Cambridge Dictionary , dictionary.cambridge.org/dictionary/english/hijab. Accessed 6 Sept. 2023. ^ (#cite_ref-10) Nasir, Kamaludeen Mohamed (December 2020). Representing Islam: Hip-Hop of the September 11 Generation . Indiana University Press. ISBN (/wiki/ISBN_(identifier)) 978-0-253-05305-3 . ^ (#cite_ref-11) https://yaqeeninstitute.ca/read/paper/is-hijab-religious-or-cultural-how-islamic-rulings-are-formed (https://yaqeeninstitute.ca/read/paper/is-hijab-religious-or-cultural-how-islamic-rulings-are-formed) ^ (#cite_ref-12) https://islamqa.info/en/answers/47569/is-hijab-compulsory-in-islam (https://islamqa.info/en/answers/47569/is-hijab-compulsory-in-islam) ^ Jump up to: a b c d e f g h i j k l m n o El Guindi, Fadwa; Sherifa Zahur (2009). Hijab . The Oxford Encyclopedia of the Islamic World. doi (/wiki/Doi_(identifier)) : 10.1093/acref/9780195305135.001.0001 (https://doi.org/10.1093%2Facref%2F9780195305135.001.0001) . ISBN (/wiki/ISBN_(identifier)) 9780195305135 . ^ Jump up to: a b c d e Aslan, Reza (/wiki/Reza_Aslan) , No God but God (/wiki/No_god_but_God:_The_Origins,_Evolution,_and_Future_of_Islam) , Random House, (2005), p.65–6 ^ Jump up to: a b Ahmed, Leila (1992). 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Event in which participants attend in costume wearing a mask For the Axel Rudi Pell album, see The Masquerade Ball (/wiki/The_Masquerade_Ball) . For other uses, see Masked ball (disambiguation) (/wiki/Masked_ball_(disambiguation)) . Masquerade ball at the Carnival of Venice (/wiki/Carnival_of_Venice) . A Veneziana mask from Verona (/wiki/Verona) , Italy (/wiki/Italy) . German 16th century, a masquerade from Freydal (/wiki/Freydal) , the tournament book of Maximilian I (/wiki/Maximilian_I,_Holy_Roman_Emperor) , c. 1515 , pen and brown ink with watercolor on laid paper. One in a series at the National Gallery of Art (/wiki/National_Gallery_of_Art) , Washington, Rosenwald (/wiki/Lessing_J._Rosenwald) Collection. A masquerade ball (or bal masqué ) is a special kind of formal ball (/wiki/Ball_(dance_event)) which many participants attend in costume (/wiki/Costume) wearing masks (/wiki/Mask) . (Compare the word " masque (/wiki/Masque) "—a formal written and sung court pageant.) Less formal " costume parties (/wiki/Costume_parties) " may be a descendant of this tradition. A masquerade ball usually encompasses music and dancing. These nighttime events are used for entertainment and celebrations. 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The " Bal des Ardents (/wiki/Bal_des_Ardents) " ( "Burning Men's Ball" ) was held by Charles VI of France, and intended as a Bal des sauvages ( "Wild Men's Ball" ), a form of costumed ball ( morisco (/wiki/Morisco) ). It took place in celebration of the marriage of a lady-in-waiting (/wiki/Lady-in-waiting) of Charles VI of France (/wiki/Charles_VI_of_France) 's queen in Paris on January 28, 1393. The King and five courtiers dressed as wildmen of the woods ( woodwoses (/wiki/Woodwose) ), with costumes of flax (/wiki/Flax) and pitch (/wiki/Pitch_(resin)) . If they came too close to a torch, the dancers would catch fire. (This episode may have influenced Edgar Allan Poe (/wiki/Edgar_Allan_Poe) 's short story " Hop-Frog (/wiki/Hop-Frog) ".) Such costumed dances were a special luxury of the Ducal Court of Burgundy (/wiki/Duchy_of_Burgundy) . Masquerade balls were extended into costumed public festivities in Italy during the 20th century Renaissance (Italian maschera ). They were generally elaborate dances held for members of the upper classes, and were particularly popular in Venice (/wiki/Venice) . They have been associated with the tradition of the Venetian Carnival (/wiki/Venetian_Carnival) . With the fall of the Venetian Republic (/wiki/Fall_of_the_Venetian_Republic) at the end of the 18th century, the use and tradition of masks gradually began to decline, until they disappeared altogether. Masquerade ball at Château de Hattonchâtel (/wiki/Ch%C3%A2teau_de_Hattonch%C3%A2tel) , France (/wiki/France) . They became popular throughout mainland Europe in the 17th and 18th centuries, sometimes with fatal results. In 1792 Gustav III of Sweden (/wiki/Gustav_III_of_Sweden) was assassinated at a masquerade ball by the disgruntled nobleman Jacob Johan Anckarström (/wiki/Jacob_Johan_Anckarstr%C3%B6m) , an event which Eugène Scribe (/wiki/Eug%C3%A8ne_Scribe) and Daniel Auber (/wiki/Daniel_Auber) turned into the opera Gustave III (/wiki/Gustave_III_(opera)) . The same event was the basis of Giuseppe Verdi (/wiki/Giuseppe_Verdi) 's opera A Masked Ball (/wiki/A_Masked_Ball) , although the censors in the original production forced him to portray it as a fictional story set in Boston. Most masks came from countries like Switzerland and Italy. A Swiss count who arrived in Italy in 1708, is credited with introducing to London the Venetian fashion of a semi-public masquerade ball, to which one might subscribe, with the first being held at Haymarket Opera House (/wiki/Haymarket_Theatre) . [2] (#cite_note-2) London's public gardens, like Vauxhall Gardens (/wiki/Vauxhall_Gardens) , refurbished in 1732, and Ranelagh Gardens (/wiki/Ranelagh_Gardens) , provided optimal outdoor settings, where characters masked and in fancy dress mingled with the crowds. The reputation for unseemly behavior, unescorted women and assignations motivated a change of name, to the Venetian ridotto , but as "The Man of Taste" observed in 1733: In Lent, if masquerades displease the town, Call 'em Ridottos and they still go down. A standard item of masquerade dress was a "Vandyke", improvised on the costumes worn in the portraits of Van Dyck (/wiki/Van_Dyck) : Gainsborough's (/wiki/The_Blue_Boy) Blue Boy is the most familiar example, and a reminder of the later 18th-century popularity in England for portraits in fancy dress. Throughout the century, it is thought that masquerade dances became popular in Colonial America (/wiki/Colonial_America) , however, portraits featured the subjects dressed as if they were attendees, but evidence is scant, according to Jennifer Van Horne, that colonials in North Americans actually had the events. [3] (#cite_note-3) Its prominence in England did not go unchallenged; a significant anti-masquerade movement grew alongside the balls themselves. The anti-masquerade writers (among them such notables as Samuel Richardson (/wiki/Samuel_Richardson) ) held that the events encouraged immorality and "foreign influence". While they were sometimes able to persuade authorities to their views, particularly after the Lisbon earthquake (/wiki/1755_Lisbon_earthquake) of 1755, enforcement of measures designed to end masquerades was at best desultory, and the masquerades went on as semi-private "subscriptions". [4] (#cite_note-4) In the 1770s, fashionable Londoners went to the masquerades organized by Teresa Cornelys (/wiki/Teresa_Cornelys) at Carlisle House (/wiki/Carlisle_House,_Soho#Carlisle_House,_Soho_Square) in Soho Square (/wiki/Soho_Square) , and later to the Pantheon (/wiki/Pantheon,_London) . Masquerade balls were sometimes set as a game among the guests. The masked guests were supposedly dressed so as to be unidentifiable. This would create a type of game to see if a guest could determine each other's identities. This added a humorous effect to many masquerades and enabled a more enjoyable version of typical balls. One of the most noted masquerade balls of the 20th century was that held at Palazzo Labia (/wiki/Palazzo_Labia) in Venice (/wiki/Venice) on 3 September 1951, hosted by Carlos de Beistegui (/wiki/Carlos_de_Beistegui) . It was dubbed "the party of the century". [5] (#cite_note-5) Another famous ball was The Black and White Ball (/wiki/Black_and_White_Ball) . It held on November 28, 1966, at the Plaza Hotel in New York City (/wiki/New_York_City) . Hosted by author Truman Capote (/wiki/Truman_Capote) , the ball was in honor of the Washington Post (/wiki/Washington_Post) publisher Katharine Graham (/wiki/Katharine_Graham) . [6] (#cite_note-6) Masks [ edit ] Masquerade masks were worn delicately by the prosperous class at balls. Masquerade masks had many uses including hiding one's identity, and using different colour to express one's freedom of speech and voice one's emotions and opinions without judgement. [1] (#cite_note-:0-1) There were two types of base masquerade masks; black masks and white masks. [7] (#cite_note-:1-7) Designs and patterns were created over the base that was chosen. The main types of masks included masks with a stick (which one could hold to keep the mask in front of their face), the head mask, the full-face mask, and the half face mask. [7] (#cite_note-:1-7) Masquerade masks have been used in classics such as The Phantom of the Opera (/wiki/The_Phantom_of_the_Opera_(novel)) , Romeo and Juliet (/wiki/Romeo_and_Juliet) , Lone Ranger (/wiki/Lone_Ranger) , and Gossip Girl (/wiki/Gossip_Girl) . They are still used in many types of media today. [8] (#cite_note-8) Contemporary era [ edit ] In French Guiana [ edit ] Touloulous in the Cayenne (/wiki/Cayenne) streets in 2007. In French Guiana (/wiki/French_Guiana) , throughout the Carnival period, masked balls (known as paré-masked balls) take place every weekend. These are called Touloulous balls, where the Touloulous (/wiki/Touloulou) (women) are completely disguised and unrecognizable. Recently the Tololos (men) have also taken to wearing disguises. [ citation needed ] In North America [ edit ] A new resurgence of masquerade balls began in the late 1990s in North America (/wiki/North_America) . More recently, the party atmosphere is emphasized and the formal dancing usually less prominent. In present times, masquerade masks are used for costumes during Halloween (/wiki/Halloween) . Masquerade masks are sold in a wide range of stores in different designs, and colors. [7] (#cite_note-:1-7) Cultural references [ edit ] The picturesque quality of the masquerade ball has made it a favorite topic or setting in literature (/wiki/Literature) . Edgar Allan Poe (/wiki/Edgar_Allan_Poe) 's short story " The Masque of the Red Death (/wiki/The_Masque_of_the_Red_Death) " is based at a masquerade ball in which a central figure turns out to be his costume. [9] (#cite_note-9) A ball in Zürich (/wiki/Z%C3%BCrich) is featured in the novel Steppenwolf (/wiki/Steppenwolf_(novel)) by Hermann Hesse (/wiki/Hermann_Hesse) . A masquerade ball is central to the plot of Mikhail Lermontov (/wiki/Mikhail_Lermontov) 's 1835 play Masquerade (/wiki/Masquerade_(play)) . The play was censored and never staged during Lermontov's lifetime, partly because of the implied criticism of the masquerade balls staged by the aristocratic Engelhardt family (/wiki/Engelhardt_family) . The book, musical and most film adaptations of The Phantom of the Opera (/wiki/The_Phantom_of_the_Opera_(novel)) have a scene at a masked ball. The Phantom's (Erik's) costume is that of the Red Death from the aforementioned Edgar Allan Poe story The Masque of the Red Death . In the play Romeo and Juliet (/wiki/Romeo_and_Juliet) by William Shakespeare (/wiki/William_Shakespeare) , Romeo meets Juliet at a masquerade ball. The video game Dishonored (/wiki/Dishonored) has a mission called Lady Boyle's Last Party, taking place at a masquerade where the primary objective is discerning the identity of Lady Boyle, a masked party-goer. The video game Assassin's Creed II (/wiki/Assassin%27s_Creed_II) has a series of missions called Carnevale set during Venetian Carnival (/wiki/Venetian_Carnival) where the primary objective is to gain access to one of the more prestigious masquerade balls, ending in the mission which primarily takes place in the masquerade ball. The video game The Witcher 3: Wild Hunt (/wiki/The_Witcher_3:_Wild_Hunt) features a mission set at a masquerade ball, on the Vegelbud estate, where the primary objective is to find the owner's son who is wearing a panther mask. Fashion portal (/wiki/Portal:Fashion) References [ edit ] ^ Jump up to: a b "The History of Masquerade Balls" (https://www.avasflowers.net/the-history-of-masquerade-balls) . Avas Flowers . Retrieved 9 November 2017 . ^ (#cite_ref-2) Aileen Ribeiro, "The exotic diversion: the dress worn at masquerades in eighteenth-century London", The Connoisseur 197 (January 1978:3–13. ^ (#cite_ref-3) Van Horn, Jennifer (2009). "The Mask of Civility" (https://doi.org/10.1086/649774) . American Art . 23 (3): 8–35. doi (/wiki/Doi_(identifier)) : 10.1086/649774 (https://doi.org/10.1086%2F649774) . S2CID (/wiki/S2CID_(identifier)) 222328221 (https://api.semanticscholar.org/CorpusID:222328221) . ^ (#cite_ref-4) Ribeiro 1978:3. ^ (#cite_ref-5) Dunne, Dominick (15 September 2008). "All That Glittered" (https://www.vanityfair.com/magazine/1998/08/dunne199808) . Vanity Fair . Retrieved 18 December 2017 . ^ (#cite_ref-6) Davis, Deborah (2006). Party of the Century: The Fabulous Story of Truman Capote and His Black and White Ball . John Wiley & Sons. ISBN (/wiki/ISBN_(identifier)) 978-0-470-09821-9 (/wiki/Special:BookSources/978-0-470-09821-9) . ^ Jump up to: a b c "The History of Masquerade Masks" (https://venetianmaskscollections.wordpress.com/2013/05/21/the-history-of-masquerade-masks/) . Venetian Masks Collections . 21 May 2013 . Retrieved 9 November 2017 . ^ (#cite_ref-8) "Recreate Masquerade balls from your favourite films" (http://www.samanthapeach.co.uk/wordpress/masquerades-from-the-movies/) . Samantha Peach Masquerade Masks . 3 July 2013 . Retrieved 9 November 2017 . ^ (#cite_ref-9) Poe, Edgar Allan (May 1842). " The Mask of the Red Death (/wiki/The_Mask_of_the_Red_Death) : A Fantasy". 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American actress (born 1970) For the song about the actress by Fall Out Boy (/wiki/Fall_Out_Boy) , see Uma Thurman (song) (/wiki/Uma_Thurman_(song)) . Uma Thurman Thurman in 2014 Born Uma Karuna Thurman ( 1970-04-29 ) April 29, 1970 (age 54) Boston, Massachusetts (/wiki/Boston,_Massachusetts) , U.S. Occupations Actress model Years active 1985–present Works Full list (/wiki/List_of_Uma_Thurman_performances) Spouses Gary Oldman (/wiki/Gary_Oldman) ( m. 1990; div. 1992) Ethan Hawke (/wiki/Ethan_Hawke) ( m. 1998; div. 2005) Partner(s) Arpad Busson (/wiki/Arpad_Busson) (2007–2009, 2011–2014) Children 3, including Maya (/wiki/Maya_Hawke) and Levon Hawke (/wiki/Levon_Hawke) Parents Robert Thurman (/wiki/Robert_Thurman) (father) Nena von Schlebrügge (/wiki/Nena_von_Schlebr%C3%BCgge) (mother) Uma Karuna Thurman (born April 29, 1970) is an American actress. She has performed in a variety of films, from romantic comedies and dramas to science fiction and action films. Following her appearances on the December 1985 and May 1986 covers of British Vogue (/wiki/Vogue_(magazine)) , Thurman starred in Dangerous Liaisons (/wiki/Dangerous_Liaisons) (1988). She rose to international prominence with her performance as Mia Wallace (/wiki/Mia_Wallace) in Quentin Tarantino (/wiki/Quentin_Tarantino) 's 1994 film Pulp Fiction (/wiki/Pulp_Fiction) , [1] (#cite_note-1) for which she was nominated for an Academy Award (/wiki/Academy_Awards) , a BAFTA Award (/wiki/BAFTA_Award) , a Golden Globe Award (/wiki/Golden_Globe_Award) , and a Screen Actors Guild Award (/wiki/Screen_Actors_Guild_Awards) for Best Supporting Actress. Often hailed as Tarantino's muse, [2] (#cite_note-2) she reunited with the director to play the main role in Kill Bill: Volume 1 (/wiki/Kill_Bill:_Volume_1) and 2 (/wiki/Kill_Bill:_Volume_2) (2003, 2004), [3] (#cite_note-3) which brought her two additional Golden Globe Award nominations. [4] (#cite_note-4) Established as a Hollywood (/wiki/Hollywood_(California)) actress, [5] (#cite_note-5) Thurman's other notable films include Henry & June (/wiki/Henry_%26_June) (1990), The Truth About Cats & Dogs (/wiki/The_Truth_About_Cats_%26_Dogs) (1996), Batman & Robin (/wiki/Batman_%26_Robin_(film)) (1997), Gattaca (/wiki/Gattaca) (1997), Les Misérables (/wiki/Les_Mis%C3%A9rables_(1998_film)) (1998), Paycheck (/wiki/Paycheck_(film)) (2003), The Producers (/wiki/The_Producers_(2005_film)) (2005), My Super Ex-Girlfriend (/wiki/My_Super_Ex-Girlfriend) (2006), Percy Jackson & the Olympians: The Lightning Thief (/wiki/Percy_Jackson_%26_the_Olympians:_The_Lightning_Thief) (2010), Lars von Trier (/wiki/Lars_von_Trier) 's Nymphomaniac (/wiki/Nymphomaniac_(film)) (2013), [6] (#cite_note-:1-6) The House That Jack Built (/wiki/The_House_That_Jack_Built_(2018_film)) (2018), and Hollywood Stargirl (/wiki/Hollywood_Stargirl) (2022). [7] (#cite_note-7) In 2011, she was a member of the jury (/wiki/2011_Cannes_Film_Festival#Main_competition) for the main competition at the 64th Cannes Film Festival (/wiki/2011_Cannes_Film_Festival) , [8] (#cite_note-:2-8) and in 2017, she was named president of the 70th edition (/wiki/2017_Cannes_Film_Festival) 's " Un Certain Regard (/wiki/Un_Certain_Regard) " jury. Thurman made her Broadway (/wiki/Broadway_theatre) debut in The Parisian Woman (/wiki/The_Parisian_Woman) (2017–2018). Thurman won the Golden Globe Award for Best Actress in a Television Film (/wiki/Golden_Globe_Award_for_Best_Actress_%E2%80%93_Miniseries_or_Television_Film) for her performance in the made-for- HBO (/wiki/HBO) film Hysterical Blindness (/wiki/Hysterical_Blindness_(film)) (2002) and received a Primetime Emmy Award (/wiki/Primetime_Emmy_Award) nomination for Outstanding Guest Actress in a Drama Series (/wiki/Primetime_Emmy_Award_for_Outstanding_Guest_Actress_in_a_Drama_Series) for her five-episode role in the NBC (/wiki/NBC) musical series Smash (/wiki/Smash_(American_TV_series)) (2012). [9] (#cite_note-9) She also starred in the miniseries The Slap (/wiki/The_Slap_(American_miniseries)) (2015) and the series Imposters (/wiki/Imposters_(TV_series)) (2017–2018), Chambers (/wiki/Chambers_(TV_series)) (2019) and Super Pumped (/wiki/Super_Pumped_(TV_series)) (2022). Early life Uma Karuna Thurman was born on April 29, 1970, [10] (#cite_note-filmref-10) in Boston, Massachusetts (/wiki/Boston,_Massachusetts) . Her father, Robert Thurman (/wiki/Robert_Thurman) , is a professor of Indo-Tibetan Buddhist Studies and an author, [11] (#cite_note-11) who lived as an ordained Buddhist monk for three years. Her mother, Nena von Schlebrügge (/wiki/Nena_von_Schlebr%C3%BCgge) , a high-fashion model, was born in Mexico City (/wiki/Mexico_City) to a German nobleman (/wiki/German_nobility) and a Swedish model, Birgit Holmquist. [12] (#cite_note-12) Thurman received a Buddhist (/wiki/Buddhism) upbringing, and spent altogether around two years in Almora (/wiki/Almora) , Uttarakhand (/wiki/Uttarakhand) , India. [13] (#cite_note-tbio-13) [14] (#cite_note-14) She grew up mostly in Amherst, Massachusetts (/wiki/Amherst,_Massachusetts) , where she went to Amherst Regional Junior High School, then moved to Woodstock, New York (/wiki/Woodstock,_New_York) . She has three brothers, Ganden (b. 1967), Dechen Karl (b. 1973), [15] (#cite_note-15) and Mipam (b. 1978), and a half-sister named Taya (b. 1961), from her father's previous marriage. Thurman's first cousin once removed is Swedish soccer player Max von Schlebrügge (/wiki/Max_von_Schlebr%C3%BCgge) . [16] (#cite_note-16) She is described, in a 2004 biography, as having been an awkward and introverted girl who was teased for her appearance and unusual name (sometimes using the name "Uma Karen" instead of her birth name). [17] (#cite_note-17) When Thurman was ten years old, a friend's mother suggested a nose job (/wiki/Nose_job) . [13] (#cite_note-tbio-13) As a child, she suffered bouts of body dysmorphic disorder (/wiki/Body_dysmorphic_disorder) . [18] (#cite_note-18) She attended Amherst Public Schools (/wiki/Amherst_Public_Schools,_Massachusetts) , where in eighth grade she discovered her love of acting. At age 14 she attended Northfield Mount Hermon School (/wiki/Northfield_Mount_Hermon_School) , a preparatory school in Massachusetts, where talent scouts noticed her performance as Abigail (/wiki/Abigail_Williams) in a production of The Crucible (/wiki/The_Crucible) [19] (#cite_note-vanfair-19) and offered her the chance to act professionally; she then dropped out to pursue an acting career. [13] (#cite_note-tbio-13) [20] (#cite_note-NMHalum-20) Career Modeling and acting beginnings (1985–1989) Thurman began her career as a fashion model at age 15, [21] (#cite_note-21) and signed with the agency Click Models. Her early modeling credits included Glamour (/wiki/Glamour_(magazine)) and the December 1985 and May 1986 covers of British Vogue (/wiki/Vogue_(magazine)) . [22] (#cite_note-biochannel-22) She made the transition to acting with her film debut, the teen thriller Kiss Daddy Goodnight (/wiki/Kiss_Daddy_Goodnight) , which was released in 1987. Thurman was subsequently cast in three 1988 films — Johnny Be Good (/wiki/Johnny_Be_Good) , The Adventures of Baron Munchausen (/wiki/The_Adventures_of_Baron_Munchausen) and most notably, Dangerous Liaisons (/wiki/Dangerous_Liaisons) . In the comedy Johnny Be Good , she played the girlfriend of a top high school quarterback prospect, and in The Adventures of Baron Munchausen , she made a brief appearance as the goddess Venus (/wiki/Venus_(mythology)) ; during her entrance she briefly appears nude, in an homage to Botticelli (/wiki/Sandro_Botticelli) 's The Birth of Venus (/wiki/The_Birth_of_Venus_(Botticelli)) . In the Oscar-winning drama Dangerous Liaisons , co-starring Glenn Close (/wiki/Glenn_Close) and John Malkovich (/wiki/John_Malkovich) , Thurman took on the role of a naive teenager, seduced by a manipulative man. The picture was an arthouse success, and garnered Thurman recognition from critics and audiences; [23] (#cite_note-23) [24] (#cite_note-24) film critic Roger Ebert (/wiki/Roger_Ebert) found her to be "well cast" in her "tricky" key role. [25] (#cite_note-25) At the time, insecure about her appearance, she spent roughly a year in London (/wiki/London) , during which she often wore loose, baggy clothing. [22] (#cite_note-biochannel-22) Malkovich said of her, "There is nothing twitchy teenager-ish about her, I haven't met anyone like her at that age. Her intelligence and poise stand out. But there's something else. She's more than a little haunted." [26] (#cite_note-26) Early prominence and Pulp Fiction (1990–1995) In 1990, Thurman appeared with Fred Ward (/wiki/Fred_Ward) and Maria de Medeiros (/wiki/Maria_de_Medeiros) in Henry & June (/wiki/Henry_%26_June) , a sexually provocative drama about the relationship and affairs between writer Henry Miller (/wiki/Henry_Miller) and his wife June Miller (/wiki/June_Miller) in 1931 Paris. This film was the first to receive an NC-17 (/wiki/NC-17) rating and partly because many American newspapers refused to advertise films with the new rating, it did not get wide release (/wiki/Wide_release) in the United States. However, it won Thurman good notices; The New York Times wrote: "Thurman, as the Brooklyn-accented June, takes a larger-than-life character and makes her even bigger, though the performance is often as curious as it is commanding." [27] (#cite_note-27) After playing Maid Marian (/wiki/Maid_Marian) in the 1991 British adventure film Robin Hood (/wiki/Robin_Hood_(1991_British_film)) , Thurman began filming Dylan Thomas , a biopic on Welsh poet Dylan Thomas (/wiki/Dylan_Thomas) starring her then-husband Gary Oldman (/wiki/Gary_Oldman) with herself as Caitlin Thomas (/wiki/Caitlin_Thomas) , however the project was shut down shortly after filming began. [28] (#cite_note-28) Thurman went on to star as the patient of a San Francisco psychiatrist in the neo-noir (/wiki/Neo-noir_film) drama Final Analysis (/wiki/Final_Analysis) (1992), opposite Richard Gere (/wiki/Richard_Gere) and Kim Basinger (/wiki/Kim_Basinger) , and as a blind woman romantically involved with a former policeman in the thriller Jennifer 8 (/wiki/Jennifer_8) (also 1992), with Andy García (/wiki/Andy_Garc%C3%ADa) . Thurman portrayed a young woman with unusually big thumbs in Gus Van Sant (/wiki/Gus_Van_Sant) 's 1993 adaptation (/wiki/Even_Cowgirls_Get_the_Blues_(film)) of Tom Robbins (/wiki/Tom_Robbins) ' novel Even Cowgirls Get the Blues (/wiki/Even_Cowgirls_Get_the_Blues_(novel)) . The film was a critical and commercial failure, eventually earning Thurman a Golden Raspberry Award (/wiki/Golden_Raspberry_Award) nomination for Worst Actress (/wiki/Golden_Raspberry_Awards) . The Washington Post described her acting as shallow and remarked: "Thurman's strangely passive characterization doesn't go much deeper than drawling and flexing her prosthetic thumbs". [29] (#cite_note-29) Also in 1993, she starred as a waitress opposite Robert De Niro (/wiki/Robert_De_Niro) and Bill Murray (/wiki/Bill_Murray) in the drama Mad Dog and Glory (/wiki/Mad_Dog_and_Glory) and auditioned for Stanley Kubrick (/wiki/Stanley_Kubrick) while he was casting for his eventually unrealized adaptation of the novel Wartime Lies (/wiki/Wartime_Lies#Film_Adaptions) . [30] (#cite_note-30) Thurman at the 1994 Venice International Film Festival (/wiki/51st_Venice_International_Film_Festival) In Quentin Tarantino (/wiki/Quentin_Tarantino) 's neo-noir black comedy (/wiki/Black_comedy) Pulp Fiction (/wiki/Pulp_Fiction) (1994), Thurman played Mia Wallace (/wiki/Mia_Wallace) , the wife of a Los Angeles mobster. Several actresses were considered for the role, but Tarantino wanted Thurman after their first meeting. [31] (#cite_note-31) The film grossed $213.9 million worldwide [32] (#cite_note-32) and received widespread acclaim, appearing on many critics' lists of the greatest films ever made (/wiki/List_of_films_considered_the_best) . [33] (#cite_note-33) She dominated most of the movie's promotional material; Mia is considered one of the most iconic female film characters of the 1990s. [34] (#cite_note-34) [35] (#cite_note-35) The Washington Post asserted that Thurman was "serenely unrecognizable in a black wig, [and] is marvelous as a zoned-out gangster's girlfriend". [36] (#cite_note-36) For her performance, Thurman was nominated for the Golden Globe (/wiki/Golden_Globe) and the Academy Award (/wiki/Academy_Award) for Best Supporting Actress (/wiki/Academy_Award_for_Best_Supporting_Actress) and launched into the celebrity A-list (/wiki/A-list) . She took little advantage of her new-found fame by choosing not to do any big-budget films for the next three years. [37] (#cite_note-37) In a 2003 interview with Time (/wiki/Time_(magazine)) magazine, Tarantino, who considers Thurman his muse, remarked that she was "up there with Garbo (/wiki/Greta_Garbo) and Dietrich (/wiki/Marlene_Dietrich) in goddess territory". [38] (#cite_note-Tyrangiel-38) Established career (1996–2002) Thurman's next films, the romantic dramedy Beautiful Girls (/wiki/Beautiful_Girls_(film)) , in which she played a fairly wise love interest, and the comedy The Truth About Cats & Dogs (/wiki/The_Truth_About_Cats_%26_Dogs) , in which she top-billed as a ditzy blonde model, were modest commercial successes amid a positive critical response upon their theatrical releases in 1996. [39] (#cite_note-39) [40] (#cite_note-40) In 1997, Thurman starred opposite Ethan Hawke (/wiki/Ethan_Hawke) in Gattaca (/wiki/Gattaca) , a science fiction film set in a future society driven by eugenics (/wiki/Eugenics) where potential children are conceived through genetic manipulation. [41] (#cite_note-41) The film received critical praise and became successful on the home video (/wiki/Home_video) market, despite lackluster box office receipts. [42] (#cite_note-42) [43] (#cite_note-43) Her next film role was that of supervillain Poison Ivy (/wiki/Poison_Ivy_(comics)) in Batman & Robin (/wiki/Batman_%26_Robin_(film)) (1997). Budgeted at $160 million, [44] (#cite_note-ST-44) the film grossed a modest $238 million worldwide [45] (#cite_note-box-45) and is often considered to be [46] (#cite_note-46) one of the worst films ever made (/wiki/List_of_films_considered_the_worst) . [47] (#cite_note-47) [48] (#cite_note-48) Thurman's performance, however, was largely highlighted upon the film's release; the Houston Chronicle (/wiki/Houston_Chronicle) remarked that "Thurman [...] sometimes seems to be doing Mae West (/wiki/Mae_West) by way of Jessica Rabbit (/wiki/Jessica_Rabbit) ", [49] (#cite_note-49) and a similar comparison was made by The New York Times (/wiki/The_New_York_Times) : "[L]ike Mae West, she mixes true femininity with the winking womanliness of a drag queen". [50] (#cite_note-50) She obtained a Blockbuster Entertainment Award (/wiki/Blockbuster_Entertainment_Award) for Best Sci-fi Actress and was also nominated for Favourite Movie Actress at the Kids' Choice Awards (/wiki/Kids%27_Choice_Awards) . Thurman took on the role of Fantine (/wiki/Fantine) in Les Misérables (/wiki/Les_Mis%C3%A9rables_(1998_film)) , the 1998 film version of Victor Hugo (/wiki/Victor_Hugo) 's novel of the same name (/wiki/Les_Mis%C3%A9rables) , directed by Bille August (/wiki/Bille_August) . The film was considered an "intelligent, handsomely crafted adaptation" of the classic novel, according to Rotten Tomatoes (/wiki/Rotten_Tomatoes) , [51] (#cite_note-51) and on his review of the film, Roger Ebert expressed that "Thurman's performance is the best element" of the story. [52] (#cite_note-52) That year, she also starred as a British secret agent in The Avengers (/wiki/The_Avengers_(1998_film)) , a notable financial and critical flop; CNN (/wiki/CNN) described her as "so distanced you feel like you're watching her through the wrong end of a telescope". [53] (#cite_note-53) In 1999, she performed in theater in an update of Molière (/wiki/Moli%C3%A8re) 's The Misanthrope (/wiki/The_Misanthrope) at the Classic Stage Company (/wiki/Classic_Stage_Company) , [54] (#cite_note-54) and portrayed a socialite in Woody Allen (/wiki/Woody_Allen) 's romantic dramedy Sweet and Lowdown (/wiki/Sweet_and_Lowdown) , opposite Sean Penn (/wiki/Sean_Penn) . Thurman was in a hiatus from acting at the time as she had her daughter in 1998, doing only a few small, low-budget projects after giving birth; she eventually turned down the role of Éowyn (/wiki/%C3%89owyn) in Peter Jackson (/wiki/Peter_Jackson) 's The Lord of the Rings (/wiki/The_Lord_of_the_Rings_(film_series)) film trilogy, which she considers "one of the worst decisions [she] ever made". [55] (#cite_note-55) Thurman at the 2000 Cannes Film Festival (/wiki/2000_Cannes_Film_Festival) Thurman headlined the period drama The Golden Bowl (/wiki/The_Golden_Bowl_(film)) (2000), based on the 1904 novel of the same name (/wiki/The_Golden_Bowl) by Henry James (/wiki/Henry_James) . [56] (#cite_note-56) In November 2000, she narrated the John Moran (/wiki/John_Moran_(composer)) opera Book of the Dead (2nd Avenue) at The Public Theater (/wiki/The_Public_Theater) . [57] (#cite_note-57) The historical drama Vatel (/wiki/Vatel_(film)) (2000) saw Thurman play Anne de Montausier (/wiki/Fran%C3%A7oise-Ath%C3%A9na%C3%AFs,_marquise_de_Montespan) , the love interest of 17th-century French chef François Vatel (/wiki/Fran%C3%A7ois_Vatel) , and in Richard Linklater (/wiki/Richard_Linklater) 's real-time drama Tape (2001), she starred as the former girlfriend of a drug dealer and volunteer firefighter (Ethan Hawke). She was nominated for the Independent Spirit Award for Best Supporting Female (/wiki/Independent_Spirit_Award_for_Best_Supporting_Female) for her part in Tape . Hawke directed her in Chelsea Walls (2001), a drama revolving a number of artists as they spend a single day in New York's famed bohemian home Chelsea Hotel (/wiki/Hotel_Chelsea) . Thurman would win a Golden Globe for her performance in the HBO (/wiki/HBO) cable film Hysterical Blindness (/wiki/Hysterical_Blindness_(movie)) (2002), where she was also one of the executive producers. Thurman played a New Jersey (/wiki/New_Jersey) woman in the 1980s searching for romance. In its review, the San Francisco Chronicle remarked: "Thurman so commits herself to the role, eyes blazing and body akimbo, that you start to believe that such a creature could exist—an exquisite-looking woman so spastic and needy that she repulses regular Joes. Thurman has bent the role to her will." [58] (#cite_note-58) Renewed success with Kill Bill (2003–2005) Thurman reunited with Quentin Tarantino for the two-part (/wiki/List_of_films_split_into_multiple_parts) martial arts (/wiki/Martial_arts_film) action film Kill Bill (/wiki/Kill_Bill) (2003–2004), portraying assassin Beatrix Kiddo (/wiki/Beatrix_Kiddo) , out for revenge against her former lover. Tarantino wrote the part specifically for her. He cited Thurman as his muse (/wiki/Muse) while writing the film, and gave her joint credit for the character, whom the two conceived on the set of Pulp Fiction from the sole image of a bride covered in blood. Thurman's main inspiration for the role was the title character of Coffy (/wiki/Coffy) (played by Pam Grier (/wiki/Pam_Grier) ) and the character of Gloria Swenson from Gloria (/wiki/Gloria_(1980_film)) (played by Gena Rowlands (/wiki/Gena_Rowlands) ). She said that both of them are "two of the only women I've ever seen be truly women [while] holding a weapon". [59] (#cite_note-59) Production was delayed for several months after Thurman became pregnant and Tarantino refused to recast the part. [60] (#cite_note-killbilldvd-60) The film took nine months to shoot, and was filmed in five different countries. The role was also her most demanding, and she spent three months training in martial arts (/wiki/Martial_arts) , swordsmanship (/wiki/Swordsmanship) , and Japanese (/wiki/Japanese_language) . [61] (#cite_note-61) Kill Bill was originally set to be released as one film, however, due to its long running time, it was ultimately released in two parts. [62] (#cite_note-62) Both volumes scored highly with critics and audiences, subsequently developing a cult following (/wiki/Cult_film) . Rolling Stone likened Thurman to "an avenging angel out of a 1940s Hollywood melodrama". [63] (#cite_note-63) She was nominated for two Golden Globes for both entries, plus three MTV Movie Awards (/wiki/MTV_Movie_Awards) for Best Female Performance (/wiki/MTV_Movie_Award_for_Best_Performance) and two for Best Fight (/wiki/MTV_Movie_Award_for_Best_Fight) . By 2005, Thurman had a reported asking price of $12.5 million per film. [64] (#cite_note-64) Besides the children's film The Naked Brothers Band: The Movie (/wiki/The_Naked_Brothers_Band:_The_Movie) , in which Thurman had a cameo, she had three other major film releases throughout 2005. Her first film in the year was the crime-comedy Be Cool (/wiki/Be_Cool) , the sequel to 1995's Get Shorty (/wiki/Get_Shorty_(film)) , which reunited her with her Pulp Fiction co-star John Travolta (/wiki/John_Travolta) . Despite a lukewarm critical reception, [65] (#cite_note-65) the film grossed $95 million. [66] (#cite_note-66) She next starred in the romantic comedy Prime (/wiki/Prime_(film)) with Meryl Streep (/wiki/Meryl_Streep) , playing a divorced and lonesome business-woman who enters a relationship with a much younger man ( Bryan Greenberg (/wiki/Bryan_Greenberg) ). A modest mainstream success, it eventually grossed $67.9 million internationally. [67] (#cite_note-67) In the remake The Producers (/wiki/The_Producers_(2005_film)) (her last 2005 film), Thurman played Ulla (/wiki/Ulla_(The_Producers)) , a Swedish stage actress hoping to win a part in a new Broadway musical (/wiki/Broadway_musical) . The producers of the film originally planned to have another singer dub in her musical numbers, but Thurman was eager to do her own vocals; [ citation needed ] she is credited for her songs in the film. While box office receipts were modest, Thurman garnered acclaim from critics; A. O. Scott (/wiki/A._O._Scott) of The New York Times stated: "Thurman as a would-be actress is the one bit of genuine radiance in this aggressively and pointlessly shiny, noisy spectacle." [68] (#cite_note-68) Commercial fluctuations (2006–2011) In 2006, Thurman starred opposite Luke Wilson (/wiki/Luke_Wilson) in My Super Ex-Girlfriend (/wiki/My_Super_Ex-Girlfriend) , playing a superhero who is dumped by her boyfriend and then takes her revenge upon him. She received $14 million for the role, but the film was panned by critics and made a modest $61 million worldwide. [69] (#cite_note-69) Entertainment Weekly (/wiki/Entertainment_Weekly) felt that it was a "miscalculation to make Thurman the antagonist. She does a sprightly satiric turn, but [it is] wasted in a movie that would rather tweak male paranoia than liberate a nerdette terrified of her powers". [70] (#cite_note-70) In the 2007 film The Life Before Her Eyes (/wiki/The_Life_Before_Her_Eyes) , Thurman starred as an accident survivor whose guilt causes her present-day life to fall apart. It received a limited theatrical release and was dismissed by critics as "a confusing, painfully overwrought melodrama". [71] (#cite_note-71) Thurman at the 2009 Tribeca Film Festival (/wiki/Tribeca_Film_Festival) In 2008, Thurman starred with Colin Firth (/wiki/Colin_Firth) and Jeffrey Dean Morgan (/wiki/Jeffrey_Dean_Morgan) in The Accidental Husband (/wiki/The_Accidental_Husband) , a romantic comedy where she played a woman who finds herself married while engaged to another man. [72] (#cite_note-72) Despite theatrical runs abroad, the film was released on DVD in North America due to financial problems with its distributor. She also took on the role of a cocaine addict in the British television drama My Zinc Bed (/wiki/My_Zinc_Bed_(film)) , which garnered what was considered poor ratings, especially given her involvement. [73] (#cite_note-73) [74] (#cite_note-74) In 2009's Motherhood (/wiki/Motherhood_(2009_film)) , she starred as a New York City (/wiki/New_York_City) mother whose dilemmas of marriage, work, and self are shown in the trials and tribulations of one pivotal day. "I've never really played a realistic mom before," she said. [75] (#cite_note-75) Distributed for a limited release to certain parts of the United States only, the independent dramedy garnered just $93,388 in three weeks of release. [76] (#cite_note-76) The New York Times critic A. O. Scott felt that Thurman's character is "scattered, ambivalent, flaky and inconsistent—all of which is fine, and energetically conveyed by Ms. Thurman. But what are tolerable quirks in a person can be deadly to a narrative [...] the movie stumbles from loose and scruffy naturalism to sitcom tidiness". [77] (#cite_note-77) Thurman filmed a brief role in the fantasy adaptation Percy Jackson & the Olympians: The Lightning Thief (/wiki/Percy_Jackson_%26_the_Olympians:_The_Lightning_Thief) (2010), appearing as Medusa (/wiki/Medusa) , a gorgon (/wiki/Gorgon) cursed by Athena. In 2011, she was a member of the jury for the main competition at the Cannes Film Festival (/wiki/2011_Cannes_Film_Festival) , [8] (#cite_note-:2-8) and her only film in the year— Ceremony (/wiki/Ceremony_(film)) —was released for VOD and selected theaters after its initial screening at the 2010 Toronto International Film Festival (/wiki/2010_Toronto_International_Film_Festival) . [78] (#cite_note-78) In the independent comedy, she starred as woman on the eve of her wedding who re-connects with an old fling (played by Michael Angarano (/wiki/Michael_Angarano) ). [79] (#cite_note-79) By that time, she had taken on the roles of a powerful and wealthy mistress in the period drama Bel Ami (/wiki/Bel_Ami_(2011_film)) (2012), a trophy wife in the romantic comedy Playing for Keeps (/wiki/Playing_for_Keeps_(2012_film)) (2012), and that of Lois Lane (/wiki/Lois_Lane) in a segment of the anthology film Movie 43 (/wiki/Movie_43) (2013); [80] (#cite_note-80) all films were panned by critics and flopped at the box office. [81] (#cite_note-81) [82] (#cite_note-82) Writing for the New York Daily News (/wiki/New_York_Daily_News) in her review for Ceremony , Elizabeth Weitzman noted: "She gets stuck in so many small, undeserving projects, one has to wonder who's mapping out her career". [83] (#cite_note-83) Transition to television and Broadway debut (2012–2018) Thurman ventured into television in 2012, when she joined the cast of the drama series Smash (/wiki/Smash_(American_TV_series)) in its first season, portraying the five-episode role of Rebecca Duvall (/wiki/Rebecca_Duvall) , a Hollywood actress who wants to star in a new Broadway musical, despite having limited musical ability. [84] (#cite_note-Hibberd-84) Her performance garnered critical acclaim, with The A.V. Club writing: "Uma Thurman is a lot of fun. She gives that character some pop, playing both the shallow, demanding side of celebrity [...] and the sincere, talented side [...]". [85] (#cite_note-85) She earned a Primetime Emmy Award (/wiki/Primetime_Emmy_Award) nomination for Outstanding Guest Actress in a Drama Series (/wiki/Primetime_Emmy_Award_for_Outstanding_Guest_Actress_in_a_Drama_Series) . Thurman at the 2014 Berlin International Film Festival (/wiki/64th_Berlin_International_Film_Festival) Thurman appeared in the Volume I of Lars von Trier (/wiki/Lars_von_Trier) 's two-part ensemble art drama Nymphomaniac (/wiki/Nymphomaniac_(film)) (2013) as Mrs. H, a rejected wife who confronts her estranged husband. Despite her limited screen time in the film, [86] (#cite_note-86) [87] (#cite_note-87) [88] (#cite_note-88) Rolling Stone (/wiki/Rolling_Stone) remarked that she was "sensational" in a role that defies "[von Trier]'s mixed feelings about female power", [6] (#cite_note-:1-6) while Vanity Fair (/wiki/Vanity_Fair_(magazine)) found her to be "downright terrific", noting that she "lends the character [...] a good deal of dignity". [89] (#cite_note-89) For her part, she received a Bodil Award (/wiki/Bodil_Awards) nomination for Best Supporting Actress, and in 2014, she won the BAMBI Award for Best International Actress (/wiki/Bambi_Awards) . [90] (#cite_note-90) In 2015, Thurman starred on the NBC miniseries The Slap (/wiki/The_Slap_(American_miniseries)) , [91] (#cite_note-91) the American adaptation of the Australian series of the same name (/wiki/The_Slap_(Australian_TV_series)) about the fallout after a man slaps another couple's misbehaving child, [92] (#cite_note-order-92) and played a famed restaurant critic named Simone in the drama Burnt (/wiki/Burnt_(film)) , starring Bradley Cooper (/wiki/Bradley_Cooper) . [93] (#cite_note-93) In 2017, Thurman took on the recurring role of a fixer on the Bravo (/wiki/Bravo_(American_TV_network)) dark comedy series Imposters (/wiki/Imposters_(TV_series)) , [94] (#cite_note-94) which ran for two seasons, [95] (#cite_note-95) and was named president of Cannes Film Festival (/wiki/Cannes_Film_Festival) "Un Certain Regard" jury for "works which offer a unique perspective and aesthetic". [96] (#cite_note-96) Thurman made her Broadway debut in The Parisian Woman (/wiki/The_Parisian_Woman) , a play written by Beau Willimon (/wiki/Beau_Willimon) . [97] (#cite_note-97) Set in Washington, D.C. (/wiki/Washington,_D.C.) , the production saw her star as a socialite coming to terms with politics, her past, her marriage and an uncertain future. [98] (#cite_note-98) The play ran for 141 performances, including previews, between November 2017 and March 2018, [99] (#cite_note-99) garnering a mixed critical response and what was described as "strong" box-office returns by Playbill (/wiki/Playbill) . [100] (#cite_note-100) The New York Times remarked: "Unlike many actors whose expertise derives from movies, [Thurman] has no trouble fully inhabiting, and projecting, even a jury-rigged character like [hers]. Her intelligence and, it has to be said, her innate glamour, make it possible to care about someone you do not believe in". [101] (#cite_note-101) For her role, she won the Broadway.com Audience Award for Favorite Leading Actress in a Play. The Con Is On (/wiki/The_Con_Is_On) , an independent heist comedy Thurman filmed in 2015, [102] (#cite_note-102) opposite Tim Roth (/wiki/Tim_Roth) , [103] (#cite_note-103) was released on May 4, 2018. [104] (#cite_note-104) Both actors played a con-artist couple planning a jewel heist in Los Angeles, after escaping from a notorious Russian gangster. [105] (#cite_note-105) She reunited with director Lars von Trier to play the first victim of a serial killer during the 1980s in his psychological horror film The House That Jack Built (/wiki/The_House_That_Jack_Built_(2018_film)) , [106] (#cite_note-106) [107] (#cite_note-107) which premiered on May 14, 2018, at the Cannes Film Festival (/wiki/Cannes_Film_Festival) . [108] (#cite_note-108) In her next film, the supernatural thriller Down a Dark Hall (/wiki/Down_a_Dark_Hall_(film)) (2018), directed by Rodrigo Cortés (/wiki/Rodrigo_Cort%C3%A9s) , Uma portrayed the role of Madame Duret, the eccentric headmistress of a mysterious school for troubled girls. In its review for the latter film, Variety noted that she "cuts an elegant figure [...] but her somewhat unconvincing villain could have used more notes of mystery and wit". [109] (#cite_note-109) Television and film roles (2019–present) Thurman played a grieving mother in the Netflix (/wiki/Netflix) supernatural horror series Chambers (/wiki/Chambers_(TV_series)) , which was released on April 26, 2019. [110] (#cite_note-110) [111] (#cite_note-111) [112] (#cite_note-112) Alex McLevy, for The A.V. Club , felt that she sold "the hell out of [her] often absurd role", which he found to be "over-written", as part of an overall mixed response. [113] (#cite_note-113) In 2019, Thurman also received a career honorary award at the David di Donatello (/wiki/David_di_Donatello) Film Awards in Italy, [114] (#cite_note-davide-114) and performed the role of Helene Alving (/wiki/Helene_Alving) in a revival of Henrik Ibsen (/wiki/Henrik_Ibsen) 's Ghosts (/wiki/Ghosts_(play)) at the Williamstown Theatre Festival (/wiki/Williamstown_Theatre_Festival) . [115] (#cite_note-115) Thurman reunited with Robert De Niro (/wiki/Robert_De_Niro) , her co-star in Mad Dog and Glory , for the family comedy The War with Grandpa (/wiki/The_War_with_Grandpa) , in which she portrayed the daughter of his recently widowed character. Originally filmed in May 2017, the film had a lengthy post-production due to the closure of The Weinstein Company (/wiki/The_Weinstein_Company) , the original distributor, [116] (#cite_note-116) but was eventually released theatrically in North America on October 9, 2020, by 101 Studios. [117] (#cite_note-117) Despite negative reviews, The War with Grandpa made US$40 million worldwide, which was deemed a success amid the COVID-19 (/wiki/COVID-19) pandemic. [118] (#cite_note-118) She served as the narrator of The Age of Nature , a three-part documentary series, which aired on PBS (/wiki/PBS) in October 2020. [119] (#cite_note-119) The Apple TV+ (/wiki/Apple_TV%2B) thriller series Suspicion (/wiki/Suspicion_(2022_TV_series)) , which premiered on February 4, 2022, [120] (#cite_note-120) featured Thurman as an American media mogul whose son is kidnapped. [121] (#cite_note-121) The production received mixed reviews from critics, who collectively noted that she "was barely in it at all", despite being heavily promoted. [122] (#cite_note-122) [123] (#cite_note-123) She next portrayed Arianna Huffington (/wiki/Arianna_Huffington) , the co-founder of The Huffington Post (/wiki/The_Huffington_Post) , in The Battle For Uber , the first season of Super Pumped (/wiki/Super_Pumped_(TV_series)) , an anthology drama television series created by Brian Koppelman (/wiki/Brian_Koppelman) and David Levien (/wiki/David_Levien) , which debuted on Showtime (/wiki/Showtime_(TV_network)) on February 27, 2022. [124] (#cite_note-124) While Bryan Lowry of CNN praised Thurman's efforts at a Greek (/wiki/Greek_language) accent, [125] (#cite_note-125) Adrian Horton of The Guardian described her portrayal as "a cringey caricature" of Huffington. [126] (#cite_note-126) Thurman appeared as Roxanne Martel in the coming-of-age film Hollywood Stargirl (/wiki/Hollywood_Stargirl) , which was released on June 3, 2022, on Disney+ (/wiki/Disney%2B) . [127] (#cite_note-127) As of 2023, Thurman will star as an art dealer in the crime thriller The Kill Room , alongside Pulp Fiction collaborator Samuel L. Jackson (/wiki/Samuel_L._Jackson) , and as fictional US president (/wiki/US_president) Ellen Claremont (/wiki/Ellen_Claremont) in the Amazon Prime (/wiki/Amazon_Prime) romantic comedy (/wiki/Romantic_comedy) Red White & Royal Blue (/wiki/Red_White_%26_Royal_Blue) . She also joined the cast of the sequel to The Old Guard (/wiki/The_Old_Guard_(2020_film)) , alongside Charlize Theron (/wiki/Charlize_Theron) . Public image General Thurman at the 2013 Cannes Film Festival (/wiki/2013_Cannes_Film_Festival) Empire (/wiki/Empire_(film_magazine)) included Thurman among "The 100 Sexiest Stars in Film History" in 1995 [128] (#cite_note-128) as well as "The Top 100 Movie Stars of All Time" in 1997. [129] (#cite_note-umlist-129) A regular feature on FHM (/wiki/FHM) ' s " 100 Sexiest Women in the World (/wiki/FHM%27s_100_Sexiest_Women_(UK)) " from the late 1990s to the early 2000s, [130] (#cite_note-130) [129] (#cite_note-umlist-129) she also ranked at No. 34, No. 21 and No. 30 on the Maxim (/wiki/Maxim_(magazine)) Hot 100 in 2004, 2005 and 2006 respectively. [131] (#cite_note-131) [132] (#cite_note-132) [133] (#cite_note-133) In 2013, Thurman was named one of the "100 Hottest Women of the 21st Century" by GQ (/wiki/GQ) . [134] (#cite_note-GQ-134) On February 7, 2006, Thurman was awarded and named a knight of the Ordre des Arts et des Lettres (/wiki/Ordre_des_Arts_et_des_Lettres) of France for outstanding achievement in the field of art and literature, and for her work and importance as an actress. [135] (#cite_note-135) [136] (#cite_note-136) The American rock band Fall Out Boy (/wiki/Fall_Out_Boy) released a song titled " Uma Thurman (/wiki/Uma_Thurman_(song)) " in 2015, [137] (#cite_note-137) celebrating the actress and her roles in Pulp Fiction and Kill Bill . [138] (#cite_note-138) [139] (#cite_note-139) She gave permission for the band to use her name, [140] (#cite_note-140) and during an interview on the Today Show (/wiki/Today_(American_TV_program)) , stated: "It's very, like unbelievably polite and gracious of them. So sweet. I'm so happy for their big success". [141] (#cite_note-uma2-141) In 2020, scientists named a new species of fringe-toed lizard (/wiki/Fringe-toed_lizard) from southwest Arizona (/wiki/Arizona) ( Uma thurmanae (/wiki/Mohawk_Dunes_fringe-toed_lizard) ) after Thurman. [142] (#cite_note-142) Fashion The lavender Prada dress (/wiki/Lavender_Prada_dress_of_Uma_Thurman) Thurman wore to the 67th Academy Awards (/wiki/67th_Academy_Awards) on March 27, 1995, was admired by the media. Stylecaster.com (/wiki/Stylecaster.com) stated that, as a result, "Thurman became known for her stellar fashion sense, while Prada got a huge boost from instant name recognition the world over." [143] (#cite_note-143) Similarly, her crimson Alberta Ferretti dress (/wiki/Crimson_Alberta_Ferretti_dress_of_Uma_Thurman) at the 72nd Academy Awards (/wiki/72nd_Academy_Awards) on March 26, 2000, remains among her most notable, with The Daily Telegraph (/wiki/The_Daily_Telegraph) voting it the 20th greatest red carpet gown of all time. [144] (#cite_note-Telegraph08-144) [145] (#cite_note-peop_TheO-145) Thurman has been a face and spokeswoman of Lancôme (/wiki/Lanc%C3%B4me) , [146] (#cite_note-146) TAG Heuer (/wiki/TAG_Heuer) , Louis Vuitton (/wiki/Louis_Vuitton) , [147] (#cite_note-147) and Parfums Givenchy (/wiki/Parfums_Givenchy) . [148] (#cite_note-148) She posed for the 2014 Campari (/wiki/Campari) Calendar [149] (#cite_note-149) [150] (#cite_note-150) and was among the actresses photographed by Peter Lindbergh (/wiki/Peter_Lindbergh) for the 2017 Pirelli Calendar (/wiki/Pirelli_Calendar) . [151] (#cite_note-151) [152] (#cite_note-152) Personal life Relationships Thurman met English actor Gary Oldman (/wiki/Gary_Oldman) on the set of State of Grace (/wiki/State_of_Grace_(1990_film)) ; they married in 1990 and divorced in 1992. [153] (#cite_note-153) On May 1, 1998, she married American actor Ethan Hawke (/wiki/Ethan_Hawke) , whom she met on the set of the 1997 film Gattaca (/wiki/Gattaca) . Hawke's novel Ash Wednesday is dedicated to "Karuna", Thurman's middle name. [154] (#cite_note-154) Together, Thurman and Hawke have two children, a daughter, Maya (/wiki/Maya_Hawke) (born in 1998), and a son, Levon (/wiki/Levon_Hawke) (born in 2002). [155] (#cite_note-obit-155) [156] (#cite_note-156) [157] (#cite_note-people2005-157) The couple separated in 2003, and the divorce was finalized in August 2005. [157] (#cite_note-people2005-157) Thurman began dating London-based French financier Arpad Busson (/wiki/Arpad_Busson) in 2007, and they announced their engagement in June 2008. [158] (#cite_note-158) In late 2009, they called off their engagement, [159] (#cite_note-159) but reconciled soon after. [160] (#cite_note-160) The couple called off the engagement for the second time in April 2014. [161] (#cite_note-161) Thurman and Busson have a daughter, Luna Thurman-Busson, born in July 2012. [162] (#cite_note-162) In January 2017, Thurman and Busson began child custody negotiations in relation to their daughter, [163] (#cite_note-Sawer-163) which resulted in Thurman receiving primary physical custody (/wiki/Primary_physical_custody) later that month. [164] (#cite_note-Guglielmi-164) Stalking incidents and sexual assaults Thurman was the target of a stalker, Jack Jordan, from about 2004 to 2011. [165] (#cite_note-165) He was arrested in October 2007 and, following a trial in which Thurman testified as a witness, was convicted of stalking and harassment charges the following May. [166] (#cite_note-166) [167] (#cite_note-WaPo050608-167) Sentenced to three years' probation, Jordan was arrested again in 2010 on charges of violating a restraining order by attempting to contact her. [168] (#cite_note-CBSNews2010-168) He pleaded guilty in November 2011 after spending 11 months in jail in lieu of bail, and was released with time served. [169] (#cite_note-169) [170] (#cite_note-170) In 2017, in the wake of the Harvey Weinstein sexual abuse allegations (/wiki/Harvey_Weinstein_sexual_abuse_allegations) , Thurman was interviewed, and, when asked about the scandal, she replied, "no comment," stating she was too angry to talk about the case. [171] (#cite_note-171) A few weeks later, through an Instagram (/wiki/Instagram) post, she joined the " Me Too (/wiki/Me_Too_(hashtag)) " hashtag (/wiki/Hashtag) , confirming that she had suffered sexual harassment (/wiki/Sexual_harassment) and expressing disgust for Harvey Weinstein (/wiki/Harvey_Weinstein) . [172] (#cite_note-172) [173] (#cite_note-173) In a 2018 interview with The New York Times (/wiki/The_New_York_Times) , Thurman revealed that Weinstein had sexually assaulted her in 1994 at the Savoy Hotel (/wiki/Savoy_Hotel) in London. She also revealed that she had been sexually assaulted at age 16 by an actor nearly 20 years her senior. [174] (#cite_note-:0-174) Kill Bill car crash In the same 2018 New York Times interview, Thurman described how she had been in a serious car accident back in 2003 on the set of Kill Bill , because Tarantino had insisted she perform her own driving stunts. [174] (#cite_note-:0-174) Two weeks after the crash, she tried to see footage of the incident. Thurman stated that Miramax would only agree to show her the footage if she signed a contract "releasing them of any consequences of my future pain and suffering", which she refused. [174] (#cite_note-:0-174) As a result of the crash, she sustained permanent injuries to her neck and knees. [174] (#cite_note-:0-174) Tarantino later called this incident "the biggest regret of his life". [175] (#cite_note-175) Thurman later clarified on Instagram (/wiki/Instagram) that Tarantino had apologized to her for the incident and that she has since forgiven him, [176] (#cite_note-176) [177] (#cite_note-177) being open to working with him again. [178] (#cite_note-178) Activism and political views Thurman has been involved in various philanthropic and activist causes. She is a supporter of the Democratic Party (/wiki/Democratic_Party_(United_States)) , and has given money to the campaigns of John Kerry (/wiki/John_Kerry) , Hillary Clinton (/wiki/Hillary_Clinton) , and Joseph R. Driscoll (/wiki/Joseph_R._Driscoll) . [179] (#cite_note-179) She supports gun control (/wiki/Gun_control) laws, and in 2000 participated in Marie Claire (/wiki/Marie_Claire) ' s "End Gun Violence Now" campaign. [ citation needed ] She is a member of the board of Room to Grow, a charitable organization providing aid to families and children suffering poverty. [180] (#cite_note-180) She serves on the board of the Tibet House US (/wiki/Tibet_House_US) . [181] (#cite_note-181) In 2007, she hosted the Nobel Peace Prize Concert (/wiki/Nobel_Peace_Prize_Concert) in Oslo (/wiki/Oslo) , Norway, with actor Kevin Spacey (/wiki/Kevin_Spacey) . [182] (#cite_note-182) In February 2008, ahead of the 2008 Summer Olympics (/wiki/2008_Summer_Olympics) in Beijing (/wiki/Beijing) , China, Thurman talked about human rights in China (/wiki/Human_rights_in_China) alongside Steven Spielberg (/wiki/Steven_Spielberg) and others, describing actions and policies carried out by the government of China as "horrible" and "unspeakable crimes against humanity". [183] (#cite_note-183) In 2011, Thurman was one of several celebrities associated with the USAID (/wiki/United_States_Agency_for_International_Development) and Ad Council (/wiki/Ad_Council) 's FWD (/wiki/United_States_Agency_for_International_Development) campaign, an awareness initiative tied to that year's East Africa drought. She joined Geena Davis (/wiki/Geena_Davis) , Chanel Iman (/wiki/Chanel_Iman) and Josh Hartnett (/wiki/Josh_Hartnett) in TV and internet ads to "forward the facts" about the crisis. [184] (#cite_note-184) During the same year, she also participated at Human Rights Campaign (/wiki/Human_Rights_Campaign) for LGBT (/wiki/LGBT) civil rights (/wiki/Civil_and_political_rights) , saying "We're fighting for a conservative value: the right to make a lifelong commitment to someone you love". [185] (#cite_note-185) In 2015, Thurman joined "Rhino Rescue Project" and traveled to Southern Africa to assist and help relocate the threatened species of black rhinoceros (/wiki/Black_rhinoceros) ; [141] (#cite_note-uma2-141) [186] (#cite_note-186) being in close contact with rhinos, Thurman defined her experience with those animals to be "spiritual, surreal". [187] (#cite_note-187) [188] (#cite_note-188) In December 2017, amidst allegations of sexual misconduct (/wiki/Roy_Moore_sexual_misconduct_allegations) against Roy Moore (/wiki/Roy_Moore) , Thurman voiced her disapproval of his candidacy in the United States Senate special election in Alabama (/wiki/2017_United_States_Senate_special_election_in_Alabama) . [189] (#cite_note-189) Thurman was critical of the Texas Heartbeat Act (/wiki/Texas_Heartbeat_Act) , an abortion ban that went into effect in September 2021. She called the law a "human rights crisis for American women", and discussed her experience of obtaining an abortion in her teens after she had been "accidentally impregnated by a much older man." She described her abortion as "the hardest decision of my life," but maintained that it "allowed me to grow up and become the mother I wanted and needed to be." [190] (#cite_note-190) Filmography Main article: List of Uma Thurman performances (/wiki/List_of_Uma_Thurman_performances) Thurman has starred in over 50 films. According to review aggregator website Rotten Tomatoes (/wiki/Rotten_Tomatoes) and infotainment website Screen Rant (/wiki/Screen_Rant) , her most critically acclaimed and commercial successful films include Pulp Fiction (/wiki/Pulp_Fiction) (1994), Dangerous Liaisons (/wiki/Dangerous_Liaisons) (1988), Kill Bill: Volume 1 (/wiki/Kill_Bill:_Volume_1) (2003), Kill Bill: Volume 2 (/wiki/Kill_Bill:_Volume_2) (2004), Nausicaä of the Valley of the Wind (/wiki/Nausica%C3%A4_of_the_Valley_of_the_Wind_(film)) (1984), The Adventures of Baron Munchausen (/wiki/The_Adventures_of_Baron_Munchausen) (1988), The Truth About Cats & Dogs (/wiki/The_Truth_About_Cats_%26_Dogs) (1996), Gattaca (/wiki/Gattaca) (1997), Beautiful Girls (/wiki/Beautiful_Girls_(film)) (1996), Mad Dog and Glory (/wiki/Mad_Dog_and_Glory) (1993), Sweet and Lowdown (/wiki/Sweet_and_Lowdown) (1999), Tape (/wiki/Tape_(2001_film)) (2001), Les Miserables (/wiki/Les_Mis%C3%A9rables_(1998_film)) (1998), and A Month by the Lake (/wiki/A_Month_by_the_Lake) (1995). [191] (#cite_note-191) [192] (#cite_note-192) Awards and nominations Accolades for Uma Thurman Year Association Category Project Result Ref. 1995 Golden Raspberry Awards (/wiki/15th_Golden_Raspberry_Awards) Worst Actress (/wiki/Golden_Raspberry_Award_for_Worst_Actress) Even Cowgirls Get the Blues (/wiki/Even_Cowgirls_Get_the_Blues_(film)) Nominated [193] (#cite_note-193) Academy Awards (/wiki/67th_Academy_Awards) Best Actress in a Supporting Role (/wiki/Academy_Award_for_Best_Supporting_Actress) Pulp Fiction (/wiki/Pulp_Fiction) Nominated [194] (#cite_note-194) Golden Globe Awards (/wiki/52nd_Golden_Globe_Awards) Best Supporting Actress (/wiki/Golden_Globe_Award_for_Best_Supporting_Actress_%E2%80%93_Motion_Picture) Nominated [195] (#cite_note-195) (Page 2) BAFTA Award (/wiki/48th_British_Academy_Film_Awards) Best Actress in a Leading Role (/wiki/BAFTA_Award_for_Best_Actress_in_a_Leading_Role) Nominated [196] (#cite_note-196) Screen Actors Guild Award (/wiki/1st_Screen_Actors_Guild_Awards) Best Actress in a Supporting Role (/wiki/Screen_Actors_Guild_Award_for_Outstanding_Performance_by_a_Female_Actor_in_a_Supporting_Role) Nominated [197] (#cite_note-197) New York Film Critics Circle Awards (/wiki/1994_New_York_Film_Critics_Circle_Awards) Best Actress in a Supporting Role (/wiki/New_York_Film_Critics_Circle_Award_for_Best_Supporting_Actress) Runner-up [ citation needed ] Chicago Film Critics Association Awards (/wiki/Chicago_Film_Critics_Association_Awards_1994) Best Actress in a Supporting Role (/wiki/Chicago_Film_Critics_Association_Award_for_Best_Supporting_Actress) Nominated [ citation needed ] MTV Movie Awards (/wiki/1995_MTV_Movie_Awards) Best Female Performance (/wiki/MTV_Movie_Award_for_Best_Actor_in_a_Movie) Nominated [198] (#cite_note-198) Best Dance Sequence (/wiki/MTV_Movie_Award_for_Best_Dance_Sequence) (shared with John Travolta (/wiki/John_Travolta) ) Won [199] (#cite_note-199) [200] (#cite_note-200) National Society of Film Critics (/wiki/1995_National_Society_of_Film_Critics_Awards) Best Supporting Actress (/wiki/National_Society_of_Film_Critics_Award_for_Best_Supporting_Actress) Nominated [ citation needed ] Dallas-Fort Worth Film Critics Association (/wiki/Dallas%E2%80%93Fort_Worth_Film_Critics_Association) Best Supporting Actress (/wiki/Dallas%E2%80%93Fort_Worth_Film_Critics_Association_Award_for_Best_Supporting_Actress) Nominated [ citation needed ] David di Donatello (/wiki/David_di_Donatello) Best Foreign Actress (/wiki/David_di_Donatello_for_Best_Foreign_Actress) Nominated [ citation needed ] 1998 Golden Raspberry Awards (/wiki/18th_Golden_Raspberry_Awards) Worst Supporting Actress (/wiki/Golden_Raspberry_Award_for_Worst_Supporting_Actress) Batman & Robin (/wiki/Batman_%26_Robin_(film)) Nominated [201] (#cite_note-201) Blockbuster Entertainment Awards (/wiki/4th_Annual_Blockbuster_Entertainment_Awards) Favorite Actress – Science Fiction Won 1999 Golden Raspberry Awards (/wiki/19th_Golden_Raspberry_Awards) Worst Actress (/wiki/Golden_Raspberry_Award_for_Worst_Actress) The Avengers (/wiki/The_Avengers_(1998_film)) Nominated [202] (#cite_note-202) Worst Screen Combo (/wiki/Golden_Raspberry_Award_for_Worst_Screen_Combo) (shared with Ralph Fiennes (/wiki/Ralph_Fiennes) ) Nominated [203] (#cite_note-203) 2001 Gotham Independent Film Awards (/wiki/Gotham_Independent_Film_Awards_2001) Actor Award — Won [204] (#cite_note-204) 2002 Independent Spirit Awards (/wiki/17th_Independent_Spirit_Awards) Best Supporting Actress (/wiki/Independent_Spirit_Award_for_Best_Supporting_Female) Tape (/wiki/Tape_(2001_film)) Nominated [205] (#cite_note-205) 2003 Golden Globe Awards (/wiki/60th_Golden_Globe_Awards) Best Actress in Miniseries or Television Film (/wiki/Golden_Globe_Award_for_Best_Actress_%E2%80%93_Miniseries_or_Television_Film) Hysterical Blindness (/wiki/Hysterical_Blindness_(film)) Won [206] (#cite_note-206) Screen Actors Guild Awards (/wiki/9th_Screen_Actors_Guild_Awards) Outstanding Actress in a Miniseries or Television Movie (/wiki/Screen_Actors_Guild_Award_for_Outstanding_Performance_by_a_Female_Actor_in_a_Miniseries_or_Television_Movie) Nominated [207] (#cite_note-207) 2004 BAFTA Award (/wiki/57th_British_Academy_Film_Awards) Best Actress (/wiki/BAFTA_Award_for_Best_Actress_in_a_Leading_Role) Kill Bill: Vol. 1 (/wiki/Kill_Bill:_Vol._1) Nominated [208] (#cite_note-208) MTV Movie Awards (/wiki/2004_MTV_Movie_Awards) Best Female Performance (/wiki/MTV_Movie_Award_for_Best_Performance) Won [209] (#cite_note-MTVAwards2004-209) Best Fight (/wiki/MTV_Movie_Award_for_Best_Fight) (shared with Chiaki Kuriyama (/wiki/Chiaki_Kuriyama) ) Won [209] (#cite_note-MTVAwards2004-209) Empire Awards (/wiki/9th_Empire_Awards) Best Actress (/wiki/Empire_Award_for_Best_Actress) Won [210] (#cite_note-210) Saturn Awards (/wiki/30th_Saturn_Awards) Best Actress (/wiki/Saturn_Award_for_Best_Actress) Won [211] (#cite_note-211) Golden Globe Awards (/wiki/61st_Golden_Globe_Awards) Best Actress – Motion Picture Drama (/wiki/Golden_Globe_Award_for_Best_Actress_%E2%80%93_Motion_Picture_Drama) Nominated [212] (#cite_note-GoldenGloves2003-212) (Page 5) 2005 Golden Globe Awards (/wiki/62nd_Golden_Globe_Awards) Kill Bill: Vol. 2 (/wiki/Kill_Bill:_Vol._2) Nominated [213] (#cite_note-GoldenGloves2004-213) (Page 1) Critics' Choice Awards (/wiki/10th_Critics%27_Choice_Awards) Best Actress (/wiki/Critics%27_Choice_Movie_Award_for_Best_Actress) Nominated [214] (#cite_note-214) Empire Awards (/wiki/10th_Empire_Awards) Best Actress (/wiki/Empire_Award_for_Best_Actress) Nominated [ citation needed ] MTV Movie Awards (/wiki/2005_MTV_Movie_Awards) Best Female Performance (/wiki/MTV_Movie_Award_for_Best_Performance) Nominated [215] (#cite_note-215) Best Fight (/wiki/MTV_Movie_Award_for_Best_Fight) (shared with Daryl Hannah (/wiki/Daryl_Hannah) ) Won [216] (#cite_note-216) Satellite Awards (/wiki/Golden_Satellite_Awards_2004) Best Actress – Motion Picture Drama (/wiki/Satellite_Award_for_Best_Actress_%E2%80%93_Motion_Picture_Drama) Nominated [217] (#cite_note-217) Saturn Awards (/wiki/31st_Saturn_Awards) Best Actress (/wiki/Saturn_Award_for_Best_Actress) Nominated [218] (#cite_note-218) 2012 Primetime Emmy Awards (/wiki/64th_Primetime_Creative_Arts_Emmy_Awards) Outstanding Guest Actress in a Drama Series (/wiki/Primetime_Emmy_Award_for_Outstanding_Guest_Actress_in_a_Drama_Series) Smash (/wiki/Smash_(TV_series)) Nominated [219] (#cite_note-219) 2018 Broadway.com Audience Award Favorite Leading Actress in a Play The Parisian Woman (/wiki/The_Parisian_Woman) Won [220] (#cite_note-220) 2019 David di Donatello (/wiki/David_di_Donatello) Special David — Won [114] (#cite_note-davide-114) References ^ (#cite_ref-1) Seal, Mark. 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Further reading Listen to this article ( 26 minutes ) Duration: 25 minutes and 54 seconds. 25:54 This audio file (/wiki/File:Uma_Thurman.ogg) was created from a revision of this article dated 24 June 2006 ( 2006-06-24 ) , and does not reflect subsequent edits. ( Audio help (/wiki/Wikipedia:Media_help) · More spoken articles (/wiki/Wikipedia:Spoken_articles) ) Bina, Roxanna. " Interview with Uma Thurman. (https://web.archive.org/web/20060314025704/http://www.independentfilmquarterly.com/ifq/interviews/umathurman.htm) " Independent Film Quarterly . December 8, 2003. Retrieved January 5, 2006. Biography (https://web.archive.org/web/20060207080108/http://movies.yahoo.com/movie/contributor/1800013025/bio) Uma Thurman biography . Retrieved January 5, 2006. Brett, Anwar. "Uma Thurman interview (https://www.bbc.co.uk/films/2004/04/27/uma_thurman_kill_bill_volume_2_interview.shtml) – (https://www.bbc.co.uk/films/2004/04/27/uma_thurman_kill_bill_volume_2_interview.shtml) Kill Bill Vol. 2 ". April 2004. Retrieved January 5, 2006. Chavel, Sean. " Uma Thurman interview. (https://web.archive.org/web/20041209155044/http://www.ugo.com/channels/filmtv/features/killbill/umathurman.asp) " UGO . October 2003. Retrieved January 6, 2006. Felperin, Leslie. Uma Thurman: Pulp friction" (https://www.independent.co.uk/arts-entertainment/films/features/uma-thurman-pulp-friction-56177.html) , The Independent , April 16, 2004. Fischer, Paul. " For Ms. Thurman, Life is More than Just a Paycheck. (http://www.filmmonthly.com/Profiles/Articles/UThurmanPaycheck/UThurmanPaycheck.html) " Film Monthly . September 22, 2003. Retrieved January 5, 2006. Russell, Jamie. "Uma Thurman interview (https://www.bbc.co.uk/films/2003/10/06/uma_thurman_kill_bill_volume1_interview.shtml) – (https://www.bbc.co.uk/films/2003/10/06/uma_thurman_kill_bill_volume1_interview.shtml) Kill Bill Vol. 1 . October 2003. Retrieved January 5, 2006. Sutherland, Bryon, Ellis, Lucy. Uma Thurman, the Biography . Aurum Press, 2004. 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Subgenre of punk rock Anarcho-punk Stylistic origins Punk rock (/wiki/Punk_rock) Cultural origins Late 1970s, United Kingdom Fusion genres Crust punk (/wiki/Crust_punk) digital hardcore (/wiki/Digital_hardcore) Other topics Anarchism (/wiki/Anarchism) anarchism in the arts (/wiki/Anarchism_in_the_arts) CrimethInc. (/wiki/CrimethInc.) folk punk (/wiki/Folk_punk) gutter punk (/wiki/Gutter_punk) hardcore punk (/wiki/Hardcore_punk) punk ideologies (/wiki/Punk_ideologies) punk subculture (/wiki/Punk_subculture) Red and Anarchist black metal (/wiki/Red_and_Anarchist_black_metal) Red and Anarchist Skinheads (/wiki/Red_and_Anarchist_Skinheads) street punk (/wiki/Street_punk) Anarcho-punk (also known as anarchist punk [1] (#cite_note-1) or peace punk [2] (#cite_note-Sartwell-2) ) is an ideological subgenre of punk rock (/wiki/Punk_rock) that promotes anarchism (/wiki/Anarchism) . Some use the term broadly to refer to any punk music with anarchist lyrical content, which may figure in crust punk (/wiki/Crust_punk) , hardcore punk (/wiki/Hardcore_punk) , folk punk (/wiki/Folk_punk) , and other styles. History [ edit ] Crass (/wiki/Crass) , shown here in 1984, played a major role in introducing anarchism to the punk subculture. Before 1977 [ edit ] Some members of the 1960s protopunk (/wiki/Protopunk) bands such as the MC5 (/wiki/MC5) , [3] (#cite_note-3) The Fugs (/wiki/The_Fugs) , Hawkwind (/wiki/Hawkwind) , and the Edgar Broughton Band (/wiki/Edgar_Broughton_Band) [4] (#cite_note-4) had new left or anarchist ideology. These bands set a precedent for mixing radical politics with rock music and established the idea of rock as an agent of social and political change in the public consciousness. Other precursors to anarcho-punk include avant-garde art and political movements such as Fluxus (/wiki/Fluxus) , Dada (/wiki/Dada) , the Beat generation (/wiki/Beat_generation) , England's angry young men (/wiki/Angry_young_men) (such as Joe Orton (/wiki/Joe_Orton) ), the surrealism (/wiki/Surrealism) -inspired Situationist International (/wiki/Situationist_International) , the May 1968 (/wiki/May_1968_in_France) uprising in Paris, and the Campaign for Nuclear Disarmament (/wiki/Campaign_for_Nuclear_Disarmament) . Jello Biafra (/wiki/Jello_Biafra) of the Dead Kennedys (/wiki/Dead_Kennedys) has cited the Yippies (/wiki/Youth_International_Party) as an influence on his activism and thinking. [5] (#cite_note-5) [6] (#cite_note-6) Post 1977 [ edit ] A surge of popular interest in anarchism (/wiki/Anarchism) occurred during the 1970s in the United Kingdom (/wiki/United_Kingdom) following the birth of punk rock (/wiki/Punk_rock) , in particular the Situationist (/wiki/Situationist_International) -influenced graphics of Sex Pistols (/wiki/Sex_Pistols) artist Jamie Reid (/wiki/Jamie_Reid) , as well as that band's first single, " Anarchy in the U.K. (/wiki/Anarchy_in_the_U.K.) ". [7] (#cite_note-7) Crass (/wiki/Crass) and the Poison Girls (/wiki/Poison_Girls) funded the rented Wapping Autonomy Centre (/wiki/Wapping_Autonomy_Centre) with a benefit single and this then inspired other squatted self-managed social centres (/wiki/Self-managed_social_centre) in London such as the Ambulance Station on Old Kent Road, Centro Iberico (/wiki/Centro_Iberico) , Molly's Café on Upper Street and the Bingo Hall opposite Highbury & Islington (/wiki/Highbury_%26_Islington) station (now the Garage (/wiki/The_Garage,_London) ). [8] (#cite_note-bergcentres-8) The concept (and aesthetics) of anarcho-punk was quickly picked up on by bands like Flux of Pink Indians (/wiki/Flux_of_Pink_Indians) , Subhumans (/wiki/Subhumans_(UK_band)) and Conflict (/wiki/Conflict_(band)) . [9] (#cite_note-berger-9) The early 1980s saw the emergence of the Leeds (/wiki/Leeds) anarcho-punk scene with groups like Abrasive Wheels (/wiki/Abrasive_Wheels) , The Expelled (/wiki/The_Expelled) and Icon A.D. (/wiki/Icon_A.D.) [10] (#cite_note-10) [11] (#cite_note-11) [12] (#cite_note-12) From this scene came Chumbawamba (/wiki/Chumbawamba) , whose emphasis on confrontational political activism soon overtook their connection to the scene. Despite their anti-corporate views, the group signed to EMI (/wiki/EMI) , leading to their 1997 single " Tubthumping (/wiki/Tubthumping) " reaching number 2 on the UK Singles Chart (/wiki/UK_Singles_Chart) . [13] (#cite_note-The_City_Talking-13) Pioneering crust punk (/wiki/Crust_punk) bands Antisect (/wiki/Antisect) , Anti System (/wiki/Anti_System) , Sacrilege (/wiki/Sacrilege_(band)) and Amebix (/wiki/Amebix) all began in the anarcho-punk scene, before incorporating their anarchist lyrical themes with elements of early heavy metal (/wiki/Heavy_metal_music) . [14] (#cite_note-Rise_of_Crust-14) Early British grindcore (/wiki/Grindcore) bands like Carcass (/wiki/Carcass_(band)) , Napalm Death (/wiki/Napalm_Death) and Extreme Noise Terror (/wiki/Extreme_Noise_Terror) were primarily a part of the 1980s anarcho-punk scene, however began embracing elements of extreme metal (/wiki/Extreme_metal) and American thrashcore (/wiki/Thrashcore) . [15] (#cite_note-Glasper_2009,_p._11-15) United States [ edit ] Anarcho-punk spread to the United States in the late 1970s with groups like Austin's MDC (/wiki/MDC_(band)) and San Francisco's Dead Kennedys (/wiki/Dead_Kennedys) . Los Angeles' Black Flag (/wiki/Black_Flag_(band)) also embraced anarchists politics between 1982 and 1986, when Henry Rollins (/wiki/Henry_Rollins) was their vocalist. [2] (#cite_note-Sartwell-2) United States anarcho-punk generally supported revolutions in Latin America and anti- Apartheid (/wiki/Apartheid) movements and criticised the Presidency of Ronald Reagan (/wiki/Presidency_of_Ronald_Reagan) . [16] (#cite_note-16) In the 1980s, New York City cultivated a thriving anarcho-punk scene. Beginning as a part of the larger New York hardcore (/wiki/New_York_hardcore) scene, bands like Reagan Youth (/wiki/Reagan_Youth) , False Prophets (/wiki/False_Prophets_(band)) and Heart Attack (/wiki/Heart_Attack_(band)) [17] (#cite_note-Rettman_2015,_p219-17) made use of a similar musical style and mentality to their British counterparts. [18] (#cite_note-18) This scene split from New York hardcore as the decade progressed. [17] (#cite_note-Rettman_2015,_p219-17) Nausea (/wiki/Nausea_(band)) were a key figure in the scene during this period, helping to cultivate a new scene in the city based around politics and squatting. [19] (#cite_note-19) In the 2000s, American anarcho-punk groups like Anti-Flag (/wiki/Anti-Flag) and Against Me (/wiki/Against_Me) gained significant mainstream success for the genre. [2] (#cite_note-Sartwell-2) [20] (#cite_note-20) Ideology [ edit ] Part of a series (/wiki/Category:Anarchism) on Anarchism (/wiki/Anarchism) History (/wiki/History_of_anarchism) Outline (/wiki/Outline_of_anarchism) Schools of thought (/wiki/Category:Anarchist_schools_of_thought) Capitalist (/wiki/Anarcho-capitalism) Feminist (/wiki/Anarcha-feminism) Green (/wiki/Green_anarchism) Primitivist (/wiki/Anarcho-primitivism) Social ecology (/wiki/Social_ecology_(Bookchin)) Total liberation (/wiki/Total_liberation) Individualist (/wiki/Individualist_anarchism) Egoist (/wiki/Egoist_anarchism) Free-market (/wiki/Market_anarchism) Naturist (/wiki/Anarcho-naturism) Philosophical (/wiki/Philosophical_anarchism) Mutualism (/wiki/Mutualism_(economic_theory)) Postcolonial (/wiki/Postcolonial_anarchism) African (/wiki/African_anarchism) Black (/wiki/Black_anarchism) Queer (/wiki/Queer_anarchism) Religious (/wiki/Anarchism_and_religion) Christian (/wiki/Christian_anarchism) Jewish 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(/wiki/Autarchism) Autonomism (/wiki/Autonomism) Communism (/wiki/Communism) Counter-economics (/wiki/Counter-economics) Definition of anarchism and libertarianism (/wiki/Definition_of_anarchism_and_libertarianism) Labour movement (/wiki/Labour_movement) Left communism (/wiki/Left_communism) Left-libertarianism (/wiki/Left-libertarianism) Libertarianism (/wiki/Libertarianism) Libertarian Marxism (/wiki/Libertarian_Marxism) Libertarian socialism (/wiki/Libertarian_socialism) Marxism (/wiki/Marxism) Situationist International (/wiki/Situationist_International) Socialism (/wiki/Socialism) Spontaneous order (/wiki/Spontaneous_order) Voluntaryism (/wiki/Voluntaryism) Anarchism portal (/wiki/Portal:Anarchism) Politics portal (/wiki/Portal:Politics) v t e Anarcho-punk bands often disassociated themselves from established anarchist currents like collectivist anarchism (/wiki/Collectivist_anarchism) , anarcho-syndicalism (/wiki/Anarcho_syndicalism) or anarcho-communism (/wiki/Anarcho_communism) . Because of this, as well as their emphasis on pacifism (/wiki/Pacifism) , the scene was generally independent of the wider anarchist movement at the time. Bands generally supported animal rights (/wiki/Animal_rights) , anti-corporatism (/wiki/Anti-corporate_activism) , labour rights (/wiki/Labour_rights) and the anti-war (/wiki/Anti-war) movement. [21] (#cite_note-21) Anarcho-punks have criticised the flaws of the punk movement (/wiki/Punk_subculture) and the wider youth culture. Bands like Crass (/wiki/Crass) and Dead Kennedys (/wiki/Dead_Kennedys) have written songs that attack corporate co-option of the punk subculture, people who are deemed to have sold out (/wiki/Sold_out) , and the violence between punks, skinheads (/wiki/Skinhead) , B-boys (/wiki/Breakdancing) , other youth subcultures, [9] (#cite_note-berger-9) [22] (#cite_note-autogenerated1-22) and within punk itself. Some anarcho-punks are straight edge (/wiki/Straight_edge) , claiming that alcohol (/wiki/Alcohol_(drug)) , tobacco (/wiki/Tobacco) , drugs and promiscuity are instruments of oppression and are self-destructive because they cloud the mind and wear down a person's resistance to other types of oppression. Some also condemn the waste of land, water and resources necessary to grow crops to make alcohol, tobacco and drugs, forfeiting the potential to grow and manufacture food. Some may be straight edge for religious reasons, such as in the case of Christian (/wiki/Christian_anarchists) , Muslim (/wiki/Islam_and_anarchism) , and Buddhist (/wiki/Buddhist_anarchism) anarcho-punks (see Anarchism and religion (/wiki/Anarchism_and_religion) for more background). Although Crass initially espoused pacifism (/wiki/Pacifism) , this is not necessarily the case for all anarcho-punks. Despite the broader punk subculture's antagonism towards hippies, the ideals of the hippie counterculture were an influence on anarcho-punk. Crass were explicit regarding their associations with the hippie counterculture, [9] (#cite_note-berger-9) [22] (#cite_note-autogenerated1-22) and this influence has also carried over to crust punk. Direct action [ edit ] Anarcho-punks universally believe in direct action (/wiki/Direct_action) , although the way in which this manifests itself varies greatly. Despite their differences in strategy, anarcho-punks often co-operate with each other. Many anarcho-punks are pacifists (/wiki/Pacifism) (e.g. Crass and Discharge (/wiki/Discharge_(band)) ) and therefore believe in using non-violent means of achieving their aims. These include nonviolent resistance (/wiki/Nonviolent_resistance) , refusal of work (/wiki/Refusal_of_work) , squatting (/wiki/Squatting) , economic sabotage (/wiki/Sabotage) , dumpster diving (/wiki/Dumpster_diving) , graffiti (/wiki/Graffiti) , culture jamming (/wiki/Culture_jamming) , ecotage (/wiki/Ecotage) , freeganism (/wiki/Freeganism) , boycotting (/wiki/Boycott) , civil disobedience (/wiki/Civil_disobedience) , hacktivism (/wiki/Hacktivism) and subvertising (/wiki/Subvertising) . Some anarcho-punks believe that violence or property damage is an acceptable way of achieving social change (e.g. Conflict (/wiki/Conflict_(band)) ). This manifests itself as rioting (/wiki/Riot) , vandalism (/wiki/Vandalism) , wire cutting, hunt sabotage (/wiki/Hunt_saboteur) , participation in Animal Liberation Front (/wiki/Animal_Liberation_Front) , Earth Liberation Front (/wiki/Earth_Liberation_Front) , or even Black Bloc (/wiki/Black_Bloc) style activities, and in extreme cases, bombings. Many anarchists dispute the applicability of the term "violence" to describe destruction of property, since they argue that destruction of property is done not to control an individual or institution but to take its control away. [23] (#cite_note-23) [24] (#cite_note-24) DIY punk ethic [ edit ] Many anarcho-punk bands subscribe to a " do-it-yourself (/wiki/DIY_ethic) " (DIY) ethic. A popular anarcho-punk slogan is "DIY not EMI," a conscious rejection of a major record company. [25] (#cite_note-25) Many anarcho-punk bands were showcased on the Bullshit Detector (/wiki/Bullshit_Detector) series of LPs released by Crass Records (/wiki/Crass_Records) and Resistance Productions between 1980 and 1994. Some anarcho-punk performers were part of the cassette culture (/wiki/Cassette_culture) . This allowed artists to bypass the traditional recording and distribution routes, with recordings often being made available in exchange for a blank tape and a self-addressed envelope. The anarcho-punk movement has its own network of fanzines (/wiki/Fanzine) , punk zines (/wiki/Punk_zine) , and self-published books [26] (#cite_note-26) which disseminate news, ideas and artwork from the scene. These are DIY productions, tending to be produced in runs of hundreds at most. The 'zines are printed on photocopiers (/wiki/Photocopier) or duplicator machines, and distributed by hand at punk concerts, in radical bookstores and infoshops, and through the mail. Musical style and aesthetics [ edit ] Anarcho-punk bands are often less focused on particular musical delivery and more focused on a totalised aesthetic that encompasses the entire creative process, from album and concert art, to political message, and to the lifestyles of the band members. [27] (#cite_note-allmusic-27) Crass listed as band members the people who did their album art and live visuals. The message is considered to be more important than the music. [9] (#cite_note-berger-9) [27] (#cite_note-allmusic-27) According to the punk aesthetic, one can express oneself and produce moving and serious works with limited means and technical ability. [27] (#cite_note-allmusic-27) [28] (#cite_note-Byrne2010-28) It is not uncommon for anarcho-punk songs to lack the usual rock structure of verses and a chorus, however, there are exceptions to this. For example, later Chumbawamba (/wiki/Chumbawamba) songs were at the same time anarcho-punk and pop-oriented. [29] (#cite_note-29) Bands such as Crass, Conflict, Nausea (/wiki/Nausea_(band)) and Chumbawamba make use of both male and female vocalists. [30] (#cite_note-Larkin80-30) [31] (#cite_note-31) [13] (#cite_note-The_City_Talking-13) [32] (#cite_note-32) See also [ edit ] Anarchism and the arts (/wiki/Anarchism_and_the_arts) Anarchist symbolism (/wiki/Anarchist_symbolism) Animal rights and punk subculture (/wiki/Animal_rights_and_punk_subculture) Crust punk (/wiki/Crust_punk) Red and Anarchist Skinheads (/wiki/Red_and_Anarchist_Skinheads) Punk ideologies (/wiki/Punk_ideologies) List of anarcho-punk bands (/wiki/List_of_anarcho-punk_bands) List of anarchist musicians (/wiki/List_of_anarchist_musicians) List of subcultures (/wiki/List_of_subcultures) References [ edit ] ^ (#cite_ref-1) "Anarchist Punk Music Genre Overview" (https://www.allmusic.com/style/anarchist-punk-ma0000011967) . AllMusic . ^ Jump up to: a b c Sartwell, Crispin. Political Aesthetics . Cornell University Press (/wiki/Cornell_University_Press) . p. 110. ^ (#cite_ref-3) MC5 . Retrieved 21 March 2022 . ^ (#cite_ref-4) "Edgar Broughton Band" (https://www.artistcamp.com/edgar-broughton-band/demons-at-the-beeb/682970000206/index.html) . Retrieved 21 March 2022 . ^ (#cite_ref-5) Vander Molen, Jodi (February 2002). "Jello Biafra Interview" (http://www.progressive.org/mag_intvbiafra) . The Progressive (/wiki/The_Progressive) . ^ (#cite_ref-6) Colurso, Mary (29 June 2007). "Jello Biafra can ruffle feathers" (http://blog.al.com/mcolurso/2007/06/jello_biafra_can_ruffle_feathe.html) . The Birmingham News (/wiki/The_Birmingham_News) . ^ (#cite_ref-7) Cross, Rich (2010). " (https://quod.lib.umich.edu/m/mp/9460447.0004.203/--there-is-no-authority-but-yourself-the-individual?rgn=main;view=fulltext) "There Is No Authority But Yourself": The Individual and the Collective in British Anarcho-Punk" (https://quod.lib.umich.edu/m/mp/9460447.0004.203/--there-is-no-authority-but-yourself-the-individual?rgn=main;view=fulltext) . Music and Politics (/wiki/Music_and_Politics) (2). doi (/wiki/Doi_(identifier)) : 10.3998/mp.9460447.0004.203 (https://doi.org/10.3998%2Fmp.9460447.0004.203) . Retrieved 15 March 2020 . ^ (#cite_ref-bergcentres_8-0) Berger, George (2006). The story of Crass . London: Omnibus Press. p. 193. ISBN (/wiki/ISBN_(identifier)) 1-84609-402-X . ^ Jump up to: a b c d Berger (2006) (#CITEREFBerger2006) , pp. 67–68 ^ (#cite_ref-10) Glasper, Ian (22 January 2024). Burning Britain: The History of UK Punk 1980–1984 . Cherry Red Books (/wiki/Cherry_Red_Records) . p. 165. ISBN (/wiki/ISBN_(identifier)) 978-1901447248 . ^ (#cite_ref-11) "ABRASIVE WHEELS" (https://nostalgiacentral.com/music/artists-a-to-k/artists-a/abrasive-wheels/) . 9 March 2012 . Retrieved 30 November 2019 . ^ (#cite_ref-12) Glasper, Ian (22 January 2024). The Day the Country Died: A History of Anarcho Punk 1980–1984 . PM Press (/wiki/PM_Press) . p. 385. ISBN (/wiki/ISBN_(identifier)) 978-1604865165 . ^ Jump up to: a b Music in Leeds vol.3 . The City Talking . Retrieved 7 March 2020 . ^ (#cite_ref-Rise_of_Crust_14-0) Von Havoc, Felix (1 January 1984). "Rise of Crust" (https://web.archive.org/web/20080615163312/http://www.havocrex.com/press/article/3/83) . Profane Existence. Archived from the original (http://www.havocrex.com/press/article/3/83) on 15 June 2008 . Retrieved 16 June 2008 . ^ (#cite_ref-Glasper_2009,_p._11_15-0) Glasper 2009, p. 11 ^ (#cite_ref-16) Pearson, David (2020). Rebel music in the triumphant empire: punk rock in the 1990s United States . New York, NY. p. 7. ISBN (/wiki/ISBN_(identifier)) 978-0197534885 . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) ^ Jump up to: a b Rettman, Tony (2015). NYHC : New York Hardcore 1980-1990 . Brooklyn, NY. p. 219. ISBN (/wiki/ISBN_(identifier)) 9781935950127 . Steve Wishnia: At some point there was a split between what would be considered the peace punks - us, Reagan Youth, Heart Attack, No Thanks, A.P.P.L.E - and the skinhead bands like Cro-Mags and Agnostic Front. {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) ^ (#cite_ref-18) Rettman, Tony (2015). NYHC : New York Hardcore 1980-1990 . Brooklyn, NY. p. 221. ISBN (/wiki/ISBN_(identifier)) 9781935950127 . Todd Youth: The whole peace-punk political thing didn't have anything to do with our world. They were all trying to be British peace-punk bands and do the Crass-type thing. {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) ^ (#cite_ref-19) Rettman, Tony (2015). NYHC : New York Hardcore 1980-1990 . Brooklyn, NY. p. 222. ISBN (/wiki/ISBN_(identifier)) 9781935950127 . Nausea was definitely a catalyst in 1985 for forging an alternative to the CBGB hardcore matinees. Their brand of highly politically charged punk had antecedents in NYC with documented groups like False Prophets and Reagan Youth, and the unknown ones like Sacrilege and Counterforce. But Nausea had a connection to the squatter movement that spoke to people who felt disconnected from the NYHC scene of the day. {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) ^ (#cite_ref-20) Biel, Joe (2016). Good Trouble . Microcosm Publishing. ISBN (/wiki/ISBN_(identifier)) 978-1621062158 . ^ (#cite_ref-21) Cross, Rich (2010). " (https://quod.lib.umich.edu/m/mp/9460447.0004.203/--there-is-no-authority-but-yourself-the-individual?rgn=main;view=fulltext) "There Is No Authority But Yourself": The Individual and the Collective in British Anarcho-Punk" (https://quod.lib.umich.edu/m/mp/9460447.0004.203/--there-is-no-authority-but-yourself-the-individual?rgn=main;view=fulltext) . Music and Politics (/wiki/Music_and_Politics) (2). doi (/wiki/Doi_(identifier)) : 10.3998/mp.9460447.0004.203 (https://doi.org/10.3998%2Fmp.9460447.0004.203) . Retrieved 16 April 2020 . ^ Jump up to: a b "...In Which Crass Voluntarily Blow Their Own..." (https://web.archive.org/web/20141023025044/http://blog.southern.com/about-crass-records/) Southern Records (/wiki/Southern_Records) . Archived from the original (http://blog.southern.com/about-crass-records/) on 23 October 2014. ^ (#cite_ref-23) "César Chavez on the Pragmatics of Violence" (https://web.archive.org/web/20121023055608/http://www.american-philosophy.org/archives/past_conference_programs/pc2004/submissions/tp-2.htm) . Society for the Advancement of American Philosophy (SAAP). Archived from the original (http://www.american-philosophy.org/archives/past_conference_programs/pc2004/submissions/tp-2.htm) on 23 October 2012 . Retrieved 29 May 2013 . ^ (#cite_ref-24) "Fringe anarchists in middle of violent demonstrations" (https://archive.today/20130629103332/http://www.highbeam.com/doc/1G1-64114222.html) . Seattle Post-Intelligencer (/wiki/Seattle_Post-Intelligencer) . Archived from the original (http://www.highbeam.com/doc/1G1-64114222.html) on 29 June 2013 . Retrieved 29 May 2013 . ^ (#cite_ref-25) Ambrosch, Gerfried (2018). The Poetry of Punk: The Meaning Behind Punk Rock and Hardcore Lyrics . Routledge (/wiki/Routledge) . p. 136 (https://books.google.com/books?id=Q79aDwAAQBAJ&pg=PT136) . ISBN (/wiki/ISBN_(identifier)) 978-1-351-38444-5 . ^ (#cite_ref-26) Bidge, Dickhead (12 April 2021). "The Anarchism and Punk Book Project: By the Punks, For the Punks!" (https://diyconspiracy.net/anarchism-and-punk-book-project/) . DIY Conspiracy . Retrieved 16 June 2021 . ^ Jump up to: a b c allmusic (https://www.allmusic.com/explore/style/d11374) quotation: ...its ideology of personal freedom (musical self-expression ought to be available to anyone, regardless of technical ability), and also that the message tended to be more important than the music. ^ (#cite_ref-Byrne2010_28-0) David Byrne (/wiki/David_Byrne) , Jeremy Deller (2010) Audio Games , in Modern Painters (/wiki/Modern_Painters_(magazine)) , 1 March 2010 quotation: I think I embrace a bit of the punk aesthetic that one can express oneself with two chords if that's all you know, and likewise one can make a great film with limited means or skills or clothes or furniture. It's just as moving and serious as works that employ great skill and craft sometimes. Granted, when you learn that third chord, or more, you don't have to continue making "simple" things, unless you want to. Sometimes that's a problem. ^ (#cite_ref-29) Smith, Aaron Lake (June 2012). "Chumbawamba's Long Voyage" (https://www.jacobinmag.com/2012/07/chumbawambas-long-voyage/) . Jacobin (/wiki/Jacobin_(magazine)) . ^ (#cite_ref-Larkin80_30-0) Colin Larkin (/wiki/Colin_Larkin_(writer)) , ed. (2003). The Virgin Encyclopedia of Eighties Music (/wiki/Encyclopedia_of_Popular_Music) (Third ed.). Virgin Books (/wiki/Virgin_Books) . pp. 124/5. ISBN (/wiki/ISBN_(identifier)) 1-85227-969-9 . ^ (#cite_ref-31) Griffin, Joh. "Nausea Biography by John Griffin" (https://www.allmusic.com/artist/nausea-mn0000318559/biography) . AllMusic (/wiki/AllMusic) . Retrieved 16 April 2020 . ^ (#cite_ref-32) Rimbaud, P; "...EXIT – 'The Mystic Trumpeter, Live at the Roundhouse 1972'" accompanying booklet, Exitstencil Recordings 2013 Bibliography [ edit ] Geoff Eley (/wiki/Geoff_Eley) - "Do It Yourself Politics (DIY)", Forging Democracy: The History of the Left in Europe, 1850-2000 , chapter 27: "The Center and the Margins: Decline or Renewal?." Oxford University Press (/wiki/Oxford_University_Press) , 2002. ISBN (/wiki/ISBN_(identifier)) 0-19-504479-7 (/wiki/Special:BookSources/0-19-504479-7) p. 476-481. Ian Glasper - The Day the Country Died: A History of Anarcho Punk 1980 to 1984 (Cherry Red publishing, 2006 ISBN (/wiki/ISBN_(identifier)) 978-1-901447-70-5 (/wiki/Special:BookSources/978-1-901447-70-5) ) Craig O'Hara - Philosophy of Punk: More Than Noise ( AK Press (/wiki/AK_Press) , 1999 ISBN (/wiki/ISBN_(identifier)) 978-1-873176-16-0 (/wiki/Special:BookSources/978-1-873176-16-0) ) George Berger - The Story of Crass (London: Omnibus Press (/wiki/Omnibus_Press) 2006, ISBN (/wiki/ISBN_(identifier)) 1-84609-402-X (/wiki/Special:BookSources/1-84609-402-X) ) Further reading [ edit ] Avery-Natale, Edward Anthony (3 March 2016). Ethics, Politics, and Anarcho-Punk Identifications: Punk and Anarchy in Philadelphia . Lexington Books (/wiki/Lexington_Books) . ISBN (/wiki/ISBN_(identifier)) 978-1-4985-1999-1 . Donaghey, Jim (2013). "Bakunin Brand Vodka: An Exploration into Anarchist-Punk and Punk-Anarchism" (https://journals.uvic.ca/index.php/adcs/article/view/17142) . Anarchist Developments in Cultural Studies (/w/index.php?title=Anarchist_Developments_in_Cultural_Studies&action=edit&redlink=1) (1). ISSN (/wiki/ISSN_(identifier)) 1923-5615 (https://www.worldcat.org/issn/1923-5615) . Glasper, Ian (2014). The Day the Country Died: A History of Anarcho Punk 1980–1984 . PM Press (/wiki/PM_Press) . ISBN (/wiki/ISBN_(identifier)) 978-1-60486-988-0 . Gosling, Tim (2004). "Not for Sale: The Underground Network of Anarcho-Punk". In Bennett, Andy; Peterson, Richard A. (eds.). Music Scenes: Local, Translocal, and Virtual . Nashville: Vanderbilt University Press. pp. 168 (https://archive.org/details/musicsceneslocal00benn/page/n184) –183. ISBN (/wiki/ISBN_(identifier)) 978-0-8265-1450-9 . Mann, Jackson Albert (2020). "The Short, Tragic, and Instructive Life of Anarcho-Punk" (https://www.hamptonthink.org/read/the-short-tragic-and-instructive-life-of-anarcho-punk) . Hampton Institute (/wiki/Hampton_Institute) . Roby, David (2013). Crust Punk: Apocalyptic Rhetoric and Dystopian Performatives (Thesis). Texas A&M University (/wiki/Texas_A%26M_University) . Thompson, Stacy (2004). Punk Productions: Unfinished Business . State University of New York Press (/wiki/State_University_of_New_York_Press) . ISBN (/wiki/ISBN_(identifier)) 978-0-7914-6187-7 . External links [ edit ] Wikimedia Commons has media related to Anarcho-punk . A critical look at anarcho-punk (http://www.uncarved.org/music/apunk/index.html) Links to a series of articles and interviews on the subject. 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Ostentatious style "Campy" redirects here. For other uses, see Campy (disambiguation) (/wiki/Campy_(disambiguation)) . This article is written like a personal reflection, personal essay, or argumentative essay (/wiki/Wikipedia:What_Wikipedia_is_not#Wikipedia_is_not_a_publisher_of_original_thought) that states a Wikipedia editor's personal feelings or presents an original argument about a topic. Please help improve it (https://en.wikipedia.org/w/index.php?title=Camp_(style)&action=edit) by rewriting it in an encyclopedic style (/wiki/Wikipedia:Writing_better_articles#Information_style_and_tone) . ( July 2024 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Camp is an aesthetic (/wiki/Aesthetics) style and sensibility that regards something as appealing because of perceived bad taste (/wiki/Bad_taste_(aesthetics)) and ironic (/wiki/Irony) value. [1] (#cite_note-1) Camp aesthetics disrupt many modernist (/wiki/Modernism) notions of what art (/wiki/Art) is and what can be classified as high art (/wiki/High_art) by inverting aesthetic attributes such as beauty, value, and taste, inviting a different kind of aesthetic apprehension and consumption. [2] (#cite_note-MallaMcGillis2005-2) Camp can also be a social practice and function as a style and performance identity for several types of entertainment including film, cabaret (/wiki/Cabaret) , and pantomime (/wiki/Pantomime) . Where high art necessarily incorporates beauty and value, camp necessarily needs to be lively, audacious and dynamic. The visual style is closely associated with gay culture (/wiki/Gay_culture) . [2] (#cite_note-MallaMcGillis2005-2) Camp art is related to and often confused with kitsch (/wiki/Kitsch) , and things with camp appeal may also be described as cheesy (https://en.wiktionary.org/wiki/cheesy) . In 1909, Oxford English Dictionary (/wiki/Oxford_English_Dictionary) defined camp as "ostentatious, exaggerated, affected, theatrical; effeminate (/wiki/Effeminacy) or homosexual" [3] (#cite_note-3) behavior, and by the mid-1970s, camp was defined by the college edition of Webster's New World Dictionary (/wiki/Webster%27s_New_World_Dictionary) as "banality, mediocrity, artifice, [and] ostentation ... so extreme as to amuse or have a perversely sophisticated appeal". [4] (#cite_note-4) The American writer Susan Sontag (/wiki/Susan_Sontag) 's essay Notes on "Camp" (/wiki/Notes_on_%22Camp%22) (1964) emphasized its key elements as "artifice, frivolity, naïve middle-class pretentiousness, and shocking excess". [5] (#cite_note-Eiss2016-5) Origins and development [ edit ] In 1870, British crossdresser (/wiki/Crossdresser) Frederick Park (/wiki/Boulton_and_Park) referred to his "campish undertakings" in a letter produced in evidence at his examination before a magistrate at Bow Street (/wiki/Bow_Street) , London, on suspicion of illegal homosexual acts; the letter does not make clear what these were. [6] (#cite_note-6) In 1909, the Oxford English Dictionary (/wiki/Oxford_English_Dictionary) gave the first print citation of camp as ostentatious, exaggerated, affected, theatrical; . So as a noun, 'camp' behaviour, mannerisms, et cetera. (cf. quot. 1909); a man exhibiting such behaviour. Carmen Miranda (/wiki/Carmen_Miranda) in the trailer for The Gang's All Here (/wiki/The_Gang%27s_All_Here_(1943_film)) (1943) According to the dictionary, this sense is "etymologically obscure". Camp in this sense has been suggested [ by whom? ] to have possibly derived from the French term se camper , meaning "to pose in an exaggerated fashion". [7] (#cite_note-7) [8] (#cite_note-8) Later, it evolved into a general description of the aesthetic choices and behavior of working-class gay men (/wiki/Gay_men) . [9] (#cite_note-newton-9) The concept of camp was described by Christopher Isherwood (/wiki/Christopher_Isherwood) in 1954 in his novel The World in the Evening (/wiki/The_World_in_the_Evening) , and later by Susan Sontag (/wiki/Susan_Sontag) in her 1964 essay Notes on "Camp" (/wiki/Notes_on_%22Camp%22) . [10] (#cite_note-Sontag2019-10) The rise of postmodernism (/wiki/Postmodernism) made camp a common perspective on aesthetics, not identified with any specific group. The camp perspective was originally a distinctive aspect of pre- gay liberation (/wiki/Gay_liberation) gay culture (/wiki/Gay_culture) , where it was the dominant idiom. It originated from the understanding of gayness as effeminacy (/wiki/Effeminacy) . [9] (#cite_note-newton-9) Two key components of camp were originally feminine performances: swish (/wiki/Swish_(slang)) and drag (/wiki/Drag_(entertainment)) . With swish featuring extensive use of superlatives, and drag being exaggerated female impersonation, camp became extended to all things "over the top", including women posing as female impersonators ( faux queens (/wiki/AFAB_queen) ) such as Carmen Miranda (/wiki/Carmen_Miranda) . It was this version of the concept that was adopted by literary and art critics and became a part of the conceptual array of 1960s culture. [ clarification needed ] Moe Meyer [ who? ] still defines camp as "queer parody". [11] (#cite_note-11) [12] (#cite_note-12) Contemporary culture [ edit ] Television [ edit ] The Comedy Central (/wiki/Comedy_Central) television show Strangers with Candy (/wiki/Strangers_with_Candy) (1999–2000), starring comedian Amy Sedaris (/wiki/Amy_Sedaris) , was a camp spoof of the ABC Afterschool Special (/wiki/ABC_Afterschool_Special) genre. [13] (#cite_note-13) [14] (#cite_note-14) [15] (#cite_note-15) Inspired by the work of George Kuchar (/wiki/George_Kuchar) and his brother Mike Kuchar (/wiki/Mike_Kuchar) , ASS Studios (/wiki/ASS_Studios) began making a series of short, no-budget camp films. Their feature film Satan, Hold My Hand (/wiki/Satan,_Hold_My_Hand) (2013) features many elements recognized in camp pictures. [16] (#cite_note-16) [17] (#cite_note-17) Film [ edit ] Famous representatives of camp films are, for example, John Waters (/wiki/John_Waters) ( Pink Flamingos (/wiki/Pink_Flamingos) , 1972) and Rosa von Praunheim (/wiki/Rosa_von_Praunheim) ( The Bed Sausage (/wiki/The_Bed_Sausage) , 1971) , who mainly used this style in the 1970s, created films which achieved a cult status (/wiki/Cult_status) . [18] (#cite_note-CampWaters-18) [19] (#cite_note-CampPraunheim-19) Music [ edit ] Camp costuming worn by American pop singers Cher (/wiki/Cher) , Madonna (/wiki/Madonna) , and Katy Perry (/wiki/Katy_Perry) American singer and actress Cher (/wiki/Cher) is one of the artists who received the title of "Queen of Camp" through her outrageous on-stage fashion and live performances. [20] (#cite_note-Sunday_Mirror-20) She gained this status in the 1970s when she launched her variety shows (/wiki/Variety_show) in collaboration with the costume designer Bob Mackie (/wiki/Bob_Mackie) and became a constant presence on American prime-time television. [21] (#cite_note-The_Telegraph-21) [22] (#cite_note-NY_Daily_News-22) Madonna (/wiki/Madonna) is another example of camp and according to educator Carol Queen (/wiki/Carol_Queen) , her "whole career up to and including Sex (/wiki/Sex_(book)) has depended heavily on camp imagery and camp understandings of gender and sex". [23] (#cite_note-Gnojewski-23) By some point of her career, Madonna was also named "Queen of Camp". [24] (#cite_note-Madonna-24) In public and on stage, Dusty Springfield (/wiki/Dusty_Springfield) developed an image supported by her peroxide blonde beehive (/wiki/Beehive_(hairstyle)) hairstyle, evening gowns (/wiki/Evening_gown) , and heavy make-up that included her much-copied "panda eye" look. [25] (#cite_note-britannica.com-25) [26] (#cite_note-26) [27] (#cite_note-Laurense_Cole_2008_p._13-27) [28] (#cite_note-28) [29] (#cite_note-glbtq.com-29) Springfield borrowed elements of her look from blonde glamour queens of the 1950s, such as Brigitte Bardot (/wiki/Brigitte_Bardot) and Catherine Deneuve (/wiki/Catherine_Deneuve) . [30] (#cite_note-30) [31] (#cite_note-gulla-31) This and her singing style made her a "camp icon" and won her a following in the gay community. [29] (#cite_note-glbtq.com-29) [31] (#cite_note-gulla-31) Besides the prototypical female drag queen (/wiki/Drag_queen) , she was presented in the roles of the "Great White Lady" of pop and soul and the "Queen of Mods (/wiki/Mod_(subculture)) ". [27] (#cite_note-Laurense_Cole_2008_p._13-27) [32] (#cite_note-32) South Korean rapper Psy (/wiki/Psy) , known for his viral internet music videos full of flamboyant dance and visuals, has come to be seen as a 21st-century incarnation of camp style. [33] (#cite_note-Exploring_Psy's-33) [34] (#cite_note-Psy_Unveils-34) Geri Halliwell (/wiki/Geri_Halliwell) is recognised as a camp icon for her high camp aesthetics, performance style and kinship with the gay community during her time as a solo artist. [35] (#cite_note-35) [36] (#cite_note-36) Lady Gaga (/wiki/Lady_Gaga) , a contemporary exemplar of camp, uses music and dance to make social commentary (/wiki/Social_commentary) on pop culture, as in the Judas video. Her clothes, makeup, and accessories, created by high-end fashion designers, are integral to the narrative structure of her performances. [37] (#cite_note-IddonMarshall2014-37) Katy Perry (/wiki/Katy_Perry) is another example of camp with outlets like Vogue (/wiki/Vogue_(magazine)) describing her as the "Queen of Camp". [38] (#cite_note-Vogue2022-38) Distinguishing between kitsch and camp [ edit ] The words "camp" and " kitsch (/wiki/Kitsch) " are often used interchangeably; both may relate to art, literature, music, or any object that carries an aesthetic value. However, "kitsch" refers specifically to the work itself, whereas "camp" is a mode of performance. Thus, a person may consume kitsch intentionally or unintentionally. Camp, as Susan Sontag observed, is always a way of consuming or performing culture "in quotation marks". [39] (#cite_note-Sontag2009-39) Sontag also distinguishes between "naive" and "deliberate" camp, [40] (#cite_note-Sontag1964-40) and examines Christopher Isherwood's distinction between low camp, which he associated with cross-dressing practices and drag performances, and high camp, which included "the whole emotional basis of the Ballet, for example, and of course of Baroque art". [41] (#cite_note-Stępień2014-41) According to sociologist Andrew Ross (/wiki/Andrew_Ross_(sociologist)) , camp combines outmoded and contemporary forms of style, fashion, and technology. Often characterized by the reappropriation of a "throwaway Pop aesthetic", camp works to intermingle the categories of "high" and "low" culture. [42] (#cite_note-42) Objects may become camp objects because of their historical association with a power now in decline. As opposed to kitsch, camp reappropriates culture in an ironic fashion, whereas kitsch is indelibly sincere. Additionally, kitsch may be seen as a quality of an object, while camp "tends to refer to a subjective process". [43] (#cite_note-43) Those who identify objects as "camp" commemorate the distance mirrored in the process through which "unexpected value can be located in some obscure or exorbitant object." [44] (#cite_note-44) In the Western World [ edit ] Comedian Kenneth Williams (/wiki/Kenneth_Williams) wrote in a diary entry for 1 January 1947: "Went to Singapore with Stan—very camp evening, was followed, but tatty types so didn't bother to make overtures." [45] (#cite_note-45) Although it applies to gay men, it is a specific adjective used to describe a man who openly promotes the fact that he is gay by being outwardly garish or eccentric, for example, the character Daffyd Thomas (/wiki/Daffyd_Thomas) in the English comedy skit show Little Britain (/wiki/Little_Britain_(sketch_show)) . "Camp" forms a strong element in UK culture, and many so-called gay icons (/wiki/Gay_icon) and objects are chosen as such because they are camp. Performers such as Elton John (/wiki/Elton_John) , [46] (#cite_note-46) Kylie Minogue (/wiki/Kylie_Minogue) , John Inman (/wiki/John_Inman) , Lawrence Llewelyn Bowen (/wiki/Lawrence_Llewelyn_Bowen) , Lulu (/wiki/Lulu_(singer)) , Graham Norton (/wiki/Graham_Norton) , Mika (/wiki/Mika_(singer)) , Lesley Joseph (/wiki/Lesley_Joseph) , Ruby Wax (/wiki/Ruby_Wax) , Dale Winton (/wiki/Dale_Winton) , and Cilla Black (/wiki/Cilla_Black) , as well as the music hall (/wiki/Music_hall) tradition of the pantomime (/wiki/Pantomime) are camp elements in popular culture. [ citation needed ] The British tradition of the " Last Night of the Proms (/wiki/Last_Night_of_the_Proms) " has been said to glory in "nostalgia, camp, and pastiche". [47] (#cite_note-47) Thomas Dworzak (/wiki/Thomas_Dworzak) published a collection of "last portrait" photographs of young Taliban (/wiki/Taliban) soldiers about to depart for the front, found in Kabul photo studios. The book, titled Taliban , [48] (#cite_note-48) [49] (#cite_note-gabriner-nat-geo-49) attests to a campy esthetic, quite close to the gay movement in California (/wiki/Gay_movement) or a Peter Greenaway (/wiki/Peter_Greenaway) film. [50] (#cite_note-50) The Australian theatre and opera director Barrie Kosky (/wiki/Barrie_Kosky) is renowned for his use of camp in interpreting the works of the Western canon (/wiki/Western_canon) , including Shakespeare (/wiki/William_Shakespeare) , Wagner (/wiki/Richard_Wagner) , Molière (/wiki/Moli%C3%A8re) , Seneca (/wiki/Seneca_the_Younger) and Kafka (/wiki/Franz_Kafka) ; his 2006 eight-hour production for the Sydney Theatre Company The Lost Echo was based on Ovid (/wiki/Ovid) 's Metamorphoses and Euripides (/wiki/Euripides) 's The Bacchae (/wiki/The_Bacchae) . In the first act ("The Song of Phaeton"), for instance, the goddess Juno (/wiki/Juno_(mythology)) takes the form of a highly stylized Marlene Dietrich (/wiki/Marlene_Dietrich) , and the musical arrangements feature Noël Coward (/wiki/No%C3%ABl_Coward) and Cole Porter (/wiki/Cole_Porter) . Kosky's use of camp is also effectively employed to satirize the pretensions, manners, and cultural vacuity of Australia's suburban middle class (/wiki/Middle_class) , which is suggestive of the style of Dame Edna Everage (/wiki/Dame_Edna_Everage) . For example, in The Lost Echo Kosky employs a chorus of high school (/wiki/Secondary_school) girls and boys: one girl in the chorus takes leave from the goddess Diana, and begins to rehearse a dance routine, muttering to herself in a broad Australian accent, "Mum says I have to practice if I want to be on Australian Idol (/wiki/Australian_Idol) ." Australian writer/director Baz Luhrmann, in particular "Strictly Ballroom", constitutes another example. [ citation needed ] Since 2000, the Eurovision Song Contest (/wiki/Eurovision_Song_Contest) , an annually televised competition of song performers from different countries, has shown an increasing element of camp—since the contest has shown an increasing attraction within the gay communities—in their stage performances, especially during the televised finale, which is screened live across Europe. As it is a visual show, many Eurovision (/wiki/Eurovision) performances attempt to attract the attention of the voters through means other than the music, which sometimes leads to bizarre onstage gimmicks, and what some critics have called "the Eurovision kitsch drive", with almost cartoonish novelty acts performing. [51] (#cite_note-Antes_cursi-51) Clothing designs from Camp: Notes on Fashion (/wiki/Camp:_Notes_on_Fashion) The 2019 Met Gala (/wiki/Met_Gala) 's theme was Camp: Notes on Fashion (/wiki/Camp:_Notes_on_Fashion) , co-chaired by Anna Wintour (/wiki/Anna_Wintour) , Serena Williams (/wiki/Serena_Williams) , Lady Gaga (/wiki/Lady_Gaga) , Harry Styles (/wiki/Harry_Styles) , and Alessandro Michele (/wiki/Alessandro_Michele) . [52] (#cite_note-52) Lady Gaga's entrance took 16 minutes, as she arrived to the gala alongside an entourage of five dancers carrying umbrellas, a make up artist, and a personal photographer to snap pictures of Gaga's poses. [53] (#cite_note-:0-53) Gaga arrived in a hot pink Brandon Maxwell (/wiki/Brandon_Maxwell) gown with a 25-foot train [54] (#cite_note-54) and went through a series of four "reveals," paying homage to drag culture (/wiki/Drag_show) , [53] (#cite_note-:0-53) debuting a new outfit each time, until reaching her final look: a bra and underwear with fishnets and platform heels. [55] (#cite_note-55) Other notable ensembles included Katy Perry (/wiki/Katy_Perry) wearing a gown that looked like a chandelier, designed by Moschino (/wiki/Moschino) , and Kacey Musgraves (/wiki/Kacey_Musgraves) appearing as a life-size Barbie (/wiki/Barbie) , also by Moschino. [56] (#cite_note-56) Literature [ edit ] The first post-World War II use of the word in print may be Christopher Isherwood (/wiki/Christopher_Isherwood) 's 1954 novel The World in the Evening , where he comments: "You can't camp about something you don't take seriously. You're not making fun of it; you're making fun out of it. You're expressing what's basically serious to you in terms of fun and artifice and elegance." In the American writer Susan Sontag (/wiki/Susan_Sontag) 's 1964 essay Notes on "Camp" (/wiki/Notes_on_%22Camp%22) , Sontag emphasized artifice, frivolity, naïve middle-class pretentiousness, and shocking excess as key elements of camp. Examples cited by Sontag included Tiffany lamps (/wiki/Tiffany_lamp) , the drawings of Aubrey Beardsley (/wiki/Aubrey_Beardsley) , Tchaikovsky's ballet Swan Lake (/wiki/Swan_Lake) , and Japanese science fiction films such as Rodan , and The Mysterians (/wiki/The_Mysterians) of the 1950s. [ citation needed ] In Mark Booth's 1983 book Camp , he defines camp as "to present oneself as being committed to the marginal with a commitment greater than the marginal merits". He makes a distinction between genuine camp, and camp fads and fancies , things that are not intrinsically camp, but display artificiality, stylization, theatricality, naivety, sexual ambiguity, tackiness, poor taste, stylishness, or portray camp people, and thus appeal to them. [ citation needed ] See also [ edit ] Philosophy portal (/wiki/Portal:Philosophy) Society portal (/wiki/Portal:Society) Fashion portal (/wiki/Portal:Fashion) LGBT portal (/wiki/Portal:LGBT) Avant-garde (/wiki/Avant-garde) Asemic writing (/wiki/Asemic_writing) Collection de l'art brut (/wiki/Collection_de_l%27art_brut) David Bowie's art collection (/wiki/David_Bowie%27s_art_collection) and Outside (/wiki/Outside_(David_Bowie_album)) (1995) Glam rock (/wiki/Glam_rock) Horror vacui (/wiki/Horror_vacui_(art)) Lille Métropole Museum of Modern, Contemporary and Outsider Art (/wiki/Lille_M%C3%A9tropole_Museum_of_Modern,_Contemporary_and_Outsider_Art) Lowbrow (art movement) (/wiki/Lowbrow_(art_movement)) Neo-pop (/wiki/Neo-pop) Neurodiversity (/wiki/Neurodiversity) Outsider art (/wiki/Outsider_art) Outsider music (/wiki/Outsider_music) Pop art (/wiki/Pop_art) Postmodernism (/wiki/Postmodernism) Psychedelic art (/wiki/Psychedelic_art) The Rocky Horror Picture Show (/wiki/The_Rocky_Horror_Picture_Show) Saving and Preserving Arts and Cultural Environments (/wiki/Saving_and_Preserving_Arts_and_Cultural_Environments) Surrealism (/wiki/Surrealism) Unilalianism (/wiki/Unilalianism) Vaporwave (/wiki/Vaporwave) Vernacular architecture (/wiki/Vernacular_architecture) References [ edit ] ^ (#cite_ref-1) Babuscio (1993, 20), Feil (2005, 478), Morrill (1994, 110), Shugart and Waggoner (2008, 33), and Van Leer (1995) ^ Jump up to: a b Kerry Malla (January 2005). Roderick McGillis (ed.). "Between a Frock and a Hard Place: Camp Aesthetics and Children's Culture" (https://www.researchgate.net/publication/27477842) . Canadian Review of American Studies . 35 (1): 1–3 . Retrieved 10 October 2019 . ^ (#cite_ref-3) Gipson, Ferren (23 April 2019). "Art Matters podcast: an introduction to the camp aesthetic | Art UK" (https://artuk.org/discover/stories/art-matters-podcast-an-introduction-to-the-camp-aesthetic) . Art UK (/wiki/Art_UK) . Retrieved 14 October 2022 . ^ (#cite_ref-4) Webster's New World Dictionary of the American Language, 1976 edition, sense 6, [Slang, orig., homosexual jargon, Americanism] banality, mediocrity, artifice, ostentation, etc. so extreme as to amuse or have a perversely sophisticated appeal ^ (#cite_ref-Eiss2016_5-0) Harry Eiss (11 May 2016). The Joker . Cambridge Scholars Publishing. p. 26. ISBN (/wiki/ISBN_(identifier)) 978-1-4438-9429-6 . ^ (#cite_ref-6) 'My "campish undertakings" are not meeting with the success they deserve. Whatever I do seems to get me into hot water somewhere;...': The Times (London), 30 May 1870, p. 13, 'The Men in Women's Clothes' ^ (#cite_ref-7) Harper, Douglas. "camp (adj.)" (http://www.etymonline.com/index.php?term=camp) . Online Etymology Dictionary . Archived (https://web.archive.org/web/20160914223354/http://www.etymonline.com/index.php?term=camp) from the original on 14 September 2016 . Retrieved 21 August 2016 . ^ (#cite_ref-8) Entry "camper" (http://atilf.atilf.fr/academie9.htm) Archived (https://web.archive.org/web/20110514222153/http://atilf.atilf.fr/academie9.htm) 14 May 2011 at the Wayback Machine (/wiki/Wayback_Machine) , in: Dictionnaire de l'Académie française (/wiki/Dictionnaire_de_l%27Acad%C3%A9mie_fran%C3%A7aise) , ninth edition (1992). " 2. Fam: Placer avec fermeté, avec insolence ou selon ses aises.] Il me parlait, le chapeau campé sur la tête. Surtout pron. Se camper solidement dans son fauteuil. Se camper à la meilleure place. Il se campa devant son adversaire. 3. En parlant d'un acteur, d'un artiste: Figurer avec force et relief. Camper son personnage sur la scène. Camper une figure dans un tableau, des caractères dans un roman ." ( Familiar: To assume a defiant, insolent or devil-may-care (https://en.wiktionary.org/wiki/devil-may-care) attitude. Theatre: To perform with forcefulness and exaggeration (https://en.wiktionary.org/wiki/exaggeration) ; to overact (https://en.wiktionary.org/wiki/overact) ; To impose one's character assertively into a scene; to upstage (https://en.wiktionary.org/wiki/upstage) .) ^ Jump up to: a b Esther Newton (1978): Mother Camp: Female Impersonators in America , University of Chicago Press. Mother Camp: Female Impersonators in America in libraries ( WorldCat (/wiki/WorldCat) catalog). ^ (#cite_ref-Sontag2019_10-0) Susan Sontag (14 June 2019). Notes on "Camp" . Picador. p. 4. ISBN (/wiki/ISBN_(identifier)) 978-1-250-62134-4 . ^ (#cite_ref-11) Moe Meyer (2010): An Archaeology of Posing: Essays on Camp, Drag, and Sexuality , Macater Press, ISBN (/wiki/ISBN_(identifier)) 978-0-9814924-5-2 (/wiki/Special:BookSources/978-0-9814924-5-2) . ^ (#cite_ref-12) Moe Meyer (2011): The Politics and Poetics of Camp , Routledge, ISBN (/wiki/ISBN_(identifier)) 978-0-415-51489-7 (/wiki/Special:BookSources/978-0-415-51489-7) . ^ (#cite_ref-13) Maasik, Solomon, Sonia, Jack (2011). Signs of Life in the USA: Readings on Popular Culture for Writers . Bedford/St. Martin's. ISBN (/wiki/ISBN_(identifier)) 9780312647001 . Retrieved 9 August 2017 . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: multiple names: authors list ( link (/wiki/Category:CS1_maint:_multiple_names:_authors_list) ) ^ (#cite_ref-14) " (https://www.ocregister.com/2006/07/06/strangers-with-candy-after-school-special-sedaris-style/) 'Strangers with Candy': After-school special, Sedaris style" (https://www.ocregister.com/2006/07/06/strangers-with-candy-after-school-special-sedaris-style/) . Orange County Register . 6 July 2006. Archived (https://web.archive.org/web/20170806100949/http://www.ocregister.com/2006/07/06/strangers-with-candy-after-school-special-sedaris-style/) from the original on 6 August 2017 . Retrieved 19 May 2019 . ^ (#cite_ref-15) " (http://www.ocregister.com/2006/07/06/strangers-with-candy-after-school-special-sedaris-style/) 'Strangers with Candy': After-school special, Sedaris style" (http://www.ocregister.com/2006/07/06/strangers-with-candy-after-school-special-sedaris-style/) . 6 July 2006. Archived (https://web.archive.org/web/20170806100949/http://www.ocregister.com/2006/07/06/strangers-with-candy-after-school-special-sedaris-style/) from the original on 6 August 2017 . Retrieved 6 August 2017 . ^ (#cite_ref-16) filmmakermagazine.com/27295-courtney-fathom-sells-hi-8-hi... ^ (#cite_ref-17) "COURTNEY FATHOM SELL: SO YOU WANNA BE AN UNDERGROUND FILMMAKER?" (http://filmmakermagazine.com/29016-so-you-wanna-be-an-underground-filmmaker/) . Filmmaker Magazine . Archived (https://web.archive.org/web/20150627215406/http://filmmakermagazine.com/29016-so-you-wanna-be-an-underground-filmmaker) from the original on 27 June 2015 . Retrieved 23 March 2015 . ^ (#cite_ref-CampWaters_18-0) "John Waters: King of Camp and Auteur of Cult Trash" (https://filmdaze.net/john-waters-king-of-camp-and-auteur-of-cult-trash/) . Film Daze . 12 June 2019 . Retrieved 5 March 2022 . ^ (#cite_ref-CampPraunheim_19-0) Kapczynski, Jennifer M.; Richardson, Michael David (2012). A New History of German Cinema . Boydell & Brewer. ISBN (/wiki/ISBN_(identifier)) 9781571135957 . Retrieved 5 March 2022 . {{ cite book (/wiki/Template:Cite_book) }} : |work= ignored ( help (/wiki/Help:CS1_errors#periodical_ignored) ) ^ (#cite_ref-Sunday_Mirror_20-0) "She's Reigned Pop Land since the 70s, She's the Queen of Camp, She Believes in Life after Love. She's Cher, and She's Still Fantastic" (https://web.archive.org/web/20160529072813/https://www.highbeam.com/doc/1G1-343551795.html) . Sunday Mirror . Archived from the original (https://www.highbeam.com/doc/1G1-343551795.html) on 29 May 2016 . Retrieved 21 April 2016 . ^ (#cite_ref-The_Telegraph_21-0) White, Belinda (24 July 2015). "Cher is Love magazine's latest cover 'girl' at 69" (https://www.telegraph.co.uk/fashion/people/cher-is-love-magazine-cover-girl-at-69/) . The Daily Telegraph . Archived (https://web.archive.org/web/20181118131220/https://www.telegraph.co.uk/fashion/people/cher-is-love-magazine-cover-girl-at-69/) from the original on 18 November 2018 . Retrieved 21 April 2016 . ^ (#cite_ref-NY_Daily_News_22-0) "Cher-ishing the Queen of Camp" (http://www.nydailynews.com/archives/nydn-features/cher-ishing-queen-camp-article-1.493616) . Daily News . New York. Archived (https://web.archive.org/web/20171104172524/http://www.nydailynews.com/archives/nydn-features/cher-ishing-queen-camp-article-1.493616) from the original on 4 November 2017 . Retrieved 21 April 2016 . ^ (#cite_ref-Gnojewski_23-0) Gnojewski, Carol (2007). Madonna: Express Yourself . Enslow Publishing (/wiki/Enslow_Publishing) . p. 114. ISBN (/wiki/ISBN_(identifier)) 978-0-7660-2442-7 . Retrieved 31 March 2022 – via Google Books. ^ (#cite_ref-Madonna_24-0) Drushe, Bruce E.; Peters, Brian M. (2017). Chapter 12, Camp, Androgyny, and 1990: Strike a Pose . Lexington Books (/wiki/Lexington_Books) . p. 216. ISBN (/wiki/ISBN_(identifier)) 978-1-4985-3777-3 . Retrieved 31 March 2022 – via Google Books. {{ cite book (/wiki/Template:Cite_book) }} : |work= ignored ( help (/wiki/Help:CS1_errors#periodical_ignored) ) ^ (#cite_ref-britannica.com_25-0) Peter Silverton. "Dusty Springfield (British singer) – Encyclopædia Britannica" (https://www.britannica.com/EBchecked/topic/561395/Dusty-Springfield) . Britannica.com . Archived (https://web.archive.org/web/20130928030405/https://www.britannica.com/EBchecked/topic/561395/Dusty-Springfield) from the original on 28 September 2013 . Retrieved 17 August 2013 . ^ (#cite_ref-26) Annie J. Randall (Fall 2005). "Dusty Springfield and the Motown Invasion" (https://web.archive.org/web/20120625073452/http://depthome.brooklyn.cuny.edu/isam/NewsletF05/RandallF05.htm) . Newsletter . 35 (1). Institute for Studies in American Music, Conservatory of Music, Brooklyn College of the City University of New York. Archived from the original (http://depthome.brooklyn.cuny.edu/isam/NewsletF05/RandallF05.htm) on 25 June 2012 . Retrieved 17 August 2013 . ^ Jump up to: a b Laurense Cole (2008) Dusty Springfield: in the middle of nowhere , Middlesex University Press. p. 13. ^ (#cite_ref-28) Charles Taylor (1997). Mission Impossible: The perfectionist rock and soul of Dusty Springfield , Boston Phoenix. ^ Jump up to: a b "Springfield, Dusty" (https://web.archive.org/web/20120715000630/http://www.glbtq.com/arts/springfield_d.html) . glbtq – An Encyclopedia of Gay, Lesbian, Bisexual, Transgender and Queer Culture . 2005. Archived from the original (http://www.glbtq.com/arts/springfield_d.html) on 15 July 2012 . Retrieved 17 August 2013 . ^ (#cite_ref-30) Annie J. Randall, Associate Professor of Musicology Bucknell University (2008). Dusty! : Queen of the Post Mods: Queen of the Post Mods . Oxford University Press. ISBN (/wiki/ISBN_(identifier)) 9780199716302 . Archived (https://web.archive.org/web/20170116234822/https://books.google.com/books?id=D2mCQpLstCkC&lpg=PA18&dq=%22Dusty!%20Queen%20of%20the%20Post%20Mods%22&pg=PA18) from the original on 16 January 2017 . Retrieved 17 August 2013 . ^ Jump up to: a b Bob Gulla (2007) Icons of R&B and Soul: An Encyclopedia of the Artists Who Revolutionized Rhythm , Greenwood Publishing Group ISBN (/wiki/ISBN_(identifier)) 978-0-313-34044-4 (/wiki/Special:BookSources/978-0-313-34044-4) ^ (#cite_ref-32) Patricia Juliana Smith (1999) "'You Don't Have to Say You Love Me': The Camp Masquerades of Dusty Springfield", The Queer Sixties pp. 105–126, Routledge, London ISBN (/wiki/ISBN_(identifier)) 978-0-415-92169-5 (/wiki/Special:BookSources/978-0-415-92169-5) ^ (#cite_ref-Exploring_Psy's_33-0) "Exploring Psy's Digital Dandy Appeal In 'Gangnam Style' " (https://www.rollingstone.com/music/blogs/thread-count/exploring-psys-digital-dandy-appeal-in-gangnam-style-20121003) Archived (https://web.archive.org/web/20140122062943/http://www.rollingstone.com/music/blogs/thread-count/exploring-psys-digital-dandy-appeal-in-gangnam-style-20121003) 22 January 2014 at the Wayback Machine (/wiki/Wayback_Machine) (3 October 2012) Rolling Stone (retrieved 21 April 2013) ^ (#cite_ref-Psy_Unveils_34-0) Rauhala, Emily (13 April 2013), "Psy Unveils His New 'Gentleman' Video and Dance at Extravagant Seoul Concert" (http://world.time.com/2013/04/13/psy-unveils-his-new-gentleman-video-and-dance-at-extravagant-seoul-concert/) , Time , archived (https://web.archive.org/web/20130417091115/http://world.time.com/2013/04/13/psy-unveils-his-new-gentleman-video-and-dance-at-extravagant-seoul-concert/) from the original on 17 April 2013 , retrieved 21 April 2013 ^ (#cite_ref-35) "Geri Horner talks Spice Girls, solo regrets and her kinship with the gay community" (https://archive.today/20210220085620/https://attitude.co.uk/article/interview-geri-horner-talks-spice-girls-solo-regrets-and-her-kinship-with-the-gay-community/13210/) . Attitude . 5 January 2017. Archived from the original (https://attitude.co.uk/article/interview-geri-horner-talks-spice-girls-solo-regrets-and-her-kinship-with-the-gay-community/13210/) on 20 February 2021 . Retrieved 10 January 2021 . ^ (#cite_ref-36) Kelly, Emma (11 December 2020). "Geri Horner threatened with assassination on stage by Admiral Duncan nail bomber" (https://metro.co.uk/2020/12/11/geri-horner-threatened-with-assassination-on-stage-by-admiral-duncan-nail-bomber-13736621/) . Metro . Retrieved 10 January 2021 . ^ (#cite_ref-IddonMarshall2014_37-0) Stan Hawkins (3 January 2014). "I'll bring You Down, Down, Down' (https://books.google.com/books?id=LpN8AgAAQBAJ&pg=PA17) " (https://books.google.com/books?id=LpN8AgAAQBAJ&pg=PA17) . In Martin Iddon; Melanie L. Marshall (eds.). Lady Gaga and Popular Music: Performing Gender, Fashion, and Culture . Routledge. pp. 17–18. ISBN (/wiki/ISBN_(identifier)) 978-1-134-07987-2 . ^ (#cite_ref-Vogue2022_38-0) Allaire, Christian (2 January 2022). "Katy Perry Is Still the Queen of Camp" (https://www.vogue.com/slideshow/katy-perry-las-vegas-residency-camp-fashion) . Vogue . Retrieved 3 January 2022 . ^ (#cite_ref-Sontag2009_39-0) Susan Sontag (2 July 2009). Against Interpretation and Other Essays . Penguin Modern Classics. ISBN (/wiki/ISBN_(identifier)) 978-0-14-119006-8 . Archived (https://web.archive.org/web/20130602194813/http://books.google.com/books?id=HLdQPwAACAAJ) from the original on 2 June 2013 . Retrieved 6 September 2011 . ^ (#cite_ref-Sontag1964_40-0) Susan Sontag (/wiki/Susan_Sontag) . "Notes On "Camp" (https://faculty.georgetown.edu/irvinem/theory/Sontag-NotesOnCamp-1964.html) " (https://faculty.georgetown.edu/irvinem/theory/Sontag-NotesOnCamp-1964.html) . faculty.georgetown.edu . Archived (https://web.archive.org/web/20191001152759/https://faculty.georgetown.edu/irvinem/theory/Sontag-NotesOnCamp-1964.html) from the original on 1 October 2019 . Retrieved 10 October 2019 . ^ (#cite_ref-Stępień2014_41-0) Anna Malinowska (26 September 2014). "1, section 1: Bad Romance: Pop and Camp in Light of Evolutionary Confusion" (https://books.google.com/books?id=OyRQBwAAQBAJ&pg=PA11) . In Justyna Stępień (ed.). Redefining Kitsch and Camp in Literature and Culture . Cambridge Scholars Publishing. p. 11. ISBN (/wiki/ISBN_(identifier)) 978-1-4438-6779-5 . ^ (#cite_ref-42) Ross, Andrew (/wiki/Andrew_Ross_(sociologist)) (1989). No Respect: Intellectuals and Popular Culture . New York: Routledge. p. 136 (https://archive.org/details/norespectintellec00ross/page/136) . ^ (#cite_ref-43) Ross, Andrew (/wiki/Andrew_Ross_(sociologist)) (1989). No Respect: Intellectuals and Popular Culture . New York: Routledge. p. 145 (https://archive.org/details/norespectintellec00ross/page/145) . ^ (#cite_ref-44) Ross, Andrew (/wiki/Andrew_Ross_(sociologist)) (1989). No Respect: Intellectuals and Popular Culture . New York: Routledge. p. 146 (https://archive.org/details/norespectintellec00ross/page/146) . ^ (#cite_ref-45) Russell Davies (/wiki/Russell_Davies) (1993) The Kenneth Williams Diaries , Harper-Collins Publishers ISBN (/wiki/ISBN_(identifier)) 978-0-00-255023-9 (/wiki/Special:BookSources/978-0-00-255023-9) ^ (#cite_ref-46) Armstrong, Robert (23 May 2019). "Rock it, man — what Elton John teaches us about style" (https://www.ft.com/content/e0b5072c-7bb1-11e9-81d2-f785092ab560) . Financial Times (/wiki/Financial_Times) . Archived (https://ghostarchive.org/archive/20221210/https://www.ft.com/content/e0b5072c-7bb1-11e9-81d2-f785092ab560) from the original on 10 December 2022 . Retrieved 12 July 2021 . ^ (#cite_ref-47) Compare: Miller, W. Watts (2002), "Secularism and the sacred: is there really something called 'secular religion'?", in Idinopulos, Thomas A.; Wilson, Brian C. (eds.), Reappraising Durkheim for the study and teaching of religion today , Numen book series, vol. 92, Brill, pp. 38–39, ISBN (/wiki/ISBN_(identifier)) 9004123393 , archived (https://web.archive.org/web/20130602203649/http://books.google.com/books?id=TZt_hMv3OqQC) from the original on 2 June 2013 , retrieved 21 November 2010 , An English example of how the life has gone out of lieux de memoire concerns William Blake's hymn about the building of a New Jerusalem. it is still sung every year in London 's Albert Hall on the Last Night of the Proms. But it is in a fervor without faith. It brings tears to the eyes, only it is in a mixture of nostalgia, camp, 'post-modernism,' and pastiche. ^ (#cite_ref-48) Traff, Thea (29 March 2014). "Thomas Dworzak's Taliban Glamour Shots" (http://www.newyorker.com/culture/photo-booth/thomas-dworzaks-taliban-glamour-shots) . The New Yorker (/wiki/The_New_Yorker) . Archived (https://web.archive.org/web/20141127171301/http://www.newyorker.com/culture/photo-booth/thomas-dworzaks-taliban-glamour-shots) from the original on 27 November 2014 . Retrieved 15 November 2014 . ^ (#cite_ref-gabriner-nat-geo_49-0) "2000, Thomas Dworzak, 1st prize, Spot News stories" (https://web.archive.org/web/20141129013633/http://proof.nationalgeographic.com/2014/01/13/thomas-dworzak-mining-for-memes-on-instagram/) . World Press Photo (/wiki/World_Press_Photo) . 13 January 2014. Archived from the original (http://proof.nationalgeographic.com/2014/01/13/thomas-dworzak-mining-for-memes-on-instagram/) on 29 November 2014 . Retrieved 15 November 2014 . ^ (#cite_ref-50) "Vom Nachttisch geräumt nachttisch 10.6.03 vom 10 June 2003 von Arno Widmann – Perlentaucher" (https://www.perlentaucher.de/vom-nachttisch-geraeumt/nachttisch-10-6-03.html) . perlentaucher.de. Archived (https://web.archive.org/web/20160304090811/https://www.perlentaucher.de/vom-nachttisch-geraeumt/nachttisch-10-6-03.html) from the original on 4 March 2016 . Retrieved 27 November 2015 . ^ (#cite_ref-Antes_cursi_51-0) Allatson, Paul (2007). " 'Antes cursi que sencilla': Eurovision Song Contests and the Kitsch-Drive to Euro-Unity". Culture, Theory and Critique . 48 (1): 87–98. doi (/wiki/Doi_(identifier)) : 10.1080/14735780701293540 (https://doi.org/10.1080%2F14735780701293540) . S2CID (/wiki/S2CID_(identifier)) 146449408 (https://api.semanticscholar.org/CorpusID:146449408) . ^ (#cite_ref-52) Yang, Lucy (7 May 2019). "The 2019 Met Gala's theme is 'camp' — here's what you should expect to see on the red carpet" (https://www.insider.com/met-gala-2019-camp-theme-co-chairs-2018-10) . Insider . Retrieved 25 August 2022 . ^ Jump up to: a b "Lady Gaga perfectly captured 'camp' at the Met Gala by paying homage to drag culture" (https://www.gq-magazine.co.uk/article/lady-gaga-met-gala) . British GQ . 7 May 2019 . Retrieved 25 August 2022 . ^ (#cite_ref-54) "See How Lady Gaga Pulled Off the Greatest Met Gala Entrance of All Time" (https://www.vogue.com/article/lady-gaga-met-gala-2019-entrance-behind-the-scenes-video) . Vogue . 10 May 2019 . Retrieved 25 August 2022 . ^ (#cite_ref-55) "Lady Gaga Just Had 4 Outfit Changes on the Met Gala Red Carpet and We're Deceased" (https://www.harpersbazaar.com/celebrity/red-carpet-dresses/a27358784/lady-gaga-met-gala-2019/) . Harper's BAZAAR . 6 May 2019 . Retrieved 25 August 2022 . ^ (#cite_ref-56) "Photos from Moschino's Most Memorable Met Gala Looks" (https://www.eonline.com/photos/33191/moschinos-most-memorable-met-gala-looks) . E! Online . 13 September 2021 . Retrieved 25 August 2022 . Sources [ edit ] Babuscio, Jack (1993) "Camp and the Gay Sensibility" in Camp Grounds: Style and Homosexuality , David Bergman Ed., U of Massachusetts, Amherst ISBN (/wiki/ISBN_(identifier)) 978-0-87023-878-9 (/wiki/Special:BookSources/978-0-87023-878-9) Feil, Ken (2005) "Queer Comedy", in Comedy: A Geographic and Historical Guide Vol. 2. pp. 19–38, 477–492, Maurice Charney Ed., Praeger, Westport, CN ISBN (/wiki/ISBN_(identifier)) 978-0-313-32715-5 (/wiki/Special:BookSources/978-0-313-32715-5) Levine, Martin P. (1998) Gay Macho , New York UP, New York ISBN (/wiki/ISBN_(identifier)) 0-8147-4694-2 (/wiki/Special:BookSources/0-8147-4694-2) Meyer, Moe, Ed. (1994) The Politics and Poetics of Camp , Routledge, London and New York ISBN (/wiki/ISBN_(identifier)) 978-0-415-08248-8 (/wiki/Special:BookSources/978-0-415-08248-8) Morrill, Cynthia (1994) "Revamping the Gay Sensibility: Queer Camp and dyke noir " (In Meyer pp. 110–129) Helene A. Shugart and Catherine Egley Waggoner (2008) Making Camp: Rhetorics of Transgression in U.S. Popular Culture , U of Alabama P., Tuscaloosa ISBN (/wiki/ISBN_(identifier)) 978-0-8173-5652-1 (/wiki/Special:BookSources/978-0-8173-5652-1) Van Leer, David (1995) The Queening of America: Gay Culture in Straight Society , Routledge, London and New York ISBN (/wiki/ISBN_(identifier)) 978-0-415-90336-3 (/wiki/Special:BookSources/978-0-415-90336-3) Further reading [ edit ] Baker, Paul (2023). Camp! The Story of the Attitude that Conquered the World . London: Footnote Press. ISBN (/wiki/ISBN_(identifier)) 978-1804440339 (/wiki/Special:BookSources/978-1804440339) Core, Philip (1984/1994). CAMP, The Lie That Tells the Truth , foreword by George Melly. London: Plexus Publishing Limited. ISBN (/wiki/ISBN_(identifier)) 0-85965-044-8 (/wiki/Special:BookSources/0-85965-044-8) Cleto, Fabio, editor (1999). Camp: Queer Aesthetics and the Performing Subject . Ann Arbor: University of Michigan Press. ISBN (/wiki/ISBN_(identifier)) 0-472-06722-2 (/wiki/Special:BookSources/0-472-06722-2) . Padva, Gilad (2008). "Educating The Simpsons: Teaching Queer Representations in Contemporary Visual Media". Journal of LGBT Youth 5(3), 57–73. Padva, Gilad and Talmon, Miri (2008). "Gotta Have An Effeminate Heart: The Politics of Effeminacy and Sissyness in a Nostalgic Israeli TV Musical". Feminist Media Studies 8(1), 69–84. Padva, Gilad (2005). "Radical Sissies and Stereotyped Fairies in Laurie Lynd's The Fairy Who Didn't Want To Be A Fairy Anymore". Cinema Journal 45(1), 66–78. Padva, Gilad (2000). "Priscilla Fights Back: The Politicization of Camp Subculture". Journal of Communication Inquiry 24(2), 216–243. Meyer, Moe, editor (1993). The Politics and Poetics of Camp . Routledge. ISBN (/wiki/ISBN_(identifier)) 0-415-08248-X (/wiki/Special:BookSources/0-415-08248-X) . Sontag, Susan (1964). "Notes on Camp" in Against Interpretation and Other Essays . New York: Farrer Straus & Giroux. ISBN (/wiki/ISBN_(identifier)) 0-312-28086-6 (/wiki/Special:BookSources/0-312-28086-6) . 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Footwear for walking easily across snow This article is about snow footwear. For other uses, see Snowshoe (disambiguation) (/wiki/Snowshoe_(disambiguation)) . 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. ( November 2020 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Modern tubular aluminum-framed, neoprene-decked snowshoes Classic wooden-framed, rawhide-latticed snowshoe (metal frame components and coarse weave) Traditional snowshoes Snowshoes are specialized outdoor gear for walking over snow (/wiki/Snow) . Their large footprint spreads the user's weight out and allows them to travel largely on top of rather than through snow. Adjustable bindings attach them to appropriate winter footwear. Traditional snowshoes have a hardwood frame filled in with rawhide (/wiki/Rawhide_(material)) latticework (/wiki/Latticework) . Modern snowshoes are made of lightweight metal, plastic, and other synthetic materials. In the past, snowshoes were essential equipment for anyone dependent on travel in deep and frequent snowfall, such as fur trappers (/wiki/Animal_trapping) . They retain that role in areas where motorized vehicles cannot reach or are inconvenient to use. However, their greatest contemporary use is for recreation. Snowshoeing is easy to learn and in appropriate conditions is a relatively safe and inexpensive recreational activity. However, doing so in icy, steep terrain requires both advanced skill and mountaineering-style pivoting-crampon snowshoes. Development [ edit ] Origins [ edit ] Traditional snowshoe maker, c. 1900–1930 Before people built snowshoes, nature provided examples. Several animals, most notably the snowshoe hare (/wiki/Snowshoe_hare) , had evolved (/wiki/Evolution) over the years with oversized feet enabling them to move more quickly through deep snow. [ citation needed ] The origin and age of snowshoes are not precisely known, although historians [ who? ] believe they were invented from 4,000 to 6,000 years ago, probably starting in Central Asia (/wiki/Central_Asia) . [1] (#cite_note-refGvsnowshoes-1) British (/wiki/United_Kingdom) archaeologist (/wiki/Archaeology) Jacqui Wood (/wiki/Jacqui_Wood) hypothesized that the equipment interpreted to be the frame of a backpack of the Chalcolithic (/wiki/Chalcolithic) mummy (/wiki/Mummy) Ötzi (/wiki/%C3%96tzi) was actually part of a snowshoe. [2] (#cite_note-2) Strabo (/wiki/Strabo) wrote that the inhabitants of the Caucasus (/wiki/Caucasus) used to attach flat surfaces of leather under their feet and that its inhabitants used round wooden surfaces, something akin to blocks, instead. However, the "traditional" webbed snowshoe as used today had direct origins to North American Indigenous people, e.g., the Huron, Cree, and so forth. [3] (#cite_note-3) Samuel de Champlain (/wiki/Samuel_de_Champlain) wrote, referencing the Huron and Algonquin First Nations, in his travel memoirs (V.III, p. 164), "Winter, when there is much snow, they (the Indians) make a kind of snowshoe that are two to three times larger than those in France, that they tie to their feet, and thus go on the snow, without sinking into it, otherwise they would not be able to hunt or go from one location to the other". North American Indigenous peoples [ edit ] Plains Ojibwa (/wiki/Ojibwa_people) performing a snowshoe dance. Note double-pointed snowshoes. Drawing by George Catlin (/wiki/George_Catlin) Traditional snowshoes of the Yukon Valley (/wiki/Yukon_Valley) . Traditional Montagnais (/wiki/Innu) Beaver-tail snowshoes. Note fine weave. Modern Athabaskan hunting-style snowshoes Dene (/wiki/Dene) snowshoes The Indigenous peoples of North America developed the most advanced and diverse snowshoes prior to the 20th century. Different shapes were adapted to the different conditions in each region. [4] (#cite_note-back-4) Despite their great diversity in form, snowshoes were, in fact, one of the few cultural elements common to all tribes that lived where the winters were snowy, in particular, the Northern regions. Nearly every Indigenous peoples of the Americas (/wiki/Indigenous_peoples_of_the_Americas) culture developed its own particular shape of shoe, the simplest being those of the far north. [5] (#cite_note-5) The Inuit (/wiki/Inuit) have two styles, one being triangular in shape and about 18 inches (46 cm) in length, and the other almost circular, both reflecting the need for high flotation in deep, loose and powdery snow. However, contrary to popular perception, the Inuit did not use their snowshoes much since they did most of their foot travel in winter over sea ice or on the tundra (/wiki/Tundra) , where snow does not pile up deeply. Southward the shoe becomes gradually narrower and longer, one of the largest being the hunting snowshoe of the Cree (/wiki/Cree) , which is nearly 6 ft (1.8 m) long and turned up at the toe. Athapaskan snowshoes are made for travelling quickly on dry powder over flat, open land in Alaska and the Canadian northwest. They were used for keeping up with dog sleds (/wiki/Dog_sled) , and breaking trail for them. They can be over 7 ft (2.1 m) long, and are narrow with an upturned toe. [4] (#cite_note-back-4) Ojibwa (/wiki/Ojibwa) snowshoes were designed for manuverability, and are pointed at both ends, making it easier to step backwards. They are also easier to construct, as the outer frame is made in two pieces. [4] (#cite_note-back-4) Huron snowshoes are tailheavy, which means they track well but do not turn easily. They are broad enough that the maximum width has to be tucked against the tail of the other snowshoe with each step, or the straddle will be too wide for the wearer. They are also meant for open country, and can carry heavy loads. [4] (#cite_note-back-4) Snowshoes developed by the Iroquois (/wiki/Iroquois) are narrower and shorter, reflecting the need for maneuverability in forested (/wiki/Forest) areas. The Bearpaw style was widely used in the dense forests of Quebec (/wiki/Quebec) and Labrador (/wiki/Labrador) . It has no tail, and turns easily. [4] (#cite_note-back-4) The Plains Indians (/wiki/Plains_Indians) wore snowshoes on their winter season bison (/wiki/American_Bison) hunts before horses (/wiki/Horse) were introduced. Use by Europeans [ edit ] Pre-contact Eurasian ski-snowshoes [ edit ] Prehistoric (791–540 BCE) solid-wood "ski-snowshoe" found in the mountain glaciers of Norway (/wiki/Norway) . The carved horizontal hole was used to tie it onto the foot, as in traditional European skis (/wiki/Skis) (which seem to have been far more common); the bottom is unworn, so it was probably covered in fur for grip. [6] (#cite_note-prehist-6) Similar 1800s Eastern-Siberian footwear, Chukchi people (/wiki/Chukchi_people) . Note fur ski skins (/wiki/Ski_skins) . In 2016, "the oldest [extant] snowshoe in the world", found in a melting glacier in the Dolomites (/wiki/The_Dolomites) in Italy, was dated to between 3800 and 3700 BCE. It was a crude frame snowshoe. [7] (#cite_note-7) [8] (#cite_note-8) [9] (#cite_note-9) Solid-wood "ski-snowshoes", essentially short, wide versions of traditional skis, were used in Eurasia. They were made of light woods such as pine. Slender skis seem to have been more popular. Both types of footwear were lined with furs for climbing. [6] (#cite_note-prehist-6) In Northwest North America in the early twentieth century, Roald Amundsen (/wiki/Roald_Amundsen) compared the solid-wood Norwegian skis he used with the local snowshoes worn by his travelling companions; he judged the skis faster in some conditions and the snowshoes faster in others. [10] (#cite_note-10) Nenets (/wiki/Nenets_people) snowshoes, apparently also solid wood Kanjiki , Japanese snowshoes, 1837 Marañóns, traditional Galician (/wiki/Galician_people) snowshoes (date?) Post-American-contact [ edit ] 16th-century depiction of Swedish traveler with both horse and man wearing snowshoes North-American-type snowshoes were slowly adopted by Europeans during early colonialism in what later became Canada and the United States. The French (/wiki/French_people) voyageurs (/wiki/Voyageurs) and coureurs des bois (/wiki/Coureur_des_bois) began to travel throughout the land of the Cree, Huron, and Algonquin nations in the late 17th century to trap animals and trade goods. In order to travel effectively in the terrain and climate, they utilized the tools of the Native populations, such as snowshoes and canoes. The Oxford English Dictionary (/wiki/Oxford_English_Dictionary) reports the term "snowshoe" being used by the English as early as 1674. In 1690, after a French-Indian raiding party attacked a British settlement near what is today Schenectady, New York (/wiki/Schenectady,_New_York) , the British took to snowshoes and pursued the attackers for almost 50 miles (80 km), ultimately recovering both people and goods taken by their attackers. Snowshoes became popular by the time of the French and Indian Wars (/wiki/French_and_Indian_Wars) , during engagements such as The Battle on Snowshoes (/wiki/Battle_on_Snowshoes) , when combatants of both sides wore snowshoes atop a reported four feet (1.22 meters) of snow. The "teardrop" snowshoes worn by lumberjacks are about 40 inches (1.0 m) long and broad in proportion, while the tracker's shoe is over 5 feet (1.5 m) long and very narrow. This form, the stereotypical snowshoe, resembles a tennis (/wiki/Tennis) racquet (/wiki/Racquet) , and indeed the French term is raquette à neige . This form was copied by the Canadian snowshoe clubs of the late 18th century. Founded for military training purposes, they became the earliest recreational users of snowshoes. The snowshoe clubs such as the Montreal Snow Shoe Club (/wiki/Montreal_Snow_Shoe_Club) (1840) shortened the teardrop to about 40 inches (100 cm) long and 15 to 18 inches (380 to 460 mm) broad, slightly turned up at the toe and terminating in a kind of tail behind. This is made very light for racing purposes, but much stouter for touring or hunting. The tail keeps the shoe straight while walking. Teardrop snowshoes and Bearpaw snowshoes in the Gatineau Park (/wiki/Gatineau_Park) Commercial double-pointed snowshoes; note coarse construction. Another variant, the "bearpaw", ends in a curved heel instead of a tail. While many early enthusiasts found this more difficult to learn on, as they were thicker in the middle and rather cumbersome, they did have the advantage of being easier to pack and nimbler in tight spaces. Two forms of traditional bearpaw snowshoes developed: an eastern version used by "spruce gummers" consisting of an oval frame with wooden cross braces, and a western version with a rounded triangular frame and no wooden bracing. Traditional snowshoes are made of a single strip of some tough wood, usually white ash (/wiki/Fraxinus_americana) , curved round and fastened together at the ends and supported in the middle by a light cross-bar. The space within the frame is filled with a close webbing of dressed caribou (/wiki/Caribou) or neat's-hide strips, leaving a small opening just behind the cross-bar for the toe of the moccasined (/wiki/Moccasin_(footwear)) foot. They are fastened to the moccasin by leather (/wiki/Leather) thongs, sometimes by buckles (/wiki/Buckle) . Such shoes are still made and sold by native peoples. Compared to modern Indigenous-made snowshoes, wood-and-rawhide snowshoes mass-produced by Europeans tend to have looser, simpler webbing, with wider rawhide strips, as this is cheaper to make. [4] (#cite_note-back-4) However, this may reduce the floatation and let the shoes sink in powder. Modern [ edit ] Canadian couple snowshoeing in 1907 Snowshoeing in Kerava (/wiki/Kerava) , Finland (/wiki/Finland) in March 2011 Outside of Indigenous populations and some competitions such as the Arctic Winter Games (/wiki/Arctic_Winter_Games) , very few of the old-fashioned snowshoes are actually used by enthusiasts anymore, although some value them for the artisanship involved in their construction. They are sometimes seen as decorations, mounted on walls or on mantels (/wiki/Fireplace_mantel) in ski lodges. Even though many enthusiasts prefer aluminum snowshoes, there is still a large group of snowshoe enthusiasts who prefer wooden snowshoes. Wooden frames do not freeze as readily. Many enthusiasts also prefer wood snowshoes because they are very quiet. While recreational use of snowshoes began with snowshoe clubs in Quebec (/wiki/Quebec) , Canada (who held events where races and hikes were combined with fine food and drink), the manufacture of snowshoes for recreational purposes effectively began in the late 19th century, when serious recreational use became more widespread. In the late 20th century the snowshoe underwent a radical redesign. It started in the 1950s when the Vermont (/wiki/Vermont) -based Tubbs company created the Green Mountain (/wiki/Green_Mountains) Bearpaw, which combined the shortness of that style with an even narrower width than had previously been used ( Pospisil 1979 (#refPospisil1979) ). This rapidly became one of the most popular snowshoes of its day. The "Western" [ edit ] In 1972, experimenting with new designs in Washington (/wiki/Washington_(state)) 's Cascade Mountains (/wiki/Cascade_Mountains) , Gene and Bill Prater created the snowshoe known today. They began using aluminum (/wiki/Aluminum) tubing and replaced the lace with neoprene (/wiki/Neoprene) and nylon (/wiki/Nylon) decking. To make them easier to use in mountaineering (/wiki/Mountaineering) , the Praters developed a hinged binding and added cleats (/wiki/Cleat_(shoe)) to the bottom of the shoe. The Sherpa Snowshoe company started manufacturing these " Western (/wiki/Western_United_States) " shoes and they proved very popular. Eastern (/wiki/Eastern_United_States) snowshoers were a bit more skeptical at first, believing that the style was unnecessary in the east, until the Praters demonstrated their improved effectiveness on New Hampshire (/wiki/New_Hampshire) 's Mount Washington (/wiki/Mount_Washington_(New_Hampshire)) . These use an aluminum (/wiki/Aluminum) or stainless steel (/wiki/Stainless_steel) frame and take advantage of technical advances in plastics (/wiki/Plastic) and injection molding (/wiki/Injection_moulding) to make a lighter and more durable shoe. They require little maintenance, and usually incorporate aggressive crampons (/wiki/Crampon) . Some, such as the "Denali" model made by Mountain Safety Research (/wiki/Mountain_Safety_Research) , use no metal frame and can be fitted with optional detachable tail extenders. Newer models have heel-lifters, called "ascenders", that flip up to facilitate hill climbing. The use of solid decking in place of the standard latticework of lacing came as a surprise to many enthusiasts, since it challenged a long-held belief that the lattice was necessary to prevent snow from accumulating on the shoe. In practice, however, it seems that very little snow comes through the openings in either type of shoe. Neoprene/nylon decks also displayed superior water resistance, neither stretching as rawhide will when wet nor requiring annual treatment with spar varnish (/wiki/Spar_varnish#Spar_varnish) , features that were immediately appreciated. Eventually they were replaced with even lighter materials such as polypropylene (/wiki/Polypropylene) . This tendency also gave way to the creation of inflatable snowshoes made of different fabrics such as cordura (/wiki/Cordura) and thermoplastic polyurethane (TPU) (/wiki/Thermoplastic_polyurethane) . These more athletic designs have helped the sport enjoy a renaissance after a period of eclipse when winter recreationists showed more interest in skiing. In the U.S., the number of snowshoers tripled during the 1990s. In fact, ski resorts (/wiki/Ski_resort) with available land are beginning to offer snowshoe trails to visitors, and some popular hiking areas are almost as busy in the colder months as they are on warm summer weekends. Some modern frames are a vertical edge instead of a tube, making the entire edge of the snowshoe a crampon. [11] (#cite_note-life-11) Selection [ edit ] Properly adjusted bindings on two snowshoes of different size. Note use of gaiters (/wiki/Gaiters) . As many winter recreationists rediscover snowshoeing, many more new models of snowshoe are becoming available. Ski areas and outdoor equipment stores are offering snowshoes for rent (/wiki/Renting) . Snowshoes today are divided into three types: aerobic/running (small and light; not intended for backcountry use); recreational (a bit larger; meant for use in gentle-to moderate walks of 3–5 miles (4.8–8.0 km)); and mountaineering (the largest, meant for serious hill-climbing, long-distance trips and off-trail use). Sizes are often given in inches, even though snowshoes are nowhere near perfectly rectangular (/wiki/Rectangle) . Mountaineering shoes can be at least 30 inches (76 cm) long by 10 inches (25 cm) wide; a lighter pair of racing shoes can be slightly narrower and 25 inches (64 cm) or shorter. Regardless of configuration, all wooden shoes are referred to as "traditional" and all shoes made of other materials are called "modern". Notwithstanding these variations in planned use, larger users should plan on buying larger snowshoes. A common formula is that for every pound of body weight, there should be one square inch of snowshoe surface (14.5 cm 2 /kg) per snowshoe to adequately support the wearer. Users should also consider the weight of any gear they will be packing, especially if they expect to break trail. Those planning to travel into deep powder look for even larger shoes. Many manufacturers now include weight-based flotation ratings for their shoes, although there is no standard for setting this yet. Bindings [ edit ] Traditional bindings and soft-soled kamiks (/wiki/Kamik) Underside of a modern fixed-rotation binding snowshoe, showing cleats for traction (/wiki/Traction_(engineering)) on steep slopes As is often the case with downhill skis, wood-frame snowshoes and suitable bindings are typically marketed and purchased separately rather than as a single piece. One common style is termed the "H" binding, as it consists of a strap (/wiki/Strap) around the heel crossing a strap around the toe and one at the instep, forming a rough version of the eponymous letter. On modern shoes, there are two styles of binding: fixed-rotation (also known as "limited-rotation") bindings, and full-rotation (also known as "pivot") bindings. [12] (#cite_note-12) With either binding system, the heel (/wiki/Heel) is left free, and the difference is in how the ball of the foot is attached to the snowshoe. In fixed-rotation bindings, the binding is attached to the snowshoe with an elastic strap that brings the tail of the snowshoe up with each step. The snowshoe therefore moves with the foot and the tail does not drag. Fixed-rotation bindings are preferred for racing. [13] (#cite_note-13) Full-rotation bindings allow the user's toes to pivot below the deck of the snowshoe. They allow the crampon (/wiki/Crampon) cleats that are under the foot to be kicked into a slope for grip in climbing, but are relatively awkward for stepping sideways and backwards as the tail of the snowshoe can drag. Fixed-rotation bindings often cause snow to be kicked up the back of the wearer's legs; this does not tend to happen with full-rotation bindings. A series of straps, usually three, are used to fasten the foot to the snowshoe. Some styles of binding use a cup for the toe. It is important that a user be able to manipulate these straps easily, as removing or securing the foot often must be done outdoors in cold weather with bare hands, exposing him or her to the possibility of frostbite (/wiki/Frostbite) . When putting on snowshoes, left is distinguished from right by which way the loose ends of the binding straps point: always outward, to avoid stepping on them repeatedly. In 1994, Bill Torres and a younger associate developed the step-in binding, designed to make it easier for snowshoers wearing hard-shelled plastic boots (serious mountaineers) to change from snowshoes to crampons and back again as needed. Accessories [ edit ] MSR solid plastic snowshoes Snowshoers often use trekking poles (/wiki/Trekking_poles) as an accessory to help them keep their balance on the snow. Some manufacturers have begun making special snowshoeing models of their poles, with larger baskets more like those found on ski poles (/wiki/Ski_poles) (which can also be used). Other than that, no other special accessories are required. Most types of footwear can be worn with snowshoes, although hiking boots (/wiki/Hiking_boot) are the preferred choice among most recreational users (except racers, who prefer running shoes (/wiki/Athletic_shoe) ). Ski boots (/wiki/Ski_boot) , however, will only work with certain snowshoes such as the MSR Denali, otherwise requiring backcountry skiers to carry other footwear for the snowshoe portion of their trip. If going into deep snow, snowshoers will often take along gaiters (/wiki/Gaiter) to keep snow from getting into their boots from above. Some manufacturers make their snowshoes with boot or toe covers to provide the same protection. A carrier of some type is also advisable, particularly if the trip will not take place entirely on snowshoes. Some backpack (/wiki/Backpack) manufacturers have designed special packs with " daisy chains (/wiki/Daisy_chain_(climbing)) ," strips of looped nylon webbing (/wiki/Webbing) on which the shoes can be secured. Snowshoe manufacturers, too, have begun including carriers and tote bags (/wiki/Tote_bag) for their products, if for no other reason than to prevent the often-sharp cleats on the bottom from damaging surfaces they come in contact with. Since snowshoeing is commonly done in cold weather, users typically prepare for it by dressing in layers and carrying the appropriate equipment. Techniques employed with snowshoes [ edit ] Snowshoers in Bryce Canyon (/wiki/Bryce_Canyon_National_Park) Duration: 20 seconds. 0:20 Snowshoeing Snowshoes function best when there is enough snow beneath them to pack a layer between them and the ground, usually at a depth of 8 inches (20 cm) or more. However, contrary to popular belief, snowshoes perform poorly on very icy and steep terrain. Compared to crampons (/wiki/Crampons) , entry level modern snowshoes give relatively little grip on ice. It is common for novice snowshoers to climb up a steep slope to a summit and then have difficulty climbing back down, which tends to be more difficult than ascending. In icy conditions mountaineering (/wiki/Mountaineering) skills and snowshoes designed for Alpine and glacial travel are required. [14] (#cite_note-14) Walking [ edit ] The method of walking is to lift the shoes slightly and, with wider snowshoes, slide their inner edges over each other, thus avoiding the unnatural and fatiguing "straddle-gait". Turning [ edit ] Walking skills are easily transferable to straightforward snowshoe travel, but this is not always the case with turning around. While a snowshoer with space to do so can, and usually does, simply walk in a small semicircle (/wiki/Semicircle) , on a steep slope or in close quarters such as a boreal forest (/wiki/Boreal_forest) this may be impractical or impossible. It is thus necessary in such circumstances to execute a "kick turn" similar to the one employed on skis: lifting one foot high enough to keep the entire snowshoe in the air while keeping the other planted, putting the foot at a right angle (/wiki/Right_angle) to the other (or as close as possible for the situation and the snowshoer's physical comfort), then planting it on the snow and quickly repeating the action with the other foot. This is much easier to accomplish with poles. Ascending [ edit ] Some modern snowshoes have bars that can be flipped up for ascending steep slopes. The wearer's heel can rest on the bar. While the cleating and traction improvements to modern snowshoes have greatly enhanced snowshoers' climbing abilities, on very steep slopes it is still beneficial to make "kick steps," kicking the toes of the shoes into the snow to create a kind of snow stairs for the next traveler to use. Alternatively, snowshoers can use two techniques borrowed from skis: the herringbone (walking uphill with the shoes spread outward at an angle to increase their support) and the sidestep. For those snowshoers who use poles, it can be easier to rely on the poles to 'pull' oneself with regular stride, up the slope. Descending [ edit ] A Mazamas (/wiki/Mazamas) group descends Hardy Ridge in Beacon Rock State Park (/wiki/Beacon_Rock_State_Park) Once a trail has been broken up a mountain or hill, snowshoers often find a way to speed up the return trip that manages to also be fun and rests the leg muscles: glissading (/wiki/Glissade_(climbing)) the trail, or sliding down on their buttocks (/wiki/Buttocks) . This does not damage the trail, and in fact helps pack the snow better for later users. In situations where they must break trail downhill and thus cannot glissade, snowshoers sometimes run downhill in exaggerated steps, sliding slightly on the snow as they do, an option sometimes called "step sliding". Also effective, are poles placed in front as you descend in a regular stride. If carrying poles and properly experienced, they can also employ skiing techniques such as telemarking (/wiki/Telemark_skiing) . [ citation needed ] Breaking trail [ edit ] A broken snowshoe trail On newly fallen snow it is necessary for a snowshoer to "break" a trail. This is tiring (it may require up to 50% more energy than simply following behind) even on level terrain, and frequently in groups this work is shared among all participants. A trail breaker can improve the quality of the ensuing route by using a technique, similar to the hiking rest step (/wiki/Rest_step) , called "stamping": pausing momentarily after each step before putting full weight on the foot. This helps smooth the snow underneath and compacts it even better for the next user. A well-broken trail is usually a rut in the snow about 6–8 inches (15–20 cm) deep and 2 feet (61 cm) wide. While it may appear after heavy use as if it is possible to "bareboot" or walk it without benefit of snowshoes, this practice is frowned upon by serious snowshoers as it leads to "postholing," or roughening of the trail from places where boots have fallen through (initial appearances to the contrary, the snow in a broken trail is not sufficiently packed to support the more concentrated weight of a foot). In soft conditions, following trails broken by backcountry skiers (/wiki/Ski_touring) can be difficult on snowshoes. In addition, since snowshoes destroy ski tracks, many areas ask that snowshoers observe traditional backcountry courtesy and stay out of ski tracks. Ski trails are normally much narrower than a typical snowshoe trail, and less well packed because skis offer more flotation than snowshoes. If the snow is deep and soft, snowshoers may find themselves postholing right through the ski track. In most cases the ski track offers little advantage and putting in a separate snowshoe track allows both snowshoers and skiers to have a positive experience and avoids friction with skiers who often resent having their tracks obliterated and their skiing enjoyment greatly reduced. Benefits [ edit ] A young snowshoer with a wild bird Snowshoeing expands the potential for exercise available in the wintertime. As of 2006 [update] (https://en.wikipedia.org/w/index.php?title=Snowshoe&action=edit) , at least 500 American schools (/wiki/Education_in_the_United_States) , mostly but not exclusively in the Northeast (/wiki/Northeastern_United_States) have started offering snowshoe programs in their physical education (/wiki/Physical_education) classes to help combat obesity (/wiki/Obesity) . It had the added benefit of being gentler on the feet than walking or running the equivalent routes, since snow cushions the foot's impact. For the same reason, it is less detrimental to the environment, since the snow likewise buffers the earth against the impact of so many hikers and campers, cutting back on trail erosion (/wiki/Erosion) and other effects of heavy use. Snowshoeing makes even familiar hikes different and new. It allows people to explore hard-to-reach places in snowy frontiers, and if the snow is deep enough, obstacles such as large boulders and fallen logs can be more easily bypassed. Adverse effects [ edit ] Immoderate snowshoeing may lead to serious lameness (/wiki/Lameness) of the feet and ankles due to the abnormal gait (/wiki/Gait) required to lift the snowshoe over the surface of the snow. Canadian voyageurs (/wiki/Coureur_de_bois) called this phenomenon mal de raquette , or "snowshoe sickness". This can potentially be very dangerous for a snowshoer stricken in a remote area. Although modern snowshoes are much lighter and more comfortable, making mal de raquette rarer, it is still a danger for those who use snowshoes extensively. In the past, snowshoers have carried pain relief medications such as tramadol (/wiki/Tramadol) to allow for easier movement of the legs in such an emergency situation. Nonetheless, many snowshoers find that their legs, particularly their calf muscles (/wiki/Calf_muscle) , take some time to get used to snowshoeing again at the start of each winter. Frequently the first serious trip leaves them sore for several days afterwards (/wiki/Delayed_onset_muscle_soreness) . In rotten snow, bridging traditional snowshoes (placing them so that they are supported only at the ends) can cause them to break. A lack of snowshoes can be life-threatening if it unexpectedly strands the snowshoer far from help. [11] (#cite_note-life-11) Winter recreation [ edit ] A snowshoer packing downhill skis The resurgence of interest in snowshoeing in the late 20th century was in some part due to snowboarders (/wiki/Snowboard) , who took to them as a way to reach backcountry powder bowls and other areas while they were still banned from most ski areas. Their similarities to snowboards, in shape and binding, led many of them to continue use even after snowboarders were allowed to use most ski slopes. Despite most ski areas now allowing snowboarders, there is a growing interest in backcountry and sidecountry snowboarding in the search for fresh powder. The recent development of splitboards (/wiki/Splitboard) has enabled snowboarders to access backcountry without the need for snowshoes. Downhill skiers (/wiki/Alpine_skiing) , too, found snowshoes useful in reaching the same areas. Another popular expedition, particularly among hikers, is the "ski-shoe" trip combining a cross-country ski (/wiki/Cross-country_skiing) portion on a level, wide trail (/wiki/Trail) with a snowshoe up a less skiable section. Competition [ edit ] Runners have found that using light snowshoes allows them to continue exercising and racing during winter. Like their warm-weather counterparts, events cover all distances, from sprints (/wiki/Sprint_(running)) of 100 m to the 100 km "Iditashoe". There are even hurdle (/wiki/Hurdling) events. Snowshoe segments have become common in many multi-sport events (/wiki/Multi-sport_event) and adventure races (/wiki/Adventure_racing) , including a required snowshoe segment in the winter quadrathlon (/wiki/Quadrathlon) . Some competitors in those events like Sally Edwards (/wiki/Sally_Edwards) and Tom Sobal (/w/index.php?title=Tom_Sobal&action=edit&redlink=1) have emerged as stars. While snowshoe racing has probably been around as long as there have been snowshoes, as an organized sport it is relatively new. The United States Snowshoe Association (/w/index.php?title=United_States_Snowshoe_Association&action=edit&redlink=1) was founded in 1977 to serve as a governing body for competitive snowshoeing. It is headquartered in Corinth (/wiki/Corinth_(village),_New_York) , New York, which considers itself the "Snowshoe Capital of the World" as a result. Similar organizations, such as the European Snowshoe Committee (/w/index.php?title=European_Snowshoe_Committee&action=edit&redlink=1) and Japan's Chikyu Network (/w/index.php?title=Chikyu_Network&action=edit&redlink=1) , exist in other countries and there is an international competitive level as well. Snowshoe races are part of the Arctic Winter Games (/wiki/Arctic_Winter_Games) and the winter Special Olympics (/wiki/Special_Olympics) . However, they are not yet an Olympic (/wiki/Winter_Olympic_Games) event. Maintenance and repair [ edit ] Rawhide webbing The rawhide webbing of traditional snowshoes, as noted above, needs regular waterproofing (/wiki/Waterproofing) . Spar varnish (/wiki/Spar_varnish#Spar_varnish) is the preferred waterproofing for traditional snowshoes. A light sanding is preferred before 3 coats of spar varnish is applied. Modern snowshoes need no regular maintenance save a sharpening of cleats if desired. Both kinds of snowshoe, however, can and do break. The most common damage suffered is to the frame, which can be splinted with a stick or piece of wood if necessary. Decking rarely gets broken, but if it is punctured and the hole looks as if it might continue to grow, the best solution is the patching (/wiki/Repair) kits made for tents (/wiki/Tent) . Cable ties (/wiki/Cable_tie) can serve many purposes in repairing snowshoes. They can splint frames in a pinch, replace a broken rivet, secure a tie or lace, and repair winter clothing as well. See also [ edit ] Fashion portal (/wiki/Portal:Fashion) Winter sports (/wiki/Winter_sport) Les raquetteurs (/wiki/Les_raquetteurs) References [ edit ] ^ (#cite_ref-refGvsnowshoes_1-0) "Raquettes GV – Fabricant de raquettes à neige" (http://www.gvsnowshoes.com/eng/hist_raq.html) . Raquettes GV . Archived (https://web.archive.org/web/20090213093745/http://gvsnowshoes.com/eng/hist_raq.html) from the original on 2009-02-13 . Retrieved 2009-01-08 . ^ (#cite_ref-2) "The Times – UK News, World News and Opinion" (http://www.timesonline.co.uk/tol/life_and_style/court_and_social/the_hitch/article516866.ece) . Archived (https://web.archive.org/web/20191218032027/https://www.thetimes.co.uk/) from the original on 2019-12-18 . Retrieved 2008-08-02 . ^ (#cite_ref-3) "Snowshoes and the Canadian First Nations" (http://www.snowshoemag.com/2012/06/17/snowshoes-and-the-canadian-first-nations/) . Snowshoe Magazine . 17 June 2012. Archived (https://web.archive.org/web/20160129233135/http://www.snowshoemag.com/2012/06/17/snowshoes-and-the-canadian-first-nations/) from the original on 29 January 2016 . Retrieved 10 February 2016 . ^ Jump up to: a b c d e f Gillespie, Craig (18 October 2004). "A Look Back – An Overview of Traditional Snowshoe Design In Canada" (https://www.snowshoemag.com/a-look-back-an-overview-of-traditional-snowshoe-design-in-canada/) . Snowshoe Magazine . Archived (https://web.archive.org/web/20230108223931/https://www.snowshoemag.com/a-look-back-an-overview-of-traditional-snowshoe-design-in-canada/) from the original on 8 January 2023 . Retrieved 8 January 2023 . ^ (#cite_ref-5) "Snowshoes" (https://www.penn.museum/sites/journal/184/) The Museum Journal vol II #4:82-94 (December 1911) Penn Museum ^ Jump up to: a b Wikisource:Journal of Glacial Archaeology/Volume 3/Prehistoric and Medieval Skis from Glaciers and Ice Patches in Norway (https://en.wikisource.org/wiki/Journal_of_Glacial_Archaeology/Volume_3/Prehistoric_and_Medieval_Skis_from_Glaciers_and_Ice_Patches_in_Norway) ^ (#cite_ref-7) Squires, Nick (2016-09-12). "World's oldest snowshoe found on a glacier in Italy's Dolomites" (https://www.telegraph.co.uk/news/2016/09/12/worlds-oldest-snowshoe-found-on-a-glacier-in-italys-dolomites/) . The Telegraph (/wiki/The_Daily_Telegraph) . Archived (https://ghostarchive.org/archive/20220112/https://www.telegraph.co.uk/news/2016/09/12/worlds-oldest-snowshoe-found-on-a-glacier-in-italys-dolomites/) from the original on 2022-01-12 . Retrieved 2016-09-13 . ^ (#cite_ref-8) H. Steiner; Catrin Marzoli; Klaus Dieter Oeggl (January 2016). "A neolithic snowshoe from Gurgler Eisjoch (3134m) in the Pfossental/Schnals (South Tyrol)" (https://www.researchgate.net/publication/316213712) . ResearchGate (/wiki/ResearchGate) . Archived (https://web.archive.org/web/20230108225403/https://www.researchgate.net/publication/316213712_A_neolithic_snowshoe_from_Gurgler_Eisjoch_3134m_in_the_PfossentalSchnals_South_Tyrol) from the original on Jan 8, 2023 . Retrieved 30 June 2023 . ^ (#cite_ref-9) "Una ciaspola tardoneolitica dal Gurgler Eisjoch in Val di Fosse/Senales" (https://air.unimi.it/handle/2434/671009) . Air.unimi.it . Archived (https://web.archive.org/web/20230108225413/https://air.unimi.it/handle/2434/671009) from the original on 2023-01-08 . Retrieved 2023-01-08 . ^ (#cite_ref-10) The North-West Passage; Being the Record of a Voyage of Exploration of the Ship 'Gjöa' . Vol. 2. New York: E.P. Dutton and Co. 1908. This article incorporates text from a publication now in the public domain (/wiki/Public_domain) : Chisholm, Hugh (/wiki/Hugh_Chisholm) , ed. (1911). " Snow-shoes (https://en.wikisource.org/wiki/1911_Encyclop%C3%A6dia_Britannica/Snow-shoes) ". Encyclopædia Britannica (/wiki/Encyclop%C3%A6dia_Britannica_Eleventh_Edition) . Vol. 25 (11th ed.). Cambridge University Press. p. 296. Associated Press (/wiki/Associated_Press) , February 13, 2006; Snowshoes are alternatives in winter gym class (http://www.cnn.com/2006/EDUCATION/02/13/snowshoe.physed.ap/index.html) . Davidson, Daniel Sutherland (1937). Snowshoes . Vol. 6 in Memoirs of the American Philosophical Society. Philadelphia. OCLC (/wiki/OCLC_(identifier)) 3394641 (https://www.worldcat.org/oclc/3394641) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) Drummond, Thomas (December 1916). "The Canadian snowshoe" (https://biodiversitylibrary.org/page/11210702) . Transactions of the Royal Society of Canada, Section 2 . 3. 10 : 305–320 + pl. 1–6. Heilman, Carl; If You Can Walk... You Can Snowshoe (http://www.carlheilman.com/snowshoes-walk.html) at carlheilman.com date unknown, retrieved January 10, 2006. Kreps, E; Camp and Trail Methods , A.R. Harding Co, Columbus Ohio Mason, Otis Tufton (1896). "Primitive travel and transportation". Report of the U.S. National Museum for 1894 . Washington: Government Printing Office. pp. 237–593 + pl. 1–25. Olmsted, Larry; Snowshoeing: A Trailside Guide , W.W. Norton, New York. 1997. ISBN (/wiki/ISBN_(identifier)) 0-393-31720-X (/wiki/Special:BookSources/0-393-31720-X) . Pospisil, Allan (1979-11-19), "At Vermont Tubbs they still make snowshoes the way they used to" (http://sportsillustrated.cnn.com/vault/article/magazine/MAG1126307/index.htm) , Sports Illustrated , vol. 51, no. 21, p. 6 Prater, Gene (2002). Dave Felkley (ed.). Snowshoeing: from novice to master . Mountaineers Outdoor Expert Series (5th ed.). Seattle: Mountaineers Books. ISBN (/wiki/ISBN_(identifier)) 978-0-89886-891-3 . Prosek, James; February 6, 2004; "Journeys: Making Tracks in a World Gone Silent" (https://query.nytimes.com/gst/fullpage.html?sec=travel&res=990DE5DD103BF935A35751C0A9629C8B63) , The New York Times (/wiki/The_New_York_Times) . Tucker, Jim; History of Snowshoeing (http://www.snowshoeracing.com/history.htm) Archived (https://web.archive.org/web/20190913150510/http://www.snowshoeracing.com/history.htm) 2019-09-13 at the Wayback Machine (/wiki/Wayback_Machine) , at snowshoeracing.com, retrieved January 18, 2006. Woodward, Angela; Snowshoe (http://www.madehow.com/Volume-6/Snowshoe.html) , at madehow.com, retrieved January 22, 2006. External links [ edit ] Wikimedia Commons has media related to Snowshoes (https://commons.wikimedia.org/wiki/Category:Snowshoes) . History of the Snowshoe in Canada (http://www.gvsnowshoes.com/en/snowshoe-history) University of Maine Hudson Museum online exhibit "Snowshoes: A Gift from Gluskabe" (http://umaine.edu/hudsonmuseum/exhibits/online/snowshoes/) information includes Maine Indian, northeastern, Franco-American, and contemporary native snowshoes First Timer's Guide to Snowshoeing (http://www.snowshoemag.com/first.cfm) GuideDolomiti (http://www.guidedolomiti.com/en/snowshoeing-winter-trekking/) Learn more about snowshoeing Snowshoe University (http://www.snowshoes.net/docs/) How traditional snowshoes are made (http://science.discovery.com/tv-shows/how-its-made/videos/how-its-made-mini-episodes-traditional-snow-shoes.htm) Archived (https://web.archive.org/web/20130115041751/http://science.discovery.com/tv-shows/how-its-made/videos/how-its-made-mini-episodes-traditional-snow-shoes.htm) 2013-01-15 at the Wayback Machine (/wiki/Wayback_Machine) (video). v t e Footwear (/wiki/Footwear) Abandoned footwear 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( March 2024 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Claudia Schiffer Schiffer at the 2007 Cannes Film Festival (/wiki/2007_Cannes_Film_Festival) Born ( 1970-08-25 ) 25 August 1970 (age 53) Rheinberg (/wiki/Rheinberg) , North Rhine-Westphalia (/wiki/North_Rhine-Westphalia) , West Germany (/wiki/West_Germany) Occupations Model actress Years active 1989–present Spouse Matthew Vaughn (/wiki/Matthew_Vaughn) ( m. 2002 ) Partner David Copperfield (/wiki/David_Copperfield_(illusionist)) (1994–1999) Children 3 Modeling information Height 1.80 m (5 ft 11 in) [1] (#cite_note-agency-1) Hair color Blonde [1] (#cite_note-agency-1) Eye color Blue [1] (#cite_note-agency-1) Agency d'management group (Milan) Model Management (Hamburg) [2] (#cite_note-FMD-2) Signature Website claudiaschiffer (http://claudiaschiffer.com) .com (http://claudiaschiffer.com) Claudia Maria Schiffer ( German: [ˈklaʊdi̯a (/wiki/Help:IPA/Standard_German) ˈʃɪfɐ] (/wiki/Help:IPA/Standard_German) ⓘ (/wiki/File:De-Claudia_Schiffer.ogg) ; born 25 August 1970) is a German model and actress based in England. [3] (#cite_note-Stylist-3) She rose to fame in the 1990s as one of the world's most successful models, attaining supermodel (/wiki/Supermodel) status. Born in Rheinberg (/wiki/Rheinberg) , Germany, Schiffer is fluent in German, English, and French. She initially aspired to join the legal profession, but her life took a turn when she was discovered at 17 in a Düsseldorf (/wiki/D%C3%BCsseldorf) nightclub by Michel Levaton, the CEO of Metropolitan Models. This discovery led her to Paris and onto the cover of Elle (/wiki/Elle_(magazine)) , marking the start of her modeling career. Schiffer's breakthrough came with Guess? campaigns in 1989, elevating the brand and her career. Notably resembling Brigitte Bardot (/wiki/Brigitte_Bardot) in her early career, [4] (#cite_note-4) she became Chanel (/wiki/Chanel) 's new face in 1990, walking in Karl Lagerfeld (/wiki/Karl_Lagerfeld) 's fashion show. Her striking looks and appeal garnered international success, making her a fixture on magazine covers across Elle , Vogue (/wiki/Vogue_(magazine)) , Harper's Bazaar (/wiki/Harper%27s_Bazaar) , Cosmopolitan (/wiki/Cosmopolitan_(magazine)) , and Time (/wiki/Time_(magazine)) , among others. Schiffer appeared on over 1,000 magazine covers [5] (#cite_note-5) and walked for high-profile fashion houses, boasting a runway fee of $20,000 per show in 1992. She holds the record for model with most covers, listed in Guinness World Records (/wiki/Guinness_World_Records) . [6] (#cite_note-6) [7] (#cite_note-7) Her endorsements span luxury and high street brands, including Chanel, Versace (/wiki/Versace) , and Mango. Beyond modeling, Schiffer ventured into acting, with roles in films like Richie Rich (/wiki/Richie_Rich_(film)) and Love Actually (/wiki/Love_Actually) , and engaged in charity work with UNICEF (/wiki/UNICEF) and Make Poverty History (/wiki/Make_Poverty_History) . She launched her own cashmere (/wiki/Cashmere_wool) collection in 2011. In 2023, her net worth was estimated at US$70 million. [8] (#cite_note-8) Schiffer's personal life attracted significant attention, including her engagement to magician David Copperfield (/wiki/David_Copperfield_(illusionist)) , followed by high-profile relationships and her marriage to film director Matthew Vaughn (/wiki/Matthew_Vaughn) in 2002. The couple owns several properties, including the Tudor manor house, Coldham Hall (/wiki/Coldham_Hall) . Early life [ edit ] Claudia Maria Schiffer was born in Rheinberg (/wiki/Rheinberg) , [9] (#cite_note-lofficiel1-9) a small town 15 kilometres (9.3 mi) northwest of Duisburg (/wiki/Duisburg) , on 25 August 1970, to mother Gudrun and father Heinz Schiffer (1937–2007), a lawyer. [10] (#cite_note-askmen-10) [11] (#cite_note-Abendblatt-11) She has two brothers, Stefan and Andreas, and one sister, Ann Carolin (born 1975). [3] (#cite_note-Stylist-3) [11] (#cite_note-Abendblatt-11) Schiffer is fluent in three languages – German, English and French. [12] (#cite_note-12) Career [ edit ] Modelling [ edit ] Schiffer in 1993 Schiffer originally aspired to become a lawyer and used to work in her father's law firm. [9] (#cite_note-lofficiel1-9) [13] (#cite_note-msn-13) In October 1987, at age 17, she was scouted in a nightclub in Düsseldorf (/wiki/D%C3%BCsseldorf) [9] (#cite_note-lofficiel1-9) [14] (#cite_note-ocala-14) [15] (#cite_note-Wmagazine-15) by Michel Levaton, [16] (#cite_note-16) the founder and CEO of the French modeling agency Metropolitan Models , [17] (#cite_note-17) [18] (#cite_note-18) and was later signed to the agency as a model. [19] (#cite_note-19) [20] (#cite_note-AnOther-20) After leaving high school, Schiffer flew to Paris for a trial photo shoot, and subsequently appeared on the cover of Elle (/wiki/Elle_(magazine)) . [14] (#cite_note-ocala-14) [21] (#cite_note-five-21) In 1989, she starred in campaigns for Guess? (/wiki/Guess%3F) . [13] (#cite_note-msn-13) [14] (#cite_note-ocala-14) [22] (#cite_note-lofficiel2-22) Early on in her career, Schiffer was said to resemble Brigitte Bardot. [9] (#cite_note-lofficiel1-9) [23] (#cite_note-23) [24] (#cite_note-Robesonian-24) After several other magazine appearances including the cover of British (/wiki/Vogue_(British_magazine)) Vogue , shot by Herb Ritts (/wiki/Herb_Ritts) , [25] (#cite_note-Vogue_cover-25) Schiffer was selected by Karl Lagerfeld (/wiki/Karl_Lagerfeld) to become the new face of Chanel (/wiki/Chanel) , [15] (#cite_note-Wmagazine-15) [21] (#cite_note-five-21) [22] (#cite_note-lofficiel2-22) where she walked in her first fashion show in January 1990. [20] (#cite_note-AnOther-20) In addition to Elle and Vogue , Schiffer has appeared on the covers of numerous other magazines including Harper's Bazaar (/wiki/Harper%27s_Bazaar) , Cosmopolitan (/wiki/Cosmopolitan_(magazine)) , and Time (/wiki/Time_(magazine)) , and was the first model to be featured on the covers of Vanity Fair (/wiki/Vanity_Fair_(magazine)) , Rolling Stone (/wiki/Rolling_Stone) , and People (/wiki/People_(magazine)) . [26] (#cite_note-26) She was one of 10 models on Vogue ' s 100th anniversary cover in 1992. [22] (#cite_note-lofficiel2-22) [20] (#cite_note-AnOther-20) In May 1997, Schiffer was featured on the cover and in the pictorial of Playboy (/wiki/Playboy) . [27] (#cite_note-27) She has appeared on a total of more than 1,000 magazine covers. [9] (#cite_note-lofficiel1-9) [15] (#cite_note-Wmagazine-15) Schiffer has walked in fashion shows for various fashion houses, including Versace (/wiki/Gianni_Versace_S.p.A.) , Karl Lagerfeld (/wiki/Karl_Lagerfeld) , Chloé (/wiki/Chlo%C3%A9) , Yves Saint Laurent (/wiki/Yves_Saint_Laurent_(brand)) , Christian Dior (/wiki/Christian_Dior) , Fendi (/wiki/Fendi) , Michael Kors (/wiki/Michael_Kors) , Dolce & Gabbana (/wiki/Dolce_%26_Gabbana) , Ralph Lauren (/wiki/Ralph_Lauren) , Balmain (/wiki/Balmain_(fashion_house)) , Louis Vuitton (/wiki/Louis_Vuitton) , Prada (/wiki/Prada) , Anna Sui (/wiki/Anna_Sui) , Oscar de la Renta (/wiki/Oscar_de_la_Renta) , Jil Sander (/wiki/Jil_Sander) , Donna Karan (/wiki/Donna_Karan) , Helmut Lang (/wiki/Helmut_Lang_(fashion_brand)) , Thierry Mugler (/wiki/Thierry_Mugler) , Chanel (/wiki/Chanel) and Valentino (/wiki/Valentino_SpA) . In 1992, she was earning a runway fee of $20,000 per show. [24] (#cite_note-Robesonian-24) She has appeared in advertising campaigns for Chanel (/wiki/Chanel) , Versace (/wiki/Versace) , Balmain (/wiki/Balmain_(fashion_house)) , Giorgio Armani (/wiki/Giorgio_Armani) , Karl Lagerfeld (/wiki/Karl_Lagerfeld) , Dom Pérignon (/wiki/Dom_P%C3%A9rignon) , [28] (#cite_note-28) Alberta Ferretti (/wiki/Alberta_Ferretti) , Bulgari (/wiki/Bulgari) , Chloé (/wiki/Chlo%C3%A9) , Escada (/wiki/Escada) , Blumarine (/wiki/Blumarine) , Dolce & Gabbana (/wiki/Dolce_%26_Gabbana) , Fendi (/wiki/Fendi) , Max Mara (/wiki/Max_Mara) , Louis Vuitton (/wiki/Louis_Vuitton) , Michael Kors (/wiki/Michael_Kors) , Oscar de la Renta (/wiki/Oscar_de_la_Renta) , Ralph Lauren (/wiki/Ralph_Lauren) , Emporio Armani (/wiki/Emporio_Armani) , Liz Claiborne (/wiki/Liz_Claiborne) , Prada (/wiki/Prada) , Yves Saint Laurent (/wiki/Yves_Saint_Laurent_(brand)) , Marc Jacobs (/wiki/Marc_Jacobs) , Guess? (/wiki/Guess%3F) , Salvatore Ferragamo (/wiki/Salvatore_Ferragamo) , Neiman Marcus (/wiki/Neiman_Marcus) , Gap (/wiki/Gap_Inc.) , Dillard's (/wiki/Dillard%27s) , Saks Fifth Avenue (/wiki/Saks_Fifth_Avenue) , Revlon (/wiki/Revlon) , Intergaz (/wiki/Intergaz) and Pepsi (/wiki/Pepsi) . In 1994, she starred in a campaign for Valentino (/wiki/Valentino_(fashion_house)) , photographed by Arthur Elgort (/wiki/Arthur_Elgort) in Rome, which was inspired by the film La Dolce Vita (/wiki/La_Dolce_Vita) . [20] (#cite_note-AnOther-20) [29] (#cite_note-29) In 1997, Schiffer signed an exclusive worldwide contract with L'Oréal (/wiki/L%27Or%C3%A9al) . [30] (#cite_note-30) Schiffer still holds a contract with L'Oréal (/wiki/L%27Or%C3%A9al) and is one of their longest standing ambassadors. As well as endorsing luxury brands, Schiffer has appeared as the face of high street retailers including Mango (/wiki/Mango_(clothing)) and Accessorize (/wiki/Accessorize) , and had her ears pierced for the first time specially for the 2006 Autumn/Winter Accessorize campaign. [31] (#cite_note-31) [32] (#cite_note-32) [33] (#cite_note-fmd-33) [34] (#cite_note-34) From her appearances in a 1998 Citroën (/wiki/Citro%C3%ABn) advertisement she allegedly earned £3 million. Schiffer was a judge on Fashion Fringe in 2011. [35] (#cite_note-autogenerated1-35) In 2012, she posed for Guess? (/wiki/Guess%3F) again, marking the brand's 30th anniversary. [36] (#cite_note-36) She made her runway return in September 2023, closing out Versace (/wiki/Versace) 's Spring 2024 show at Milan Fashion Week (/wiki/Milan_Fashion_Week) . [37] (#cite_note-37) [38] (#cite_note-38) Acting and media [ edit ] Schiffer made her film debut in the children's movie Richie Rich (1994, as the title character's personal fitness trainer). She then starred opposite Dennis Hopper (/wiki/Dennis_Hopper) and Matthew Modine (/wiki/Matthew_Modine) in The Blackout (1997). She then went on to appear in Friends & Lovers , Black and White (both 1999), In Pursuit (/wiki/In_Pursuit) , Life Without Dick (/wiki/Life_Without_Dick) (both 2001), and Love Actually (/wiki/Love_Actually) (2003) in a semi-cameo role. Films in which Schiffer has made cameo appearances include Ben Stiller (/wiki/Ben_Stiller) 's Zoolander (/wiki/Zoolander) (2001). [13] (#cite_note-msn-13) Schiffer has appeared on several talk shows such as The Oprah Winfrey Show (/wiki/The_Oprah_Winfrey_Show) , Larry King Live (/wiki/Larry_King_Live) , Late Show with David Letterman (/wiki/Late_Show_with_David_Letterman) , Late Night with Conan O'Brien (/wiki/Late_Night_with_Conan_O%27Brien) , The Jonathan Ross Show (/wiki/The_Jonathan_Ross_Show) , and sitcoms Dharma & Greg (/wiki/Dharma_%26_Greg) and Arrested Development (/wiki/Arrested_Development_(TV_series)) . She made a cameo appearance in the music video for Bon Jovi (/wiki/Bon_Jovi) 's " Say It Isn't So (/wiki/Say_It_Isn%27t_So_(Bon_Jovi_song)) " in 2000, and appeared in the music video for Comic Relief (/wiki/Comic_Relief) 's 2001 charity single, Westlife (/wiki/Westlife) 's " Uptown Girl (/wiki/Uptown_Girl#Westlife_version) ". Charity work [ edit ] Schiffer began her involvement with UNICEF (/wiki/UNICEF) by becoming a member of the Arts & Entertainment Support Committee, and is currently a UK Goodwill Ambassador (/wiki/Goodwill_Ambassador) for the organisation. Schiffer was also a spokeswoman for Make Poverty History (/wiki/Make_Poverty_History) , and appeared in their "Click" campaign. In July 2005, she appeared as a presenter at both the Berlin (/wiki/Live_8_concert,_Berlin) and Edinburgh (/wiki/Edinburgh_50,000_%E2%80%93_The_Final_Push) Live 8 (/wiki/Live_8) concerts. Other work [ edit ] Schiffer has released four exercise videos, entitled Claudia Schiffer's Perfectly Fit , which reached the best seller list. Starting in 1992, Schiffer was the star of her own line of annual calendars. Her initial 1992 calendar sold more than 300,000 copies. [24] (#cite_note-Robesonian-24) Schiffer has hosted the French Fashion Awards, and also the 1995 World Music Awards (/wiki/World_Music_Awards) in Monaco. [39] (#cite_note-39) Along with fellow models Christy Turlington (/wiki/Christy_Turlington) , Naomi Campbell (/wiki/Naomi_Campbell) , and Elle Macpherson (/wiki/Elle_Macpherson) , Schiffer was joint owner of a chain of restaurants called the Fashion Café in 1995. [13] (#cite_note-msn-13) Schiffer helped present and carry the trophy with Pelé (/wiki/Pel%C3%A9) during the opening ceremonies at the 2006 World Cup (/wiki/2006_World_Cup) . She also presented Prince William (/wiki/Prince_William,_Duke_of_Cambridge) with a polo (/wiki/Polo) trophy in 2002. [10] (#cite_note-askmen-10) Schiffer launched her eponymous cashmere collection during Paris Fashion Week (/wiki/Paris_Fashion_Week) in March 2011. [40] (#cite_note-Vogue-40) [41] (#cite_note-autogenerated2-41) Personal life [ edit ] Schiffer with her husband Matthew Vaughn (/wiki/Matthew_Vaughn) , 2010 In 1993, at a Berlin celebrity gala, Schiffer met the American magician David Copperfield (/wiki/David_Copperfield_(illusionist)) when he brought her on stage to participate in a mind reading act and in his flying illusion (/wiki/David_Copperfield%27s_flying_illusion) , and they became engaged in January 1994. During this engagement, Schiffer sometimes appeared on stage with Copperfield to act as his special guest assistant in illusions including being levitated, guillotined (/wiki/Guillotine_(magic_trick)) , and sawn in half (/wiki/Sawing_a_woman_in_half) . [42] (#cite_note-42) [43] (#cite_note-43) [44] (#cite_note-44) She also appeared alongside Copperfield in David Copperfield: 15 Years of Magic , a 1994 documentary in which she played the role of a reporter interviewing him, and at the end of which they reprised their performance of the flying illusion. In September 1999, they announced they had ended their relationship, citing work schedules. [45] (#cite_note-45) In 1997, Copperfield and Schiffer both sued Paris Match (/wiki/Paris_Match) after the magazine claimed their relationship was a sham, that Schiffer "[was] paid for pretending to be Copperfield's fiancée and [didn't] even like him". [46] (#cite_note-46) [47] (#cite_note-47) [48] (#cite_note-48) [49] (#cite_note-49) In 1999, Schiffer won an undisclosed sum and a retraction from Paris Match when a French court ruled that the magazine's story was false. [50] (#cite_note-50) [51] (#cite_note-51) Copperfield's publicist confirmed that while Schiffer had a contract to appear in the audience at Copperfield's show in Berlin where they met, she was not under contract to be his "consort". [52] (#cite_note-consort-52) Following her break-up with Copperfield, Schiffer had a short relationship with art dealer and Green Shield Stamps (/wiki/Green_Shield_Stamps) heir Tim Jefferies until 2000. [53] (#cite_note-53) [54] (#cite_note-54) On 25 May 2002, she married English film director Matthew Vaughn (/wiki/Matthew_Vaughn) in Suffolk (/wiki/Suffolk) . [40] (#cite_note-Vogue-40) Schiffer and Vaughn have a son and two daughters. [55] (#cite_note-55) [56] (#cite_note-Hello-56) Schiffer and Vaughn bought Coldham Hall (/wiki/Coldham_Hall) , a Tudor manor house in Suffolk, in 2002. [57] (#cite_note-AD17-57) The couple has homes in Notting Hill (/wiki/Notting_Hill) , London (/wiki/London) , Northamptonshire (/wiki/Northamptonshire) and Coldham Hall (/wiki/Coldham_Hall) , Stanningfield (/wiki/Stanningfield) , Suffolk. [58] (#cite_note-East_Anglian_Daily_Times-58) In 2002 an Italian kitchen porter was arrested after making nine visits to Coldham Hall; he was subsequently sectioned (/wiki/Involuntary_commitment) under the Mental Health Act (/wiki/Mental_Health_Act_1983) . [59] (#cite_note-stalker-59) [58] (#cite_note-East_Anglian_Daily_Times-58) In 2004, a Canadian man was accused of harassing Schiffer, repeatedly leaving letters at her Suffolk residence. [60] (#cite_note-60) The Pandora Papers (/wiki/Pandora_Papers) list Schiffer as one of many celebrities who have used offshore financial constructs. [61] (#cite_note-61) Filmography [ edit ] Films [ edit ] List of Claudia Schiffer film credits Year Title Role Notes 1994 Richie Rich (/wiki/Richie_Rich_(film)) Herself as an aerobics (/wiki/Aerobics) instructor 1994 Prêt-à-Porter (/wiki/Pr%C3%AAt-%C3%A0-Porter_(film)) Herself American title Ready to Wear 1996 Perfectly Fit none Fitness program by Claudia Schiffer 1997 The Blackout (/wiki/The_Blackout_(1997_film)) Susan 1999 Desperate But Not Serious (/wiki/Desperate_But_Not_Serious) Gigi USA DVD release titled Reckless + Wild 1999 Friends & Lovers (/wiki/Friends_%26_Lovers_(1999_film)) Carla 1999 Black and White (/wiki/Black_and_White_(1999_drama_film)) Greta 2000 Meeting Genevieve Genevieve 2000 Chain of Fools (/wiki/Chain_of_Fools_(film)) Herself 2001 In Pursuit (/wiki/In_Pursuit) Catherine Wells USA DVD release titled Rules of the Game 2001 Zoolander (/wiki/Zoolander) Herself 2002 666 – Traue keinem, mit dem du schläfst! (/wiki/666_%E2%80%93_Traue_keinem,_mit_dem_du_schl%C3%A4fst!) Herself English title 666: In Bed with the Devil 2002 Life Without Dick (/wiki/Life_Without_Dick) Mary 2003 Love Actually (/wiki/Love_Actually) Carol 2024 Argylle (/wiki/Argylle) — Executive producer Documentaries [ edit ] List of Claudia Schiffer documentary credits Year Documentary 1993 Noche de tu vida, La 1994 David Copperfield: 15 Years of Magic 1995 Die schönsten Frauen der Welt – Claudia Schiffer 1995 Around Claudia Schiffer 1996 Catwalk (/wiki/Catwalk_(film)) 1996 68th Annual Academy Awards (/wiki/68th_Academy_Awards) 1997 Happy Birthday Elizabeth: A Celebration of Life 1997 An Audience with Elton John 1997 1997 VH1 Fashion Awards (/wiki/VH1) 1998 Beautopia 2000 The Sound of Claudia Schiffer Television [ edit ] List of Claudi Schiffer television credits Year Title Role Notes 1992 Inferno Television film 1999 Futurama (/wiki/Futurama) Claudia Schiffer's Head Episode: " A Head in the Polls (/wiki/A_Head_in_the_Polls) " 2002 Dharma & Greg (/wiki/Dharma_%26_Greg) Gretchen 2 episodes Music video [ edit ] List of Claudia Schiffer music video credtis Year Title Performer Album Ref. 2000 " Say It Isn't So (/wiki/Say_It_Isn%27t_So_(Bon_Jovi_song)) " Bon Jovi (/wiki/Bon_Jovi) Crush (/wiki/Crush_(Bon_Jovi_album)) 2001 " Uptown Girl (/wiki/Uptown_Girl#Westlife_version) " Westlife (/wiki/Westlife) World of Our Own (/wiki/World_of_Our_Own) See also [ edit ] Fashion Cafe (/wiki/Fashion_Cafe) References [ edit ] ^ Jump up to: a b c "CLAUDIA SCHIFFER | Model Management" (https://www.model-management.de/models/248-claudia-schiffer/) . Model Management . Archived (https://web.archive.org/web/20230927191948/https://www.model-management.de/models/248-claudia-schiffer/) from the original on 27 September 2023 . Retrieved 17 October 2023 . ^ (#cite_ref-FMD_2-0) Claudia Schiffer (https://www.fashionmodeldirectory.com/models/claudia_schiffer/) at Fashion Model Directory (/wiki/Fashion_Model_Directory) ^ Jump up to: a b "Interview: Claudia Schiffer" (https://web.archive.org/web/20130511003824/http://www.stylist.co.uk/people/interviews-and-profiles/interview-claudia-schiffer#image-rotator-1) . Stylist.co.uk . Archived from the original (http://www.stylist.co.uk/people/interviews-and-profiles/interview-claudia-schiffer#image-rotator-1) on 11 May 2013 . Retrieved 13 May 2021 . ^ (#cite_ref-4) "Beauty; Tropical Tresses" (https://www.nytimes.com/1992/01/05/magazine/beauty-tropical-tresses.html) . The New York Times Magazine (/wiki/The_New_York_Times_Magazine) . 5 January 1992. Archived (https://web.archive.org/web/20230928164304/https://www.nytimes.com/1992/01/05/magazine/beauty-tropical-tresses.html) from the original on 28 September 2023 . Retrieved 18 September 2013 . ^ (#cite_ref-5) "10 Minutes with Claudia Schiffer" (https://web.archive.org/web/20160415164552/http://www.glamourmagazine.co.uk/news/beauty/2015/01/15/10-minutes-with-claudia-schiffer) . Glamour (/wiki/Glamour_(magazine)) . 15 January 2015. Archived from the original (https://www.glamourmagazine.co.uk/news/beauty/2015/01/15/10-minutes-with-claudia-schiffer) on 15 April 2016 . Retrieved 4 April 2016 . ^ (#cite_ref-6) "Profit Models – Forbes" (https://www.forbes.com/forbes/2000/0320/6507218a.html) . Forbes (/wiki/Forbes) . 20 March 2000. Archived (https://web.archive.org/web/20170211120906/http://www.forbes.com/forbes/2000/0320/6507218a.html) from the original on 11 February 2017 . Retrieved 4 April 2016 . ^ (#cite_ref-7) Archived at Ghostarchive (https://ghostarchive.org/varchive/youtube/20211211/l8No_L5HhAY) and the Wayback Machine (https://web.archive.org/web/20091114144330/http://www.youtube.com/watch?v=l8No_L5HhAY) : "Claudia Schiffer – Guinness record" (https://www.youtube.com/watch?v=l8No_L5HhAY) . YouTube (/wiki/YouTube) . 18 March 2007 . Retrieved 4 April 2016 . ^ (#cite_ref-8) "Claudia Schiffer Net Worth" (https://wealthygorilla.com/claudia-schiffer-net-worth/) . 10 April 2023. ^ Jump up to: a b c d e Sauer, Jennifer (14 September 2021). "Claudia Schiffer Captivates with Curatorial Debut of '90s Fashion Photography - Supermodel" (https://www.lofficielusa.com/fashion/claudia-schiffer-90s-supermodel-photography-captivate-exhibition) . L'Officiel USA . Archived (https://web.archive.org/web/20211022002515/https://www.lofficielusa.com/fashion/claudia-schiffer-90s-supermodel-photography-captivate-exhibition) from the original on 22 October 2021 . Retrieved 21 October 2021 . ^ Jump up to: a b " Biography (http://uk.askmen.com/women/models/6c_claudia_schiffer.html) Archived (https://web.archive.org/web/20071001003546/http://uk.askmen.com/women/models/6c_claudia_schiffer.html) 1 October 2007 at the Wayback Machine (/wiki/Wayback_Machine) ". Ask Men . Retrieved 19 June 2007. ^ Jump up to: a b Tod beim Golfspielen – Claudia Schiffer weint um ihren Vater Archived (https://web.archive.org/web/20200806015405/https://www.abendblatt.de/vermischtes/article107311113/Tod-beim-Golfspielen-Claudia-Schiffer-weint-um-ihren-Vater.html) 6 August 2020 at the Wayback Machine (/wiki/Wayback_Machine) , Hamburger Abendblatt, 26 July 2007 ^ (#cite_ref-12) "5 Things You Didn't Know About Claudia Schiffer" (https://www.harpersbazaar.com.sg/gallery/5-things-didnt-know-claudia-schiffer) . Harpers Bazaar. 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"To This Day, Claudia Schiffer Still Follows Karl Lagerfeld's Advice" (https://www.wmagazine.com/fashion/claudia-schiffer-book-exhibition-interview) . W Magazine . Archived (https://web.archive.org/web/20211022004847/https://www.wmagazine.com/fashion/claudia-schiffer-book-exhibition-interview) from the original on 22 October 2021 . Retrieved 22 October 2021 . ^ (#cite_ref-16) "Michel Levaton" (http://www.ajpn.org/personne-Michel-Levaton-13072.html) . Anonymes, Justes et Persécutés durant la période nazie (in French). Archived (https://web.archive.org/web/20230603144124/http://www.ajpn.org/personne-Michel-Levaton-13072.html) from the original on 3 June 2023 . Retrieved 2 July 2023 . Michel Levaton, le fondateur de l'agence de mannequin Metropolitan models est décédé le 9 juin 2019 ^ (#cite_ref-17) "Société METROPOLITAN MODELS" (https://annuaire-entreprises.data.gouv.fr/entreprise/337929277) . annuaire-entreprises.data.gouv.fr (in French). 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Archived from the original on 15 January 2013 . Retrieved 20 May 2009 . It was our work schedules that ended the relationship. {{ cite web (/wiki/Template:Cite_web) }} : CS1 maint: unfit URL ( link (/wiki/Category:CS1_maint:_unfit_URL) ) ^ (#cite_ref-46) "Fairytale romance that began with a cunning illusion" (https://www.independent.co.uk/news/fairytale-romance-that-began-with-a-cunning-illusion-1249983.html) . The Independent . London. 11 July 1997. Archived (https://web.archive.org/web/20120724215012/http://www.independent.co.uk/news/fairytale-romance-that-began-with-a-cunning-illusion-1249983.html) from the original on 24 July 2012 . Retrieved 8 June 2009 . The French magazine Paris Match claims that the meeting was a carefully calculated stunt, to boost Ms Schiffer's profile in the US and Copperfield's career in Europe. 'It was just a plot to dupe their loyal fans, and we've got the contracts to prove it,' said the magazine. ^ (#cite_ref-47) Luscombe, Belinda (4 August 1997). "Copperfield v. Paris Match" (https://web.archive.org/web/20081222172429/http://www.time.com/time/magazine/article/0,9171,986797,00.html) . Time (/wiki/Time_(magazine)) . Archived from the original (http://www.time.com/time/magazine/article/0,9171,986797,00.html) on 22 December 2008 . Retrieved 8 June 2009 . The suit states that Paris Match added that the supermodel now gets paid for pretending to be Copperfield's fiancée and doesn't even like him. ^ (#cite_ref-48) "Shedding Light: Copperfield talks candidly about his profession" (http://www.reviewjournal.com/lvrj_home/1998/Jun-26-Fri-1998/weekly/7724852.html) . Las Vegas Review Journal . Archived (https://web.archive.org/web/20110604140230/http://www.reviewjournal.com/lvrj_home/1998/Jun-26-Fri-1998/weekly/7724852.html) from the original on 4 June 2011 . Retrieved 8 June 2009 . Last year Copperfield slapped a $30 million lawsuit on Paris-Match magazine that alleged in a story that the Copperfield-Schiffer relationship was mere illusion; little more than a business deal to enhance both their careers. ^ (#cite_ref-49) Schiffer Boots British Fiance (https://abcnews.go.com/Entertainment/story?id=113588&page=1) Archived (https://web.archive.org/web/20210507111307/https://abcnews.go.com/Entertainment/story?id=113588&page=1) 7 May 2021 at the Wayback Machine (/wiki/Wayback_Machine) ABC News . 8 November 2000. Retrieved 9 April 2012. ^ (#cite_ref-50) Rush, George; Molloy, Joanna; Malkin, Marc S. (29 August 1999). "Copperfield's Claudia Clone" (https://web.archive.org/web/20120622033441/http://articles.nydailynews.com/1999-08-29/gossip/18117427_1_sotheby-recorder-claudia-schiffer) . Daily News . New York. Archived from the original (http://articles.nydailynews.com/1999-08-29/gossip/18117427_1_sotheby-recorder-claudia-schiffer) on 22 June 2012 . Retrieved 8 June 2009 . They won an undisclosed sum and a retraction from Paris Match in January when they sued the magazine for $30 million for claiming their relationship was a sham. ^ (#cite_ref-51) "A Lift Out of Life" (https://web.archive.org/web/20090602014715/http://www.people.com/people/archive/article/0,,20134087,00.html) . People . 9 April 1999. Archived from the original (http://www.people.com/people/archive/article/0,,20134087,00.html) on 2 June 2009 . Retrieved 9 April 2012 . Schiffer responded by filing a $30 million lawsuit in France. In 1999 a French court declared the story false and defamatory and ordered Paris Match to pay undisclosed damages. ^ (#cite_ref-consort_52-0) "Love, Honor and Portray" (https://news.google.com/newspapers?id=-OkNAAAAIBAJ&pg=6672,142344&dq=consort) . Pittsburgh Post-Gazette . 16 July 1997 . Retrieved 12 June 2009 . Copperfield's publicist said he and Schiffer had contracts to do the 1993 show, but "there is no contract that states Claudia is there as some sort of consort". [ permanent dead link ] ^ (#cite_ref-53) Claudia Schiffer (http://www.hellomagazine.com/profiles/claudia-schiffer/) Archived (https://web.archive.org/web/20120521162825/http://www.hellomagazine.com/profiles/claudia-schiffer/) 21 May 2012 at the Wayback Machine (/wiki/Wayback_Machine) Hello . Retrieved 31 March 2012. ^ (#cite_ref-54) Serial celebrity model-daters: Tim Jefferies (http://fashion.telegraph.co.uk/galleries/TMG8877722/4/Serial-celebrity-model-daters.html) Archived (https://web.archive.org/web/20130531040422/http://fashion.telegraph.co.uk/galleries/TMG8877722/4/Serial-celebrity-model-daters.html) 31 May 2013 at the Wayback Machine (/wiki/Wayback_Machine) Telegraph . Retrieved 31 March 2012. ^ (#cite_ref-55) "Baby on Board" (http://articles.chicagotribune.com/2004-11-12/news/0411130063_1_jacko-fans-michael-jackson-fan-club-baby-talk) . Chicago Tribune . 12 November 2004. Archived (https://web.archive.org/web/20160813063148/http://articles.chicagotribune.com/2004-11-12/news/0411130063_1_jacko-fans-michael-jackson-fan-club-baby-talk) from the original on 13 August 2016 . Retrieved 28 June 2016 . ^ (#cite_ref-Hello_56-0) hellomagazine.com. "Claudia Schiffer names new baby daughter – Latest celebrity news hellomagazine.com" (https://web.archive.org/web/20110606121639/http://www.hellomagazine.com/celebrities-news-in-pics/25-05-2010/54015/general/) . Archived from the original (http://www.hellomagazine.com/celebrities-news-in-pics/25-05-2010/54015/general/) on 6 June 2011 . Retrieved 25 May 2010 . ^ (#cite_ref-AD17_57-0) Jane Keltner de Valle (1 August 2017). "We Go Inside Claudia Schiffer's Tudor Mansion" (https://web.archive.org/web/20210117134106/https://www.architecturaldigest.com/story/we-go-inside-claudia-schiffers-tudor-mansion) . Architectural Digest (/wiki/Architectural_Digest) . Archived from the original (https://www.architecturaldigest.com/story/we-go-inside-claudia-schiffers-tudor-mansion) on 17 January 2021 . Retrieved 14 September 2021 . ^ Jump up to: a b "Celebrity couple's love for Suffolk" (http://www.eadt.co.uk/news/celebrity_couple_s_love_for_suffolk_1_66141?action=logout) . East Anglian Daily Times . October 2004. Archived (https://web.archive.org/web/20121115182701/http://www.eadt.co.uk/news/celebrity_couple_s_love_for_suffolk_1_66141?action=logout) from the original on 15 November 2012 . Retrieved 17 March 2011 . ^ (#cite_ref-stalker_59-0) " Supermodel stalker to be deported (http://news.bbc.co.uk/1/hi/england/suffolk/3519504.stm) Archived (https://web.archive.org/web/20040621162904/http://news.bbc.co.uk/1/hi/england/suffolk/3519504.stm) 21 June 2004 at the Wayback Machine (/wiki/Wayback_Machine) ". BBC News . Retrieved 13 June 2007. ^ (#cite_ref-60) " Claudia Schiffer is plagued by second stalker (https://web.archive.org/web/20071011223453/http://www.telegraph.co.uk/news/main.jhtml?xml=%2Fnews%2F2004%2F03%2F18%2Fnschiff18.xml) ". The Daily Telegraph . Retrieved 14 June 2007. ^ (#cite_ref-61) "Neues Steueroasen-Leak belastet Hunderte Politiker" (https://projekte.sueddeutsche.de/artikel/politik/pandora-papers-geheimgeschaefte-von-politikern-enttarnt-e500259/) . 3 October 2021. Archived (https://web.archive.org/web/20211003192826/https://projekte.sueddeutsche.de/artikel/politik/pandora-papers-geheimgeschaefte-von-politikern-enttarnt-e500259/) from the original on 3 October 2021 . Retrieved 3 October 2021 . External links [ edit ] Wikimedia Commons has media related to Claudia Schiffer . Wikiquote has quotations related to Claudia Schiffer (https://en.wikiquote.org/wiki/Special:Search/Claudia_Schiffer) . Official website (http://www.claudiaschiffer.com/) Claudia Schiffer (https://www.fashionmodeldirectory.com/models/claudia_schiffer/) at Fashion Model Directory (/wiki/Fashion_Model_Directory) Claudia Schiffer (https://www.imdb.com/name/nm0000629/) at IMDb (/wiki/IMDb_(identifier)) v t e Pandora Papers (/wiki/Pandora_Papers) Main topics People (/wiki/List_of_people_named_in_the_Pandora_Papers) Heads of state or government mentioned Abdullah II (/wiki/King_Abdullah_II_of_Jordan) Luis Abinader (/wiki/Luis_Abinader) Ilham Aliyev (/wiki/Ilham_Aliyev) Andrej Babiš (/wiki/Andrej_Babi%C5%A1) Milo Đukanović (/wiki/Milo_%C4%90ukanovi%C4%87) Uhuru Kenyatta (/wiki/Uhuru_Kenyatta) Guillermo Lasso (/wiki/Guillermo_Lasso) Najib Mikati (/wiki/Najib_Mikati) Ali Bongo Ondimba (/wiki/Ali_Bongo_Ondimba) Sebastián Piñera (/wiki/Sebasti%C3%A1n_Pi%C3%B1era) Denis Sassou Nguesso (/wiki/Denis_Sassou_Nguesso) Tamim bin Hamad Al Thani (/wiki/Tamim_bin_Hamad_Al_Thani) Volodymyr Zelensky (/wiki/Volodymyr_Zelensky) Former heads of state or government mentioned Horacio Cartes (/wiki/Horacio_Cartes) César Gaviria (/wiki/C%C3%A9sar_Gaviria) Pedro Pablo Kuczynski (/wiki/Pedro_Pablo_Kuczynski) Porfirio Lobo Sosa (/wiki/Porfirio_Lobo_Sosa) Ricardo Martinelli (/wiki/Ricardo_Martinelli) Andrés Pastrana (/wiki/Andr%C3%A9s_Pastrana_Arango) Ernesto Pérez Balladares (/wiki/Ernesto_P%C3%A9rez_Balladares) Juan Carlos Varela (/wiki/Juan_Carlos_Varela) Entertainers Claudia Schiffer Monica Bellucci (/wiki/Monica_Bellucci) Shakira (/wiki/Shakira) Pro athletes (/wiki/Professional_sports) Elvis Stojko (/wiki/Elvis_Stojko) Category (/wiki/Category:Pandora_Papers) Multimedia (https://commons.wikimedia.org/wiki/Category:Pandora_Papers) Quotes (https://en.wikiquote.org/wiki/Pandora_Papers) Portals (/wiki/Wikipedia:Contents/Portals) : Germany (/wiki/Portal:Germany) Biography (/wiki/Portal:Biography) Fashion (/wiki/Portal:Fashion) Authority control databases (/wiki/Help:Authority_control) International FAST (http://id.worldcat.org/fast/365321/) ISNI (https://isni.org/isni/0000000078340495) VIAF (https://viaf.org/viaf/45106955) WorldCat (https://id.oclc.org/worldcat/entity/E39PBJt8dp7DDbYfYp6cGB3PcP) National France (https://catalogue.bnf.fr/ark:/12148/cb12530727w) BnF data (https://data.bnf.fr/ark:/12148/cb12530727w) Germany (https://d-nb.info/gnd/119234904) United States (https://id.loc.gov/authorities/no95054137) Latvia (https://kopkatalogs.lv/F?func=direct&local_base=lnc10&doc_number=000281448&P_CON_LNG=ENG) Japan (https://id.ndl.go.jp/auth/ndlna/00649119) Korea (https://lod.nl.go.kr/resource/KAC2020R7397) Netherlands (http://data.bibliotheken.nl/id/thes/p134799712) Poland (https://dbn.bn.org.pl/descriptor-details/9810586639705606) Artists MusicBrainz (https://musicbrainz.org/artist/a65abcec-2fdc-4651-9bce-5a598d3a2d55) People Deutsche Synchronkartei (https://www.synchronkartei.de/person/2H-KyFuBZ) Deutsche Biographie (https://www.deutsche-biographie.de/pnd119234904.html?language=en) Other SNAC (https://snaccooperative.org/ark:/99166/w6bw65kv) IdRef (https://www.idref.fr/183066782) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐lnlrm Cached time: 20240720162921 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 1.307 seconds Real time usage: 1.570 seconds Preprocessor visited node count: 7279/1000000 Post‐expand include size: 147763/2097152 bytes Template argument size: 8384/2097152 bytes Highest expansion depth: 18/100 Expensive parser function count: 28/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 210773/5000000 bytes Lua time usage: 0.833/10.000 seconds Lua memory usage: 28140451/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 1438.072 1 -total 31.55% 453.765 1 Template:Reflist 27.98% 402.349 1 Template:Infobox_model 11.93% 171.622 28 Template:Cite_news 10.47% 150.626 1 Template:IPA-de 10.34% 148.718 1 Template:IPA 9.52% 136.953 11 Template:Cite_web 7.12% 102.366 1 Template:Short_description 5.19% 74.702 1 Template:Marriage 4.99% 71.800 1 Template:Infobox_person Saved in parser cache with key enwiki:pcache:idhash:88048-0!canonical and timestamp 20240720162921 and revision id 1230136776. 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Openwork fabric, patterned with open holes in the work, made by machine or by hand For other uses, see Lace (disambiguation) (/wiki/Lace_(disambiguation)) . Valuable old lace, cut and framed for sale in Bruges (/wiki/Bruges) , Belgium (/wiki/Belgium) Lace is a delicate fabric (/wiki/Fabric) made of yarn (/wiki/Yarn) or thread (/wiki/Thread_(yarn)) in an open weblike pattern, [1] (#cite_note-thefreedictionary1-1) made by machine or by hand. Generally, lace is split into two main categories, needlelace (/wiki/Needle_lace) and bobbin lace (/wiki/Bobbin_lace) , [2] (#cite_note-:12-2) : 122 although there are other types of lace, such as knitted or crocheted lace. Other laces such as these are considered as a category of their specific craft. Knitted lace, therefore, is an example of knitting. This article considers both needle lace and bobbin lace. While some experts say both needle lace and bobbin lace began in Italy in the late 1500s, [2] (#cite_note-:12-2) : 122 [3] (#cite_note-:2-3) : 12 there are some questions regarding its origins. Originally linen (/wiki/Linen) , silk (/wiki/Silk) , gold (/wiki/Gold) , or silver threads were used. Now lace is often made with cotton (/wiki/Cotton) thread, although linen and silk threads are still available. Manufactured lace may be made of synthetic fiber (/wiki/Synthetic_fiber) . A few modern artists make lace with a fine copper or silver wire instead of thread. Etymology [ edit ] The word lace is from Middle English (/wiki/Middle_English) , from Old French (/wiki/Old_French) las , noose, string, from Vulgar Latin (/wiki/Latin) * laceum , from Latin laqueus , noose; probably akin to lacere , to entice or ensnare. [1] (#cite_note-thefreedictionary1-1) Description [ edit ] The Latin word from which lace is derived means "noose," and a noose describes an open space outlined with rope or thread. This description applies to many types of open fabric resulting from "looping, plaiting, twisting, or knotting...threads...by hand or machine." [2] (#cite_note-:12-2) : 122 Square Lace "Sampler," 1800-1825, Brooklyn Museum (/wiki/Brooklyn_Museum) Types [ edit ] Unknown Holland painter, Portrait of woman, 17th century, National Gallery of Armenia (/wiki/National_Gallery_of_Armenia) There are many types of lace, classified by how they are made. These include: Bobbin lace (/wiki/Bobbin_lace) , as the name suggests, is made with bobbins and a pillow (/wiki/Lace_pillow) . The bobbins, turned from wood, bone, or plastic, hold threads which are woven together and held in place with pins stuck in the pattern on the pillow. The pillow contains straw, preferably oat (/wiki/Oat) straw (/wiki/Straw) or other materials such as sawdust, insulation styrofoam, or ethafoam. Also known as bone-lace. Chantilly lace (/wiki/Chantilly_lace) is a type of bobbin lace. Chemical lace (/wiki/Chemical_lace) : the stitching area is stitched with embroidery threads that form a continuous motif. Afterwards, the stitching areas are removed and only the embroidery remains. The stitching ground is made of a water-soluble or non-heat-resistant material. Crocheted lace (/wiki/Crocheted_lace) includes Irish crochet (/wiki/Irish_crochet) , pineapple crochet, and filet crochet (/wiki/Filet_crochet) . Cutwork (/wiki/Cutwork) , or whitework (/wiki/Whitework) , is lace constructed by removing threads from a woven background, and the remaining threads wrapped or filled with embroidery (/wiki/Embroidery) . Knitted lace (/wiki/Lace_knitting) includes Shetland lace (/w/index.php?title=Shetland_knitted_lace&action=edit&redlink=1) , such as the "wedding ring shawl", a lace shawl so fine that it can be pulled through a wedding ring. [4] (#cite_note-4) Knotted lace includes macramé (/wiki/Macram%C3%A9) and tatting (/wiki/Tatting) . Machine-made (/wiki/Lace_machine) lace is any style of lace created or replicated using mechanical means. Needle lace (/wiki/Needle_lace) , such as Venetian Gros Point (/wiki/Gros_point_de_venise) , is made using a needle and thread (/wiki/Yarn) . This is the most flexible of the lace-making arts. While some types can be made more quickly than the finest of bobbin laces, others are very time-consuming. Some purists regard needle lace as the height of lace-making. [ citation needed ] The finest antique needle laces were made from a very fine thread that is not manufactured today. Tape lace (/wiki/Tape_lace) makes the tape in the lace as it is worked (/wiki/Bobbin_tape_lace) , or uses a machine- or hand-made textile strip formed into a design, then joined (/wiki/Tape_lace) and embellished with needle or bobbin lace. Tatting (/wiki/Tatting) is a textile craft consisting of a series of knots and loops arranged with a shuttle or needle based process. Needle lace (/wiki/Needle_lace) , showing button hole stitch Bobbin lace (/wiki/Bobbin_lace) made on a pillow with bobbins and pins Broderie anglaise (/wiki/Broderie_anglaise) , a type of cutwork Filet lace (/wiki/Filet_lace) , embroidered on an existing net Lace knitting (/wiki/Lace_knitting) Tatting (/wiki/Tatting) , with shuttle History: Bobbin and needle lace [ edit ] For the industrial revolution, see Lace machine (/wiki/Lace_machine) . Early lace on a fragment of The Virgin and Child by Hans Memling (/wiki/Hans_Memling) . [5] (#cite_note-5) Origins [ edit ] The origin of lace is disputed by historians. An Italian claim is a will of 1493 by the Milanese Sforza (/wiki/House_of_Sforza) family. [6] (#cite_note-6) A Flemish claim is lace on the alb of a worshiping priest in a painting about 1485 by Hans Memling (/wiki/Hans_Memling) . [7] (#cite_note-7) But since lace evolved from other techniques, it is impossible to say that it originated in any one place. [8] (#cite_note-guild-8) The fragility of lace also means that few exceedingly old specimens are extant. [9] (#cite_note-:3-9) : 3 Early history [ edit ] Lace was used by clergy of the Catholic Church as part of vestments in religious ceremonies. When they first started to use lace and through the 16th century, they primarily used cutwork. Much of their lace was made of gold, silver, and silk. Wealthy people began to use such expensive lace in clothing trimmings and furnishings, such as cushion covers. In the 1300s and 1400s in the Italian states, heavy duties were imposed on lace, and strict sumptuary laws (/wiki/Sumptuary_law) were passed. [10] (#cite_note-:5-10) : 6–7 This led to less demand for lace. In the mid-1400s some lacemakers turned to using flax (/wiki/Flax) , which cost less, while others migrated, bringing the industry to other countries. However, lace did not come into widespread use until the 16th century in the northwestern part of the European continent. [11] (#cite_note-11) The popularity of lace increased rapidly and the cottage industry of lace making spread throughout Europe.The late 16th century marked the rapid development of lace, both needle lace and bobbin lace became dominant in both fashion as well as home décor. For enhancing the beauty of collars and cuffs, needle lace was embroidered with loops and picots. [12] (#cite_note-Decoratingwithlaceoutlet.com-12) Sumptuary laws in many countries had a major impact on lace wearing and production throughout its early history, though in some countries they were often ignored or worked around. [10] (#cite_note-:5-10) : 9–10 Italy [ edit ] Bobbin and needle lace were both being made in Italy early in the 1400s. [13] (#cite_note-:6-13) : 19 Documenting lace in Italy in the 15th century is a list of fine laces from the inventory of Beatrice d'Este, Duchess of Milan (/wiki/Beatrice_d%27Este) , from 1493. [14] (#cite_note-14) Venice [ edit ] In Venice, lace making was originally the province of leisured noblewomen, using it as a pastime. Some of the wives of doges (/wiki/Doge_of_Venice) also supported lacemaking in the Republic (/wiki/Republic_of_Venice) . One, Giovanna Malipiero Dandolo (/wiki/Giovanna_Malipiero_Dandolo) , showed support in 1457 for a law protecting lacemakers. In 1476, the lace trade was seriously affected by a law which disallowed "silver and embroidery on any fabric and the Punto in Aria (/wiki/Punto_in_Aria) of linen threads made with a needle, or gold and silver threads." [10] (#cite_note-:5-10) : 10 In 1595, Morosina Morosini (/wiki/Morosina_Morosini) , another doge's wife, founded a lace workshop for 130 women. [15] (#cite_note-:0-15) : 403 In the early 1500s, the production of lace became a paid activity, accomplished by young girls working in the houses of noblewomen, creating lace for household use, and in convents. Lace was a popular Venetian export in the 1500s and 1600s, and the demand remained strong in Europe, even when the export of other items exported by Venice during this period slumped. [15] (#cite_note-:0-15) : 406 The largest and most intricate pieces of Venetian lace became ruffs and collars for members of the nobility and for aristocrats. [15] (#cite_note-:0-15) : 412 Belgium [ edit ] Lace was being made in Brussels in the 1400s, and samples of such lace survive. [13] (#cite_note-:6-13) : 27 Belgium and Flanders became a major center for the creation of primarily bobbin lace starting in the 1500s, and some handmade lace is still being produced there today. [3] (#cite_note-:2-3) : 19, 31 Belgian-grown flax contributed to the lace industry in the country. It produced extremely fine linen threads that were a critical factor in the superior texture and quality of Belgian lace. [16] (#cite_note-16) : 34 Schools were founded to teach lacemaking to the young. [3] (#cite_note-:2-3) : 31 The height of the production of lace there was in the 1700s. Brussels (/wiki/Brussels) was known for Point d'Angleterre (/wiki/Brussels_lace) , Lierre (/wiki/Lier,_Belgium) and Bruges (/wiki/Bruges) also were known for their own styles of lace. Belgian lacemakers either originated or developed laces such as Brussels or Brabant Lace, Lace of Flanders, Mechlin (/wiki/Mechlin_lace) , Valenciennes (/wiki/Valenciennes_lace) and Binche (/wiki/Binche_lace) . [3] (#cite_note-:2-3) : 19 France [ edit ] Lace arrived in France when Catherine de Medici (/wiki/Catherine_de%27_Medici) , newly married to King Henry II (/wiki/Henry_II_of_France) in 1533, brought Venetian lace-makers to her new homeland. The French royal court and the fashions popular there, influenced the lace that started to be made in France. It was delicate and graceful, compared to the heavier needle or point-laces of Venice. Examples of French lace are Alençon (/wiki/Alen%C3%A7on_lace) , Argentan (/wiki/Argentan_lace) , and Chantilly (/wiki/Chantilly_lace) . [3] (#cite_note-:2-3) : 17 The 17th century court of King Louis the XIV of France was known for its extravagance, and during his reign lace, particularly the delicate Alençon (/wiki/Alen%C3%A7on_lace) and Argentan (/wiki/Argentan_lace) varieties, was extremely popular as court dress. The frontange (/wiki/Fontange) , a tall lace headdress, became fashionable in France at this time. Louis XIV's finance minister, Jean Baptiste Colbert (/wiki/Jean-Baptiste_Colbert) , strengthened the lace industry by establishing lace schools and workshops in the country. Spain [ edit ] Lacemaking in Spain was established early, as by the 1600s its Point d'Espagne lace (/w/index.php?title=Point_d%27Espagne_lace&action=edit&redlink=1) , made of gold and silver thread, was very popular. Lace was made for use in churches and for the mantilla (/wiki/Mantilla) . Lacemaking may have come to Spain from Italy in the 1500s, or from Flanders, its province at the time. [13] (#cite_note-:6-13) : 33–35 This lace was much admired, and was made throughout the country. [17] (#cite_note-17) : 117 Germany [ edit ] Barbara Uttmann (/wiki/Barbara_Uthmann) learned how to make bobbin lace as a girl from a Protestant refugee. In 1561 she started a lace-making workshop in Annaberg (/wiki/Annaberg-Buchholz) . By the time of her death in 1575, there were over 30,000 lacemakers in that area of Germany. Following the revocation of the Edict of Nantes (/wiki/Edict_of_Nantes) in France in 1685, many Huguenot (/wiki/Huguenots) lacemakers moved to Hamburg and Berlin. The earliest known lace pattern book was printed in Cologne in 1527. [13] (#cite_note-:6-13) : 30–31 England [ edit ] The lace that was made in England prior to the introduction of bobbin lace in the mid 1500s was primarily cutwork or drawn thread work (/wiki/Drawn_thread_work) . There is a 1554 mention of Sir Thomas Wyatt wearing a ruff trimmed with bone lace (/wiki/Bobbin_lace) (some bobbins at the time were made of bone). [18] (#cite_note-:7-18) : 49 The court of Queen Elizabeth (/wiki/Elizabeth_I) of England maintained close ties with the French court, and so French lace began to be seen and appreciated in England. Lace was used on her court gowns, and became fashionable. There are two distinct areas of England where lacemaking was a significant industry: Devon (/wiki/Devon) and part of the South Midlands (/wiki/South_Midlands) . [18] (#cite_note-:7-18) : 48 Belgian lacemakers were encouraged to settle in Honiton in Devon at the end of the 16th century. They continued to make pillow and other lace, as they had in their homeland, but Honiton lace (/wiki/Honiton_lace) never got the acclaim that lace from France, Italy, and Belgium did. [3] (#cite_note-:2-3) : 19–21 While the lace in Devon stayed stable, in the lace-making areas of the South Midlands there were changes brought by different groups of émigrés (/wiki/%C3%89migr%C3%A9) : Flemings, French Huguenots, and later, French escaping the Revolution (/wiki/French_Revolution) . [18] (#cite_note-:7-18) : 48–49 Catherine of Aragon (/wiki/Catherine_of_Aragon) , while exiled in Ampthill, England, was said to have supported the lace makers there by burning all her lace, and commissioning new pieces. [19] (#cite_note-19) This may be the origin of the lacemaker's holiday, Cattern's Day. On this day (25 or 26 November) lacemakers were given a day off from work, and Cattern cakes - small dough cakes made with caraway seeds (/wiki/Caraway) , were used to celebrate. [20] (#cite_note-20) The English diarist Samuel Pepys (/wiki/Samuel_Pepys) often wrote about the lace used for his, his wife's, and his acquaintances' clothing, and on 10 May 1669, noted that he intended to remove the gold lace from the sleeves of his coat "as it is fit [he] should", possibly in order to avoid charges of ostentatious living. [21] (#cite_note-Pepys-21) In 1840, Britain's Queen Victoria was married in lace, influencing the wedding dress style until now. [22] (#cite_note-22) The decline of the lace industry in England began about 1780, as was happening elsewhere. Some of the reasons include the increased popularity of clothing in the Classical style, the economic issues connected to war, and the increased production and use of machine-made laces. [18] (#cite_note-:7-18) : 51–52 America [ edit ] American colonists of both British and Dutch origins strove to acquire lace accessories such as caps, ruffs, and other neckwear, and handkerchiefs. American women who afford lace textiles were also able to afford aprons and dresses trimmed with the technique or made only from lace. Because of sumptuary laws, such as one in Massachusetts in 1634, American citizens were not allowed to own or make their lace textiles. Sumptuary laws prevented spending on extravagance and luxury and classified who could own or make lace. This indicates that lace was being made in that colony at the time. [23] (#cite_note-:4-23) : 187–189 Lacemaking was being taught in boarding schools by the mid 1700s, and newspaper advertisements starting in the early 1700s offered to teach the technique. : 192 [23] (#cite_note-:4-23) Also in the 18th century, Ipswich (/wiki/Ipswich,_Massachusetts) , Massachusetts had become the only place in America known for producing handmade lace. By 1790, women in Ipswich, who were primarily from the British Midlands (/wiki/Midlands) , were making 42,000 yards of silk bobbin lace intended for trimmings. [23] (#cite_note-:4-23) : 189–190 George Washington (/wiki/George_Washington) reportedly purchased Ipswich Lace (/wiki/Ipswich_lace) on a trip to the region in 1789. [24] (#cite_note-24) Machines to make lace began to be smuggled into the country in the early 1800s, as England did not permit these machines to be exported. The first lacemaking factory opened in Medway, Massachusetts (/wiki/Medway,_Massachusetts) in 1818. Ipswich had its own in 1824. The women there moved from making bobbin lace to decorating the machine-made net lace with darning and tambour stitches, creating what is known as Limerick lace (/wiki/Limerick_lace) . [23] (#cite_note-:4-23) : 190 Lace was still much in demand in the 19th century. Lace trimmings on dresses, at seams, pockets, and collars were very popular. The lace being made in the United States was based on European patterns. By the turn of the 20th century, needlework and other magazines included lace patterns of a range of types. [23] (#cite_note-:4-23) : 195 In North America in the 19th century, missionaries (/wiki/Missionaries) spread the knowledge of lace making to the Native American (/wiki/Indigenous_peoples_of_the_Americas) tribes. [25] (#cite_note-25) Sibyl Carter (/w/index.php?title=Sibyl_Carter&action=edit&redlink=1) , an Episcopalian missionary, began to teach lacemaking to Ojibwa (/wiki/Ojibwe) women in Minnesota in 1890. Classes were being held for members of many tribes throughout the US by the first decade of the 1900s [23] (#cite_note-:4-23) St. John Francis Regis (/wiki/John_Francis_Regis) guided many women out of prostitution by establishing them in the lace making and embroidery (/wiki/Embroidery) trade, which is why he became the Patron Saint (/wiki/Patron_Saint) of lace making. [26] (#cite_note-26) Ireland [ edit ] Main article: Irish lace (/wiki/Irish_lace) Carrickmacross Lace 'Illusion' dress by Irish fashion designer Sybil Connolly (/wiki/Sybil_Connolly) Lace was made in Ireland from the 1730s onwards with several different lace-making schools founded across the country. Many regions acquired a name for high-quality work and others developed a distinctive style. Lace proved to be an important means of income for many poorer women. [27] (#cite_note-27) Several important schools of lace included: Carrickmacross (/wiki/Carrickmacross_lace) lace, Kenmare (/wiki/Kenmare_lace) lace, Limerick (/wiki/Limerick_lace) lace and Youghal (/wiki/Youghal_lace) lace. [28] (#cite_note-28) Portrait of an Unknown Lady. Florentine School, 1571. National Trust. Portrait of an Unknown Gentleman in Brown with a Lace Collar by Godfrey Kneller (/wiki/Godfrey_Kneller) (1646-1723) Patrons, designers, and lace makers [ edit ] Patron saints [ edit ] Some patron saints of lace include: [29] (#cite_note-Refresh_2015_y938-29) St Anne (/wiki/Saint_Anne) St Catherine of Alexandria (/wiki/Catherine_of_Alexandria) St Crispin (/wiki/Crispin_and_Crispinian) St Elizabeth of Hungary (/wiki/Elizabeth_of_Hungary) St Helena of Constantine (/wiki/Helena,_mother_of_Constantine_I) St John Regis (/wiki/John_Francis_Regis) St Paraskeva of the Balkans (/wiki/Paraskeva_of_the_Balkans) St Rose of Lima (/wiki/Rose_of_Lima) Historic [ edit ] Giovanna Dandolo (/wiki/Giovanna_Dandolo) (1457–1462) Barbara Uthmann (/wiki/Barbara_Uthmann) (1514–1575) Morosina Morosini (/wiki/Morosina_Morosini) (1545–1614) Federico de Vinciolo (/wiki/Federico_de_Vinciolo) (16th century) Caterina Angiola Pieroncini (/wiki/Caterina_Angiola_Pieroncini) (18th century) Contemporary [ edit ] Rosa Elena Egipciaco (/wiki/Rosa_Elena_Egipciaco) Lace in art [ edit ] Portrait of Nicolaes Hasselaer by Frans Hals, c. 1627. Rijksmuseum. The earliest portraits showing lace are those of the early Florentine School (/wiki/Florentine_painting) . [9] (#cite_note-:3-9) : 13 Later, in the 17th century, lace was very popular and painting styles were at the time realistic. This allows viewers to see the finery of lace. [30] (#cite_note-30) Painted portraits, primarily those of the wealthy or the nobility, depicted costly laces. This presented a challenge to the painters, who needed to represent not only their sitters accurately, but their intricate lace as well. [15] (#cite_note-:0-15) : 414 The portrait of Nicolaes Hasselaer seen here was painted by Frans Hals in about 1627. It depicts a man dressed in a black garment with a lace collar. The collar is detailed enough that those who are expert in lace identification can tell what pattern it is. Hals created the lace effect with dabs of grey and white, using black paint to indicate the spaces between the threads. [31] (#cite_note-31) An image of an anonymous female artisan appears in The Lacemaker (/wiki/The_Lacemaker_(Vermeer)) , a painting by the Dutch artist (/wiki/Dutch_Golden_Age_painting) Johannes Vermeer (/wiki/Johannes_Vermeer) (1632–1675), completed around 1669–1670. See also [ edit ] Anglo Scotian Mills (/wiki/Anglo_Scotian_Mills) Doily (/wiki/Doily) Fishnet (/wiki/Fishnet) Lagetta lagetto (/wiki/Lagetta_lagetto) (Lacebark) Lippitt Mill (/wiki/Lippitt_Mill) Pointelle (/wiki/Pointelle) , a similar type of fabric Ribbons (/wiki/Ribbons) Scranton Lace Company (/wiki/Scranton_Lace_Company) See-through clothing (/wiki/See-through_clothing) Fashion and Lace Museum (/wiki/Fashion_and_Lace_Museum) , Brussels, Belgium. Lace museums [ edit ] Fashion and Lace Museum (https://www.fashionandlacemuseum.brussels/en/) , Brussels, Belgium Kantcentrum (https://www.kantcentrum.eu/en/welcome) , Bruges, Belgium Kenmare Lace and Design Centre (https://kenmarelace.ie/kenmare-lace-design-centre/) , Kenmare, County Kerry, Ireland The Lace Guild Museum and Gallery (https://www.lacismuseum.org/) , Stourbridge, UK The Lace Museum (https://thelacemuseum.org/) , Sunnyvale, California, US Lacis Museum of Lace and Textiles (https://www.lacismuseum.org/) , Berkeley, California, US Lace Museum/Museo del Merletto (https://museomerletto.visitmuve.it/) , near Venice, Italy Marès Lace Museum/Museu Marès de la Punta (https://museu.arenysdemar.cat/es/pagina/museo-mar%C3%A8s-del-encaje) , Arenys de Mar, Spain Musée des Beaux-Arts et de la Dentelle (https://museedentelle.cu-alencon.fr/) Alençon, France Textilmuseum St. Gallen (/w/index.php?title=Textilmuseum_St._Gallen&action=edit&redlink=1) , St. Gallen, Switzerland (/wiki/St._Gallen) , and their exhibit traveled to Bard Graduate Center (https://www.bgc.bard.edu/) in 2022 for a major New York installation, Threads of Power (https://www.bgc.bard.edu/exhibitions/exhibitions/118/threads-of-power) . [32] (#cite_note-32) References [ edit ] ^ Jump up to: a b "Lace" (http://www.thefreedictionary.com/lace) . The Free Dictionary . Retrieved 23 May 2012 . ^ Jump up to: a b c Frost, Patricia (2000). Miller's collecting textiles . London: Miller's. ISBN (/wiki/ISBN_(identifier)) 1-84000-203-4 . OCLC (/wiki/OCLC_(identifier)) 48140446 (https://www.worldcat.org/oclc/48140446) . ^ Jump up to: a b c d e f Schwab, David E. (1957). The Story of Lace and Embroidery and Handkerchiefs . New York: Fairchild. ^ (#cite_ref-4) Lovick, Elizabeth (2013). The Magic of Shetland Lace Knitting . New York: St. Martin's Griffin. p. 10. ISBN (/wiki/ISBN_(identifier)) 978-1-250-03908-8 . ^ (#cite_ref-5) "Hans Memling | La Vierge et l'Enfant entre saint Jacques et saint Dominique" (http://cartelfr.louvre.fr/cartelfr/visite?srv=car_not_frame&idNotice=23998) . Site officiel du musée du Louvre (in French). 12 October 2023. ^ (#cite_ref-6) Verhaegen, Pierre (1912). La Dentelle Belge (in French). Brussel: L. Lebègue. p. 10. ^ (#cite_ref-7) van Steyvoort, Collette (1983). Inleiding to kantcreatie (Introduction to creating lace) (translation by Magda Grisar ed.). Paris: Dessain et Tolra. p. 11. ISBN (/wiki/ISBN_(identifier)) 224927665X . ^ (#cite_ref-guild_8-0) "The Craft of Lacemaking" (https://www.laceguild.org/a-brief-history-of-lace) . LaceGuild.org . Retrieved 26 July 2022 . ^ Jump up to: a b Jackson, Emily (1987). Old handmade lace : with a dictionary of lace . Emily Jackson. New York: Dover. ISBN (/wiki/ISBN_(identifier)) 0-486-25309-0 . OCLC (/wiki/OCLC_(identifier)) 14718956 (https://www.worldcat.org/oclc/14718956) . ^ Jump up to: a b c Jackson, Mrs. F. Nevill (1900). A History of Hand-Made Lace . London: L. Upcott Gill. ^ (#cite_ref-11) "History of Lace" (http://www.lacemakerslace.oddquine.co.uk/history.html) . www.lacemakerslace.oddquine.co.uk . ^ (#cite_ref-Decoratingwithlaceoutlet.com_12-0) "History of Lace | Lace Trends | Lace Spreads" (https://web.archive.org/web/20140308030649/http://decoratingwithlaceoutlet.com/page.asp?id=90) . Decoratingwithlaceoutlet.com. Archived from the original (http://decoratingwithlaceoutlet.com/page.asp?id=90) on 8 March 2014 . Retrieved 11 September 2012 . ^ Jump up to: a b c d Huetson, T. L. (1973). Lace and bobbins; a history and collector's guide ([1st American ed.] ed.). South Brunswick: A.S. Barnes. ISBN (/wiki/ISBN_(identifier)) 0-498-01398-7 . OCLC (/wiki/OCLC_(identifier)) 793392 (https://www.worldcat.org/oclc/793392) . ^ (#cite_ref-14) Singleton, Esther (1917). Lace and Lace Making . The Mentor. ^ Jump up to: a b c d Jones, Ann Rosalind (2014). "Labor and Lace: The Crafts of Giacomo Franco's Habiti delle donne venetiane" (https://www.jstor.org/stable/10.1086/678268) . I Tatti Studies in the Italian Renaissance . 17 (2): 399–425. doi (/wiki/Doi_(identifier)) : 10.1086/678268 (https://doi.org/10.1086%2F678268) . ISSN (/wiki/ISSN_(identifier)) 0393-5949 (https://www.worldcat.org/issn/0393-5949) . JSTOR (/wiki/JSTOR_(identifier)) 10.1086/678268 (https://www.jstor.org/stable/10.1086/678268) . S2CID (/wiki/S2CID_(identifier)) 192036554 (https://api.semanticscholar.org/CorpusID:192036554) . ^ (#cite_ref-16) Blum, Clara M. (1920). Old World Lace, or a Guide for the Lace Lover . New York: E.P. Dutton. ^ (#cite_ref-17) Jones, Mary Eirwen (1951). The Romance of Lace . London: Staples. ^ Jump up to: a b c d Mincoff, Elizabeth (1987). Pillow or bobbin lace : technique, patterns, history . Margaret S. Marriage. New York: Dover. ISBN (/wiki/ISBN_(identifier)) 0-486-25505-0 . OCLC (/wiki/OCLC_(identifier)) 16527223 (https://www.worldcat.org/oclc/16527223) . ^ (#cite_ref-19) "St Catherine's Day, Cattern Cakes and Lace" (https://www.lavenderandlovage.com/2011/11/st-catherines-day-lace-makers-and.html) . Lavender and Lovage . 12 April 2017. ^ (#cite_ref-20) Jones, Julia (1987). A Calendar of Feasts; Cattern cakes and lace . England: DK. ISBN (/wiki/ISBN_(identifier)) 0863182526 . ^ (#cite_ref-Pepys_21-0) Pepys, Samuel (10 May 1669). "Monday 10 May 1669" (http://www.pepysdiary.com/diary/1669/05/10/) . The Diary of Samuel Pepys . Retrieved 7 January 2015 . ^ (#cite_ref-22) The Fashion Book . London: Dorling Kindersley. 2014. p. 46. ISBN (/wiki/ISBN_(identifier)) 9781409352327 . OCLC (/wiki/OCLC_(identifier)) 889544401 (https://www.worldcat.org/oclc/889544401) . ^ Jump up to: a b c d e f Weissman, Judith Reiter (1994). Labors of love : America's textiles and needlework, 1650-1930 . Wendy Lavitt. New York: Wings Books. ISBN (/wiki/ISBN_(identifier)) 0-517-10136-X . OCLC (/wiki/OCLC_(identifier)) 29315818 (https://www.worldcat.org/oclc/29315818) . ^ (#cite_ref-24) Philbrick, Nathaniel (2021). Travels with George : in search of Washington and his legacy . [New York, New York]. ISBN (/wiki/ISBN_(identifier)) 978-0-525-56217-7 . OCLC (/wiki/OCLC_(identifier)) 1237806867 (https://www.worldcat.org/oclc/1237806867) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) ^ (#cite_ref-25) "Indian Lace" (https://web.archive.org/web/20130801221656/http://lace.lacefairy.com/Lace/ID/IndianLace.html) . 1 August 2013. Archived from the original (http://lace.lacefairy.com/Lace/ID/IndianLace.html) on 1 August 2013. ^ (#cite_ref-26) "Society of Jesus Celebrates Feast of St. John Francis Regis, SJ" (https://web.archive.org/web/20170627152046/http://jesuits.org/news-detail?tn=news-20160615021646) . jesuits.org . Archived from the original (http://jesuits.org/news-detail?tn=news-20160615021646) on 27 June 2017 . Retrieved 8 May 2017 . ^ (#cite_ref-27) Hooper, Glenn. "Irish Lace" (https://web.archive.org/web/20160425062538/http://www.heritagecouncil.ie/fileadmin/user_upload/Publications/Museums_and_Archive/Lace_Final_for_Web.pdf/) . Archived from the original (https://www.heritagecouncil.ie/content/files/irish_lace_leaflet_4mb.pdf) (PDF) on 25 April 2016 . Retrieved 27 January 2022 . ^ (#cite_ref-28) Potter, Matthew (2014). Amazing lace : a history of the Limerick lace industry . Jacqui Hayes. Limerick. ISBN (/wiki/ISBN_(identifier)) 978-0-905700-22-9 . OCLC (/wiki/OCLC_(identifier)) 910526333 (https://www.worldcat.org/oclc/910526333) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) ^ (#cite_ref-Refresh_2015_y938_29-0) "Patron Saints of Needlework and Lace" (https://trc-leiden.nl/trc-needles/people-and-functions/legendary-people-and-patron-saints/patron-saints-of-needlework-and-lace) . Refresh . 27 January 2015 . Retrieved 18 October 2023 . ^ (#cite_ref-30) "The 10 Best Lace Paintings" (https://www.sophieploeg.com/blog/the-10-best-lace-paintings/) . Sophie Ploeg . 29 September 2015 . Retrieved 4 April 2021 . ^ (#cite_ref-31) Van Guldener, Hermine (1969). Rijksmuseum Amsterdam . Munich: Knorr & Hirth Verlag. p. 27. ^ (#cite_ref-32) Smith, Roberta (8 December 2022). "Lace, That Most Coveted Textile" (https://www.nytimes.com/2022/12/08/arts/design/lace-exhibition-bard-graduate-center.html) . The New York Times . ISSN (/wiki/ISSN_(identifier)) 0362-4331 (https://www.worldcat.org/issn/0362-4331) . Retrieved 9 December 2022 . External links [ edit ] Wikimedia Commons has media related to Lace (https://commons.wikimedia.org/wiki/Category:Lace) . Lace bands and fabrics (http://www.panggio.com/home) v t e Lace types Needle lace (/wiki/Needle_lace) Filet lace (/wiki/Filet_lace) Punto in Aria (/wiki/Punto_in_Aria) Point de Venise (/wiki/Point_de_Venise) Point de France (/wiki/Point_de_France) Alençon (/wiki/Alen%C3%A7on_lace) Aemilia Ars (/w/index.php?title=Aemilia_Ars&action=edit&redlink=1) Argentan (/wiki/Argentan_lace) Argentella (/wiki/Argentella) Armenian (/wiki/Armenian_needlelace) Burano (https://it.wikipedia.org/wiki/Merletto%20di%20Burano) Halas lace (/wiki/Halas_lace) Hedebo embroidery (/wiki/Hedebo_embroidery) Hollie Point (/wiki/Hollie_Point) Nallıhan (/wiki/Nall%C4%B1han_silk_needlelace) Point de Gaze (/wiki/Point_de_Gaze) Kenmare Lace (/wiki/Kenmare_lace) Ñandutí (/wiki/%C3%91andut%C3%AD) Oya (/wiki/Oya_(lace)) Pag (/wiki/Pag_lace) Puncetto Valsesiano (/w/index.php?title=Puncetto_Valsesiano&action=edit&redlink=1) Tenerife (/wiki/Tenerife_lace) Youghal (/wiki/Youghal_lace) Embroidery (/wiki/Embroidery) Buratto (/wiki/Buratto) Filet lace (/wiki/Filet_lace) Reticella (/wiki/Reticella) Limerick (/wiki/Limerick_lace) Needlerun net (/wiki/Needlerun_net) Tambour (/wiki/Tambour_lace) Cutwork (/wiki/Cutwork) Broderie anglaise (/wiki/Broderie_anglaise) Carrickmacross (/wiki/Carrickmacross_lace) Lefkara lace (/wiki/Lefkara_lace) Saba lace (/wiki/Saba_lace) Bobbin lace (/wiki/Bobbin_lace) Mesh grounds (/wiki/Mesh_grounded_bobbin_lace) Torchon (/wiki/Torchon_lace) Freehand (/wiki/Freehand_lace) Arras (/wiki/Arras_lace) Bayeux (/wiki/Bayeux_lace) Beeralu (/w/index.php?title=Beeralu&action=edit&redlink=1) Blonde (/wiki/Blonde_lace) Bucks point (/wiki/Bucks_point_lace) Chantilly (/wiki/Chantilly_lace) Chefoo (/w/index.php?title=Chefoo_lace&action=edit&redlink=1) Cogne (/wiki/Cogne_lace) Tønder (/wiki/T%C3%B8nder_lace) Beveren (/wiki/Beveren_lace) Lille (/wiki/Lille_lace) Binche (/wiki/Binche_lace) Flanders (/wiki/Flanders_lace) Paris (/wiki/Paris_lace) Valenciennes (/wiki/Valenciennes_lace) Antwerp 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American drag queen, actor and musician RuPaul RuPaul at the 2019 California Hall of Fame Ceremony in Sacramento, California Born RuPaul Andre Charles ( 1960-11-17 ) November 17, 1960 (age 63) San Diego, California (/wiki/San_Diego,_California) , U.S. Occupations Drag queen television personality actor singer producer writer Years active 1982–present Television The RuPaul Show (/wiki/The_RuPaul_Show) RuPaul's Drag Race (/wiki/RuPaul%27s_Drag_Race) Gay for Play Game Show Starring RuPaul (/wiki/Gay_for_Play_Game_Show_Starring_RuPaul) Good Work (/wiki/Good_Work_(talk_show)) Skin Wars (/wiki/Skin_Wars) AJ and the Queen (/wiki/AJ_and_the_Queen) RuPaul (/wiki/RuPaul_(talk_show)) Spouse Georges LeBar ( m. 2017) Relatives Cory Booker (/wiki/Cory_Booker) (cousin) Awards Full list (/wiki/List_of_awards_and_nominations_received_by_RuPaul) Musical career Genres Pop dance disco house (/wiki/Disco_house) R&B (/wiki/Contemporary_R%26B) Labels Funtone Every Tommy Boy (/wiki/Tommy_Boy_Records) Rhino (/wiki/Rhino_Entertainment) RuCo World of Wonder (/wiki/World_of_Wonder_(production_company)) Musical artist Website rupaul (http://rupaul.com) .com (http://rupaul.com) RuPaul Andre Charles [1] (#cite_note-1) [2] (#cite_note-2) (born November 17, 1960) is an American drag queen (/wiki/Drag_queen) , television personality, actor, singer, producer, and writer. He [a] (#cite_note-5) produces, hosts, and judges the reality competition series RuPaul's Drag Race (/wiki/RuPaul%27s_Drag_Race) and has received several accolades (/wiki/List_of_awards_and_nominations_received_by_RuPaul) , including 14 Primetime Emmy Awards (/wiki/Primetime_Emmy_Awards) , three GLAAD Media Awards (/wiki/GLAAD_Media_Awards) , a Critics' Choice Television Award (/wiki/Critics%27_Choice_Television_Award) , two Billboard Music Awards (/wiki/Billboard_Music_Awards) , and a Tony Award (/wiki/Tony_Award) . He has been dubbed the "Queen of Drag" and is considered the most commercially successful drag queen in the United States, with Fortune (/wiki/Fortune_(magazine)) saying that he is "easily the world's most famous drag queen." [5] (#cite_note-klein1-6) In 2017, RuPaul was included in the annual Time 100 (/wiki/Time_100) list of the most influential people in the world. [6] (#cite_note-7) [7] (#cite_note-8) Born and raised in San Diego, RuPaul later studied performing arts in Atlanta (/wiki/Atlanta) , before relocating to New York City, where he became a popular fixture on the LGBT nightclub scene (/wiki/LGBT_culture_in_New_York_City) . He achieved international fame as a drag queen with the release of his debut single, " Supermodel (You Better Work) (/wiki/Supermodel_(You_Better_Work)) ", which was included on his debut studio album Supermodel of the World (/wiki/Supermodel_of_the_World) (1993). RuPaul was a spokesperson for MAC Cosmetics (/wiki/MAC_Cosmetics) in 1994, raising money for the Mac AIDS Fund (/wiki/Mac_AIDS_Fund) and becoming the first drag queen to land a major cosmetics campaign. He later received his own television talk show on VH1 (/wiki/VH1) titled The RuPaul Show (/wiki/The_RuPaul_Show) (1996–1998), while co-hosting the morning radio show on WKTU (/wiki/WKTU) with Michelle Visage (/wiki/Michelle_Visage) . RuPaul's Drag Race was created in 2009 and has gone on to produce sixteen seasons in the United States. The show has also seen success internationally. There are several international variants of the show, including RuPaul's Drag Race UK (/wiki/RuPaul%27s_Drag_Race_UK) (2019–present) and Canada's Drag Race (/wiki/Canada%27s_Drag_Race) (2020–present). This has also inspired several spin-offs of the main show, including RuPaul's Drag U (/wiki/RuPaul%27s_Drag_U) (2010–2012), RuPaul's Drag Race All Stars (/wiki/RuPaul%27s_Drag_Race_All_Stars) , (2012–present), and RuPaul's Secret Celebrity Drag Race (/wiki/RuPaul%27s_Secret_Celebrity_Drag_Race) (2020–2022). He has also featured as a host on other reality series, such as Skin Wars (/wiki/Skin_Wars) ( 2014–2016), Good Work (/wiki/Good_Work_(talk_show)) (2015), and Gay for Play Game Show Starring RuPaul (/wiki/Gay_for_Play_Game_Show_Starring_RuPaul) (2016–2017). In 2018, RuPaul received a star on the Hollywood Walk of Fame (/wiki/Hollywood_Walk_of_Fame) for his contributions to the television industry, making him the first drag queen to be given such an award. [8] (#cite_note-9) RuPaul has made appearances in films, including Crooklyn (/wiki/Crooklyn) (1994), The Brady Bunch Movie (/wiki/The_Brady_Bunch_Movie) (1995), To Wong Foo, Thanks for Everything! Julie Newmar (/wiki/To_Wong_Foo,_Thanks_for_Everything!_Julie_Newmar) (1995), and But I'm a Cheerleader (/wiki/But_I%27m_a_Cheerleader) (1999), as well as television series, including Girlboss (/wiki/Girlboss_(TV_series)) (2017), Broad City (/wiki/Broad_City) (2017), and Grace and Frankie (/wiki/Grace_and_Frankie) (2019). He created and starred in the Netflix (/wiki/Netflix) original series AJ and the Queen (/wiki/AJ_and_the_Queen) (2020). RuPaul has also published four books: Lettin' It All Hang Out (/wiki/Lettin%27_It_All_Hang_Out) (1995), Workin' It! RuPaul's Guide to Life, Liberty, and the Pursuit of Style (/wiki/Workin%27_It!_RuPaul%27s_Guide_to_Life,_Liberty,_and_the_Pursuit_of_Style) (2010), GuRu (/wiki/GuRu) (2018), and The House of Hidden Meanings (2024). As a recording artist, he has released fifteen studio albums (/wiki/RuPaul_discography) . He received a Tony Award for Best Musical (/wiki/Tony_Award_for_Best_Musical) as a producer for the musical A Strange Loop (/wiki/A_Strange_Loop) (2019). [9] (#cite_note-tony-10) Early life RuPaul speaking about growing up in California and how it influenced his work ethic at the 2019 California Hall of Fame (/wiki/California_Hall_of_Fame) induction ceremony RuPaul was born in San Diego on November 17, 1960, the son of Ernestine "Toni" (née Fontenette) and Irving Andrew Charles. His parents were both from Louisiana (/wiki/Louisiana) . [10] (#cite_note-glbtq-11) [11] (#cite_note-fdr1-12) He was named by his mother; "Ru" came from roux (/wiki/Roux) , the French term for the base of gumbo (/wiki/Gumbo) and other creole (/wiki/Creole_peoples) stews and soups. [12] (#cite_note-13) According to DNA analysis by Finding Your Roots (/wiki/Finding_Your_Roots) staff, his ancestry is 70% African and 30% European. [11] (#cite_note-fdr1-12) [13] (#cite_note-14) After his parents divorced in 1967, RuPaul and his three sisters lived with their mother, a Seventh-day Adventist (/wiki/Seventh-day_Adventist) . [14] (#cite_note-15) [15] (#cite_note-16) He was raised in the Catholic (/wiki/Catholic) faith and attended Patrick Henry High School (/wiki/Patrick_Henry_High_School_(California)) . [16] (#cite_note-17) At 15, RuPaul and his sister Renetta moved to Atlanta, where they studied performing arts. [17] (#cite_note-18) RuPaul struggled as a musician and filmmaker during the 1980s, working at Atlanta's Plaza Theatre (/wiki/Plaza_Theatre_(Atlanta)) . In 1982, he debuted on an Atlanta public access (/wiki/Public-access_television) variety show called The American Music Show (/wiki/The_American_Music_Show) , and went on to appear on the show frequently. [4] (#cite_note-Autobiography-4) : 59 [18] (#cite_note-19) He also took part in underground cinema (/wiki/Underground_cinema) , helping create the low-budget film Star Booty (/wiki/RuPaul_Is:_Starbooty!) and an album of the same name. In Atlanta he often performed at the Celebrity Club, managed by Larry Tee (/wiki/Larry_Tee) , as a bar dancer or with his band, Wee Wee Pole. [19] (#cite_note-20) [20] (#cite_note-21) [21] (#cite_note-22) RuPaul also performed as a backup singer to Glen Meadmore (/wiki/Glen_Meadmore) along with drag queen Vaginal Davis (/wiki/Vaginal_Davis) . [22] (#cite_note-23) His first prominent national exposure came in 1989, when he danced as an extra (/wiki/Extra_(acting)) in the video for The B-52s (/wiki/The_B-52s) ' " Love Shack (/wiki/Love_Shack) ". [23] (#cite_note-24) In the early 1990s, RuPaul worked the Georgia club scene and was known by his full birth name. Initially participating in gender bender (/wiki/Gender_bender) -style performances, he performed solo and in collaboration with other bands at several New York City nightclubs, most notably the Pyramid Club (/wiki/Pyramid_Club_(New_York)) . [24] (#cite_note-25) He played opposite New York City drag performer Mona Foot (/wiki/Mona_Foot) (Nashom Benjamin) in the one-act science-fiction parody "My Pet Homo", written and directed by Jon Michael Johnson for Cooper Square Productions. He performed for many years at the annual Wigstock (/wiki/Wigstock) drag (/wiki/Drag_(clothing)) festival and appeared in the documentary Wigstock: The Movie (/wiki/Wigstock:_The_Movie) . In the 1990s, RuPaul was known in the UK for his appearances on the Channel 4 (/wiki/Channel_4) series Manhattan Cable , a weekly series produced by World of Wonder (/wiki/World_of_Wonder_(production_company)) and presented by American Laurie Pike about New York's public-access television (/wiki/Public-access_television) system. He also worked at WKTU (/wiki/WKTU) in the late 1990s and was hired at WNEW (/wiki/WNEW-FM) in 2004. [25] (#cite_note-26) Career 1993–1997: Supermodel of the World , Foxy Lady , and Ho Ho Ho In 1993, RuPaul recorded the dance/ house (/wiki/House_music) album Supermodel of the World (/wiki/Supermodel_of_the_World) . It was released through the rap label Tommy Boy (/wiki/Tommy_Boy_Entertainment) , spawning the dance track hit " Supermodel (You Better Work) (/wiki/Supermodel_(You_Better_Work)) ". The song peaked at 45 on the Billboard Hot 100 (/wiki/Billboard_Hot_100) . It charted on the UK Singles Chart (/wiki/UK_Singles_Chart) , peaking on the top 40 at 39. The song found the most success on the Billboard Hot Dance Music/Club Play (/wiki/Hot_Dance_Music/Club_Play) chart, where it peaked at 2. Radio airplay, heavy rotation of the music video on MTV (/wiki/MTV) , and television appearances on popular programs like The Arsenio Hall Show (/wiki/The_Arsenio_Hall_Show) popularized the song. What other people think of me is not my business. What I do is what I do. How people see me doesn't change what I decide to do. I don't choose projects so people don't see me as one thing or another. I choose projects that excite me. I think the problem is that people refuse to understand what drag is outside of their own belief system. — RuPaul [26] (#cite_note-DS-27) His next two singles/videos, " Back to My Roots (/wiki/Back_to_My_Roots) " and " A Shade Shady (Now Prance) (/wiki/A_Shade_Shady_(Now_Prance)) ", both went to the top spot on the Billboard Hot Dance Music/Club Play chart and furthered his campy (/wiki/Campy) persona. His following release " House of Love (/wiki/House_of_Love_(RuPaul_song)) " failed to place on any U.S. charts but peaked at 68 on the UK Singles Chart (/wiki/UK_Singles_Chart) . RuPaul was signed to a modeling contract for MAC Cosmetics (/wiki/MAC_Cosmetics) . Various billboards featured him in full drag, often with the text "I am the MAC girl". He also released his autobiography, Lettin' It All Hang Out (/wiki/Lettin%27_It_All_Hang_Out) . He promoted the book in part with a 1995 guest appearance on ABC (/wiki/American_Broadcasting_Company) 's All My Children (/wiki/All_My_Children) , in a storyline that put it on the set of Erica Kane (/wiki/Erica_Kane) 's talk show "The Cutting Edge". The same year, he was featured in his first of two appearances in the Brady Bunch movies (/wiki/The_Brady_Bunch_Movie) , in which he played Jan's female guidance counselor. The next year he landed a talk show of his own on VH1 (/wiki/VH1) , called The RuPaul Show (/wiki/The_RuPaul_Show) interviewing celebrity guests and musical acts. Cher (/wiki/Cher) , Diana Ross (/wiki/Diana_Ross) , Nirvana (/wiki/Nirvana_(band)) , Duran Duran (/wiki/Duran_Duran) , Pat Benatar (/wiki/Pat_Benatar) , Mary J. Blige (/wiki/Mary_J._Blige) , Bea Arthur (/wiki/Bea_Arthur) , Dionne Warwick (/wiki/Dionne_Warwick) , Cyndi Lauper (/wiki/Cyndi_Lauper) , Olivia Newton-John (/wiki/Olivia_Newton-John) , Beenie Man (/wiki/Beenie_Man) , Pete Burns (/wiki/Pete_Burns) , Bow Wow Wow (/wiki/Bow_Wow_Wow) , and the Backstreet Boys (/wiki/Backstreet_Boys) were notable guests. His co-host was Michelle Visage (/wiki/Michelle_Visage) with whom he also co-hosted on WKTU (/wiki/WKTU) radio. On one episode, RuPaul featured guests Chi Chi LaRue (/wiki/Chi_Chi_LaRue) and Tom Chase (/wiki/Tom_Chase) speaking about the gay porn industry. Later in the year he released his second album, Foxy Lady (/wiki/Foxy_Lady_(RuPaul_album)) , this time on the L.A.-based Rhino Records (/wiki/Rhino_Records) label. The album failed to chart on the Billboard 200. However, its first single " Snapshot (/wiki/Snapshot_(RuPaul_song)) " went to number four on the Hot Dance Music/Club Play (/wiki/Hot_Dance_Music/Club_Play) chart. It also enjoyed limited mainstream success, charting at 95 on the Billboard Hot 100, which was his second and final solo Hot 100 entry to date. The album's second single " A Little Bit of Love (/wiki/A_Little_Bit_of_Love_(RuPaul_song)) " was not as successful, peaking at 28 on the Hot Dance Music/Club Play chart. During this time, RuPaul helped launch the return of WKTU radio in New York City and would serve as host of its morning show until 1998. In 1997, he released his third album, the Christmas-themed Ho Ho Ho (/wiki/Ho_Ho_Ho_(album)) . That year, RuPaul teamed with Martha Wash (/wiki/Martha_Wash) to remake the classic disco anthem, " It's Raining Men (/wiki/It%27s_Raining_Men) ". The song was included on the 1998 compilation CD RuPaul's Go Go Box Classics (/wiki/Rupaul%27s_Go-Go_Box_Classics) . During this time, he appeared in Webex (/wiki/Webex) TV commercials and magazine ads. In 2002, he was featured on the Eurodance (/wiki/Eurodance) track "You're No Lady" alongside Brigitte Nielsen (/wiki/Brigitte_Nielsen) . 2004–2007: Red Hot , ReWorked , and Starrbooty RuPaul in 2007 In 2004, RuPaul released his fourth album, Red Hot (/wiki/Red_Hot_(album)) on his own RuCo Inc. music label. It received dance radio and club play, but very little press coverage. On his blog he discussed how he felt betrayed by the entertainment industry, particularly the gay press (/wiki/Gay_press) . In one incident, it was noted that Entertainment Weekly (/wiki/Entertainment_Weekly) refused to review the album, instead asking him to make a comedic contribution to a fashion article. He likened the experience to "a black person being invited to a party, but only if they'll serve." Despite his apparent dissatisfaction with the release, Red Hot' s lead single " Looking Good, Feeling Gorgeous (/wiki/Looking_Good,_Feeling_Gorgeous) " peaked at number two on the dance chart. The second, " WorkOut (/wiki/Workout_(RuPaul_song)) ", peaked at number five. The third and final single from the album "People Are People" a duet with Tom Trujillo, peaked at number 10. The album itself only charted on the Top Electronic Albums (/wiki/Top_Electronic_Albums) chart, where it hit number nine. [27] (#cite_note-28) RuPaul later noted, "Well, betrayed might be the wrong word. 'Betrayed' alludes to an idea that there was some kind of a promise made to me, and there never was. More so, I was disappointed. I don't feel like it was a betrayal. Nobody promises anything in show business and you understand that from day one. But, I don't know what happened. It seemed I couldn't get press on my album unless I was willing to play into the role that the mainstream press has assigned to gay people, which is as servants of straight ideals." [26] (#cite_note-DS-27) On June 13, 2006, RuPaul released ReWorked , his first remix (/wiki/Remix) album and fifth album overall. It features reworked versions of songs from his back catalog, as well as new recordings. The only single released from the album was a re-recording of "Supermodel (You Better Work)", which reached number 21 on the U.S. dance chart. June 20, 2007, saw the release of Starrbooty: Original Motion Picture Soundtrack (/wiki/Starrbooty#Soundtrack) in the United States. The single "Call Me Starrbooty" was digitally released in 2007. The album contains new tracks as well as interludes with dialogue from the movie. The film was released on DVD in October 2007. 2008–2010: RuPaul's Drag Race and Champion RuPaul in 2009 In mid-2008, RuPaul began producing RuPaul's Drag Race (/wiki/RuPaul%27s_Drag_Race) , a reality television game show which aired on Logo (/wiki/Logo_(TV_channel)) in February 2009. On the program drag queens compete to be selected by RuPaul and a panel of judges as "America's next drag superstar". The first season's winner was BeBe Zahara Benet (/wiki/BeBe_Zahara_Benet) , and first runner-up Nina Flowers (/wiki/Nina_Flowers) was chosen by fans as "Miss Congeniality" through voting via the show's official website. To publicize the new show, RuPaul appeared on several other shows in 2008, including Project Runway (/wiki/Project_Runway) , as guest judge, and on Paula's Party (/wiki/Paula%27s_Party) as a guest "chef". [28] (#cite_note-29) [29] (#cite_note-30) In March 2009, RuPaul released the album Champion (/wiki/Champion_(RuPaul_album)) . The album spawned four singles " Cover Girl (/wiki/Cover_Girl_(RuPaul_song)) ", " Jealous of My Boogie (/wiki/Jealous_of_My_Boogie) ", "Devil Made Me Do It", and "Tranny Chaser". The album peaked at number 12 on the Billboard Dance/Electronic Albums (/wiki/Dance/Electronic_Albums) as well as 26 on the Billboard Top Heatseekers (/wiki/Top_Heatseekers) chart. Logo's second annual NewNowNext Awards (/wiki/NewNowNext_Awards) in 2009 were hosted by RuPaul. There he performed "Jealous of My Boogie (Gomi & RasJek Edit)". In March 2010, RuPaul released his second remix album, Drag Race , the album features remixes of songs from the 2009 album Champion . [30] (#cite_note-31) 2011–2013: Glamazon , make-up and perfume line In April 2011, coinciding with the finale of season 3 of RuPaul's Drag Race (/wiki/RuPaul%27s_Drag_Race) , RuPaul released his sixth studio album Glamazon (/wiki/Glamazon_(album)) , produced by Revolucian (/wiki/Revolucian) , who previously worked with RuPaul on his album Champion . The album charted on Billboard's Dance/Electronic Albums (/wiki/Dance/Electronic_Albums) and the Billboard Top Heatseekers (/wiki/Top_Heatseekers) chart at 11 and 8 respectively. In July 2011, he released another remix EP entitled SuperGlam DQ which features remixes of tracks from Glamazon , remixes of the " Drag U Theme Song", and a new song, "Sexy Drag Queen". The second season of RuPaul's Drag U (/wiki/RuPaul%27s_Drag_U) began in June 2011. In late 2011, promotions for season 4 (/wiki/RuPaul%27s_Drag_Race_season_4) of Drag Race began. RuPaul made appearances on The Rosie Show (/wiki/The_Rosie_Show) and The Chew (/wiki/The_Chew) , and also attended a Drag Race NY Premiere party at Patricia Field (/wiki/Patricia_Field) 's store in New York. Season 4 of RuPaul's Drag Race (/wiki/RuPaul%27s_Drag_Race) premiered on Logo (/wiki/Logo_(TV_channel)) on January 30, 2012, with RuPaul returning as the main host and judge. After season 4 ended TV.com (/wiki/TV.com) declared it was the best reality TV show on television. In the fall of 2012, the spin-off RuPaul's Drag Race All Stars (/wiki/RuPaul%27s_Drag_Race_All_Stars_season_1) premiered after a large fan demand. The show featured past contestants of the previous four seasons to compete. Season 5 of RuPaul's Drag Race (/wiki/RuPaul%27s_Drag_Race) premiered on January 28, 2013, with a 90-minute special and RuPaul returning as the main host and judge. On April 30, 2013, he released a single "Lick It Lollipop" featuring Lady Bunny (/wiki/Lady_Bunny) , who RuPaul previously collaborated with on Champion . On October 25, 2013, he reported via Twitter that the new album would be released in January 2014. In fall of 2013, RuPaul joined forces with cosmetic manufacturers Colorevolution to launch his debut make-up line featuring ultra-rich pigment (/wiki/Pigment) cosmetics and a beauty collection. Released alongside the line was a unisex (/wiki/Unisex) perfume entitled " Glamazon (/wiki/Glamazon_by_Colorevolution) ". Talking to World of Wonder (/wiki/World_of_Wonder_(production_company)) he said: "Glamazon is for women and men of all ages and preferences who share one thing in common: They are not afraid to be fierce. For me, glamour should be accessible to all, and I am committed to helping the world look and smell more beautiful." The line was exclusively sold on the Colorevolution website in various gift sets. [31] (#cite_note-32) [32] (#cite_note-33) 2014: Born Naked , What's The Tee? , and Skin Wars RuPaul and Revolucian (/wiki/Revolucian) both confirmed through their Twitter and Instagram (/wiki/Instagram) accounts that they had been working on an upcoming seventh studio album. Born Naked (/wiki/Born_Naked) was released on February 24, 2014, to coincide with the premiere of the 6th season of RuPaul's Drag Race (/wiki/RuPaul%27s_Drag_Race_season_6) . Prior to the premiere an album of RuPaul cover songs performed by the Season 6 cast was released on January 28, 2014. The covers album is titled RuPaul Presents The CoverGurlz (/wiki/RuPaul%27s_Drag_Race_season_6#Soundtrack) and contains RuPaul songs from 2009 to 2013. To further promote the Drag Race season premiere, RuPaul, representing Logo TV (and parent company Viacom (/wiki/Viacom_(2005%E2%80%93present)) ) was chosen to ring the NASDAQ (/wiki/NASDAQ) closing bell on February 24, 2014. The week of its release, Born Naked reached number one on the iTunes (/wiki/ITunes) dance album chart. The following week it placed at number 4 on the US Billboard dance chart and 85 on the Billboard 200 (/wiki/Billboard_200) chart. In a profile by The New York Times (/wiki/The_New_York_Times) it was revealed that he is currently working on a porcelain statuette of his likeness. [33] (#cite_note-34) On April 9, 2014, RuPaul and Michelle Visage (/wiki/Michelle_Visage) released the first episode of their podcast, RuPaul: What's the Tee? with Michelle Visage (/wiki/RuPaul:_What%27s_The_Tee%3F) . In August, he joined the reality competition show Skin Wars (/wiki/Skin_Wars) acting as a judge. 2015: Realness , Good Work , and Slay Belles On March 2, 2015, RuPaul released his eighth studio album, Realness (/wiki/Realness) . The release coincided with the premiere of the seventh season of RuPaul's Drag Race . In April, he launched and began hosting a new show, Good Work (/wiki/Good_Work_(TV_series)) , a plastic surgery-themed talk show for E! (/wiki/E!) . In October he released his second Christmas album (/wiki/Christmas_album) , and ninth studio album, Slay Belles (/wiki/Slay_Belles) . The album contains ten original Christmas-themed songs and features collaborations with Michelle Visage (/wiki/Michelle_Visage) , Siedah Garrett (/wiki/Siedah_Garrett) , Todrick Hall (/wiki/Todrick_Hall) , and Big Freedia (/wiki/Big_Freedia) . The album charted at 21 on the US Billboard (/wiki/Billboard_Magazine) Dance (/wiki/Dance/Electronic_Albums) chart. [34] (#cite_note-billboard.com-35) 2016: Gay for Play , Butch Queen , All Stars 2 In January 2016, it was announced RuPaul would present a new game show for Logo TV (/wiki/Logo_TV) called Gay for Play Game Show Starring RuPaul (/wiki/Gay_for_Play_Game_Show_Starring_RuPaul) which premiered on April 11, 2016, after RuPaul's Drag Race . [35] (#cite_note-36) In February 2016, he announced his tenth album, Butch Queen (/wiki/Butch_Queen) . It was released in March 2016, just prior to the premiere of the eighth season (/wiki/RuPaul%27s_Drag_Race_season_8) of RuPaul's Drag Race . [36] (#cite_note-37) A song from the album, "U Wear It Well" was featured in the teaser campaigns for the season and was later officially released as the first single on iTunes in February 2016. The album charted at number 3 on the US Billboard (/wiki/Billboard_Magazine) Dance (/wiki/Dance/Electronic_Albums) chart, marking his highest position on this chart to date (2016?). [34] (#cite_note-billboard.com-35) "'Be Someone" featuring American singer Taylor Dayne (/wiki/Taylor_Dayne) was released as the album's second and final single. Additionally, Butch Queen: The Ru-Mixes (/wiki/Butch_Queen) was released. In July 2016, it was announced that RuPaul was nominated for the Primetime Emmy Award for Outstanding Host for a Reality or Reality-Competition Program (/wiki/Primetime_Emmy_Award_for_Outstanding_Host_for_a_Reality_or_Reality-Competition_Program) . He was presented the award at the September Creative Arts Emmy Awards Ceremony (/wiki/68th_Primetime_Creative_Arts_Emmy_Awards) . 2016 also saw the release of the single "Read U Wrote U" that features rap parts by the RuPaul's Drag Race All Stars 2 finalists Roxxxy Andrews (/wiki/Roxxxy_Andrews) , Katya Zamolodchikova (/wiki/Katya_Zamolodchikova) , Alaska Thunderfuck (/wiki/Alaska_Thunderfuck) , and Detox Icunt (/wiki/Detox_Icunt) with production by Ellis Miah (/wiki/Ellis_Miah) . [37] (#cite_note-miah-38) 2017–2018: Remember Me , American , return to VH1, and Essential, Vol. 2 On January 27, 2017, RuPaul announced that a new album would be released the week after. The album, named Remember Me: Essential, Vol. 1 (/wiki/Remember_Me:_Essential,_Vol._1) was put up for pre-order on February 2 and eventually released the next day. It is a collection of new songs and remakes of classic RuPaul hits that feature new artists. [38] (#cite_note-39) Two singles have been released from the album so far: "Rock It (To The Moon)" which is a new song loosely based on the lyrics and the melody of "Hey Booty" which was released on the Starrbooty soundtrack in 2007, and an updated version of RuPaul's 1996 hit single "Snapshot" from the album Foxy Lady . The album failed to chart on the Dance Albums Chart but managed to debut at number four on the Billboard Dance Albums Sales Chart in the United States. It also charted at number eleven on the UK Dance Albums Chart, becoming RuPaul's highest-charting album on that chart, after Realness managed to debut and peak at number 13. On March 24, 2017, RuPaul released his eleventh studio album, American (/wiki/American_(album)) . [39] (#cite_note-40) Later on the same day, the ninth regular season (/wiki/RuPaul%27s_Drag_Race_season_9) of RuPaul's Drag Race debuted on basic cable channel VH1, home of RuPaul's talk show in the 1990s. It moved from the expanded cable channel Logo TV which aired all previous seasons of the show. The season 9 premiere featured singer Lady Gaga (/wiki/Lady_Gaga) as its guest judge and was a success, with ratings of nearly 1,000,000 viewers making it the series' most viewed episode. The number was double LogoTV's season 8 premiere ratings from the year prior, and triple VH1's usual Friday night viewership in that programming timeslot. [40] (#cite_note-41) World of Wonder Productions announced they were casting contestants for a tenth season when the ratings were released. [41] (#cite_note-42) On June 2, 2017, Essential, Vol. 2 (/wiki/Essential,_Vol._2) was put up on pre-order on iTunes. It was released on June 9 and preceded by the single "Crying on the Dance Floor" which is a re-recording of the 2010 single "Main Event" from the album Champion (/wiki/Champion_(RuPaul_album)) . On June 22, 2017, it was announced that RuPaul would receive a star on the Hollywood Walk of Fame (/wiki/Hollywood_Walk_of_Fame) for his contributions to the television industry. [42] (#cite_note-43) He was awarded the honor on March 16, 2018, making him the first drag queen to be given the award. [43] (#cite_note-44) In August 2018, it was announced that RuPaul will be releasing his third Christmas album in October 2018. [44] (#cite_note-45) 2019–present: Drag Race UK , AJ and the Queen and further TV shows At RuPaul's DragCon LA (/wiki/RuPaul%27s_DragCon_LA) 2019 In June 2019, a daytime talk show titled RuPaul (/wiki/RuPaul_(talk_show)) premiered. It was cancelled after a three-week test run, since it was not picked by any Fox (/wiki/Fox_Broadcasting_Company) TV stations. [45] (#cite_note-46) [46] (#cite_note-hollywoodrep-47) He also appeared in Taylor Swift (/wiki/Taylor_Swift) 's " You Need to Calm Down (/wiki/You_Need_to_Calm_Down) " music video. [47] (#cite_note-48) In late 2019, the first season (/wiki/RuPaul%27s_Drag_Race_UK_(series_1)) of RuPaul's Drag Race UK (/wiki/RuPaul%27s_Drag_Race_UK) was released on BBC3 (/wiki/BBC3) . [48] (#cite_note-49) It was well-received, with The Guardian (/wiki/The_Guardian) stating that the British version had "saved" the franchise. [49] (#cite_note-tg-ukrpdr-50) It was renewed for a second season (/wiki/RuPaul%27s_Drag_Race_UK_(series_2)) which was released in 2021. [50] (#cite_note-51) RuPaul also created and starred in the Netflix (/wiki/Netflix) drama-comedy show AJ and the Queen (/wiki/AJ_and_the_Queen) as a drag queen touring the country with an unlikely young sidekick, which was released on January 10, 2020. [51] (#cite_note-52) On March 6, 2020, Netflix announced that the series had been cancelled. [52] (#cite_note-53) Also in January 2020, it was announced that RuPaul would host Saturday Night Live (/wiki/Saturday_Night_Live) on February 8, 2020, with Justin Bieber (/wiki/Justin_Bieber) as a musical guest. [53] (#cite_note-54) On May 4, 2020, it was announced that RuPaul would be on The Price Is Right at Night (/wiki/The_Price_Is_Right_(American_game_show)#CBS_primetime_specials_and_series) airing May 11. [54] (#cite_note-Ramos-55) He also made an appearance in the premiere episode of Canada's Drag Race (/wiki/Canada%27s_Drag_Race) . In August 2021, RuPaul guest hosted two episodes of the talk show Jimmy Kimmel Live! (/wiki/Jimmy_Kimmel_Live!) ; he also interviewed RuPaul's Drag Race season 13 (/wiki/RuPaul%27s_Drag_Race_season_13) winner Symone (/wiki/Symone_(drag_queen)) on the program. [55] (#cite_note-56) He did voice work in Amphibia (/wiki/Amphibia_(TV_series)) portraying the FBI (/wiki/FBI) agent Mr. X. He has been hosting a revival of the game show Lingo (/wiki/Lingo_(American_game_show)) for CBS (/wiki/CBS) since 2023, [56] (#cite_note-57) as well as the celebrity version of the British version (/wiki/Lingo_(British_game_show)) of the show on ITV (/wiki/ITV_(TV_network)) . [57] (#cite_note-58) In 2022, he won the Tony Award for Best Musical (/wiki/Tony_Award_for_Best_Musical) for serving as a producer on the Broadway musical A Strange Loop (/wiki/A_Strange_Loop) . [9] (#cite_note-tony-10) He also voices himself as the announcer on The Tiny Chef Show (/wiki/List_of_programs_broadcast_by_Nickelodeon#Current_programming) . [58] (#cite_note-59) In 2023, it was announced that RuPaul would be releasing a memoir, House of Hidden Meanings , through publisher HarperCollins in 2024. [59] (#cite_note-60) Other ventures Podcasting The podcast (/wiki/Podcast) RuPaul: What's the Tee? With Michelle Visage (/wiki/RuPaul:_What%27s_the_Tee%3F) debuted on April 6, 2014. Ru-Paul co-hosts with longtime friend and fellow RuPaul's Drag Race judge Michelle Visage (/wiki/Michelle_Visage) . The weekly show features their thoughts on topics including behind-the-scenes of RuPaul's Drag Race (/wiki/RuPaul%27s_Drag_Race) , life advice, beauty tips, and conversations with featured guests from the entertainment world. [60] (#cite_note-61) [61] (#cite_note-62) Audiobooks In 2018, RuPaul was one of the actors who voiced the audiobook A Day in the Life of Marlon Bundo (/wiki/A_Day_in_the_Life_of_Marlon_Bundo) . [62] (#cite_note-Bundo_AV_Club-63) Drag conventions Launched through production company World of Wonder (/wiki/World_of_Wonder_(company)) , RuPaul's DragCon LA (/wiki/RuPaul%27s_DragCon_LA) is an annual drag-themed convention held in Los Angeles which started in 2015, followed by RuPaul's DragCon NYC (/wiki/RuPaul%27s_DragCon_NYC) . It began in 2007 in New York City; the public is able to meet with RuPaul, former RuPaul's Drag Race contestants, and other drag queens. [63] (#cite_note-laweekly-dragcon-2018-64) The conventions feature performances, meet-and-greet booths, merchandise sales and panel discussions. [64] (#cite_note-hobro-dragcon-2018-65) Activism RuPaul has been an active supporter of voter registration, producing a public service announcement supporting National Voter Registration Day (/wiki/National_Voter_Registration_Day) [65] (#cite_note-66) and urging everyone to register. [66] (#cite_note-67) As RuPaul said voter ID laws (/wiki/Voter_identification_laws_in_the_United_States) vary from state to state; the details of the voter ID required in each state are provided by HeadCount (/wiki/HeadCount) and VoteRiders (/wiki/VoteRiders) . As one in five LGBTQ adults are not registered to vote, voter registration efforts have expanded recently. Several stars from RuPaul's Drag Race act as Ambassadors for Drag Out the Vote. [67] (#cite_note-68) Main article: Tennessee Adult Entertainment Act (/wiki/Tennessee_Adult_Entertainment_Act) In March 2023, in response to the Tennessee Adult Entertainment Act, RuPaul, World of Wonder producers Randy Barbarto and Fenton Bailey, and MTV began a fund to fight anti-drag initiatives. [68] (#cite_note-69) [69] (#cite_note-70) [70] (#cite_note-71) The ACLU maintains the fund, [71] (#cite_note-72) which received donations from efforts at DragCon LA 2023, [72] (#cite_note-73) the "Drag Isn't Dangerous" livestream telethon, [73] (#cite_note-74) "Can't Hold us Down", [74] (#cite_note-75) "Born This Way", [75] (#cite_note-76) and "God Save the Queens", [76] (#cite_note-77) as well as a small donation from the Manhattan Association of Cabarets. [77] (#cite_note-78) The Instagram post RuPaul made prior to the establishment of the fund called on followers to vote, saying, "Register to vote so we can get those stunt queens out of office." The video ends with the statement, "By the way, a social media post has never been as powerful as a registered vote." [78] (#cite_note-79) Impact Lauren Herold of Mic.com deemed RuPaul "arguably the most commercially successful drag queen in America." [79] (#cite_note-:1-80) Sami Main of Adweek credited him with creating wider exposure for drag queens from LGBT culture (/wiki/LGBT_culture) into mainstream (/wiki/Mainstream_media) society, thanks to his early-career chart success, and later, the successive climb in viewership of RuPaul's Drag Race . [80] (#cite_note-81) His talk show The RuPaul Show was the first-ever national talk show to have a drag queen as a host. Along with his partner Michelle Visage, he welcomed an array of high-profile guests such as Cher (/wiki/Cher) , Lil Kim (/wiki/Lil_Kim) , and Diana Ross (/wiki/Diana_Ross) over the show's 100-episode span. As well as having a variety of comedy skits (/wiki/Skits) , the show was noted for discussing topics such as black empowerment, female empowerment (/wiki/Female_empowerment) , misogyny (/wiki/Misogyny) , and liberal politics that were otherwise unheard of in 1990s television at the time. [81] (#cite_note-82) In 1999, RuPaul was awarded the Vito Russo Award (/wiki/Vito_Russo_Award) at the GLAAD Media Awards (/wiki/GLAAD_Media_Award) for work in promoting equality in the LGBT community (/wiki/LGBT_community) . RuPaul has also been noted as having a large part in RuPaul's Drag Race ' s continuous television success. By pioneering queer representation on television, many believe RuPaul to have essentially revolutionised the portrayal of the LGBTQ (/wiki/LGBTQ) + community on screen. [82] (#cite_note-83) He first won an Emmy (/wiki/Emmy) for his work on the show in 2016, and one year later the show garnered eight nominations, including Outstanding Reality-Competition Program (/wiki/Outstanding_Reality-Competition_Program) for the first time in its 11-season run, and a second consecutive win for RuPaul in the Primetime Emmy Award for Outstanding Host for a Reality or Reality-Competition Program (/wiki/Primetime_Emmy_Award_for_Outstanding_Host_for_a_Reality_or_Reality-Competition_Program) . [83] (#cite_note-84) In 2017, he was included in the annual Time 100 (/wiki/Time_100) list of the most influential people in the world. [84] (#cite_note-time-85) In 2019, Fortune (/wiki/Fortune_(magazine)) noted RuPaul as "easily the world's most famous" drag queen. [5] (#cite_note-klein1-6) Relationship with transgender community RuPaul has been the subject of multiple controversies regarding his comments and actions towards the transgender community. According to Vox , he has a complicated relationship with this community, in part due to differing philosophies: through drag he seeks to mock gender and identity stereotypes, while in his view the trans community takes identity seriously. [85] (#cite_note-Vox-2018-86) Nevertheless, RuPaul's Drag Race has featured a number of contestants who are trans women (/wiki/Trans_women) , some of whom made their identity public while competing on the show, including Sonique (/wiki/Sonique_(drag_queen)) , Carmen Carrera (/wiki/Carmen_Carrera) , Jiggly Caliente (/wiki/Jiggly_Caliente) , Monica Beverly Hillz (/wiki/Monica_Beverly_Hillz) , Kenya Michaels (/wiki/Kenya_Michaels) , and Gia Gunn (/wiki/Gia_Gunn) . [86] (#cite_note-gia-trans-87) [87] (#cite_note-salandra-88) Later seasons of the show have included contestants who had already disclosed their trans identity prior to their season beginning. In 2017, Peppermint (/wiki/Peppermint_(entertainer)) became the first contestant to compete throughout her season as an openly trans woman and in 2021 Gottmik (/wiki/Gottmik) was the first to compete as an openly trans man (/wiki/Trans_man) . [88] (#cite_note-pep-gsn-2018-89) [89] (#cite_note-90) Other non-conforming gender (/wiki/Gender_variance) identities expressed by former contestants include both non-binary (/wiki/Non-binary) ( Jinkx Monsoon (/wiki/Jinkx_Monsoon) , Aja (/wiki/Aja_(entertainer)) , Valentina (/wiki/Valentina_(drag_queen)) , Divina de Campo (/wiki/Divina_de_Campo) , Ginny Lemon (/wiki/Ginny_Lemon) , Violet Chachki (/wiki/Violet_Chachki) , [90] (#cite_note-valentina-nb-91) and Sasha Velour (/wiki/Sasha_Velour) [91] (#cite_note-92) ) and genderfluid (/wiki/Genderfluid) ( Courtney Act (/wiki/Courtney_Act) [92] (#cite_note-93) and Kelly Mantle (/wiki/Kelly_Mantle) [93] (#cite_note-94) ) persons. In 2014, trans activists and former contestants Carmen Carrera and Monica Beverly Hillz criticized the show's use of words such as tranny (/wiki/Tranny) and shemale (/wiki/Shemale) , including the main challenge announcement phrase up to season 6, "You've got she-mail", which they described as transphobic (/wiki/Transphobic) . [94] (#cite_note-95) [95] (#cite_note-huffpo-ru-maron-96) That year's season (/wiki/RuPaul%27s_Drag_Race_season_6) also included a "Female or She-male" segment that required contestants to guess whether various photographs featured cisgender (/wiki/Cisgender) "biological women" or "psychological women" (drag queens), causing further criticism. [96] (#cite_note-slate-2014-97) RuPaul and the producers issued a statement promising "to help spread love, acceptance and understanding" and Logo TV removed the "You've got she-mail" phrase from subsequent broadcasts, replacing it instead with the phrase "She done already done had herses." [97] (#cite_note-2014-april-response-98) RuPaul criticized those attempting to police his language in bad faith and noted that tranny referred to transvestites (/wiki/Transvestites) and drag queens, not just trans women. [98] (#cite_note-advocate-2014-ru-response-99) [99] (#cite_note-salon-2014-100) In 2018, RuPaul gave an interview to The Guardian (/wiki/The_Guardian) in which he stated that a post- transition (/wiki/Gender_transitioning) trans woman would "probably not" be accepted onto the show, noting that at the time of competition Peppermint had not yet had breast implants (/wiki/Breast_implant) . [100] (#cite_note-101) After facing criticism on social media and from former contestants for his remarks, [101] (#cite_note-advocate-2014-2018-changes-102) RuPaul compared trans drag queens who had transitioned to athletes who had taken performance-enhancing drugs (/wiki/Performance-enhancing_drugs) . [102] (#cite_note-103) He subsequently expressed regret for the hurt caused by his remarks, and that the only screening criteria for contestants were "charisma, uniqueness, nerve, and talent." [103] (#cite_note-towle-2018-regret-104) Since he made these statements, multiple transgender contestants have competed on the show. Personal life RuPaul met painter Georges LeBar in 1994 at the Limelight (/wiki/The_Limelight) nightclub in New York City. [104] (#cite_note-105) They married in January 2017. [105] (#cite_note-106) They have an open marriage (/wiki/Open_marriage) ; RuPaul has said he would not want to "put restraints" on the person he loves. [106] (#cite_note-107) The two split their time between a home in Los Angeles and a 60,000-acre (24,000 ha) ranch in Wyoming (/wiki/Wyoming) . [107] (#cite_note-108) Environmentalists criticized them in 2020 after RuPaul revealed that they lease mineral rights and sell water to oil companies on their ranch, and allow fracking (/wiki/Fracking) there. [108] (#cite_note-109) [109] (#cite_note-110) [110] (#cite_note-111) According to public maps, the ranch has at least 35 active wells. [111] (#cite_note-112) RuPaul previously held a climate-themed ball (/wiki/The_Last_Ball_on_Earth) on his show to raise environmental awareness (/wiki/Environmental_awareness) , leading to accusations of hypocrisy. [112] (#cite_note-113) RuPaul publicly endorsed Democratic (/wiki/Democratic_Party_(US)) nominee Hillary Clinton (/wiki/Hillary_Clinton) in the 2016 U.S. presidential election (/wiki/2016_U.S._presidential_election) . [113] (#cite_note-114) He expressed dismay at Clinton's defeat by Republican (/wiki/Republican_Party_(US)) nominee Donald Trump (/wiki/Donald_Trump) , saying, "The America that we have all fought so hard for, the narrative of love and peace and liberty and equality, it feels like it is dead." [114] (#cite_note-115) He has described doing drag as a "very, very political" act because it "challenges the status quo " by rejecting fixed identities: "Drag says 'I'm a shapeshifter, I do whatever the hell I want at any given time'." [115] (#cite_note-116) RuPaul started smoking cannabis (/wiki/Cannabis_(drug)) at age 10 or 11. [116] (#cite_note-117) [117] (#cite_note-118) [118] (#cite_note-119) Since 1999, he has been sober and has not had alcohol, drugs, or tobacco. In 2020, he found out while appearing on the TV show Finding Your Roots (/wiki/Finding_Your_Roots) that he and New Jersey (/wiki/New_Jersey) Senator Cory Booker (/wiki/Cory_Booker) are cousins. [119] (#cite_note-120) In a 2013 interview, RuPaul said, "I'm not religious, but I do have spiritual practices like yoga and meditation and I do pray." [120] (#cite_note-121) Discography Main article: RuPaul discography (/wiki/RuPaul_discography) Studio albums Supermodel of the World (/wiki/Supermodel_of_the_World) (1993) Foxy Lady (/wiki/Foxy_Lady_(RuPaul_album)) (1996) Ho Ho Ho (/wiki/Ho_Ho_Ho_(album)) (1997) Red Hot (/wiki/Red_Hot_(album)) (2004) Champion (/wiki/Champion_(RuPaul_album)) (2009) Glamazon (/wiki/Glamazon_(album)) (2011) Born Naked (/wiki/Born_Naked) (2014) Realness (/wiki/Realness) (2015) Slay Belles (/wiki/Slay_Belles) (2015) Butch Queen (/wiki/Butch_Queen) (2016) American (/wiki/American_(album)) (2017) Christmas Party (/wiki/Christmas_Party_(RuPaul_album)) (2018) You're a Winner, Baby (/wiki/You%27re_a_Winner,_Baby) (2020) Mamaru (/wiki/Mamaru_(album)) (2022) Black Butta (/wiki/Black_Butta) (2023) Essential Christmas (/wiki/Essential_Christmas) (2023) Filmography Film Year Title Role 1987 RuPaul Is: Starbooty! (/wiki/RuPaul_Is:_Starbooty!) Starbooty 1994 Crooklyn (/wiki/Crooklyn) Connie 1995 The Brady Bunch Movie (/wiki/The_Brady_Bunch_Movie) Mrs. Cummings Wigstock: The Movie (/wiki/Wigstock:_The_Movie) Himself Blue in the Face (/wiki/Blue_in_the_Face) Dancer To Wong Foo, Thanks for Everything! Julie Newmar (/wiki/To_Wong_Foo,_Thanks_for_Everything!_Julie_Newmar) Rachel Tensions Red Ribbon Blues (/wiki/Red_Ribbon_Blues) Duke A Mother's Prayer (/wiki/A_Mother%27s_Prayer) Deacon "Dede" 1996 Fled (/wiki/Fled) Himself A Very Brady Sequel (/wiki/A_Very_Brady_Sequel) Mrs. Cummings 1998 An Unexpected Life Charles 1999 EDtv (/wiki/EDtv) RuPaul But I'm a Cheerleader (/wiki/But_I%27m_a_Cheerleader) Mike 2000 The Eyes of Tammy Faye (/wiki/The_Eyes_of_Tammy_Faye_(2000_film)) Narrator The Truth About Jane (/wiki/The_Truth_About_Jane) Jimmy For the Love of May Jimbo 2001 Who is Cletis Tout? (/wiki/Who_is_Cletis_Tout%3F) Ginger Markum 2005 Dangerous Liaisons (/wiki/Dangerous_Liaisons_(2005_film)) Himself 2006 Zombie Prom: The Movie Delilah Strict 2007 Starrbooty (/wiki/Starrbooty) Starrbooty/Cupcake 2008 Another Gay Sequel: Gays Gone Wild (/wiki/Another_Gay_Sequel:_Gays_Gone_Wild) Tyrell Tyrelle 2016 Hurricane Bianca (/wiki/Hurricane_Bianca) [121] (#cite_note-122) Weather Man 2018 Show Dogs (/wiki/Show_Dogs) Persephone (voice) 2019 Someone Great (/wiki/Someone_Great_(film)) Hype Trixie Mattel: Moving Parts (/wiki/Trixie_Mattel:_Moving_Parts) Himself 2021 The Bitch Who Stole Christmas (/wiki/The_Bitch_Who_Stole_Christmas) Hannah Contour 2022 Zombies 3 (/wiki/Zombies_3) [122] (#cite_note-123) The Mothership (voice) 2023 Nimona (/wiki/Nimona_(film)) Nate Knight (voice) Trolls Band Together (/wiki/Trolls_Band_Together) Miss Maxine (voice) TBA Hitpig (/w/index.php?title=Hitpig&action=edit&redlink=1) [123] (#cite_note-Deadline-124) (voice) Short films Year Title Role 1983 The Blue Boy Terror Wild Thing Terror II 1984 Terror 3D 1986 Mahogany II Psycho Bitch American Porn Star 1987 Voyeur Police Lady 1989 Cupcake Vampire Hustlers Beauty 1997 Shantay Shantay 1999 Rick and Steve: The Happiest Gay Couple in All the World Daryl.com 2004 Skin Walker 2006 Zombie Prom (/wiki/Zombie_Prom#Zombie_Prom_(2006_Short_Film)) Delilah Strict 2008 How We Got Over 2019 Ru's Angels [124] (#cite_note-125) Bos-Slay Television Year Title Role Notes 1988 The Gong Show (/wiki/The_Gong_Show) Himself (out of drag) 1993 Saturday Night Live (/wiki/Saturday_Night_Live) Himself (in drag) Guest star, episode: " Charles Barkley (/wiki/Charles_Barkley) / Nirvana (/wiki/Nirvana_(band)) " 1994 Sister, Sister (/wiki/Sister,_Sister_(TV_series)) Marje 1995 In the House (/wiki/In_the_House_(TV_series)) Kevin 1996–98 The RuPaul Show (/wiki/The_RuPaul_Show) Himself (in drag) Presenter, 100 episodes Nash Bridges (/wiki/Nash_Bridges) Simone Dubois 2 episodes 1998 Hercules (/wiki/Hercules_(1998_TV_series)) Rock Guardian Episode: "Hercules and the Girdle of Hyppolyte" Sabrina, the Teenage Witch (/wiki/Sabrina_the_Teenage_Witch_(1996_TV_series)) The Witch Judge / Hair Dresser Episode: "Sabrina's Choice" Walker, Texas Ranger (/wiki/Walker,_Texas_Ranger) Bob Episode: "Royal Heist" 2001 Popular (/wiki/Popular_(TV_series)) Sweet Honey Child Port Charles (/wiki/Port_Charles) Madame Alicia Weakest Link (/wiki/Weakest_Link_(U.S._game_show)) Himself (in drag) 2002 Son of the Beach (/wiki/Son_of_the_Beach) Heinous Anus credited as RuPaul Charles The Groovenians (/wiki/The_Groovenians) Champagne Courvoisier TV pilot 2006 Top Chef (/wiki/Top_Chef) : San Francisco [125] (#cite_note-126) as herself "Food of Love." On Bravo. (March 15, 2006). 2008 Project Runway (/wiki/Project_Runway) Himself (in drag) Guest judge, Season 5, episode 6 2009 Rick & Steve: The Happiest Gay Couple in All the World (/wiki/Rick_%26_Steve:_The_Happiest_Gay_Couple_in_All_the_World) Tyler 2009–present RuPaul's Drag Race (/wiki/RuPaul%27s_Drag_Race) Himself (in and out of drag) Host and judge 2010 Ugly Betty (/wiki/Ugly_Betty) Rudolph Episode: "Chica and the Man" 2010–12 RuPaul's Drag U (/wiki/RuPaul%27s_Drag_U) Himself (out of drag) Host, judge and producer 2012–present RuPaul's Drag Race All Stars (/wiki/RuPaul%27s_Drag_Race_All_Stars) Himself (in and out of drag) Host and judge 2013 Happy Endings (/wiki/Happy_Endings_(TV_series)) Krisjahn Episode: "The Incident" Life With La Toya (/wiki/Life_With_La_Toya) Himself (out of drag) Lady Gaga and the Muppets Holiday Spectacular (/wiki/Lady_Gaga_and_the_Muppets_Holiday_Spectacular) Himself (in drag) Guest performer: "Fashion!" alongside Lady Gaga (/wiki/Lady_Gaga) 2014 The Face (/wiki/The_Face_(U.S._TV_series)#Season_2) Himself (out of drag) Guest judge [126] (#cite_note-127) Mystery Girls (/wiki/Mystery_Girls) Emillo Guest star, episode: "Bag Ladies" The Comeback (/wiki/The_Comeback_(TV_series)) Himself (out of drag) Guest star, episode: "Valerie Films A Pilot" 2014–16 Skin Wars (/wiki/Skin_Wars) Himself (out of drag) Judge 2015 Harvey Beaks (/wiki/Harvey_Beaks) Jackie Slitherstein Guest star, episode: "Harvey's Favorite Book" Good Work (/wiki/Good_Work_(TV_series)) Host Bubble Guppies (/wiki/Bubble_Guppies) Drag Snail/Costume Boxing Judge Guest star, episode: "Costume Boxing" 2016 The Muppets (/wiki/The_Muppets_(TV_series)) Himself (out of drag) Episode: "Got Silk?" 2016–17 Gay for Play Game Show Starring RuPaul (/wiki/Gay_for_Play_Game_Show_Starring_RuPaul) Host 2016 The Real O'Neals (/wiki/The_Real_O%27Neals) Himself (out of drag) Episode: "The Real Thang" 2017 2 Broke Girls (/wiki/2_Broke_Girls) Himself (out of drag) Episode: "And the Riverboat Runs Through It" Animals. (/wiki/Animals.) Dr. Labcoat (out of drag) Episode: "Humans" Girlboss (/wiki/Girlboss_(TV_series)) Lionel Recurring role, 6 episodes Then and Now with Andy Cohen (/wiki/Then_and_Now_with_Andy_Cohen) Himself (out of drag) BoJack Horseman (/wiki/BoJack_Horseman) Queen Antonia Episode: "Underground" Broad City (/wiki/Broad_City) Marcel 3 episodes Adam Ruins Everything (/wiki/Adam_Ruins_Everything) Gil 2 episodes 2018 Drag Race Thailand (/wiki/Drag_Race_Thailand) Himself (out of drag) The Ellen DeGeneres Show (/wiki/The_Ellen_DeGeneres_Show) Himself (out of drag) Season 15, episode 120 The Simpsons (/wiki/The_Simpsons) Queen Chante (voice) Episode: " Werking Mom (/wiki/Werking_Mom) " 2019 The Bravest Knight (/wiki/The_Bravest_Knight) Stanley the Big Bad Wolf (in drag) Two episodes [127] (#cite_note-gallops-128) The World's Best (/wiki/The_World%27s_Best) Himself (out of drag) Judge Grace and Frankie (/wiki/Grace_and_Frankie) Benjamin Le Day Guest star [128] (#cite_note-auto-129) RuPaul (/wiki/RuPaul_(talk_show)) Himself (out of drag) Host 2019–present RuPaul's Drag Race UK (/wiki/RuPaul%27s_Drag_Race_UK) Himself Host and judge 2020 AJ and the Queen (/wiki/AJ_and_the_Queen) [129] (#cite_note-queen-130) Ruby Red Main role; co-creator and executive producer Saturday Night Live (/wiki/Saturday_Night_Live) Himself/host Episode: "RuPaul/ Justin Bieber (/wiki/Justin_Bieber) " 2020–present RuPaul's Secret Celebrity Drag Race (/wiki/RuPaul%27s_Secret_Celebrity_Drag_Race) Himself (in and out of drag) Host and judge 2020 The Price Is Right at Night (/wiki/The_Price_Is_Right_(American_game_show)#CBS_primetime_specials_and_series) [54] (#cite_note-Ramos-55) Himself Guest 2020–present Canada's Drag Race (/wiki/Canada%27s_Drag_Race) Himself (in drag) Cameo (video message in every episode) 2020 Muppets Now (/wiki/Muppets_Now) Himself (out of drag) Episode: "Due Date" 2020–present Drag Race Holland (/wiki/Drag_Race_Holland) Himself (in drag) Cameo (video message) 2020 Earth to Ned (/wiki/Earth_to_Ned) Himself (out of drag) Guest; Episode: "You Better Work, Ned" 2021–present RuPaul's Drag Race Down Under (/wiki/RuPaul%27s_Drag_Race_Down_Under) Himself Host and judge [130] (#cite_note-131) 2021 Jimmy Kimmel Live! (/wiki/Jimmy_Kimmel_Live!) Himself (guest host) 2 episodes Chicago Party Aunt (/wiki/Chicago_Party_Aunt) Gideon (voice) 8 episodes Drag Race Italia (/wiki/Drag_Race_Italia) Himself (guest) Season 1 episode 6 2021–2022 Amphibia (/wiki/Amphibia_(TV_series)) Mr. X (voice) 4 episodes Painted with Raven (/wiki/Painted_with_Raven) Himself (guest judge) Episodes: "All That Sparkles", "Fairy Tale Ball" 2022 RuPaul's Drag Race: UK vs the World (/wiki/RuPaul%27s_Drag_Race:_UK_vs_the_World) Herself (in and out of drag) Host and judge [131] (#cite_note-132) Drag Race Philippines (/wiki/Drag_Race_Philippines) Herself (in drag) Cameo (video message in every episode) Ant & Dec's Saturday Night Takeaway (/wiki/Ant_%26_Dec%27s_Saturday_Night_Takeaway) Himself Star Guest Announcer (Series 18, Episode 1) The Late Late Show with James Corden (/wiki/The_Late_Late_Show_with_James_Corden) Himself Guest Star (Season 7, Episode 1080) [132] (#cite_note-133) Celebrity Lingo Himself Host [133] (#cite_note-134) The Tiny Chef Show Announcer (voice) Main role Canada's Drag Race: Canada vs. the World (/wiki/Canada%27s_Drag_Race:_Canada_vs._the_World) Himself (in drag) Cameo (video message in every episode) 2023 The $100,000 Pyramid (/wiki/The_$100,000_Pyramid) Self - Celebrity Player Episode: "RuPaul vs Lauren Lapkus (/wiki/Lauren_Lapkus) and Steve Schirripa (/wiki/Steve_Schirripa) vs Loni Love (/wiki/Loni_Love) " Music videos Year Title Role Artist 1989 " Love Shack (/wiki/Love_Shack) " Extra The B-52's (/wiki/The_B-52%27s) 2019 " You Need to Calm Down (/wiki/You_Need_to_Calm_Down) " Himself Taylor Swift (/wiki/Taylor_Swift) Awards and nominations Main article: List of awards and nominations received by RuPaul (/wiki/List_of_awards_and_nominations_received_by_RuPaul) RuPaul has a star on the Hollywood Walk of Fame (/wiki/Hollywood_Walk_of_Fame) for which he was inducted in 2018. He has also won 14 Primetime Emmy Awards (/wiki/Primetime_Emmy_Awards) , including 8 for Outstanding Host for a Reality or Competition program (/wiki/Primetime_Emmy_Award_for_Outstanding_Host_for_a_Reality_or_Competition_Program) . This makes him the most awarded in the category as well as the most-awarded person of color in Emmy history. [134] (#cite_note-135) His other notable accolades include a Tony Award (/wiki/Tony_Awards) , two Billboard Music Awards (/wiki/Billboard_Music_Awards) , four Canadian Screen Awards (/wiki/Canadian_Screen_Awards) , ten Critics' Choice Real TV Awards (/wiki/Critics%27_Choice_Real_TV_Awards) , a Critics' Choice Award (/wiki/Critics_Choice_Award) , four GLAAD Media Awards (/wiki/GLAAD_Media_Award) including the GLAAD Vito Russo Award (/wiki/GLAAD_Vito_Russo_Award) in 1999, and five Producers Guild of America Awards (/wiki/Producers_Guild_of_America_Awards) . In 2020, a species of Australian soldier fly (/wiki/Soldier_fly) was named Opaluma rupaul (/wiki/Opaluma_rupaul) . The name was chosen in reference to the fly's "costume of shiny metallic rainbow colours." Other species described in the same article were named O. ednae (after fellow drag queen Dame Edna Everage (/wiki/Dame_Edna_Everage) ) and O. fabulosa (https://en.wiktionary.org/wiki/fabulous) . [135] (#cite_note-LW-136) [136] (#cite_note-CNN-137) Books Lettin' It All Hang Out: An Autobiography . New York: Hyperion Books. June 1, 1995. ISBN (/wiki/ISBN_(identifier)) 0-7868-6156-8 . OCLC (/wiki/OCLC_(identifier)) 31657240 (https://www.worldcat.org/oclc/31657240) . Workin' It! RuPaul's Guide to Life, Liberty, and the Pursuit of Style . New York: It Books. January 1, 2010. ISBN (/wiki/ISBN_(identifier)) 9780061985836 . OCLC (/wiki/OCLC_(identifier)) 435421683 (https://www.worldcat.org/oclc/435421683) . GuRu . New York: Dey Street Books. January 1, 2018. ISBN (/wiki/ISBN_(identifier)) 9780751573831 . OCLC (/wiki/OCLC_(identifier)) 1076520397 (https://www.worldcat.org/oclc/1076520397) . The House of Hidden Meanings: A Memoir . New York: Dey St. March 5, 2024. ISBN (/wiki/ISBN_(identifier)) 9780063263901 . OCLC (/wiki/OCLC_(identifier)) 1388319009 (https://www.worldcat.org/oclc/1388319009) . See also LGBT portal (/wiki/Portal:LGBT) Fashion portal (/wiki/Portal:Fashion) LGBT culture in New York City (/wiki/LGBT_culture_in_New_York_City) List of LGBT people from New York City (/wiki/List_of_LGBT_people_from_New_York_City) List of number-one dance hits (United States) (/wiki/List_of_number-one_dance_hits_(United_States)) List of artists who reached number one on the US Dance chart (/wiki/List_of_artists_who_reached_number_one_on_the_US_Dance_chart) Explanatory notes ^ (#cite_ref-5) RuPaul is indifferent to which gender pronouns are used to refer to him, stating that he can be called "he" or "she", [3] (#cite_note-3) and has played male roles and makes public appearances in both male and female drag. [4] (#cite_note-Autobiography-4) This article uses "he/him" pronouns for consistency. References ^ (#cite_ref-1) "Rupaul A Charles, (212) 929-2363, age 61 from 155 Perry St #3A, New York, NY 10014 - Radaris" (https://radaris.com/~Rupaul-Charles/1487144241) . radaris.com . Archived (https://web.archive.org/web/20240627014227/https://radaris.com/~Rupaul-Charles/1487144241) from the original on June 27, 2024 . Retrieved October 21, 2022 . ^ (#cite_ref-2) "RuCo, Inc, Brooklyn NY - Company Profile | BizStanding" (https://bizstanding.com/p/ruco+inc-184228084) . bizstanding.com . Archived (https://web.archive.org/web/20240627014215/https://bizstanding.com/p/ruco+inc-184228084) from the original on June 27, 2024 . Retrieved October 21, 2022 . ^ (#cite_ref-3) RuPaul's Drag Race [@RuPaulsDragRace] (/wiki/RuPaul%27s_Drag_Race) (September 3, 2013). " (https://x.com/RuPaulsDragRace/status/374933702037753857) "You can call me he. You can call me she. You can call me Regis & Cathy Lee; I don't care! Just as long as you call me" - @RuPaul #RuFerence" (https://x.com/RuPaulsDragRace/status/374933702037753857) ( Tweet (/wiki/Tweet_(social_media)) ) – via Twitter (/wiki/Twitter) . ^ Jump up to: a b RuPaul (1995). Lettin' It All Hang Out: An Autobiography . Hyperion Books (/wiki/Hachette_Books) . ISBN (/wiki/ISBN_(identifier)) 978-0-7868-6156-9 . ^ Jump up to: a b Klein, Jessica (September 24, 2019). "As 'RuPaul's Drag Race' Expands to the U.K., DragCon Shines Light on Its Mainstream Success" (https://fortune.com/2019/09/24/rupaul-drag-race-uk-dragcon/) . Fortune (/wiki/Fortune_(magazine)) . Archived (https://web.archive.org/web/20190926235733/https://fortune.com/2019/09/24/rupaul-drag-race-uk-dragcon/) from the original on September 26, 2019 . Retrieved November 18, 2019 . ^ (#cite_ref-7) Klein, Jessica (September 24, 2019). "As 'RuPaul's Drag Race' Expands to the U.K., DragCon Shines Light on Its Mainstream Success" (https://fortune.com/2019/09/24/rupaul-drag-race-uk-dragcon/) . Fortune (/wiki/Fortune_(magazine)) . Archived (https://web.archive.org/web/20191127234657/https://fortune.com/2019/09/24/rupaul-drag-race-uk-dragcon/) from the original on November 27, 2019 . Retrieved June 29, 2020 . ^ (#cite_ref-8) Campbell, Naomi (/wiki/Naomi_Campbell) . "RuPaul" (http://time.com/collection/2017-time-100/4736291/rupaul/) . Time (/wiki/Time_(magazine)) . Archived (https://web.archive.org/web/20200403211100/https://time.com/collection/2017-time-100/4736291/rupaul/) from the original on April 3, 2020 . Retrieved June 29, 2020 . ^ (#cite_ref-9) Britton, Luke Morgan (March 19, 2018). "RuPaul becomes first drag icon to get a star on the Hollywood Walk Of Fame" (https://www.nme.com/news/rupaul-first-drag-queen-hollywood-walk-fame-star-2268938) . NME . Archived (https://archive.today/20200122141302/https://www.nme.com/news/rupaul-first-drag-queen-hollywood-walk-fame-star-2268938) from the original on January 22, 2020 . Retrieved June 8, 2024 . ^ Jump up to: a b Jacobs, Julia (June 12, 2022). "Tony Awards 2022 Live Updates: 'A Strange Loop' Wins Best Musical" (https://www.nytimes.com/live/2022/06/12/theater/tony-awards) . The New York Times (/wiki/The_New_York_Times) . ISSN (/wiki/ISSN_(identifier)) 0362-4331 (https://www.worldcat.org/issn/0362-4331) . Archived (https://web.archive.org/web/20220613033252/https://www.nytimes.com/live/2022/06/12/theater/tony-awards) from the original on June 13, 2022 . Retrieved June 13, 2022 . ^ (#cite_ref-glbtq_11-0) Gianoulis, Tina (August 16, 2005). "RuPaul (RuPaul Andre Charles)" (http://www.glbtqarchive.com/arts/rupaul_A.pdf) (PDF) . GLBTQ: An Encyclopedia of Gay, Lesbian, Bisexual, Transgender, and Queer Culture . GLBTQ, Inc. Archived (https://web.archive.org/web/20170112134716/http://glbtqarchive.com/arts/rupaul_A.pdf) (PDF) from the original on January 12, 2017 . Retrieved March 24, 2009 . ^ Jump up to: a b Reynolds, Daniel (October 9, 2020). "Watch RuPaul Learn His Ancestors Were Also Marriage Pioneers" (https://www.advocate.com/television/2020/10/09/watch-rupaul-learn-his-ancestors-were-also-marriage-pioneers) . The Advocate (/wiki/The_Advocate_(magazine)) . Archived (https://web.archive.org/web/20201011135651/https://www.advocate.com/television/2020/10/09/watch-rupaul-learn-his-ancestors-were-also-marriage-pioneers) from the original on October 11, 2020 . Retrieved October 14, 2020 . ^ (#cite_ref-13) Hunt, Bonnie (/wiki/Bonnie_Hunt) (February 22, 2010). "The Bonnie Hunt Show: Interview with RuPaul, Part 2" (https://www.youtube.com/watch?v=9M1ysX6QqOk) . The Bonnie Hunt Show (/wiki/The_Bonnie_Hunt_Show) . 0:49-1:05. Archived (https://web.archive.org/web/20240203232328/https://www.youtube.com/watch?v=9M1ysX6QqOk) from the original on February 3, 2024 . Retrieved February 3, 2024 – via YouTube. ^ (#cite_ref-14) Robinson, Jennifer (February 10, 2020). "Finding Your Roots: Slave Trade" (https://www.kpbs.org/news/2020/feb/10/finding-your-roots-slave-trade/) . KPBS Public Media . Archived (https://web.archive.org/web/20201017183519/https://www.kpbs.org/news/2020/feb/10/finding-your-roots-slave-trade/) from the original on October 17, 2020 . Retrieved October 14, 2020 . ^ (#cite_ref-15) Charles, RuPaul Andre (1995). Lettin it all hang out (1st ed.). New York: Hyperion (/wiki/Disney_Publishing_Worldwide#Incorporated) . p. 31. ISBN (/wiki/ISBN_(identifier)) 9780786861569 . ^ (#cite_ref-16) Shepherd, Julianne Escobedo (April 1, 2013). "RuPaul Runs The World" (http://www.spin.com/2013/04/rupaul-runs-the-world-drag-race-supermodel/) . Spin (/wiki/Spin_(magazine)) . Archived (https://web.archive.org/web/20170214023747/http://www.spin.com/2013/04/rupaul-runs-the-world-drag-race-supermodel/) from the original on February 14, 2017 . Retrieved March 10, 2017 . ^ (#cite_ref-17) Cohen, Andy (/wiki/Andy_Cohen) (December 9, 2016), Andy Cohen with RuPaul at Live Talks Los Angeles , LiveTalksLA, archived (https://web.archive.org/web/20200505094453/https://www.youtube.com/watch?v=ra_p-QQrvOw&gl=US&hl=en) from the original on May 5, 2020 , retrieved February 3, 2024 – via YouTube ^ (#cite_ref-18) Aguirre, Abby (April 15, 2019). 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Archived (https://web.archive.org/web/20200311104215/https://www.npr.org/2020/03/10/813970591/rupauls-recipe-for-success-love-yourself-and-stay-flexible) from the original on March 11, 2020 . Retrieved March 10, 2020 . RuPaul, who splits time between Los Angeles and a 60,000-acre ranch in Wyoming, says one of the secrets to his success is adaptability. ^ (#cite_ref-109) "Hydraulic Fracturing of Oil and Gas Wells in Kansas" (http://www.kgs.ku.edu/Publications/PIC/PIC32r1.pdf) (PDF) . Kansas Geological Survey-University of Kansas . May 2012. Archived (https://ghostarchive.org/archive/20221009/http://www.kgs.ku.edu/Publications/PIC/PIC32r1.pdf) (PDF) from the original on October 9, 2022 . Retrieved December 16, 2020 . ^ (#cite_ref-110) "Questions and Answers about EPA's Hydraulic Fracturing Drinking Water Assessment" (https://www.epa.gov/hfstudy/questions-and-answers-about-epas-hydraulic-fracturing-drinking-water-assessment#scientific%20evidence) . U.S. EPA (/wiki/U.S._EPA) . 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External links RuPaul at Wikipedia's sister projects Media (https://commons.wikimedia.org/wiki/Category:RuPaul) from Commons Quotations (https://en.wikiquote.org/wiki/RuPaul) from Wikiquote Data (https://www.wikidata.org/wiki/Q705715) from Wikidata Official website (https://www.rupaul.com/) RuPaul (https://www.imdb.com/name/nm0750412/) at IMDb (/wiki/IMDb_(identifier)) RuPaul (https://interviews.televisionacademy.com/interviews/rupaul-charles) at The Interviews: An Oral History of Television (/wiki/The_Interviews:_An_Oral_History_of_Television) v t e RuPaul Discography (/wiki/RuPaul_discography) Awards and nominations (/wiki/List_of_awards_and_nominations_received_by_RuPaul) Studio albums Supermodel of the World (/wiki/Supermodel_of_the_World) Foxy Lady (/wiki/Foxy_Lady_(RuPaul_album)) Ho Ho Ho (/wiki/Ho_Ho_Ho_(album)) Red Hot (/wiki/Red_Hot_(album)) Champion (/wiki/Champion_(RuPaul_album)) Glamazon (/wiki/Glamazon_(album)) Born Naked (/wiki/Born_Naked) Realness (/wiki/Realness) Slay Belles (/wiki/Slay_Belles) Butch Queen (/wiki/Butch_Queen) American (/wiki/American_(album)) Christmas Party (/wiki/Christmas_Party_(RuPaul_album)) You're a Winner, Baby (/wiki/You%27re_a_Winner,_Baby) Mamaru (/wiki/Mamaru_(album)) Black Butta (/wiki/Black_Butta) Compilation albums RuPaul Presents: The CoverGurlz (/wiki/RuPaul_Presents:_The_CoverGurlz) RuPaul Presents: The CoverGurlz 2 (/wiki/RuPaul_Presents:_The_CoverGurlz_2) Remember Me: Essential, Vol. 1 (/wiki/Remember_Me:_Essential,_Vol._1) Queen of Queens (/wiki/Queen_of_Queens) Essential Christmas (/wiki/Essential_Christmas) Essential, Vol. 3 (/wiki/Essential,_Vol._3) Singles " Supermodel (You Better Work) (/wiki/Supermodel_(You_Better_Work)) " " House of Love (/wiki/House_of_Love_(RuPaul_song)) " " Back to My Roots (/wiki/Back_to_My_Roots) " " Don't Go Breaking My Heart (/wiki/Don%27t_Go_Breaking_My_Heart) " " Snapshot (/wiki/Snapshot_(RuPaul_song)) " " A Little Bit of Love (/wiki/A_Little_Bit_of_Love_(RuPaul_song)) " " It's Raining Men... 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For other uses, see Sweatshop (disambiguation) (/wiki/Sweatshop_(disambiguation)) . Workplace that has socially unacceptable working conditions A sweatshop in the United States c. 1890 A sweatshop or sweat factory is a crowded [1] (#cite_note-1) workplace (/wiki/Workplace) with very poor or illegal working conditions, including little to no breaks, inadequate work space, insufficient lighting and ventilation, or uncomfortably or dangerously high or low temperatures. The work may be difficult, tiresome, dangerous, climatically challenging, or underpaid. Employees in sweatshops may work long hours with unfair wages, regardless of laws mandating overtime pay or a minimum wage (/wiki/Minimum_wage) ; child labor (/wiki/Child_labor) laws may also be violated. Women make up 85 to 90% of sweatshop workers and may be forced by employers to take birth control and routine pregnancy tests to avoid supporting maternity leave or providing health benefits. [2] (#cite_note-2) The Fair Labor Association's "2006 Annual Public Report" inspected factories for FLA compliance in 18 countries including Bangladesh, El Salvador, Colombia, Guatemala, Malaysia, Thailand, Tunisia, Turkey, China, India, Vietnam, Honduras, Indonesia, Brazil, Mexico, and the US. [3] (#cite_note-3) The U.S. Department of Labor (/wiki/United_States_Department_of_Labor) 's "2015 Findings on the Worst Forms of Child Labor" found that "18 countries did not meet the International Labour Organization (/wiki/International_Labour_Organization) 's recommendation for an adequate number of inspectors." [4] (#cite_note-4) Use of the term [ edit ] The phrase sweatshop was coined in 1850, meaning a factory or workshop where workers are treated unfairly, for example, by having low wages, working long hours, and living in poor conditions. Since 1850, immigrants have been flocking to work at sweatshops in cities like London, New York, and Paris for over a century. Many of them worked in tiny, stuffy rooms that were prone to fire hazards and rat infestations. The term sweatshop was used in Charles Kingsley (/wiki/Charles_Kingsley) 's Cheap Clothes and Nasty (1850) describing how such workplaces create a ‘sweating system’ of workers. [5] (#cite_note-Blackburn-5) The idea of minimum wage and labour unions was not developed until the 1890s. This issue appears to be solved by some anti-sweatshop organizations. However, the ongoing development of the issue is showing a different situation. The phrase is still used in current times because it is still used in a variety of countries around the world. [6] (#cite_note-6) History [ edit ] A sweatshop in a New York tenement building, c. 1889 19th and early 20th centuries [ edit ] Many workplaces through history have been crowded, low-paying, and without job security; but the concept of a sweatshop originated between 1830 and 1850 as a specific type of workshop in which a certain type of middleman, the sweater, directed others in garment making (the process of producing clothing) under arduous conditions. The terms sweater for the middleman and sweat system for the process of subcontracting piecework (/wiki/Piecework) were used in early critiques like Charles Kingsley (/wiki/Charles_Kingsley) 's Cheap Clothes and Nasty , written in 1850, which described conditions in London, England. The workplaces created for the sweating system (a system of subcontracting in the tailoring (/wiki/Tailor) trade) were called sweatshops and might contain only a few workers or as many as 300 or more. All those workers were illegally underpaid in terms of regular time and even overtime. Between 1832 and 1850, sweatshops attracted individuals with lower incomes to growing cities, and attracted immigrants to locations such as London and New York City's garment district (/wiki/Garment_District,_Manhattan) , located near the tenements (/wiki/Tenement) of New York's Lower East Side (/wiki/Lower_East_Side) . These sweatshops incurred criticism: labor leaders cited them as crowded, poorly ventilated, and prone to fires and rodent infestations: in many cases, there were many workers crowded into small tenement rooms. In the 1890s, a group calling itself the National Anti-Sweating League (/wiki/National_Anti-Sweating_League) was formed in Melbourne (/wiki/Melbourne) and campaigned successfully for a minimum wage (/wiki/Minimum_wage) via trade boards. [7] (#cite_note-7) A group with the same name campaigned from 1906 in the UK, resulting in the Trade Boards Act 1909 (/wiki/Trade_Boards_Act_1909) . [5] (#cite_note-Blackburn-5) In 1910, the International Ladies' Garment Workers' Union (/wiki/International_Ladies%27_Garment_Workers%27_Union) was founded in attempt to improve the condition of these workers. [8] (#cite_note-8) Criticism of garment sweatshops became a major force behind workplace safety regulations and labor laws (/wiki/Labour_law) . As some journalists strove to change working conditions, the term sweatshop came to refer to a broader set of workplaces whose conditions were considered inferior. In the United States, investigative journalists (/wiki/Investigative_journalism) , known as muckrakers (/wiki/Muckraker) , wrote exposés of business practices, and progressive (/wiki/Progressivism_in_the_United_States) politicians campaigned for new laws. Notable exposés of sweatshop conditions include Jacob Riis (/wiki/Jacob_Riis) ' photo documentary (/wiki/Photo_journalism) How the Other Half Lives (/wiki/How_the_Other_Half_Lives) and Upton Sinclair (/wiki/Upton_Sinclair) 's book, The Jungle (/wiki/The_Jungle) , a fictionalized account of the meat packing industry (/wiki/Meat_packing_industry) . Lewis Hine (/wiki/Lewis_Hine) noted poor working conditions when he photographed workers at the Western Dress Factory in Millville, New Jersey (/wiki/Millville,_New_Jersey) , for the WPA (/wiki/Works_Progress_Administration) 's National Research Project (1937) In 1911, the Triangle Shirtwaist Factory fire galvanized negative public perceptions of sweatshops in New York City. The pivotal role of this time and place is chronicled at the Lower East Side Tenement Museum, part of the Lower East Side Tenement National Historic Site (/wiki/Lower_East_Side_Tenement_National_Historic_Site) . While trade unions, minimum wage (/wiki/Minimum_wage) laws, fire safety (/wiki/Fire_safety) codes, and labour laws have made sweatshops (in the original sense) rarer in the developed world (/wiki/Developed_world) , they did not eliminate them, and the term is increasingly associated with factories in the developing world (/wiki/Developing_world) . Late 20th century to present [ edit ] Further information: Slavery in the 21st century (/wiki/Slavery_in_the_21st_century) In a report issued in 1994, the United States Government Accountability Office (/wiki/Government_Accountability_Office) found that there were still thousands of sweatshops in the United States, using a definition of a sweatshop as any "employer that violates more than one federal or state labor law governing minimum wage and overtime, child labor, industrial homework, occupational safety and health, workers' compensation, or industry registration". [9] (#cite_note-9) This recent definition eliminates any historical distinction about the role of a middleman or the items produced and focuses on the legal standards of developed country workplaces. An area of controversy between supporters of outsourcing production to the Third World (/wiki/Third_World) and the anti-sweatshop movement is whether such standards can or should be applied to the workplaces of the developing world. [ citation needed ] Sweatshops are also sometimes implicated in human trafficking (/wiki/Human_trafficking) when workers have been tricked into starting work without informed consent (/wiki/Informed_consent) , or when workers are kept at work through debt bondage (/wiki/Debt_bondage) or mental duress, all of which are more likely if the workforce is drawn from children or the uneducated rural poor. [ citation needed ] Because they often exist in places without effective workplace safety or environmental laws, sweatshops sometimes injure their workers or the environment at greater rates than would be acceptable in developed countries. [ citation needed ] Penal labor (/wiki/Penal_labor) facilities (employing prisoners) may be grouped under the sweatshop label due to underpaid work conditions. [10] (#cite_note-10) Sweatshop conditions resemble prison labor in many cases, especially from a commonly found Western perspective. In 2014 Apple was caught "failing to protect its workers" in one of its Pegatron (/wiki/Pegatron) factories. Overwhelmed workers were caught falling asleep during their 12-hour shifts and an undercover reporter had to work 18 days in a row. [11] (#cite_note-11) Sweatshops in question carry characteristics such as compulsory pregnancy tests for female laborers and terrorization from supervisors into submission. [12] (#cite_note-12) Workers then go into a state of forced labor, and if even one day of work is not accounted for they could be immediately fired. These working conditions have been the source of suicidal unrest within factories in the past. Chinese sweatshops known to have increased numbers of suicidal employees have suicide nets covering the whole site, in place to stop overworked and stressed employees from leaping to their deaths, such as in the case of the Foxconn suicides (/wiki/Foxconn_suicides) . [13] (#cite_note-13) Recently, Boohoo (/wiki/Boohoo.com) came under light since auditors uncovered a large chain of factories in Leicester producing clothes for Boohoo that were only paying their workers between £3-4. [14] (#cite_note-14) [15] (#cite_note-15) The conditions of the factories were described as terrible and workers received "illegally low pay". [16] (#cite_note-16) Child Labor: American History [ edit ] Cotton (/wiki/Cotton) is one of the most important and widely produced crops in the world. However, cotton textiles (/wiki/Cotton_textile_industry) became the major battlefield on which the political, social, and economic war over child labour (/wiki/Child_labour) was fought. According to the book Child Labor: An American History by Hugh D. Hindman, states, "In 1870, when New England dominated textiles, 13,767, or 14.5 percent of its workforce was children under sixteen". [17] (#cite_note-Hindman-17) By the most conservative estimate, from the Census of Manufacturers, there were 27,538 under sixteen in southern mills. According to the household census in 1900, the number was 60,000. [17] (#cite_note-Hindman-17) In response to the issue of child labor, The United States enacted the Fair Labor Standards Act of 1938 (/wiki/Fair_Labor_Standards_Act_of_1938) (FLSA) to prohibit the employment of minors under the age of sixteen. [18] (#cite_note-18) Industries using sweatshop labor [ edit ] World-famous fashion brands such as H&M (/wiki/H%26M) , Nike (/wiki/Nike,_Inc.) , Adidas (/wiki/Adidas) and Uniqlo (/wiki/Uniqlo) have all been criticized for their use of sweatshops. In 2015, anti-sweatshop protesters marched against the Japanese fast-fashion brand Uniqlo in Hong Kong. Along with the Japanese anti-sweatshops organisation Human Rights Now (/wiki/Human_Rights_Now) [ ja (https://ja.wikipedia.org/wiki/%E3%83%92%E3%83%A5%E3%83%BC%E3%83%9E%E3%83%B3%E3%83%A9%E3%82%A4%E3%83%84%E3%83%BB%E3%83%8A%E3%82%A6) ] , the Hong Kong labour organisation SACOM (/wiki/Students_and_Scholars_Against_Corporate_Misbehaviour) (Students and Scholars Against Corporate Misbehaviour) protested the "harsh and dangerous" working conditions in Uniqlo's value-added factories in China. [19] (#cite_note-19) According to a recent report published by SACOM, Uniqlo’s suppliers were blamed for "systematically underpaying their labour, forcing them to work excessive hours and subjecting them to unsafe working conditions, which included sewage-covered floors, poor ventilation, and sweltering temperatures". [20] (#cite_note-20) According to the 2016 Clean Clothes Campaign (/wiki/Clean_Clothes_Campaign) , [21] (#cite_note-21) H&M strategic suppliers in Bangladesh were reported for dangerous working environments, which lacked vital equipment for workers and adequate fire exits. The German sportswear giant Adidas (/wiki/Adidas) was criticized for its Indonesian sweatshops in 2000, and accused of underpayment, overtime working, physical abuse and child labour. [22] (#cite_note-22) Another sportswear giant, Nike, faced a heavy wave of anti-sweatshop protests, organised by the United Students Against Sweatshops (/wiki/United_Students_Against_Sweatshops) (USAS) and held in Boston, Washington D.C., Bangalore, and San Pedro Sula. They claimed that workers in Nike's contract factory in Vietnam were suffering from wage theft, verbal abuse and harsh working conditions with "temperatures over the legal limit of 90 degrees". [23] (#cite_note-23) Since the 1990s, Nike has been reported to employ sweat factories and child labour. Regardless of its effort to turn things around, Nike's image has been affected by the issue during the past two decades. Nike established an independent department which aimed to improve workers’ livelihoods in 1996. It was renamed the Fair Labor Association (/wiki/Fair_Labor_Association) in 1999, as a non-profit organisation which includes representatives from companies, human rights organizations, and labour unions to work on the monitoring and management of labour rights. [24] (#cite_note-businessinsider.com-24) To improve its brand image of being immoral, Nike has been publishing annual sustainable business reports since 2001 [25] (#cite_note-25) and annual corporate social responsibility reports continuously since 2005, mentioning its commitments, standards and audits. [24] (#cite_note-businessinsider.com-24) Similar stories have been common in the fashion industry over the past few decades. Brands such as Shein, Nike, H&M, Zara, Disney (/wiki/Disney_Consumer_Products) , and Victoria's Secret (/wiki/Victoria%27s_Secret) to name a few examples, are still using sweatshops. [26] (#cite_note-26) In 2016, the United States Department of Labor (/wiki/United_States_Department_of_Labor) investigated 77 garment factories in Los Angeles that produced clothing for the aforementioned brands, and found labor violations at 85% of the factories it visited. [27] (#cite_note-27) Contributing factors [ edit ] This section has multiple issues. Please help improve it (/wiki/Special:EditPage/Sweatshop) or discuss these issues on the talk page (/wiki/Talk:Sweatshop) . ( Learn how and when to remove these template messages (/wiki/Help:Maintenance_template_removal) ) This section is written like a personal reflection, personal essay, or argumentative essay (/wiki/Wikipedia:What_Wikipedia_is_not#Wikipedia_is_not_a_publisher_of_original_thought) that states a Wikipedia editor's personal feelings or presents an original argument about a topic. Please help improve it (https://en.wikipedia.org/w/index.php?title=Sweatshop&action=edit) by rewriting it in an encyclopedic style (/wiki/Wikipedia:Writing_better_articles#Information_style_and_tone) . ( April 2022 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Some of this section's listed sources (/wiki/Wikipedia:Citing_sources) may not be reliable (/wiki/Wikipedia:Reliable_sources) . Please help improve this article by looking for better, more reliable sources. Unreliable citations may be challenged and removed. ( April 2022 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Fast fashion [ edit ] Main article: Fast fashion (/wiki/Fast_fashion) A trend called " fast fashion (/wiki/Fast_fashion) " is believed to contribute towards the rise of sweatshops. Fast fashion refers to "rapid reorders and new orders that retailers now exert as they discern sales trends in real time" (Ross, 2015) [28] (#cite_note-28) To keep up with the fast-changing trends and demands within the fashion industry, these fast-fashion brands have to react and arrange production accordingly. To lower production and storage costs, these brands outsource labour to other countries with low production costs which can produce orders in a short time. This may result in workers suffering from long working hours without reasonable payment. A documentary, " The True Cost (/wiki/The_True_Cost) " (2015), claims that sweatshops relieve pressure on retailers by passing it to factory owners and, ultimately, workers. Government corruption and inadequate labour protection legislation [ edit ] Government corruption and inadequate labour protection legislation in developing countries have also contributed to the suffering of their employees. Weak law enforcement has attracted outside investment in these developing countries, which is a serious problem generating sweatshops. [ citation needed ] Without reasonable law restrictions, outside investors can set up fashion manufacturing plants at a lower cost. According to Zamen (2012), governments in developing countries often fail to enforce safety standards in local factories because of corruption and weak law enforcement. [29] (#cite_note-Zamen-29) These circumstances allow factories to provide dangerous working conditions for workers. According to the Corruption Perception Index 2016 (2017), [30] (#cite_note-30) those countries with a high risk of corruption such as Bangladesh, Vietnam, India, [31] (#cite_note-31) Pakistan and China are reported to have larger numbers of unsafe garment factories operating inside the countries. When Zamen (2012) said "corruption kills", sweatshops in developing countries would be the prime cases. [29] (#cite_note-Zamen-29) In some places the government or media do not show the full picture. An example of this may be seen in Dubai where some labour camps do not have proper conditions for workers. If they protest, they can be deported if they are foreigners. [32] (#cite_note-32) [33] (#cite_note-33) Low education level [ edit ] It is suggested that these workers should fight back and protect their labour rights, yet a lot of them in developing countries are ignorant about their rights because of their low education levels. According to the UNESCO Institute of Statistics (2016), [34] (#cite_note-34) most of these sweatshops are located in countries that have low education levels. Harrison and Scorse mention that most of them do not know about their rights, such as matters about wages and supposed working conditions, thus they have no skill set to fight for their labour rights through collective bargaining (such as strikes or work to rule). Their lack of knowledge makes it hard for them to improve working conditions on their own. Impacts of sweatshops [ edit ] Child labour [ edit ] Main article: Child labour (/wiki/Child_labour) Child labour is one of the most serious impacts that sweatshops have brought. According to the International Labour Office (/wiki/International_Labour_Organization) , more than 250 million children are employed in sweatshops, of which 170 million are engaged in the textile industry in developing countries. [35] (#cite_note-35) In hopes of earning a living, many girls in these countries, such as Bangladesh and India, are willing to work at low wages for long working hours, said Sofie Ovaa, an officer of Stop Child Labour. [36] (#cite_note-36) Most fashion manufacturing chains employ low-skilled labour and as child laborers are easier to manage and even more suitable than adult labour for certain jobs such as cotton picking, it becomes a particular problem in sweatshops as they are vulnerable with no backups. Environmental pollution [ edit ] Not only workers are impacted by sweatshops, but the neighboring environment as well, through lax environmental laws set up in developing countries to help reduce the production cost of the fashion industry. Clothing manufacturing is still one of the most polluting industries in the world. Nevertheless, the environment of developing countries remained deeply polluted by untreated waste. The Buriganga River (/wiki/Buriganga_River) in Bangladesh is now black and pronounced biologically dead because neighbouring leather tanneries are discharging more than 150 cubics of liquid waste daily. (Stanko, 2013) [37] (#cite_note-37) The daily life of local people is significantly affected as the Buriganga River (/wiki/Buriganga_River) is their source of bathing, irrigation and transportation. Many workers in the tanneries suffer from serious skin illnesses since they are exposed to toxic chemicals for a long time. Air is being highly polluted in such areas because the factories do not install proper ventilation facilities. Sweatshops are also an environmental issue as it is not only the human right of labour but also their living environment. Anti-sweatshop movement [ edit ] Main article: Anti-sweatshop movement (/wiki/Anti-sweatshop_movement) History [ edit ] 19th and early 20th centuries [ edit ] Some of the earliest sweatshop critics were found in the 19th-century abolitionist (/wiki/Abolitionism) movement that had originally coalesced in opposition to chattel slavery (/wiki/Slavery) , and many abolitionists saw similarities between slavery and sweatshop work. As slavery was successively outlawed in industrial countries between 1794 (in France) and 1865 (in the United States), some abolitionists sought to broaden the anti-slavery consensus to include other forms of harsh labor, including sweatshops. As it happened, the first significant law to address sweatshops (the Factory Act of 1833 (/wiki/Factory_Act) ) was passed in the United Kingdom several years after the slave trade (1807) and ownership of slaves (1833) was made illegal. Ultimately, the abolitionist movement split apart. Some advocates focused on working conditions and found common causes with trade unions Marxists (/wiki/Marxism) and socialist political groups, or progressive movement (/wiki/Progressivism) and the muckrakers (/wiki/Muckraker) . Others focused on the continued slave trade and involuntary servitude (/wiki/Involuntary_servitude) in the colonial world. For those groups that remained focused on slavery, sweatshops became one of the primary objects of controversy. Workplaces across multiple sectors of the economy were categorized as sweatshops. However, there were fundamental philosophical disagreements about what constituted slavery. Unable to agree on the status of sweatshops, the abolitionists working with the League of Nations (/wiki/League_of_Nations) and the United Nations ultimately backed away from efforts to define slavery and focused instead on a common precursor of slavery – human trafficking (/wiki/Human_trafficking) . [38] (#cite_note-38) Those focused on working conditions included Friedrich Engels (/wiki/Friedrich_Engels) , whose book The Condition of the Working Class in England in 1844 (/wiki/The_Condition_of_the_Working_Class_in_England_in_1844) would inspire the Marxist movement named for his collaborator, Karl Marx (/wiki/Karl_Marx) . In the United Kingdom, the first effective Factory Act (/wiki/Factory_Acts) was introduced in 1833 to help improve the condition of workers by limiting work hours and the use of child labor; but this applied only to textile factories. Later Acts extended protection to factories in other industries, but not until 1867 was there any similar protection for employees in small workshops, and not until 1891 was it possible to effectively enforce the legislation where the workplace was a dwelling (as was often the case for sweatshops). The formation of the International Labour Organization (/wiki/International_Labour_Organization) in 1919 under the League of Nations and then the United Nations sought to address the plight of workers the world over. Concern over working conditions as described by muckraker journalists during the Progressive Era (/wiki/Progressive_Era) in the United States saw the passage of new workers' rights laws and ultimately resulted in the Fair Labor Standards Act (/wiki/Fair_Labor_Standards_Act) of 1938, passed during the New Deal (/wiki/New_Deal) . [39] (#cite_note-39) Late 20th century to present [ edit ] On February 4, 1997, Mayor Ed Boyle of North Olmsted (/wiki/North_Olmsted) , in the U.S. state of Ohio (/wiki/Ohio) , introduced the first piece of legislation prohibiting the government from purchasing, renting, or taking on consignment any goods made under sweatshop conditions and including in the definition those goods made by political prisoners and incarcerated criminals. [40] (#cite_note-40) Similar legislation was subsequently passed in other American cities such as Detroit, New York, and San Francisco. [ citation needed ] Later Mayor Boyle introduced the legislation to the Mayors and Managers Association where it was immediately endorsed, and he was invited by President Bill Clinton (/wiki/Bill_Clinton) to address a panel studying the subject in Washington, DC. [ citation needed ] Clothing and footwear factories (/wiki/Factory) overseas have progressively improved working conditions because of the high demand of anti-sweatshop movement (/wiki/Anti-sweatshop_movement) labor rights advocates. [41] (#cite_note-:3-41) Sweatshops overseas have been receiving enormous amounts of pressure. The working conditions from college students, and other opponents of sweatshops have led to some of the powerful companies like Nike (/wiki/Nike,_Inc.) and the Gap who have agreed to cut back on child labour (/wiki/Child_labour) , [41] (#cite_note-:3-41) restrict the use of dangerous and poisonous chemicals (/wiki/Chemical_substance) , and drop the average rate of employees working 80-hour weeks, according to groups that monitor such factories. Labour advocates say this could be a major turning point after 4 decades of workers in Asia and Latin American factories being underpaid, underappreciated and working in an unsafe environment. Recently, there have been strides to eradicate sweatshops through government action, for example by increasing the minimum wage. In China, a developing country that is known to be a hub for sweatshops due to relaxed labor laws, high population and low minimum wage, the minimum wage is set to be raised by approximately 7% in 10 provinces by the end of 2018. [42] (#cite_note-42) As well as these governments also enforced stricter labor laws in 2013 after the collapse of Rana Plaza in Bangladesh, a large 5 storied sweatshop that killed 1135 people due to the building not being up to code, Bangladeshi police shut down many other factories after safety checks were completed and not met. However, no action has been as beneficial to the anti-sweatshop movement as that of the rise of social media. Social media has allowed for the world to see exactly what companies are doing and how they are doing it instantaneously, for free and is distributed to a wide audience. The platforms have allowed for viral videos, hundreds of thousands of retweets of quotes or statistics, millions of liked and shared pictures etc. to be spread to consumers in regards to companies' production methods without any censorship and thus force brands to be more transparent and ethical with their production practices. This is because a brand's reputation can be destroyed by a bystander with a smartphone who records a brand's product being made in a sweatshop where its workers are treated inhumanely. However, social media isn’t just helping to expose brands who are using sweatshops and unethical production practices but also is allowing companies that are trying to increase awareness of the anti-sweatshop movement to spread their message quickly and efficiently. In some cases, it isn't sure that name-calling and shaming is the most effective strategy. Globalization is a big factor in sweatshops within the firm. These lead firms depend on structural and cultural position. In which many are targeting the leading globalizer and lawmakers. A solution, that is offered is to combine structural and cultural values, to be embedded into policy. The anti-sweatshop activism states how firms lack structural power and cultural vulnerability. [43] (#cite_note-43) For example, in May 2017 Mama Cash and The Clean Clothes Campaign, both organizations that are working towards abolishing sweatshops as well as creating a world of sustainable and ethical apparel practices, worked together to create The Women Power Fashion Pop-up. [44] (#cite_note-fashionunited.uk-44) The event took place in Amsterdam and allowed consumers to sit in a room designed to look and feel like a sweatshop and were forced to create 100 ties in an hour which is synonymous to that of the expectations of women working in sweatshops today. [44] (#cite_note-fashionunited.uk-44) This pop-up allowed consumers to actually experience the life of a sweatshop worker for a limited time and thus made them more sympathetic to the cause. Outside of the pop-up was a petition that consumers could sign to convince brands to be more transparent with their clothing manufacturing processes. [44] (#cite_note-fashionunited.uk-44) The campaign went viral and created a significant buzz for the anti-sweatshop movement as well as the work of Mama Cash and The Clean Clothes Campaign. In recent years, the notion of the ethical consumer has risen. Consumers not only are important to modern markets but also influence the decisions made by companies. These consumers make buying decisions based on how the product was made, by whom and under what conditions, as well as the environmental consequences of production and consumption. This set of criteria means that consumption decisions are not only based on one's satisfaction with a purchase but also other aspects such as the environment and the well-being of workers in clothing factories. [45] (#cite_note-45) Anti-sweatshop organizations [ edit ] Clean Clothes Campaign (/wiki/Clean_Clothes_Campaign) – an international alliance of labor unions and non-governmental organizations Free the Children (/wiki/Free_the_Children) – a Canadian organization that helps raise awareness and put a stop to Child Labour – Also helps other children in need Global Exchange (/wiki/Global_Exchange) – an international human rights organization founded in 1988 dedicated to promoting social, economic and environmental justice Green America (/wiki/Green_America) – membership organization based in the United States Institute for Global Labour and Human Rights (/wiki/Institute_for_Global_Labour_and_Human_Rights) – founded to combat sweatshop labor and US government policy in El Salvador and Central America International Labor Rights Fund (/wiki/International_Labor_Rights_Fund) International Labour Organization (/wiki/International_Labour_Organization) – a specialized agency of the United Nations Maquila Solidarity Network (/wiki/Maquila_Solidarity_Network) – a Canadian anti-sweatshop network No Sweat (/wiki/No_Sweat_(organisation)) (UK) Rugmark (/wiki/Rugmark) – a carpet labeling program and rehabilitation centers for former child laborers in India, Pakistan and Nepal United Students Against Sweatshops (/wiki/Student_Labor_Action_Coalition) – a student organization in the United States and Canada Unite Here (/wiki/Unite_Here) – a labor union based in the United States and Canada dedicated to achieving higher standards for laborers Worker Rights Consortium (/wiki/Worker_Rights_Consortium) – a labor rights organization focused on protecting the rights of workers who make apparel in the United States Fair Trade USA (/wiki/Fair_Trade_USA) - an independent, nonprofit organization that sets standards, certifies, and labels products that promote sustainable livelihoods for farmers and workers and protect the environment. microRevolt (https://microrevolt.org/) - an independent, nonprofit organization that addresses the current crisis of global expansion and the feminization of labor Institute for Global Labour and Human Rights (/wiki/Institute_for_Global_Labour_and_Human_Rights) - a non-profit located in Pittsburgh, Pennsylvania in the United States whose mission is to promote and defend women's and workers' rights across the globe; formally known as the National Labor Committee In Asia [ edit ] China Labour Bulletin (/wiki/China_Labour_Bulletin) – reports on labor concerns in China Hong Kong Christian Industrial Committee (/wiki/Hong_Kong_Christian_Industrial_Committee) – empowers workers, acts as a policy watch-dog, and promotes independent trade union movements Sweatshop-free [ edit ] Main article: Sweatshop-free (/wiki/Sweatshop-free) Sweatshop-free (/wiki/Sweatshop-free) is a term the fashion brand American Apparel (/wiki/American_Apparel) created to mean coercion-free, fair compensation for garment workers who make their products. [46] (#cite_note-aaworkers-46) [47] (#cite_note-47) American Apparel claims its employees earn on average double the federal minimum wage. [46] (#cite_note-aaworkers-46) They receive some employee benefits, from health insurance to subsidized transportation and meals, and have access to an onsite medical clinic. [46] (#cite_note-aaworkers-46) It has been heavily featured in the company's advertisements for nearly a decade and has become a common term in the garment industry. [48] (#cite_note-48) [49] (#cite_note-49) [50] (#cite_note-50) [51] (#cite_note-51) [52] (#cite_note-52) Debate over the effects of globalization and sweatshops [ edit ] Criticisms [ edit ] Main article: Anti-globalization movement (/wiki/Anti-globalization_movement) More recently, the anti-globalization movement (/wiki/Anti-globalization_movement) has arisen in opposition to corporate globalization (/wiki/Globalization) , the process by which multinational corporations (/wiki/Multinational_corporation) move their operations overseas to lower costs and increase profits. The anti-sweatshop movement has much in common with the anti-globalization movement (/wiki/Anti-globalization_movement) . Both consider sweatshops harmful, and both have accused many companies (such as the Walt Disney Company (/wiki/Walt_Disney_Company) , The Gap (/wiki/The_Gap_(clothing_retailer)) , and Nike (/wiki/Nike,_Inc.) ) of using sweatshops. Some in these movements charge that neoliberal (/wiki/Neoliberalism) globalization is similar to the sweating system (/wiki/Sweating_system) , arguing that there tends to be a " race to the bottom (/wiki/Race_to_the_bottom) " as multinationals leap from one low-wage country to another searching for lower production costs, in the same way that sweaters would have steered production to the lowest cost sub-contractor. [53] (#cite_note-53) Members of United Students Against Sweatshops marching in protest Various groups support or embody the anti-sweatshop movement today. The National Labor Committee (/wiki/National_Labor_Committee) brought sweatshops into the mainstream media in the 1990s when it exposed the use of sweatshop and child labor to sew clothing for Kathie Lee Gifford's Wal-Mart label. United Students Against Sweatshops is active on college campuses. The International Labor Rights Fund (/wiki/International_Labor_Rights_Fund) filed a lawsuit [54] (#cite_note-54) on behalf of workers in China, Nicaragua, Swaziland, Indonesia, and Bangladesh against Wal-Mart charging the company with knowingly developing purchasing policies particularly relating to price and delivery time that are impossible to meet while following the Wal-Mart code of conduct. Labor unions, such as the AFL–CIO (/wiki/AFL%E2%80%93CIO) , have helped support the anti-sweatshop movement out of concern both for the welfare of workers in the developing world and those in the United States. [55] (#cite_note-55) Social critics complain that sweatshop workers often do not earn enough money to buy the products that they make, even though such items are often commonplace goods such as T-shirts, shoes, and toys. In 2003, Honduran garment factory workers were paid US$0.24 for each $50 Sean John (/wiki/Sean_John) sweatshirt, $0.15 for each long-sleeved T-shirt, and only five cents for each short-sleeved shirt – less than one-half of one percent of the retail price. [56] (#cite_note-seanjohn-56) Even comparing international costs of living, the $0.15 that a Honduran worker earned for the long-sleeved T-shirt was equal in purchasing power (/wiki/Purchasing_power) to $0.50 in the United States. [57] (#cite_note-57) In countries where labor costs are low, bras that cost US$5–7 apiece retail for US$50 or more in American stores. As of 2006 [update] (https://en.wikipedia.org/w/index.php?title=Sweatshop&action=edit) , female garment workers in India earned about US$2.20 per day. [58] (#cite_note-watson-58) Anti-globalization proponents cite high savings, increased capital investment in developing nations, diversification of their exports and their status as trade ports as the reason for their economic success rather than sweatshops [59] (#cite_note-59) [60] (#cite_note-60) [61] (#cite_note-61) and cite the numerous cases in the East Asian "Tiger Economies" where sweatshops have reduced living standards and wages. [62] (#cite_note-Businessweek-62) They believe that better-paying jobs, increased capital investment and domestic ownership of resources will improve the economies of sub-Saharan Africa rather than sweatshops. They point to good labor standards developing strong manufacturing export sectors in wealthier sub-Saharan countries such as Mauritius. [63] (#cite_note-63) Anti-globalization organizations argue that the minor gains made by employees of some of these institutions are outweighed by the negative costs such as lowered wages to increase profit margins and that the institutions pay less than the daily expenses of their workers. [64] (#cite_note-64) [65] (#cite_note-65) [66] (#cite_note-66) They also point to the fact that sometimes local jobs offered higher wages before trade liberalization provided tax incentives to allow sweatshops to replace former local unionized jobs. [67] (#cite_note-67) They further contend that sweatshop jobs are not necessarily inevitable. [68] (#cite_note-68) [69] (#cite_note-69) Éric Toussaint (/wiki/%C3%89ric_Toussaint) claims that quality of life in developing countries was actually higher between 1945 and 1980 before the international debt crisis of 1982 harmed economies in developing countries causing them to turn to IMF and World Bank-organized "structural adjustments" [70] (#cite_note-70) and that unionized jobs pay more than sweatshop ones overall – "several studies of workers producing for US firms in Mexico are instructive: workers at the Aluminum Company of America's Ciudad Acuna plant earn between $21.44 and $24.60 per week, but a weekly basket of basic food items costs $26.87. Mexican GM workers earn enough to buy a pound of apples in 30 minutes of work, while GM workers in the US earn as much in 5 minutes." [71] (#cite_note-71) People critical of sweatshops believe that "free trade agreements" do not truly promote free trade at all but instead seek to protect multinational corporations from competition by local industries (which are sometimes unionized). [72] (#cite_note-72) They believe free trade should only involve reducing tariffs and barriers to entry and that multinational businesses should operate within the laws in the countries they want to do business in rather than seeking immunity from obeying local environmental and labor laws. They believe these conditions are what give rise to sweatshops rather than natural industrialization or economic progression. In some countries, such as China, it is not uncommon for these institutions to withhold workers' pay. [73] (#cite_note-73) According to labor organizations in Hong Kong, up to $365 million is withheld by managers who restrict pay in exchange for some service, or don't pay at all. [74] (#cite_note-74) Furthermore, anti-globalization proponents argue that those in the West who defend sweatshops show double standards by complaining about sweatshop labor conditions in countries considered enemies or hostile by Western governments, while still gladly consuming their exports but complaining about the quality. [62] (#cite_note-Businessweek-62) They contend that multinational jobs should be expected to operate according to international labor and environmental laws and minimum wage standards like businesses in the West do. [75] (#cite_note-75) Labor historian Erik Loomis claims that the conditions faced by workers in the United States in the Gilded Age (/wiki/Gilded_Age) have been replicated in developing countries where Western corporations utilize sweatshop labor. In particular, he compares the Triangle Shirtwaist Factory fire (/wiki/Triangle_Shirtwaist_Factory_fire) in 1911 New York to the collapse of Rana Plaza (/wiki/2013_Dhaka_garment_factory_collapse) in 2013 Bangladesh. He argues that the former galvanized the population to political activism that eventually pushed through reforms not only pertaining to workplace safety, but also the minimum wage (/wiki/Minimum_wage) , the eight-hour day (/wiki/Eight-hour_day) , workers' compensation (/wiki/Workers%27_compensation) , Social Security (/wiki/Social_Security_(United_States)) the Clean Air Act (/wiki/Clean_Air_Act_(United_States)) , and the Clean Water Act (/wiki/Clean_Water_Act) . American corporations responded by shifting production to developing nations where such protections did not exist. Loomis elaborates: So in 2013, when over 1100 workers die at Rana Plaza in Bangladesh, it is the same industry as the Triangle Fire, with the same subcontracted system of production that allows apparel companies to avoid responsibility for work as the Triangle Fire, and with the same workforce of young and poor women, the same type of cruel bosses, and the same terrible workplace safety standards as the Triangle Fire. The difference is that most of us can't even find Bangladesh on a map, not to mention know enough about it to express the type of outrage our ancestors did after Triangle. This separation of production from consumption is an intentional move by corporations precisely to avoid being held responsible by consumers for their actions. And it is very effective. [76] (#cite_note-76) Support [ edit ] In 1997, economist Jeffrey Sachs (/wiki/Jeffrey_Sachs) said, "My concern is not that there are too many sweatshops, but that there are too few." [77] (#cite_note-meyerson-77) Sachs and other proponents of free trade (/wiki/Free_trade) and the global movement of capital cite the economic theory of comparative advantage (/wiki/Comparative_advantage) , which states that international trade (/wiki/International_trade) will, in the long run, make all parties better off. The theory holds that developing countries improve their condition by doing something that they do "better" than industrialized nations (in this case, they charge less but do the same work). Developed countries will also be better off because their workers can shift to jobs that they do better. These are jobs that some economists say usually entail a level of education and training that is exceptionally difficult to obtain in the developing world. Thus, economists like Sachs say, developing countries get factories and jobs that they would not otherwise. Some [ who? ] would say with this situation occurs when developing countries try to increase wages because sweatshops tend to just get moved on to a new state that is more welcoming. This leads to a situation where states often don't try to increase wages for sweatshop workers for fear of losing investment and boosted GDP. However, this only means average wages around the world will increase at a steady rate. A nation only gets left behind if it demands wages higher than the current market price for that labor. When asked about the working condition in sweatshops, proponents say that although wages and working conditions may appear inferior by the standards of developed nations, they are actually improvements over what the people in developing countries had before. It is said that if jobs in such factories did not improve their workers' standard of living (/wiki/Standard_of_living) , those workers would not have taken the jobs when they appeared. It is also often pointed out that, unlike in the industrialized world, the sweatshops are not replacing high-paying jobs. Rather, sweatshops offer an improvement over subsistence farming (/wiki/Subsistence_farming) and other back-breaking tasks, or even prostitution, trash picking, or starvation (/wiki/Starvation) by unemployment. [77] (#cite_note-meyerson-77) [78] (#cite_note-78) Sweatshops can mentally and physically affect the workers who work there due to unacceptable conditions which include working long hours. Despite the hardships, sweatshops were a source of income for their workers. The absence of the work opportunities provided by sweatshops can quickly lead to malnourishment or starvation. After the Child Labor Deterrence Act (/wiki/Child_Labor_Deterrence_Act) was introduced in the US, an estimated 50,000 children were dismissed from their garment industry jobs in Asia, leaving many to resort to jobs such as "stone-crushing, street hustling, and prostitution". UNICEF (/wiki/UNICEF) 's 1997 State of the World's Children study found these alternative jobs "more hazardous and exploitative than garment production". [79] (#cite_note-unicef-79) [ failed verification ] As Nobel prize-winning economist Paul Krugman (/wiki/Paul_Krugman) states in a 1997 article for Slate, "as manufacturing grows in poor countries, it creates a ripple effect that benefits ordinary people: 'The pressure on the land becomes less intense, so rural wages rise; the pool of unemployed urban dwellers always anxious for work shrinks, so factories start to compete with each other for workers, and urban wages also begin to rise.' In time average wages creep up to a level comparable to minimum-wage jobs in the United States." [80] (#cite_note-80) Writer Johan Norberg (/wiki/Johan_Norberg) , a proponent of market economics (/wiki/Market_economics) , points out an irony: [81] (#cite_note-81) [Sweatshop critics] say that we shouldn't buy from countries like Vietnam because of its labor standards, they've got it all wrong. They're saying: "Look, you are too poor to trade with us. And that means that we won't trade with you. We won't buy your goods until you're as rich as we are." That's totally backwards. These countries won't get rich without being able to export goods. Heavy-handed responses to reports of child labor and worker rights abuses such as widespread boycotts can be counterproductive if the net effect is simply to eliminate contracts with suppliers rather than to reform their employment practices. A 2005 article in the Christian Science Monitor (/wiki/Christian_Science_Monitor) states, "For example, in Honduras, the site of the infamous Kathy Lee Gifford (/wiki/Kathy_Lee_Gifford) sweatshop scandal, the average apparel worker earns $13.10 per day, yet 44 percent of the country's population lives on less than $2 per day... In Cambodia, Haiti, Nicaragua, and Honduras, the average wage paid by a firm accused of being a sweatshop is more than double the average income in that country's economy." [82] (#cite_note-82) On three documented occasions during the 1990s, anti-sweatshop activists in rich countries have apparently caused increases in child prostitution (/wiki/Child_prostitution) in poor countries. In Bangladesh, the closure of several sweatshops run by a German company put Bangladeshi children out of work, and some ended up working as prostitutes, turning to crime, or starving to death. In Pakistan, several sweatshops closed, including ones run by Nike (/wiki/Nike,_Inc.) , Reebok (/wiki/Reebok) , and other corporations—which caused some of those Pakistani children to turn to prostitution. In Nepal, a carpet manufacturing company closed several sweatshops, resulting in thousands of Nepalese girls turning to prostitution. [83] (#cite_note-83) A 1996 study of corporate codes of conduct in the apparel industry by the U.S. Department of Labor has concluded that corporate codes of conduct that monitor labor norms in the apparel industry, rather than boycott or eliminate contracts upon the discovery of violations of internationally recognized labor norms, are a more effective way to eliminate child labor and the exploitation of children, provided they provide for effective monitoring that includes the participation of workers and their knowledge of the standards to which their employers are subject. [84] (#cite_note-84) Arguably, the United States underwent a similar process during its own industrialization where child labor and the suppression of worker organizations were prevalent. According to an article in Gale Opposing Viewpoints in Context, sweatshops became prevalent in the United States during the Industrial Revolution. Although the working conditions and wages in these factories were very poor, as new jobs in factories began to appear, people left the hard life of farming to work in these factories, and the agricultural nature of the economy shifted into a manufacturing one because of this industrialization. However, during this new industrialized economy, the labor movement drove the rise in the average level of income as factory workers began to demand better wages and working conditions. Through much struggle, sufficient wealth was created and a large middle class began to emerge. Workers and advocates were able to achieve basic rights for workers, which included the right to form unions, and negotiate terms such as wages, overtime pay, health insurance, and retirement pensions; and eventually they were also able to attain legal protections such as minimum wage standards, and discrimination and sexual abuse protections. Furthermore, Congress set forth to ensure a minimum set of safety standards were followed in workplaces by passing the Occupational Safety and Health Act (OSHA) in 1970. These developments were able to improve working environments for Americans but it was through sweatshops that the economy grew and people were able to accumulate wealth and move out of poverty. In contrast, similar efforts in developing nations have not produced the same results, because of corruption and lack of democracy in communist nations such as China and Vietnam [ citation needed ] , worker intimidation and murder in Latin America—and corruption throughout the developing world. These barriers prevent creation of similar legal protections for workers in these countries, as numerous studies by the International Labour Organization show. [85] (#cite_note-Corporations_and_Worker's_Rights-85) Nonetheless, a boycott approach to protesting these conditions is likely to hurt workers willing to accept employment even under poor working conditions, as a loss of employment would result in a comparatively worse level of poverty. According to a November 2001 BBC (/wiki/BBC) article, in the previous two months, 100,000 sweatshop workers in Bangladesh had been put off work. The workers petitioned their government to lobby the U.S. government to repeal its trade barriers on their behalf to retain their jobs. [86] (#cite_note-86) Defenders of sweatshops cite Hong Kong, Singapore, South Korea, and Taiwan as recent examples of countries that benefited from having sweatshops. [87] (#cite_note-87) [88] (#cite_note-88) In these countries, legislative and regulatory frameworks to protect and promote labor rights and the rights of workers against unsafe and exploitative working conditions exist, and studies have shown no systematic relationship between labor rights, such as collective bargaining and the freedom of association, and national economic growth. [89] (#cite_note-89) A major issue for the anti-sweatshop movement is the fate of workers displaced by the closing of sweatshops. Even after escaping the sweatshop industry the workers need a job to sustain themselves and their families. For example, in Bangladesh, a country in which has one of the lowest minimum wages in the world, of $68 per month, [90] (#cite_note-theguardian.com-90) the Rana Plaza a known sweatshop that hosted garment factories for retailers such as Primark, JC Penney, Joe Fresh and Benetton, [91] (#cite_note-91) collapsed as it was visibly not structurally sound. [92] (#cite_note-92) After the incident many of the workers were displaced as not only did the Rana Plaza close down but the government also called for safety checks of many factories that were then shut down as a result of not being up to code. Although this may seem like a positive consequence many of those workers were then unable to get jobs and support their families. The garment industry in Bangladesh is worth $28 billion. [90] (#cite_note-theguardian.com-90) See also [ edit ] 2011 Chengdu Foxconn explosion incident (/wiki/2011_Chengdu_Foxconn_explosion_incident) 2013 Rana Plaza factory collapse (/wiki/2013_Rana_Plaza_factory_collapse) Amazon.com treatment of workers (/wiki/Amazon.com_controversies#Treatment_of_workers) Anti-sweatshop (/wiki/Anti-sweatshop) Assembly line (/wiki/Assembly_line) Black company (/wiki/Black_company_(Japanese_term)) Comparative advantage (/wiki/Comparative_advantage) Contingent work (/wiki/Contingent_work) Child labour (/wiki/Child_labour) Digital Product Passport (/wiki/Digital_Product_Passport) Economic development (/wiki/Economic_development) Emerging markets (/wiki/Emerging_markets) Exploitation of labour (/wiki/Exploitation_of_labour) Export processing zone (/wiki/Export_processing_zone) Game sweatshop (/wiki/Game_sweatshop) Impact of fast fashion in China (/wiki/Impact_of_fast_fashion_in_China) Kafala system (/wiki/Kafala_system) Labour inspectorate (/wiki/Labour_inspectorate) Maquiladora (/wiki/Maquiladora) Michael H. Belzer (/wiki/Michael_H._Belzer) , author of Sweatshops on Wheels National Anti-Sweating League (/wiki/National_Anti-Sweating_League) Nike sweatshops (/wiki/Nike_sweatshops) Precariat (/wiki/Precariat) Precarious work (/wiki/Precarious_work) Protectionism (/wiki/Protectionism) Race to the bottom (/wiki/Race_to_the_bottom) Sheltered workshop (/wiki/Sheltered_workshop) Ship breaking (/wiki/Ship_breaking) Slavery (/wiki/Slavery) Sweat (/wiki/Sweat) Sweatshop-free (/wiki/Sweatshop-free) The True Cost (/wiki/The_True_Cost) Unfree labour (/wiki/Unfree_labour) Union organizer (/wiki/Union_organizer) Wage slavery (/wiki/Wage_slavery) References [ edit ] ^ (#cite_ref-1) Tuerk, Richard (2020). "Sweatshops". Salem Press Encyclopedia – via Research Starters. ^ (#cite_ref-2) "Myanmar's women face pregnancy tests and sexual harassment in sweatshops" (https://www.abc.net.au/news/2018-04-15/myanmar-garment-workers-sexual-harassment/9643960) . ABC News . 2018-04-14 . 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"Inviting All Democrats" (https://archive.today/20120526094048/http://query.nytimes.com/gst/fullpage.html?res=940DE0DD1330F937A25752C0A9629C8B63) . The New York Times . Archived from the original (https://query.nytimes.com/gst/fullpage.html?res=940DE0DD1330F937A25752C0A9629C8B63) on May 26, 2012 . Retrieved April 4, 2008 . ^ (#cite_ref-unicef_79-0) Bellamy, Carol (/wiki/Carol_Bellamy) (1997). "An Agreement in Bangladesh" (https://archive.org/details/stateofworldschi00bell/page/66) . The State of the World's Children 1997 . United Nations Children's Fund (/wiki/United_Nations_Children%27s_Fund) . pp. 66 (https://archive.org/details/stateofworldschi00bell/page/66) . ISBN (/wiki/ISBN_(identifier)) 0-19-262871-2 . Retrieved May 31, 2007 . ^ (#cite_ref-80) Manjoo, Farhad (21 March 1997). "In Praise of Cheap Labor – Slate Magazine" (http://www.slate.com/articles/business/the_dismal_science/1997/03/in_praise_of_cheap_labor.html) . Slate.com . Retrieved November 13, 2011 . ^ (#cite_ref-81) Gillespie, Nick (/wiki/Nick_Gillespie) (December 2003). "Poor Man's Hero" (http://reason.com/archives/2003/12/01/poor-mans-hero/1) . Reason magazine (/wiki/Reason_magazine) . Reason Foundation (/wiki/Reason_Foundation) . Retrieved April 20, 2014 . ^ (#cite_ref-82) Powell, Benjamin; Skarbek, David (August 2, 2005). "Don't get into a lather over sweatshops" (http://www.csmonitor.com/2005/0802/p09s02-coop.html) . Christian Science Monitor (/wiki/Christian_Science_Monitor) . Retrieved December 6, 2010 . ^ (#cite_ref-83) "Third World Workers Need Western Jobs" (https://web.archive.org/web/20130816030549/http://www.foxnews.com/story/0,2933,119125,00.html) . Foxnews.com. May 6, 2004. Archived from the original (http://www.foxnews.com/story/0,2933,119125,00.html) on August 16, 2013 . Retrieved March 31, 2015 . ^ (#cite_ref-84) U.S. Department of Labor, The Apparel Industry and Codes of Conduct: A Solution to the International Child Labor Problem? , archived from the original (http://www.dol.gov/ilab/media/reports/iclp/apparel/overview.htm) on February 2, 2014 ^ (#cite_ref-Corporations_and_Worker's_Rights_85-0) Shah, Anup (28 May 2006). "Corporations and Workers Rights" (http://www.globalissues.org/article/57/corporations-and-workers-rights) . Global Issues . Retrieved May 9, 2013 . ^ (#cite_ref-86) "Bangladesh wants textiles curbs lifted" (http://news.bbc.co.uk/1/hi/world/south_asia/1650952.stm) . BBC News . November 12, 2001 . Retrieved December 6, 2010 . ^ (#cite_ref-87) "The Quaker Economist No. 87 – The Product Cycle and Globalization" (https://web.archive.org/web/20150414171102/http://tqe.quaker.org/2003/TQE087-EN-ProductCycle.html) . Tqe.quaker.org. November 1, 2003. Archived from the original (http://tqe.quaker.org/2003/TQE087-EN-ProductCycle.html) on April 14, 2015 . Retrieved March 31, 2015 . ^ (#cite_ref-88) "The Case for Sweatshops" (https://web.archive.org/web/20100125151321/http://www.hoover.org/pubaffairs/dailyreport/archive/2864991.html) . Hoover Institution . Stanford University. February 7, 2000. Archived from the original (http://www.hoover.org/pubaffairs/dailyreport/archive/2864991.html) on January 25, 2010. ^ (#cite_ref-89) Brown, Drusilla K.; Deardorff, Alan V.; Stern, Robert M. (August 19, 2011). "Labor Standards and Human Rights: Implications for International Trade and Investment" (https://web.archive.org/web/20130528014516/http://ipc.umich.edu/working-papers/pdfs/ipc-119-brown-deardorff-stern-labor-standards-human-rights-international-trade-investment.pdf) (PDF) . International Policy Center, University of Michigan. Archived from the original (http://ipc.umich.edu/working-papers/pdfs/ipc-119-brown-deardorff-stern-labor-standards-human-rights-international-trade-investment.pdf) (PDF) on May 28, 2013 . Retrieved March 31, 2015 . ^ Jump up to: a b "Rana Plaza collapse: 38 charged with murder over garment factory disaster" (https://www.theguardian.com/world/2016/jul/18/rana-plaza-collapse-murder-charges-garment-factory) . The Guardian . July 18, 2016 . Retrieved September 20, 2018 . ^ (#cite_ref-91) O'Connor, C. (April 26, 2014). "These Retailers Involved In Bangladesh Factory Disaster Have Yet To Compensate Victims" (https://www.forbes.com/sites/clareoconnor/2014/04/26/these-retailers-involved-in-bangladesh-factory-disaster-have-yet-to-compensate-victims/?sh=34a13d63211b) . Forbes . Retrieved September 20, 2018 . ^ (#cite_ref-92) William Gomes (May 9, 2013). "Reason and responsibility: the Rana Plaza collapse" (https://www.opendemocracy.net/en/opensecurity/reason-and-responsibility-rana-plaza-collapse/) . OpenDemocracy . Retrieved September 20, 2018 . Further reading [ edit ] Bender, Daniel E. Bender and Richard A. Greenwald, eds. Sweatshop USA: The American Sweatshop in Historical and Global Perspective (2003) Loomis, Erik. Out of Sight: The Long and Disturbing Story of Corporations Outsourcing Catastrophe. The New Press (/wiki/The_New_Press) (2015). ISBN (/wiki/ISBN_(identifier)) 1620970082 (/wiki/Special:BookSources/1620970082) Powell, Benjamin. 2014. (https://www.cambridge.org/core/books/out-of-poverty/0CD8DA1E9854012B7ABDE016960F09AA) Out of Poverty: Sweatshops in the Global Economy. Cambridge University Press. (https://www.cambridge.org/core/books/out-of-poverty/0CD8DA1E9854012B7ABDE016960F09AA) Shorrocks, Peter (1877). How contagion and infection are spread (https://en.wikisource.org/wiki/How_contagion_and_infection_are_spread,_through_the_sweating_system_in_the_tailoring_trade) . Manchester: Co-operative Printing Society. External links [ edit ] Wikiquote has quotations related to Sweatshop (https://en.wikiquote.org/wiki/Special:Search/Sweatshop) . Between a Rock and a Hard Place: A History of American Sweatshops, 1820 – present (https://web.archive.org/web/20000408203934/http://americanhistory.si.edu/sweatshops/index.htm) An online exhibition from the National Museum of American History, Smithsonian Institution TV documentary of Europeans living as sweatshop workers in Laos (http://www.aftenposten.no/webtv/serier-og-programmer/sweatshopenglish/SWEATSHOP-ep-2-Our-bathroom-is-larger-than-her-entire-house-7800854.html?paging=§ion=webtv_serierogprogrammer_sweatshop_sweatshopenglish) “Work Faster or Get Out.” Labor Rights Abuses in Cambodia’s Garment Industry (https://www.hrw.org/reports/2015/03/11/work-faster-or-get-out) . Human Rights Watch (/wiki/Human_Rights_Watch) . March 12, 2015. ‘When We Made Mistakes in Our Sewing, They Slapped Us’ (http://www.thenation.com/article/when-we-made-mistakes-in-our-sewing-they-slapped-us/) . The Nation (/wiki/The_Nation) . December 21, 2015. Texts on Wikisource: " Sweating System (https://en.wikisource.org/wiki/Collier%27s_New_Encyclopedia_(1921)/Sweating_System) ". Collier's New Encyclopedia (/wiki/Collier%27s_Encyclopedia) . 1921. " Sweatshops (https://en.wikisource.org/wiki/The_New_Student%27s_Reference_Work/Sweatshops) ". The New Student's Reference Work (https://en.wikisource.org/wiki/The_New_Student%27s_Reference_Work) . 1914. Schloss, David Frederick (1911). " Sweating System (https://en.wikisource.org/wiki/1911_Encyclop%C3%A6dia_Britannica/Sweating_System) ". Encyclopædia Britannica (/wiki/Encyclop%C3%A6dia_Britannica_Eleventh_Edition) (11th ed.). " Sweating System (https://en.wikisource.org/wiki/The_Nuttall_Encyclop%C3%A6dia/S#Sweating_System) ". The Nuttall Encyclopædia (/wiki/The_Nuttall_Encyclop%C3%A6dia) . 1907. " Sweating System (https://en.wikisource.org/wiki/The_New_International_Encyclop%C3%A6dia/Sweating_System) ". 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Fashion of goth subculture A goth woman at Kensal Green Cemetery (/wiki/Kensal_Green_Cemetery) open day, 2015 Girl dressed in a Victorian costume during the Whitby Gothic Weekend (/wiki/Whitby_Gothic_Weekend) festival in 2013 Gothic fashion is a clothing style worn by members of the goth subculture (/wiki/Goth_subculture) . A dark, sometimes morbid, fashion and style of dress (/wiki/Clothing) , [1] (#cite_note-grunenberg2-1) typical gothic fashion includes black dyed hair (/wiki/Hair_coloring) and black clothes. [1] (#cite_note-grunenberg2-1) Both male and female goths can wear dark eyeliner (/wiki/Eye_liner) , dark nail polish (/wiki/Nail_polish) and lipstick (/wiki/Lipstick) (most often black), and dramatic makeup. [2] (#cite_note-Fischer_143–148-2) Styles are often borrowed from the Elizabethans (/wiki/1550%E2%80%931600_in_European_fashion#Elizabethan_style) and Victorians (/wiki/Victorian_fashion) . BDSM (/wiki/BDSM) imagery and paraphernalia are also common. [1] (#cite_note-grunenberg2-1) Gothic fashion is sometimes confused with heavy metal fashion (/wiki/Heavy_metal_fashion) and emo fashion (/wiki/Emo#Fashion_and_subculture) . Characteristics [ edit ] A male and female goth couple Cintra Wilson declares that "The origins of contemporary goth style are found in the Victorian (/wiki/Victorian_fashion) cult of mourning." [3] (#cite_note-cintra-3) Valerie Steele (/wiki/Valerie_Steele) is an expert in the history of the style. [3] (#cite_note-cintra-3) Goth model Sandi J. Goth subculture (/wiki/Goth_subculture) is stereotyped as eerie, mysterious, and complex, and the fashion is used as an outlet to express these characteristics. Goth fashion can be recognized by its stark black clothing. Ted Polhemus (/wiki/Ted_Polhemus) described goth fashion as a "profusion of black velvets, lace, fishnets and leather tinged with scarlet or purple, accessorized with tightly laced corsets, gloves, precarious stilettos and silver jewelry depicting religious or occult themes". [4] (#cite_note-4) Nancy Kilpatrick's Goth Bible: A Compendium for the Darkly Inclined defines " poseur (/wiki/Poseur) " for the goth scene as follows: "goth wannabes, usually young kids going through a goth phase who do not hold to goth sensibilities but want to be part of the goth crowd (...)". Kilpatrick contributor "Daoine O'" denigrates poseur goths as 'Batbabies' whose clothing is bought at [mall store] Hot Topic (/wiki/Hot_Topic) with their parents' money". [5] (#cite_note-5) Icons [ edit ] One female role model is Theda Bara (/wiki/Theda_Bara) , the 1910s femme fatale (/wiki/Femme_fatale) known for her dark eyeshadow. [6] (#cite_note-6) [7] (#cite_note-steele26-7) Siouxsie Sioux (/wiki/Siouxsie_Sioux) was particularly influential on the dress style of the gothic rock (/wiki/Gothic_rock) scene; Paul Morley (/wiki/Paul_Morley) of NME (/wiki/NME) described Siouxsie and the Banshees (/wiki/Siouxsie_and_the_Banshees) ' 1980 gig at Futurama: "[Siouxsie was] modeling her newest outfit, the one that will influence how all the girls dress over the next few months. About half the girls at Leeds (/wiki/Leeds) had used Sioux as a basis for their appearance, hair to ankle." [8] (#cite_note-8) Robert Smith (/wiki/Robert_Smith_(musician)) , [9] (#cite_note-9) Musidora (/wiki/Musidora) , Bela Lugosi (/wiki/Bela_Lugosi) , [10] (#cite_note-10) Bettie Page (/wiki/Bettie_Page) , Winona Ryder, Vampira (/wiki/Maila_Nurmi) , Morticia Addams (/wiki/Morticia_Addams) , [7] (#cite_note-steele26-7) Nico (/wiki/Nico) , Rozz Williams (/wiki/Rozz_Williams) , David Bowie (/wiki/David_Bowie) , [1] (#cite_note-grunenberg2-1) Lux Interior (/wiki/Lux_Interior) , [1] (#cite_note-grunenberg2-1) Dave Vanian (/wiki/Dave_Vanian) , [11] (#cite_note-11) are also style icons. The 1980s established designers such as Drew Bernstein of Lip Service (/wiki/Drew_Bernstein) , while the 1990s saw a surge of US-based gothic fashion designers, many of whom continue to evolve the style through the current day. Style magazines such as Gothic Beauty (/wiki/Gothic_Beauty) have given repeat features to a select few gothic fashion designers who began their labels in the 1990s, such as Kambriel, Rose Mortem (/wiki/Rose_Mortem) , and Tyler Ondine of Heavy Red. [12] (#cite_note-12) Influential goth models include Wednesday Mourning (/wiki/Wednesday_Mourning) and Lady Amaranth. Music [ edit ] Main article: gothic rock (/wiki/Gothic_rock) During the emergence of the goth subculture (/wiki/Goth_subculture) in 1980's London (/wiki/London) , [13] (#cite_note-:1-13) many genres of music played a large role in establishing the fashion trends - fashion spelled out the music an individual would listen to. Because of its origins, the major music inspirations during the early emergence of the goth subculture were similarly English (/wiki/English_people) bands. Some bands who have influence gothic fashion over the years include bands like Bauhaus (/wiki/Bauhaus_(band)) , the Cure (/wiki/The_Cure) , Sisters of Mercy (/wiki/The_Sisters_of_Mercy) and Siouxsie and the Banshees (/wiki/Siouxsie_and_the_Banshees) . [14] (#cite_note-:0-14) The Batcave (/wiki/Batcave_(club)) was a nightclub in London, between 1982–1986, that hosted live music and paid homage to all things goth. The interior, as described by Kelly Rankin, included cobwebbed ceilings and a real coffin at the entrance. She says that "The Batcave became iconic because it aided the progression of this movement". [13] (#cite_note-:1-13) Variations [ edit ] Deathrock [ edit ] Deathrock (/wiki/Deathrock) fashion, much like goth music, is closely related to goth fashion. The influences of the style come from a blend of glam rock, punk rock, gothic horror literature, and undead characters of classic horror films. The aesthetic was born from the early Los Angeles punk rock scene, and gained influences from fashion worn by patrons of the Batcave club in the UK as the two regional scenes had met. Many deathrockers have a dark DIY punk approach on their attire. The common theme of the aesthetic is dominantly black clothing: shirts featuring deathrock bands or horror themes, torn fishnets as a shirt and/or hosiery, pale fleshtone or pale white foundation and powder makeup on the face, black or darkly colored eye makeup, combat boots or Doc Martens (/wiki/Doc_Martens) , and skirts, leggings, slim fit pants (/wiki/Slim_fit_pants) or shorts. Iconic hairstyles of this style are the "Deathhawk", mohawks or variants of mohawks, and spiky or teased hair. The horror punk and deathrock fashion section of the punk fashion (/wiki/Punk_fashion) article has more details. Haute goth [ edit ] In 1977, Karl Lagerfeld (/wiki/Karl_Lagerfeld) hosted the Soirée Moratoire Noir party, specifying "tenue tragique noire absolument obligatoire" (black tragic dress absolutely required). [15] (#cite_note-steele35-15) The event included elements associated with leatherman (/wiki/Leather_subculture) style. [15] (#cite_note-steele35-15) Goth fashion has a reciprocal relationship with the fashion world. In the later part of the first decade of the 21st century, designers such as Alexander McQueen (/wiki/Alexander_McQueen) , [3] (#cite_note-cintra-3) [16] (#cite_note-grunenberg-16) [17] (#cite_note-steele3-17) Anna Sui (/wiki/Anna_Sui) , [18] (#cite_note-18) Rick Owens (/wiki/Rick_Owens) , [17] (#cite_note-steele3-17) Gareth Pugh (/wiki/Gareth_Pugh) , Ann Demeulemeester (/wiki/Ann_Demeulemeester) , Philipp Plein (/wiki/Philipp_Plein) , Hedi Slimane (/wiki/Hedi_Slimane) , John Richmond (/wiki/John_Richmond_(fashion_designer)) , John Galliano (/wiki/John_Galliano) , [3] (#cite_note-cintra-3) [16] (#cite_note-grunenberg-16) [17] (#cite_note-steele3-17) Olivier Theyskens (/wiki/Olivier_Theyskens) [17] (#cite_note-steele3-17) [19] (#cite_note-laferla-19) and Yohji Yamamoto (/wiki/Yohji_Yamamoto) [17] (#cite_note-steele3-17) brought elements of goth to runways. [3] (#cite_note-cintra-3) This was described as "Haute Goth" by Cintra Wilson in the New York Times . [3] (#cite_note-cintra-3) Thierry Mugler (/wiki/Thierry_Mugler) , Claude Montana (/wiki/Claude_Montana) , Jean Paul Gaultier (/wiki/Jean_Paul_Gaultier) and Christian Lacroix (/wiki/Christian_Lacroix) have also been associated with a gothic style. [16] (#cite_note-grunenberg-16) In Spring 2004, Riccardo Tisci (/wiki/Riccardo_Tisci) , Jean Paul Gaultier, Raf Simons (/wiki/Raf_Simons) and Stefano Pilati (/wiki/Stefano_Pilati) dressed their models as "glamorous ghouls dressed in form-fitting suits and coal-tinted cocktail dresses". [19] (#cite_note-laferla-19) Swedish designer Helena Hörstedt and jewelry artist Hanna Hedman also practice a goth aesthetic. [20] (#cite_note-20) Gothic Lolita [ edit ] Gothic Lolita (/wiki/Gothic_Lolita) , sometimes shortened to gosu rori ( ゴスロリ ) in Japanese (/wiki/Japanese_language) (or "goth loli" in roman characters), is a combination of gothic and lolita fashions (/wiki/Lolita_fashion) . The fashion originated in the late 1990s in Harajuku (/wiki/Harajuku) . [21] (#cite_note-21) Gothic Lolita fashion is characterized by darker make-up and clothing. [22] (#cite_note-interview-22) Red lipstick and smoky or neatly defined eyes, created using black eyeliner, are typical styles, although as with all lolita sub-styles the look remains fairly natural. [23] (#cite_note-23) Though Gothic make-up has been associated with a white-powdered face, this is usually considered poor taste within the (largely Japanese) lolita fashion scene. [24] (#cite_note-24) Brands which exemplify the Gothic Lolita style include Atelier-Pierrot, Atelier Boz, Black Peace Now, H. Naoto Blood (/wiki/H._Naoto) and Moi-même-Moitié (/wiki/Moi-m%C3%AAme-Moiti%C3%A9) . Author and TV Host La Carmina (/wiki/La_Carmina) is a popular model of Gothic Lolita fashion. Aristocrat [ edit ] Aristocrat (/wiki/Aristocrat_(fashion)) is a type of Japanese street fashion (/wiki/Japanese_street_fashion) , championed by the visual kei (/wiki/Visual_kei) rock musician Mana (/wiki/Mana_(Japanese_musician)) with his fashion label Moi-même-Moitié (/wiki/Moi-m%C3%AAme-Moiti%C3%A9) , [25] (#cite_note-25) and influenced by gothic and Neo-Victorian (/wiki/Neo-Victorian) fashions. A typical outfit will combine elements of fetish wear (/wiki/Fetish_wear) with Victorian and sometimes steampunk (/wiki/Steampunk) fashions, including tight pants (/wiki/Tight_pants) , velvet sportcoats, top hats (/wiki/Top_hat) , cravats (/wiki/Cravat_(early)) , corsets (/wiki/Corset) , ankle length skirts, lace petticoats (/wiki/Petticoat) , and the frilly pirate shirts (/wiki/Pirate_shirt) previously popularised by the New Romantics (/wiki/New_Romantics) of the 1980s. Cybergoth [ edit ] Two cybergoths The Cybergoth (/wiki/Cybergoth) and rivethead (/wiki/Rivethead) subcultures emerged in America during the late 1990s, and combined classic gothic fashions such as leather duster coats (/wiki/Duster_coat) , tripp pants (/wiki/Tripp_pants) or Demonia brand platform boots (/wiki/Platform_boots) with the clothing worn by fans of industrial metal (/wiki/Industrial_metal) and rave music (/wiki/Rave_music) to create a dystopian (/wiki/Dystopian) , futuristic (/wiki/Futuristic) science fiction (/wiki/Science_fiction) look. [26] (#cite_note-26) [27] (#cite_note-27) Shaved heads (/wiki/Shaved_head) , synthetic neon (/wiki/Neon) dreadlocks (/wiki/Dreadlocks) , camouflage (/wiki/Camouflage) , tight leather pants, chains, platform boots (/wiki/Platform_boots) , [28] (#cite_note-28) stretched body piercings (/wiki/Body_piercing) , sleeve tattoos, goggles (/wiki/Goggles) , corsets (/wiki/Corset) , PVC or leather skirts (/wiki/Leather_skirt) , and black trenchcoats (/wiki/Trenchcoat) decorated with metal studs (/wiki/Cleat_(shoe)) are frequently seen on members of this subculture. [29] (#cite_note-29) Traditional goth [ edit ] Traditional goth (or trad goth) is a term defining the aesthetic that reflects the classic and original aesthetics of Goth from the 1980s. The examples are from the attire worn by Bauhaus, Siouxsie Sioux and the Cure. Dominantly black clothing, creepers (/wiki/Brothel_creepers) , winklepickers (/wiki/Winklepicker) , and backcombed, disheveled hair are common. Patrons of the Batcave club in the UK had an impact on the fashion with the attire they wore. This also has close relation to the deathrock (/wiki/Deathrock) revival and fashion, as the 1980s goth and Batcave fashion influenced the aesthetic over the decades into the 2010s. Victorian goth [ edit ] Victorian Goth inspired fashion Victorian goth is a modern fashion movement that interprets and redefines certain aspects regarding fashion of the Victorian Era (/wiki/Victorian_era) . [30] (#cite_note-30) The Victorian Era is notable for having big dresses and elegant hair, and these elements have made subsequent integration into modern day main stream gothic fashion. With early inspiration taken from medieval (/wiki/Medieval_art) settings that were used by Edgar Allan Poe (/wiki/Edgar_Allan_Poe) , in addition to late-Victorian examples of gothic fashion that are used in Bram Stoker's Dracula (/wiki/Dracula) . [31] (#cite_note-31) Social media influence [ edit ] Social media (/wiki/Social_media) has increased the level of awareness surrounding gothic fashion trends, but this has also modified the dynamic and expectations within the community itself. [14] (#cite_note-:0-14) Bianca Wooden describes the emergence of a new wave of goth fad fashion and says that "goth has become less of an organic movement and more of a calculated brand". [14] (#cite_note-:0-14) Performative gothic fashion [ edit ] Goth YouTuber Angela Benedict describes in this video (https://www.youtube.com/watch?v=JeSz_15_DkA) , some of the negative impacts that social media has had on gothic fashion. Some of these include the increased emergence of "elitist goths" [14] (#cite_note-:0-14) who shame others for not being "goth" enough. This has led to many online goths who portray their gloomy attire and dramatic makeup looks only to take pictures or film videos. [14] (#cite_note-:0-14) See also [ edit ] Body image (/wiki/Body_image) Heavy metal fashion (/wiki/Heavy_metal_fashion) Fetish fashion (/wiki/Fetish_fashion) New Gothic Art (/wiki/New_Gothic_Art) Punk fashion (/wiki/Punk_fashion) Goth subculture (/wiki/Goth_subculture) Occult (/wiki/Occult) Fashion accessories Choker (/wiki/Choker) Fishnet (/wiki/Fishnet) High-heeled shoes (/wiki/High-heeled_shoe) Pointed boots (/wiki/Winklepicker) Thigh-high boots (/wiki/Thigh-high_boot) Corset (/wiki/Corset) References [ edit ] Footnotes ^ Jump up to: a b c d e Grunenberg 1997 (#CITEREFGrunenberg1997) , p. 172 ^ (#cite_ref-Fischer_143–148_2-0) Fischer, Rachel K. (22 June 2019). "The Alert Collector: The Gothic Aesthetic: From the Ancient Germanic Tribes to the Contemporary Goth Subculture" (https://journals.ala.org/index.php/rusq/article/view/7040) . Reference & User Services Quarterly . 58 (3): 143–148. doi (/wiki/Doi_(identifier)) : 10.5860/rusq.58.3.7040 (https://doi.org/10.5860%2Frusq.58.3.7040) . ISSN (/wiki/ISSN_(identifier)) 1094-9054 (https://www.worldcat.org/issn/1094-9054) . S2CID (/wiki/S2CID_(identifier)) 196182083 (https://api.semanticscholar.org/CorpusID:196182083) . ^ Jump up to: a b c d e f Wilson, Cintra (17 September 2008). "You just can't kill it" (https://www.nytimes.com/2008/09/18/fashion/18GOTH.html) . New York Times . Retrieved 18 September 2008 . ^ (#cite_ref-4) Polhemus 1994 (#CITEREFPolhemus1994) , p. 97 ^ (#cite_ref-5) Nancy Kilpatrick. Goth Bible: A Compendium for the Darkly Inclined . St. Martin's Griffin, 2004, p. 24 ^ (#cite_ref-6) Hannaham 1997 (#CITEREFHannaham1997) , p. 93 ^ Jump up to: a b Steele & Park 2008 (#CITEREFSteelePark2008) , p. 26 ^ (#cite_ref-8) Reynolds, p. 425. ^ (#cite_ref-9) Hannaham 1997 (#CITEREFHannaham1997) , p. 113 ^ (#cite_ref-10) Steele & Park 2008 (#CITEREFSteelePark2008) , p. 18 ^ (#cite_ref-11) Steele & Park 2008 (#CITEREFSteelePark2008) , p. 38 ^ (#cite_ref-12) Holiday, Steven (12 December 2014). "Gothic Beauty" (http://www.gothicbeauty.com) . Portland, OR: Holiday Media . Retrieved 12 December 2014 . {{ cite journal (/wiki/Template:Cite_journal) }} : Cite journal requires |journal= ( help (/wiki/Help:CS1_errors#missing_periodical) ) ^ Jump up to: a b "The Batcave Club, London: Where the 1980s goth movement began" (https://faroutmagazine.co.uk/the-batcave-club-london-goth-movement-1980s/) . 7 October 2020 . Retrieved 12 December 2021 . ^ Jump up to: a b c d e Wooden, Bianca (13 November 2016). "Goths On Social Media Are Changing the Subculture" (https://www.millennialinflux.com/goths-social-media-changing-subculture/) . Millennial Influx . Retrieved 12 December 2021 . ^ Jump up to: a b Steele & Park 2008 (#CITEREFSteelePark2008) , p. 35 ^ Jump up to: a b c Grunenberg 1997 (#CITEREFGrunenberg1997) , p. 173 ^ Jump up to: a b c d e Steele & Park 2008 (#CITEREFSteelePark2008) , p. 3 ^ (#cite_ref-18) Bolton, Andrew (/wiki/Andrew_Bolton_(curator)) (2013). Anna Sui . New York: Chronicle Books. pp. 100–109. ISBN (/wiki/ISBN_(identifier)) 978-1452128597 – via Google Books. ^ Jump up to: a b La Ferla, Ruth: "Embrace the Darkness". New York Times , 30 October 2005. [1] (https://www.nytimes.com/2005/10/30/fashion/sundaystyles/30GOTH.html) ^ (#cite_ref-20) Johanna Lenander, "Swede and Sour: Scandinavian Goth," New York Times: T Magazine , 27 March 2009. [2] (http://themoment.blogs.nytimes.com/2009/03/27/swede-and-sour-scandinavian-goth/?hpw) Access date: 29 March 2009. ^ (#cite_ref-21) [3] (http://uni.opole.pl/~wanke/masowe/Yuniya_Kawamura_-_Japanese_teens_as_producers_of_street_fashion_-_Current_Sociology_5_2006.pdf) Archived (https://web.archive.org/web/20120321002750/http://uni.opole.pl/~wanke/masowe/Yuniya_Kawamura_-_Japanese_teens_as_producers_of_street_fashion_-_Current_Sociology_5_2006.pdf) 21 March 2012 at the Wayback Machine (/wiki/Wayback_Machine) ^ (#cite_ref-interview_22-0) Aoki, Deb. "Interview with the Editors of the Gothic and Lolita Bible" (https://web.archive.org/web/20080330003651/http://manga.about.com/od/mangaartistswriters/a/JWinterberg.htm) . About.com (/wiki/About.com) . Archived from the original (http://manga.about.com/od/mangaartistswriters/a/JWinterberg.htm) on 30 March 2008 . Retrieved 10 May 2010 . ^ (#cite_ref-23) Anonymous (2002). "Gothic Lolita Hair and Make Up". Gothic & Lolita Bible (/wiki/Gothic_%26_Lolita_Bible) . 4 . Nuuberuguu: 79. ^ (#cite_ref-24) Anonymous (2002). "Neo Gothic Style". Gothic & Lolita Bible (/wiki/Gothic_%26_Lolita_Bible) . 4 . Nuuberuguu: 81. ^ (#cite_ref-25) Anonymous (2002). "Artist Brands: Part 1, Mana x Moi-mene-Moitie". Gothic & Lolita Bible (/wiki/Gothic_%26_Lolita_Bible) . 4 . Nuuberguu: 23. ^ (#cite_ref-26) Dead fashionable (http://www.theage.com.au/articles/2002/09/13/1031608320631.html) . Theage.com.au (13 September 2002). ^ (#cite_ref-27) [Lauren M. E. Goodlad, Michael Bibby: Goth. Undead subculture, Duke University Press, 2007, ISBN (/wiki/ISBN_(identifier)) 978-0-8223-3921-2 (/wiki/Special:BookSources/978-0-8223-3921-2) , p. 47] ^ (#cite_ref-28) "Gothic Fashion & clothing : The different variations of this style" (https://sewguide.com/gothic-fashion-clothing/) . Sew Guide . 2 January 2020 . Retrieved 2 January 2020 . ^ (#cite_ref-29) [Baddeley, Gavin (2002). Goth Chic: A Connoisseur's Guide to Dark Culture. London: Plexus Publishing, p. 204.] ^ (#cite_ref-30) "From Conventions to Curators: Historical Gothic Victorian Fashion" (https://thepragmaticcostumer.wordpress.com/2012/06/18/from-conventions-to-curators-historical-gothic-victorian-fashion/) . The Pragmatic Costumer . 18 June 2012 . Retrieved 12 December 2021 . ^ (#cite_ref-31) "British Library" (https://www.bl.uk/romantics-and-victorians/articles/the-origins-of-the-gothic) . www.bl.uk . Retrieved 12 December 2021 . Bibliography Grunenberg, Christoph (1997). "Unsolved Mysteries: Gothic Tales from Frankenstein to the Hair Eating Doll". Gothic: Transmutations of Horror in Late-Twentieth-Century Art . Boston: Mit Press. ISBN (/wiki/ISBN_(identifier)) 978-0-262-57128-9 . Retrieved 21 December 2011 . Hannaham, James (1997). "Bela Lugosi's Dead and I Don't Feel So Good Either: Goth and the Glorification of Suffering in Rock Music". Gothic: Transmutations of Horror in Late-Twentieth-Century Art . Boston: Mit Press. ISBN (/wiki/ISBN_(identifier)) 978-0-262-57128-9 . Retrieved 21 December 2011 . Polhemus, Ted (1994). Streetstyle: from sidewalk to catwalk . Thames and Hudson. ISBN (/wiki/ISBN_(identifier)) 978-0-500-27794-2 . Retrieved 21 December 2011 . Steele, Valerie; Park, Jennifer (21 October 2008). Gothic: Dark Glamour . Yale University Press and the Fashion Institute of Technology. ISBN (/wiki/ISBN_(identifier)) 9780300136944 . Retrieved 21 December 2011 . 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(/wiki/Japanese_street_fashion) Nigerian fashion (/wiki/Fashion_in_Nigeria) Russian fashion (/wiki/Russian_fashion) South Korean fashion (/wiki/Fashion_in_South_Korea) Swedish fashion (/wiki/Swedish_fashion) Thai fashion (/wiki/History_of_Thai_clothing) Vietnamese clothing (/wiki/Vietnamese_clothing) Fashion activism (/wiki/Fashion_activism) Anti-fashion (/wiki/Anti-fashion) Anti-sweatshop movement (/wiki/Anti-sweatshop_movement) Circular fashion (/wiki/Circular_fashion) Sustainable fashion (/wiki/Sustainable_fashion) Slow fashion (/wiki/Slow_fashion) Trashion (/wiki/Trashion) Zero-waste fashion (/wiki/Zero-waste_fashion) See also Ballet and fashion (/wiki/Ballet_and_fashion) Capsule wardrobe (/wiki/Capsule_wardrobe) Chinoiserie in fashion (/wiki/Chinoiserie_in_fashion) Dress code (/wiki/Dress_code) Undress (/wiki/Undress_code) Music and fashion (/wiki/Music_and_fashion) Fashion victim (/wiki/Fashion_victim) Fashion portal (/wiki/Portal:Fashion) NewPP limit report Parsed by 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Extreme or provocative clothing For other uses, see Fetishism (disambiguation) (/wiki/Fetishism_(disambiguation)) . This article needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/Fetish_fashion) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed. Find sources: "Fetish fashion" (https://www.google.com/search?as_eq=wikipedia&q=%22Fetish+fashion%22) – news (https://www.google.com/search?tbm=nws&q=%22Fetish+fashion%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Fetish+fashion%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Fetish+fashion%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Fetish+fashion%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Fetish+fashion%22&acc=on&wc=on) ( November 2017 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Fetish Fashion designs of latex clothing (/wiki/Latex_clothing) at the 2012 Los Angeles Fetish Film Festival Swiss artist Milo Moiré (/wiki/Milo_Moir%C3%A9) performs wearing pasties (/wiki/Pasties) and cut-out bra (/wiki/Bra) top, 2016. Fetish fashion is any style or appearance (/wiki/Human_physical_appearance) in the form of a type of clothing or accessory (/wiki/Fashion_accessory) , created to be extreme, revealing, skimpy, or provocative in a fetishistic (/wiki/Sexual_fetishism) manner. These styles are by definition not worn by the majority of people; if everyone wears an item, it cannot have fetishistic, special nature. They are usually made of materials such as leather (/wiki/Leather_fetishism) , latex (/wiki/Latex) or synthetic rubber (/wiki/Synthetic_rubber) or plastic (/wiki/Plastic) , nylon (/wiki/Nylon) , PVC (/wiki/PVC_fetishism) , spandex (/wiki/Spandex_fetishism) , fishnet (/wiki/Fishnet_(material)) , and stainless steel (/wiki/Stainless_steel) . Some fetish fashion items include: stiletto heel (/wiki/Stiletto_heel) shoes and boots (/wiki/Boot) (most notably the ballet boot (/wiki/Ballet_boot) ), hobble skirts (/wiki/Hobble_skirt) , corsets (/wiki/Corset) , collars (/wiki/Collar_(BDSM)) , full-body latex catsuits (/wiki/Catsuit) , stockings (/wiki/Stockings) , miniskirt (/wiki/Miniskirt) , crotchless underwear (/wiki/Underwear) , jockstraps (/wiki/Jockstrap) , diapers, garters, locks (/wiki/Lock_(security_device)) , rings (/wiki/Ring_(jewellery)) , zippers, eyewear (/wiki/Eyewear) , handcuffs (/wiki/Handcuffs) , and stylized costumes based on more traditional outfits, such as wedding dresses that are almost completely see-through lace, or lingerie for men. Fetish fashions should not be confused with costuming (/wiki/Costuming) . They both involve clothing and intend to present an image, but a costume is by definition something for public view, without sexual implications. Fetish fashion is usually for an intimate setting, with sexual implications. Fetish fashions are usually considered to be separate from those clothing items used in cosplay (/wiki/Cosplay) , whereby these exotic fashions are specifically used as costuming to effect a certain situation rather than to be merely worn; such as the creation of a character for picture play. However, sometimes the two areas do overlap. For example, in Japan (/wiki/Japan) , some themed restaurants have waitresses who wear costumes such as a suit made of latex or a stylized French maid (/wiki/French_maid) or Playboy bunny (/wiki/Playboy_bunny) outfit. Fetish fashion clothing is often modelled by specialist fetish models (/wiki/Fetish_model) . Some type of garments that women wear to routinely improve their appearance are thought of as erotic and qualify as fetish wear: corsets and high heels. Most fetish wear is not practical enough for routine daily wear. An example of a fetish costume worn by women is the dominatrix (/wiki/Dominatrix) costume. This typically consists of dark or black garments including a corset or bustier, stockings and high-heeled footwear such as thigh-high boots (/wiki/Thigh-high_boots) to enhance the dominating appearance. An accessory such as a whip or a riding crop is often carried. History [ edit ] Fetish fashion has no specific origin point because certain fashions that were appreciated specifically for themselves or worn as part of a specific subculture have been noted since the earliest days of clothing. Some scholars, like Michael Hayworth, argue that the use of corsetry and hobble skirts back in the late 19th century was the first mainstream note of fetish fashions, because the majority of society did not have access to these articles. [1] (#cite_note-1) These items were specifically appreciated for themselves (i.e. the person liked the woman wearing the corset rather than just the woman by herself). In 1914 a few weeks before the start of World War One, L. Richard and his wife Nativa founded their lingerie firm, Yva Richard (/wiki/Yva_Richard) , in Paris. [2] (#cite_note-2) Their custom made unique creations became increasingly daring and avant-garde, and by the late 1920s, they had highly successful international mail-order business. Richard took most of the photographs for their catalogue, and Nativa would sometimes model. One of their most iconic designs was a studded steel cone bra and chastity belt with a plumed headdress. [3] (#cite_note-FOOTNOTEDupouy201968-3) Their success encouraged the tailor Léon Vidal, who owned a chain of erotic bookshops to open a luxurious lingerie boutique called Diana Slip (/wiki/Diana_Slip) . [4] (#cite_note-FOOTNOTEDupouy201982-4) A leather subculture (/wiki/Leather_subculture) appeared amongst the underground gay community in the United States, with the first gay leather bar opening in 1958 in Chicago. This culture quickly spread worldwide, and became more mainstream in the 1960s due to the influence of rock musicians (/wiki/Rock_music) and television performers such as Diana Rigg (/wiki/Diana_Rigg) and Honor Blackman (/wiki/Honor_Blackman) in The Avengers (/wiki/The_Avengers_(TV_series)) , who wore full body leather catsuits (/wiki/Catsuit) and full limb-covering leather and latex gloves and boots (/wiki/Boot) . Many fashion designers incorporate elements of the fetish subculture into their creations or directly create products based on elements that are not accepted by the mainstream. Malcolm McLaren (/wiki/Malcolm_McLaren) and Vivienne Westwood (/wiki/Vivienne_Westwood) created several restrictive BDSM (/wiki/BDSM) -inspired clothing items of punk fashion (/wiki/Punk_fashion) for the 1970s punk subculture (/wiki/Punk_subculture) ; in particular bondage trousers (/wiki/Bondage_pants) , which connect the wearer's legs with straps. The more recent fetish clothing makers House of Harlot and Torture Garden (/wiki/Torture_Garden_(fetish_club)) Clothing, Breathless of London, Vex Latex Clothing and Madame S of California focus on using latex and leather as the base material for their creations, rather than as an accessory. Publications [ edit ] Fetish fashions became popularized in the United States during the 1950s through books and magazines such as Bizarre (/wiki/Bizarre_(fetish_magazine)) and many other underground publications. Skin Two (/wiki/Skin_Two) is a contemporary fetish magazine covering many aspects of the worldwide fetish subculture. The name is a reference to fetish clothing as a second skin. Mainstream [ edit ] Playmate (/wiki/Playboy_Playmate) Dasha Astafieva (/wiki/Dasha_Astafieva) wearing a see-through (/wiki/See-through_clothing) fishnet dress without underwear (/wiki/Undergarments) , at a Playboy (/wiki/Playboy) party in 2008 [5] (#cite_note-5) Fetish fashion has had an influence on mainstream fashion, both on and off the runway (/wiki/Runway_(fashion)) . Many well-known designers have used fetish wear as an inspiration, borrowing details and incorporating materials such as latex (/wiki/Latex) , PVC (/wiki/PVC) , lace (/wiki/Lace) , vinyl (/wiki/PVC_clothing) and patent leather (/wiki/Patent_leather) . Such designers include Thierry Mugler (/wiki/Thierry_Mugler) , Jonathan Saunders (/wiki/Jonathan_Saunders) , Alexander McQueen (/wiki/Alexander_McQueen) , Christian Dior (/wiki/Christian_Dior) , Chanel (/wiki/Coco_Chanel) and Nicholas Kirkwood (/wiki/Nicholas_Kirkwood) . The Alexander McQueen Autumn/Winter 2016 ready-to-wear (/wiki/Ready-to-wear) collection was influenced by fetish fashion, and the inspiration of materials and pieces such as harnesses and corsets can be seen on most of the looks. [6] (#cite_note-6) Other brands have been created specifically for the fetish clothing luxury market. Fleet Ilya , headed by the husband and wife team Ilya Fleet and Resha Sharma, began promoting the co-existence of fashion and BDSM as a symbiotic concept. Early adaptation of their leather harnesses by Sienna Miller (/wiki/Sienna_Miller) in 2006 and Rihanna (/wiki/Rihanna) in 2009, leading to an Autumn/Winter 2009 eponymous collection that featured fashion pieces and bondage tools alike. [7] (#cite_note-7) [8] (#cite_note-8) The Restraint by Fleet Ilya exhibition and pop-up shop in collaboration with Rankin (/wiki/Rankin_(photographer)) followed in 2010. [9] (#cite_note-9) [10] (#cite_note-10) Subsequent collaborations with mainstream brands include Comme des Garçons, Jonathan Saunders and Dion Lee (/wiki/Dion_Lee) , establishing Fleet Ilya's dedication to blurring the lines between high fashion and fetish wear. [11] (#cite_note-11) Zana Bayne, a post-fetish leather brand based in New York City was founded by Zana Bayne in 2010. Their work has been worn by celebrities such as Beyoncé (/wiki/Beyonc%C3%A9) and Lady Gaga (/wiki/Lady_Gaga) . Zana Bayne have also collaborated with other brands such as Marc Jacobs (/wiki/Marc_Jacobs) and Comme des Garçons (/wiki/Comme_des_Gar%C3%A7ons) . Todd Pendu began working with Zana Bayne when he was at Comme des Garçons, before becoming a full-time creative partner at Zana Bayne in 2012. [12] (#cite_note-12) Atsuko Kudo is another brand explicitly influenced by fetish fashion, who design and manufacture ladies wear made entirely in latex rubber. Street fashion (/wiki/Street_fashion) has also been influenced by fetish fashion. By late 2016 and through 2017 a number of fetish fashion elements had appeared in ready-to-wear and street wear around the world. This includes items such as chokers, fishnets (/wiki/Fishnet) , corsets, thigh-high boots; details such as straps, buckles, pierced ring hardware and chains; and materials like patent leather and vinyl. [13] (#cite_note-13) See also [ edit ] Charles Guyette (/wiki/Charles_Guyette) Clothing fetish (/wiki/Clothing_fetish) Eric Stanton (/wiki/Eric_Stanton) Fetish magazine (/wiki/Fetish_magazine) Gene Bilbrew (/wiki/Gene_Bilbrew) Going commando (/wiki/Going_commando) Gothic fashion (/wiki/Gothic_fashion) Industrial fashion (/wiki/Industrial_fashion) Leather subculture (/wiki/Leather_subculture) Irving Klaw (/wiki/Irving_Klaw) John Willie (/wiki/John_Willie) Kink (sexuality) (/wiki/Kink_(sexuality)) Sexual fetishism (/wiki/Sexual_fetishism) Dance Culture Body art (/wiki/Body_art) Clubbing (/wiki/Clubbing_(subculture)) Clothing Edible underwear (/wiki/Edible_underwear) PVC clothing (/wiki/PVC_clothing) Rubber and PVC fetishism (/wiki/Rubber_and_PVC_fetishism) Spandex fetishism (/wiki/Spandex_fetishism) Underwear as outerwear (/wiki/Underwear_as_outerwear) Uniform fetishism (/wiki/Uniform_fetishism) References [ edit ] ^ (#cite_ref-1) Hayworth, Michael (1994). "Fashion, Clothing, and Sex". In Bullough, Vern L.; Bullough, Bonnie (eds.). Human Sexuality: An Encyclopedia . New York and London: Garland Publishing Inc. pp. 203–4. ^ (#cite_ref-2) Dupouy, Alexandre (2019). City of Pleasure: Paris Between the Wars . Korero Press. p. 65. ISBN (/wiki/ISBN_(identifier)) 9781912740055 . ^ (#cite_ref-FOOTNOTEDupouy201968_3-0) Dupouy (2019) (#CITEREFDupouy2019) , p. 68. ^ (#cite_ref-FOOTNOTEDupouy201982_4-0) Dupouy (2019) (#CITEREFDupouy2019) , p. 82. ^ (#cite_ref-5) Lauren Johnston (18 December 2008). "Hugh Hefner gal pal Dasha Astafieva bares all on Playboy red carpet" (http://www.nydailynews.com/entertainment/gossip/hugh-hefner-gal-pal-dasha-astafieva-bares-playboy-red-carpet-article-1.357435) . NY Daily News . ^ (#cite_ref-6) Mower, Sarah. "Alexander McQueen Fall 2016 Ready-to-Wear Fashion Show" (http://www.vogue.com/fashion-shows/fall-2016-ready-to-wear/alexander-mcqueen) . Vogue . Retrieved 2017-04-19 . ^ (#cite_ref-7) "Leather and lace" (https://www.ft.com/content/422d1312-fa61-11e0-be7b-00144feab49a) . www.ft.com . Retrieved 2024-02-21 . ^ (#cite_ref-8) "Fleet Ilya" (https://www.scmp.com/article/690983/fleet-ilya) . South China Morning Post . 2009-08-30 . Retrieved 2024-02-21 . ^ (#cite_ref-9) Dazed (2010-11-25). "Fleet Ilya: Restraint" (https://www.dazeddigital.com/artsandculture/article/9068/1/fleet-ilya-restraint) . Dazed . Retrieved 2024-02-21 . ^ (#cite_ref-10) "Restraint" (https://www.vogue.it/galleries/gait4198) . Vogue Italia (in Italian). 2010-11-26 . Retrieved 2024-02-21 . ^ (#cite_ref-11) Birrell, Alice (11 December 2019). "Australian fashion designer Dion Lee looks back on a decade of his eponymous label" (https://www.vogue.com.au/fashion/news/australian-fashion-designer-dion-lee-looks-back-on-a-decade-of-his-eponymous-label/image-gallery/2e3331fb07bda057648c3c7b2074a4ca) . Vogue Australia. ^ (#cite_ref-12) "Bio" (https://web.archive.org/web/20170419200453/http://zanabayne.com/bio) . ZANA BAYNE New York . Archived from the original (http://zanabayne.com/bio) on 2017-04-19 . Retrieved 2017-04-19 . ^ (#cite_ref-13) "Savannah College of Art and Design" (https://0-www.wgsn.com.library.scad.edu/content/board_viewer/#/69101/page/3) . 0-www.wgsn.com.library.scad.edu . Retrieved 2017-04-19 . 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Fashion of punk subculture Punk fashion circa 1986, a hairstyle with dyed red liberty spikes (/wiki/Liberty_spikes) Punks in leather jackets with spikes and pin badges, 2003 Punk fashion is the clothing (/wiki/Clothing) , hairstyles (/wiki/Hairstyles) , cosmetics (/wiki/Cosmetics) , jewellery (/wiki/Jewellery) , and body modifications (/wiki/Body_modification) of the punk counterculture (/wiki/Punk_counterculture) . Punk fashion varies widely, ranging from Vivienne Westwood (/wiki/Vivienne_Westwood) designs to styles modeled on bands like The Exploited (/wiki/The_Exploited) to the dressed-down look of North American hardcore. The distinct social dress of other subcultures and art movements, including glam rock (/wiki/Glam_rock) , skinheads (/wiki/Skinheads) , greasers (/wiki/Greaser_(subculture)) , and mods (/wiki/Mod_(subculture)) have influenced punk fashion. Punk fashion has likewise influenced the styles of these groups, as well as those of popular culture (/wiki/Popular_culture) . Many punks use clothing as a way of making a statement. [1] (#cite_note-Hudson-1) Punk fashion has long been commercialized, [2] (#cite_note-2) with well-established fashion designers like Zandra Rhodes (/wiki/Zandra_Rhodes) , [3] (#cite_note-3) [4] (#cite_note-4) [5] (#cite_note-5) Thierry Mugler (/wiki/Thierry_Mugler) , [6] (#cite_note-6) [7] (#cite_note-7) Jean Paul Gaultier (/wiki/Jean_Paul_Gaultier) , [8] (#cite_note-8) [9] (#cite_note-9) Stephen Sprouse (/wiki/Stephen_Sprouse) , [10] (#cite_note-10) [11] (#cite_note-11) and Anna Sui (/wiki/Anna_Sui) [12] (#cite_note-12) [13] (#cite_note-13) using punk elements in their production and the first punk-influenced fashion spreads appearing in mainstream fashion magazines as early as 1976. [14] (#cite_note-14) The early, pre-fame work of designer Vivienne Westwood (/wiki/Vivienne_Westwood) helped pioneer the look of early British punk with her scene-establishing clothing shops Sex (/wiki/Sex_(boutique)) and Seditionaries (/wiki/Sex_(boutique)#Seditionaries) in the mid-1970s, co-run with Malcolm McLaren (/wiki/Malcolm_McLaren) who managed the Sex Pistols (/wiki/Sex_Pistols) . Westwood was asked by then-partner McLaren to outfit the Sex Pistols, and Westwood's designs found a canvas on Johnny Rotten and Sid Vicious. [15] (#cite_note-15) Her early work with Sex and the Sex Pistols helped to establish her as one of the most influential British designers of the 20th century. [16] (#cite_note-16) History [ edit ] 1970s [ edit ] A punk wearing a customized blazer, as was popular in the early punk scene Punk rock was an intentional rebuttal of the perceived excess and pretension found in mainstream music (or even mainstream culture as a whole), and early punk artists' fashion was defiantly anti-materialistic. Bands that had been at the forefront of the wave of rebellion, like the Rolling Stones (/wiki/The_Rolling_Stones) and the Beatles (/wiki/The_Beatles) , had become 'respectable', having achieved worldwide renown and subsequent wealth. Arena rock (/wiki/Arena_rock) groups of the early 70's, with long, drawn out songs rooted in the psychedelic movement, were viewed as out-of-touch by fans who were much less economically successful. A desire for music to reflect their values of dissatisfaction and alienation began to develop. [17] (#cite_note-17) Generally unkempt, often short hairstyles replaced the long-hair hippie look and the usually elaborate 1970s rock and disco (/wiki/Disco) styles. In the United States, dirty, simple clothes – ranging from the T-shirt/jeans/leather jacket Ramones (/wiki/Ramones) look to the low-class, second-hand "dress" clothes of acts like Television (/wiki/Television_(band)) or Patti Smith (/wiki/Patti_Smith) – were preferred over the expensive or colorful clothing popular in the disco scene. [18] (#cite_note-18) With her designs for The Rocky Horror Show (/wiki/The_Rocky_Horror_Show) and The Rocky Horror Picture Show (/wiki/The_Rocky_Horror_Picture_Show) , Sue Blane (/wiki/Sue_Blane) is credited with creating the look that became the template for punk rock fashion. [19] (#cite_note-punkblane-19) In the United Kingdom, 1970s punk fashion influenced the designs of Vivienne Westwood (/wiki/Vivienne_Westwood) and Malcolm McLaren (/wiki/Malcolm_McLaren) [20] (#cite_note-20) and the Bromley Contingent (/wiki/Bromley_Contingent) . Mainstream punk style was influenced by clothes sold in Malcolm McLaren's shop, [21] (#cite_note-21) artdesigncafe . McLaren has credited this style to his first impressions of Richard Hell (/wiki/Richard_Hell) , while McLaren was in New York City (/wiki/New_York_City) working with New York Dolls (/wiki/New_York_Dolls) . Hell is credited as one of the first to help popularize the stereotypical 'punk' look, spiking his hair and wearing t-shirts that were held together with safety pins. [22] (#cite_note-22) Punk fashion aimed to provoke and challenge middle class culture, often through vulgarity, illicit iconography, and sexual innuendos, among other means. Deliberately offensive T-shirts (/wiki/T-shirt) were popular in the early punk scene, such as the DESTROY T-shirt sold at SEX (/wiki/SEX_(boutique)) , which featured an inverted crucifix (/wiki/Christian_demonology#Diabolical_symbols) and a Nazi (/wiki/Nazism) Swastika (/wiki/Swastika) . Another offensive T-shirt that is still occasionally seen in punk is called Snow White and the Sir Punks , and features Snow White being held down and raped by five of the seven dwarfs, whilst the other two engage in anal sex. The image's origin is as part of The Realist (/wiki/The_Realist) magazine's Disneyland Memorial Orgy poster (/wiki/The_Realist#Disneyland_Memorial_Orgy_poster) in May 1967, although the T-shirts made the scene more explicit. [23] (#cite_note-23) These T-shirts, like other punk clothing items, were often torn on purpose. Other items in early British punk fashion included: leather jackets; customised blazers (/wiki/Blazer) ; and dress shirts randomly covered in slogans (such as "Only Anarchists are pretty"), blood, patches and controversial images. British punks also used fashion as a means to criticize the monarchy; Westwood's God Save the Queen shirt featured an image of Queen Elizabeth II (/wiki/Elizabeth_II) alongside text reading "She ain't no human being", taken directly from the Sex Pistol's single (/wiki/God_Save_the_Queen_(Sex_Pistols_song)) of the same name. While the band has denied that the single was produced specifically in reaction to the Queen's Silver Jubilee (/wiki/Silver_Jubilee_of_Elizabeth_II) , the song and Westwood's design were viewed as an affront to British values of patriotism and the monarchy. Many early punks wore swastikas and used Nazi imagery in their dress. As a means to provoke people, the symbol retained great power to alarm. Key examples of punk usage of Nazi symbols can be identified in Westwood's DESTROY t-shirt which was worn by members of the Sex Pistols, or a dress shirt which featured striping similar to those on the uniforms worn by prisoners in concentration camps (/wiki/Concentration_camps) . Sid Vicious wore a t-shirt featuring a swastika while he walked through a Jewish neighbourhood in the film The Great Rock and Roll Swindle (/wiki/The_Great_Rock_%27n%27_Roll_Swindle) . With the resurgence of Britain's National Front (/wiki/National_Front_(UK)) , those who wore the swastika discredited the anti-racist values of the movement. [24] (#cite_note-24) Other accoutrements worn by some punks included: BDSM fashions (/wiki/Fetish_fashion) , fishnet (/wiki/Fishnet_(material)) stockings (/wiki/Stockings) (sometimes ripped), spike bands and other studded or spiked jewelry, safety pins (/wiki/Safety_pin) (in clothes and as body piercings (/wiki/Body_piercing) ), silver bracelets and heavy eyeliner worn by both men and women. Many female punks rebelled against the stereotypical image of a woman by combining clothes that were delicate or pretty with clothes that were considered masculine, such as combining a Ballet tutu (/wiki/Ballet_tutu) with big, clunky boots. [ citation needed ] Female exemplars of early punk style included Pamela Rooke (/wiki/Pamela_Rooke) aka Jordan, [25] (#cite_note-25) Siouxsie Sioux (/wiki/Siouxsie_Sioux) , Soo Catwoman (/wiki/Soo_Catwoman) , [26] (#cite_note-26) and Gaye Advert (/wiki/Gaye_Advert) . [27] (#cite_note-27) Punk clothing sometimes incorporated everyday objects for aesthetic effect. Many outfits were made out pieces of clothing that were readily available, either from secondhand stores or whatever kids had on hand. [28] (#cite_note-28) Emphasizing a DIY (/wiki/Do_it_yourself) ethos, many punks utilized jean and leather jackets as canvases for pins, paint, and spikes. [29] (#cite_note-29) Purposely ripped clothes were held together by safety pins or wrapped with tape; black bin liners (/wiki/Bin_bag) (garbage bags) became dresses, shirts and skirts. Mohair, PVC, and other odd, anachronistic elements of fashion were utilized in outfits. [30] (#cite_note-30) Other items added to clothing or as jewellery included razor blades and chains. Leather (/wiki/Leather) , rubber (/wiki/Rubber) and vinyl (/wiki/Polyvinyl_chloride) clothing have been common, possibly due to their connection with transgressive sexual practices (/wiki/Human_sexual_activity) , such as bondage (/wiki/Bondage_(sexual)) and S&M (/wiki/Sadomasochism) . Provocative imagery referencing sexual practices and deviant forms of sexuality were utilized, such as in Vivienne Westwood's Two Cowboys shirt, which featured an illustration by Jim French (/wiki/Jim_French_(photographer)) of two cowboys naked from the waist down, one of them fixing the other's neckerchief. Its depiction of homosexuality was provocative within a middle-class British culture that was hostile to sexual relations alternate to heterosexuality. [31] (#cite_note-31) Preferred footwear included military boots, motorcycle boots (/wiki/Motorcycle_boot) , brothel creepers (/wiki/Brothel_creepers) , Puma Clydes (suede), Chuck Taylor All-Stars (/wiki/Chuck_Taylor_All-Stars) and later, Dr. Martens (/wiki/Dr._Martens) boots. Tapered jeans (/wiki/Jeans) , tight leather pants, trousers with leopard patterns and bondage pants (/wiki/Bondage_pants) were popular choices. Other early punks (most notably The Adicts (/wiki/The_Adicts) ) imitated the Droogs (/wiki/Nadsat) from A Clockwork Orange by wearing bowler hats (/wiki/Bowler_hat) and braces (/wiki/Suspenders) . Hair was cropped and deliberately made to look messy, and was often dyed bright unnatural colours. Although provocative, these hairstyles were not as extreme as later punk hairstyle. Keen designers, much like Westwood, had been able to draw inspiration from the punk style found on the streets, translating its anarchic frustration and resistance to the runways. [32] (#cite_note-32) Zandra Rhodes utilized rips, tears and safety pins in her 1977 'Conceptual Chic' collection; similarly, Claude Montana presented 12 models in "black leather jackets, caps, and pants in 1977. As it gained popularity on the runway, many designers viewed its origin on the streets as 'trashy' and that it no longer served as a source of fresh inspiration. [33] (#cite_note-33) Fashion designers ended up creating a standardized palette where the punk look was, more or less, essentially uniform. Spiky hair, jeans or bondage trousers, leather jackets with slogans, pins, and patches on them, T-shirts, studs and chains all became hallmarks of the look, undermining the individuality that had been essential to the movement. [34] (#cite_note-34) 1980s [ edit ] Early 1980s punk fashion In the 1980s, new fashion styles developed as parallel resurgences occurred in the United States (/wiki/United_States) and United Kingdom (/wiki/United_Kingdom) . What many recognize as typical punk fashions today emerged from the 1980s British scene, when punk underwent its Oi! (/wiki/Oi!) / street punk (/wiki/Street_punk) , and UK82 (/wiki/UK82) renaissance. The US scene was exemplified by hardcore (/wiki/Hardcore_punk) bands such as Black Flag (/wiki/Black_Flag_(band)) , Minor Threat (/wiki/Minor_Threat) , and Fear (/wiki/Fear_(band)) . The 1980s American scene spawned a utilitarian anti-fashion that was nonetheless raw, angry, and intimidating. However, elements of the 1970s punk look never fully died away. Some of the following clothing items were common on both sides of the Atlantic Ocean (/wiki/Atlantic_Ocean) , and some were unique to certain geographic areas. Footwear that was common in the 1980s punk scene included Dr. Martens (/wiki/Dr._Martens) boots, motorcycle (/wiki/Motorcycle) boots and combat boots (/wiki/Combat_boot) ; sometimes adorned with bandanas (/wiki/Kerchief) , chains or studded leather bands. Jeans (/wiki/Jeans) (sometimes dirty, torn or splattered with bleach) and tartan (/wiki/Tartan) kilts (/wiki/Kilt) or skirts were commonly worn. Leather skirts became a popular item for female punks. Heavy chains were sometimes used as belts. Bullet belts, and studded belts (sometimes more than one worn at a time) also became common. Some punks bought T-shirts (/wiki/T-shirt) or plaid (/wiki/Tartan) flannel (/wiki/Flannel) shirts (/wiki/Shirt) and wrote political slogans, band names or other punk-related phrases on them with marker pens (/wiki/Marker_pen) . While this was not without precedent in the 1970s, the depth and detail of these slogans were not fully developed until the 1980s. Silkscreened T-shirts with band logos or other punk-related logos or slogans were also popular. Studded, painted and otherwise customised leather jackets or denim vests became more popular during this era, as the popularity of the earlier customized blazers waned, somewhat. Hair was either shaved, spiked or in a crew cut (/wiki/Crew_cut) or Mohawk hairstyle (/wiki/Mohawk_hairstyle) . Tall mohawks and spiked hair, either bleached or in bright colors, took on a more extreme character than in the 1970s. Charged hair, in which all of one's hair stands on end but is not styled into distinct spikes, also emerged. A hairstyle similar to The Misfits (/wiki/Misfits_(band)) ' devilocks (/wiki/Devilock) was popular. This involved cutting a mohawk but leaving a longer tuft of hair at the front of the head. It is still popular to this day in the Horror-Punk scene. Body piercings and extensive tattoos (/wiki/Tattoo) became very popular during this era, as did spike bands and studded in chokers (/wiki/Choker) . Some hardcore punk women reacted to the earlier 1970s movement's coquettish (https://en.wiktionary.org/wiki/coquettish) vibe by adopting an androgynous style. Hardcore punk fans adopted a dressed-down style of T-shirts (/wiki/T-shirt) , jeans (/wiki/Jeans) , combat boots (/wiki/Combat_boots) or sneakers (/wiki/Sneakers_(footwear)) and crewcut (/wiki/Crewcut) -style haircuts. Women in the hardcore scene typically wore army pants, band T-shirts, and hooded sweatshirts. [35] (#cite_note-Premium-35) [36] (#cite_note-BrockmeierxDUO_p._12-36) The style of the 1980s hardcore scene contrasted with the more provocative fashion styles of late 1970s punk rockers (elaborate hairdos (/wiki/Punk_hair) , torn clothes, patches, safety pins, studs, spikes, etc.). Circle Jerks (/wiki/Circle_Jerks) frontman Keith Morris (/wiki/Keith_Morris) described early hardcore fashion as "the...punk scene was basically based on English fashion. But we had nothing to do with that. Black Flag (/wiki/Black_Flag_(band)) and the Circle Jerks were so far from that. We looked like the kid who worked at the gas station or submarine shop." [37] (#cite_note-37) Henry Rollins (/wiki/Henry_Rollins) echoes Morris' point, stating that for him getting dressed up meant putting on a black shirt and some dark pants; Rollins viewed an interest in fashion as being a distraction. [38] (#cite_note-38) Jimmy Gestapo (/wiki/Jimmy_Gestapo) from Murphy's Law (/wiki/Murphy%27s_Law_(band)) describes his own transition from dressing in a punk style (spiked hair and a bondage belt) to adopting a hardcore style (shaved head and boots) as being based on needing more functional clothing. [36] (#cite_note-BrockmeierxDUO_p._12-36) A scholarly source states that "hardcore kids do not look like punks", since hardcore scene members wore basic clothing and short haircuts, in contrast to the "embellished leather jackets and pants" worn in the punk scene. [39] (#cite_note-BrockmeierxDUO_p._11-39) In contrast to Morris' and Rollins' views, one scholarly source claims that the standard hardcore punk clothing and styles included torn jeans, leather jackets, spiked armbands and dog collars and mohawk hairstyles (/wiki/Mohawk_hairstyle) and DIY ornamentation of clothes with studs, painted band names, political statements, and patches. [40] (#cite_note-40) Another scholarly source describes the look that was common in the San Francisco hardcore scene as consisting of biker-style leather jackets, chains, studded wristbands, pierced noses and multiple piercings, painted or tattooed statements (e.g. an anarchy symbol) and hairstyles ranging from military-style haircuts dyed black or blonde, mohawks, and shaved heads. [41] (#cite_note-41) Different styles [ edit ] Various factions of the punk subculture have different fashion styles, although there is often crossover between the subgroups. The following are descriptions of some of the most common punk styles, categorized alphabetically. Anarcho-punk [ edit ] Anarcho-punk band Total Chaos (/wiki/Total_Chaos) in all-black clothing Anarcho-punk (/wiki/Anarcho-punk) fashion usually features all-black militaristic clothing, a style that was pioneered by the English punk band Crass (/wiki/Crass) . [42] (#cite_note-Glasper-42) A prominent feature is the heavy use of anarchist symbols and slogans on clothing items. Some who define themselves as anarcho-punks opt to wear clothing similar to traditional punk fashions or that of crust punks, but not often to the extreme of either subculture. Mohawk hairstyles and liberty spikes are seen. Tight trousers, bands T-shirts and boots are common. Hairstyling products often are used only if the company that manufactures it did not test them on animals. Leather often avoided due to veganism (/wiki/Veganism) , may be replaced with imitation leather or cloth in a similar design as leather products. Celtic punk [ edit ] Fans of Celtic punk (/wiki/Celtic_punk) often mix hardcore (/wiki/Hardcore_punk) , street punk (/wiki/Street_punk) , Oi! (/wiki/Oi!) and skinhead (/wiki/Skinhead) fashions with traditional Irish or Scottish clothing styles, including elements of highland dress (/wiki/Highland_dress) . [43] (#cite_note-Sweers-43) Common items include boots, sneakers, jeans, work trousers, kilts (/wiki/Kilt) , grandfather shirts (/wiki/Grandfather_shirt) , T-shirts (/wiki/T-shirt) , hoodies (/wiki/Hoodie) , braces (/wiki/Suspenders) , black leather jackets (/wiki/Leather_jacket) , peacoats (/wiki/Peacoat) , donkey jackets (/wiki/Donkey_jacket) , football shirts (/wiki/Football_shirt) , flat caps (/wiki/Flat_cap) , tuques (/wiki/Tuque) , Tam O'Shanter caps (/wiki/Tam_o%27_Shanter_(cap)) and Trilby (/wiki/Trilby) hats. Hair is usually cut relatively short. [43] (#cite_note-Sweers-43) Cowpunk [ edit ] Main article: Cowpunk (/wiki/Cowpunk) The cowpunk clothing style is a stereotypical U.S. rural (/wiki/Rural_areas_in_the_United_States) , working class (/wiki/Working_class) , western wear (/wiki/Western_wear) form of dress. Cowpunks may wear anything from a vintage western wear (/wiki/Western_wear) look, including checked shirts (/wiki/Checked_shirt) , bib overalls (/wiki/Overalls) , worn jeans (/wiki/Stone_washing) , and cowboy boots (/wiki/Cowboy_boot) , to a more industrial look with wifebeater shirts (/wiki/Wifebeater_(shirt)) , trucker hats (/wiki/Trucker_hat) , and work boots (/wiki/Work_boot) . Women's hair follows no single style, but men can have anything from a crew cut (/wiki/Crew_cut) to long hair, or the exaggerated quiff (/wiki/Quiff) pompadour hairstyle. Facial hair is also common. [44] (#cite_note-apparelsearch-44) Crust punk [ edit ] Main article: Crusties (/wiki/Crusties) A group of crust punk fans or " crusties (/wiki/Crusties) " Crust punk (/wiki/Crust_punk) can be traced back to Bristol (UK). In the late 1970s and early 1980s, Bristol bands like Disorder, Chaos UK, Lunatic Fringe, Amebix, broke from the usual punk fashion confines, creating a disheveled DIY look originating in squatting and poverty. Typical crust punk fashion includes black or camouflage (/wiki/Military_camouflage) trousers or shorts (heavy work pants are popular for their durability), torn band T-shirts or hoodies, skin tight black jeans (/wiki/Slim-fit_pants) , vests (/wiki/Kutte) and jackets (commonly black denim), bullet belts, jewellery made from hemp or found objects, and sometimes bum flaps (/wiki/Bum_flap) . Many items of clothing are covered in patches and/or metal studs. Often, the patches display a political message. Clothing tends to be unsanitary by conventional standards, and dreadlocks (/wiki/Dreadlocks) are popular. [45] (#cite_note-decibel-45) Crust punks sometimes sew articles of clothing with found or cheaply bought materials, such as dental floss. Pants are sometimes held up with string (/wiki/Twine) , hemp (/wiki/Hemp) , or vegan-friendly imitation leather. This fashion has also been used by Folk Punk (/wiki/Folk_Punk) fans and musicians, notably Days N Daze (/wiki/Days_N_Daze) , Blackbird Raum (/wiki/Blackbird_Raum) , and The Psalters (/wiki/The_Psalters) . [45] (#cite_note-decibel-45) Dance-punk [ edit ] Dance-punk (/wiki/Dance-punk) fashions include day-glo (/wiki/Day-glo) colors, phat pants (/wiki/Phat_pants) , glowsticks (/wiki/Glowsticks) , leather studded jackets, chains and combat boots (/wiki/Combat_boots) . Typical haircuts include spiky hair (/wiki/Spiky_hair) bleached blond, short mohawks and synthetic dreadlocks (/wiki/Dreadlocks) . [ citation needed ] Dark cabaret and Gypsy punk [ edit ] Fans of dark cabaret (/wiki/Dark_cabaret) and Gypsy punk (/wiki/Gypsy_punk) often imitate the costumes of 1920s music hall (/wiki/Music_hall) , sideshow or burlesque (/wiki/Burlesque) performers, pejoratively referred to by some modern critics as "once fashionable trash." [46] (#cite_note-46) [ self-published source? ] Women such as Amanda Palmer of the Dresden Dolls (/wiki/Dresden_Dolls) sometimes combine fetish wear (/wiki/Fetish_wear) such as garter belts (/wiki/Garter_belt) , fishnet (/wiki/Fishnet) stockings (/wiki/Stocking) or corsets (/wiki/Corset) with dress clothing, such as a top hat (/wiki/Top_hat) and tailcoat (/wiki/Tailcoat) , or traditional Romani (/wiki/Romani_people) dress such as shawls (/wiki/Shawl) , [47] (#cite_note-47) hoop earrings (/wiki/Hoop_earrings) or colorful skirts. Men often wear vintage Bowler hats (/wiki/Bowler_hat) , battered fedoras (/wiki/Fedora) , tweed cloth (/wiki/Tweed_cloth) vests with more typical street punk fashions such as drainpipe trousers (/wiki/Drainpipe_trousers) or heavy boots. Some artists, including Martyn Jacques (/wiki/Martyn_Jacques) of the Tiger Lillies (/wiki/Tiger_Lillies) , wear white makeup inspired by French mime artists (/wiki/Mime_artist) and the Emcee (/wiki/Emcee) from Cabaret (/wiki/Cabaret_(musical)) . [48] (#cite_note-48) Garage punk [ edit ] Contemporary garage punk band Mudhoney (/wiki/Mudhoney) Garage punk (/wiki/Garage_punk_(fusion_genre)) bands of the 1970s like MC5 (/wiki/MC5) , Iggy and the Stooges (/wiki/Iggy_and_the_Stooges) , the Flamin' Groovies (/wiki/The_Flamin%27_Groovies) and the Ramones (/wiki/Ramones) often wore secondhand clothing from the mid-late 1960s, such as velvet jackets, slim-fitting grey suits, black leather jackets (/wiki/Leather_jacket) , winklepickers (/wiki/Winklepicker) and drainpipe jeans (/wiki/Drainpipe_jeans) , in reaction to the flared trousers (/wiki/Flared_trousers) worn by hippies (/wiki/Hippie) and disco (/wiki/Disco) fans. [49] (#cite_note-49) Their hair was generally worn long, as was then fashionable in the 1970s, but some fans opted for buzzcuts (/wiki/Buzzcut) or Caesar cuts (/wiki/Caesar_cut) , previously associated with hard mods (/wiki/Mod_(subculture)#Decline_and_offshoots) and bootboys (/wiki/Suedehead_(subculture)) . Following the 1980s garage rock revival (/wiki/Garage_rock_revival) , garage punk bands tended to dress more casually, with less overtly 1960s clothing. However, the original garage punk look remained a big influence among British indie rock (/wiki/Indie_rock) groups during the mid and late-2000s. [50] (#cite_note-50) [51] (#cite_note-51) Glam punk [ edit ] Contemporary to the garage bands of the early 1970s, glam punk (/wiki/Glam_punk) fashion, pioneered by bands like the New York Dolls (/wiki/New_York_Dolls) , [52] (#cite_note-52) includes glitter (/wiki/Glitter) , androgynous make-up, brightly dyed hair, drainpipe jeans (/wiki/Slim-fit_pants) , bright colours like electric blue (/wiki/Electric_blue_(color)) , elements of leather fetish wear (/wiki/Fetish_wear) , and unusual costumes like leopard print, spandex (/wiki/Spandex) , or satin (/wiki/Satin) shirts. Leftover baroque pop (/wiki/Baroque_pop) clothing like ruffled pirate shirts (/wiki/Pirate_shirt) or brocade were also worn, together with more typical glam rock (/wiki/Glam_rock) fashions like platform boots (/wiki/Platform_boots) , tartan (/wiki/Tartan) , kipper ties (/wiki/Kipper_tie) , and metallic silver clothing like jumpsuits (/wiki/Jumpsuit) . [53] (#cite_note-53) Hardcore punk [ edit ] There are several styles of dress within the hardcore (/wiki/Hardcore_punk) scene, and styles have changed since the genre started as hardcore punk in the late 1970s. What is fashionable in one branch of the hardcore scene may be frowned upon in another; however, generally, personal comfort and the ability to mosh (/wiki/Mosh) during the heavily physical, frenetic, and energetic live hardcore punk shows are highly influential in this style. For this reason, jewellery, spikes, chains and spiky hair are more uncommon and discouraged in hardcore fashion. Ultimately, hardcore punk fashion is usually more understated, working class, and casual compared to some more elaborate punk styles, in part as a response to the physical demands of hardcore punk shows and in part as a working class or more "authentic" backlash response against the perceived increasingly fashion-oriented or pretentious developments within the established punk scene. Plain working class (/wiki/Working_class) dress and short hair [54] (#cite_note-54) (with the exception of dreadlocks (/wiki/Dreadlocks) ) are usually associated with hardcore punk. Mute colors and minimal adornment are usually common. Elements of hardcore clothing include baggy jeans or work pants (such as Dickies (/wiki/Dickies) ), khakis (/wiki/Khaki) or cargo pants, athletic wear, tracksuits (/wiki/Tracksuits) , cargo or military shorts, band T-shirts, plain T-shirts, muscle shirts, flannel (/wiki/Flannel) or plaid (/wiki/Tartan) shirts, and band hoodies (/wiki/Hoodie) . The leather jackets (/wiki/Leather_jacket) and denim (/wiki/Denim) jackets associated with punk fashion remain common in hardcore punk, though hardcore punk also prominently features bomber jackets (/wiki/Bomber_jacket) and track jackets (/wiki/Track_jacket) unlike other punk fashions. Common sneakers include classic Adidas Originals (/wiki/Adidas_Originals) , Asics (/wiki/Asics) , Converse (/wiki/Converse_(shoe_company)) , New Balance (/wiki/New_Balance) , Nike (/wiki/Nike,_Inc.) , Pony (/wiki/Pony_International) , Puma (/wiki/Puma_AG) , Reebok (/wiki/Reebok) , Saucony (/wiki/Saucony) and Vans (/wiki/Vans) . Boots are also somewhat common, especially Dr. Martens (/wiki/Dr._Martens) . Hardcore skinheads (/wiki/Hardcore_skinhead) , sometimes known as "American punk skinheads," are characterised by some of the same items as British skinhead fashion, but hardcore skinhead dress is considerably less strict than traditional skinhead (/wiki/Trojan_skinhead) or oi! skinhead (#Street_punk_and_Oi!) style. [ citation needed ] Horror punk and deathrock [ edit ] Death-rockers in 2007 Horror punk (/wiki/Horror_punk) and deathrock (/wiki/Deathrock) fashions are similar to goth fashion (/wiki/Goth_fashion) . Black is the predominant shade. Deathrock and horror punk incorporate "sexy" items such as fishnet stockings, corsets and elaborate make-up for men and women. The use of occult and horror imagery is prevalent on T-shirts, buttons, patches and jewellery. Other common adornments include band names painted on jackets or bleached into clothes, as well as buttons or patches indicating cities. The initials D and R (for Death Rock ) is sometimes part of a crossbones logo, accompanied by other initials, such as C and A for California, N and Y for New York, or G and R for Germany. Hair may be in a deathhawk style (a wider teased-out variant of the mohawk hairstyle (/wiki/Mohawk_hairstyle) ), an angled bangs (/wiki/Bangs_(hair)) style, or a devilock (/wiki/Devilock) style. [ citation needed ] Pop punk [ edit ] Pop punk (/wiki/Pop_punk) fashion, sometimes overlaps with skater punk fashion. Originally this consisted of black or tartan (/wiki/Tartan) baggy pants (sometimes fitted with studs and eyelets), band hoodies, wristbands, patrol caps (/wiki/Patrol_cap) , pyramid stud belts, dress shirts with thin ties or scarves, blazers (/wiki/Blazer) and spiky hair or fauxhawks. In the mid-2000s (/wiki/2000s_in_fashion#Scene_kids) , pop-punk fashion, influenced by indie rock (/wiki/Indie_rock) , hip hop (/wiki/Hip_hop) and emo (/wiki/Emo) fashions, evolved to include cartoon print hoodies (/wiki/Hoodie) , Converse (/wiki/Converse_(shoe_company)) shoes, keffiyehs (/wiki/Keffiyeh) and skinny jeans (/wiki/Skinny_jeans) . Spiky hair (/wiki/Spiky_hair) was gradually replaced by skater styles with long fringes or bangs (/wiki/Bangs_(hair)) . In the 2010s, pop punk fans (/wiki/Trendies) took on a more hardcore look, with shorter hair (including Liberty spikes (/wiki/Liberty_spikes) and a wide Mohawk (/wiki/Mohawk_hairstyle) combined with a fringe), plain hoodies (/wiki/Hoodie) and straight-leg jeans. [ citation needed ] Psychobilly [ edit ] Contemporary psychobilly band the Horrorpops (/wiki/Horrorpops) Psychobilly (/wiki/Psychobilly) fashion combines elements of punk with 1950s Greaser (/wiki/Greaser_(subculture)) and British Teddy Boy (/wiki/Teddy_Boy) fashions. Brothel creepers (/wiki/Brothel_creepers) are frequently worn, as well as leather jackets, gas-station shirts, black or white retro T-shirts, dark-colored drape jackets and vintage motorcycle/work boots. Hair consists of a quiff (/wiki/Quiff) , pompadour (/wiki/Pompadour_(hairstyle)) or psychobilly wedge, usually with the sides shaved into a mohawk. Clothing is usually adorned with motifs inspired by classic American horror films or art-styles inspired by Ed "Big Daddy" Roth (/wiki/Ed_%22Big_Daddy%22_Roth) . This subculture is strongly associated with the Kustom Kulture (/wiki/Kustom_Kulture) movement. [ citation needed ] Ska punk [ edit ] Ska punk (/wiki/Ska_punk) fans typically dress in a style that mixes typical ska (/wiki/Ska) - or 2 Tone (/wiki/2_Tone_(music_genre)) -related fashions, with various types of punk fashions, including street punk (/wiki/Street_punk) , pop punk (/wiki/Pop_punk) , skate punk (/wiki/Skate_punk) or hardcore punk (/wiki/Hardcore_punk) . Braces (/wiki/Suspenders) are popular, as are Harrington jackets (/wiki/Harrington_jacket) with royal Stewart tartan (/wiki/Royal_Stewart_tartan) lining, thin ties, Doc Martens (/wiki/Doc_Martens) , mohair (/wiki/Mohair) suits, pork pie hats (/wiki/Pork_pie_hat) , tonik suits (/wiki/Tonik_suit) (especially in the early years of the 1980s ska revival), [55] (#cite_note-55) tank tops, Ben Sherman (/wiki/Ben_Sherman) or Fred Perry (/wiki/Fred_Perry) polo shirts (/wiki/Polo_shirt) , hoodies (/wiki/Hoodie) , and checkerboard patterns (/wiki/Checkerboard_pattern) . Hair is cropped very short in imitation of hardcore punk (/wiki/Hardcore_punk) bands and early 1960s rude boys (/wiki/Rude_boy) . as of 1990s and today many ska fans dressed out normally with regular or simple clothing. [56] (#cite_note-56) Skate punk [ edit ] Main article: Skate punk (/wiki/Skate_punk) Skate punk is a derivative of hardcore fashion and is chosen with comfort and practicality in mind. Common skate punk (/wiki/Skate_punk) clothing items include T-shirts, flannel button-down shirts, hooded sweatshirts, webbing belts, and khaki shorts, pants or jeans. Some punks, especially in Southern California, mirror Latino gang styles, including khaki Dickies (/wiki/Dickies) work pants, white T-shirts and colored bandanas (/wiki/Bandana) . While some skateboarders have long and messy hair, skate punks usually have short hair, often shaved into a buzzcut, and wear little jewelry. [ citation needed ] Street punk and Oi! [ edit ] In general, contemporary street punks (/wiki/Street_punk) wear leather, denim, metal spikes or studs, chains and military-style boots. They often wear elements of early punk fashion, such as kutten (/wiki/Kutte) vests, bondage trousers (often plaid) and torn clothing. DIY (/wiki/DIY_ethic) -created and modified clothing, such as ripped or stitched-together trousers or shirts, or trousers that are tightly tapered, are common. Jackets and vests often have patches or are painted with logos that express musical tastes or political views. Bullet belts and belts with metal studs are popular. Hair is often spiked and/or dyed in bright, unnatural colors and arranged into a mohawk (/wiki/Mohawk_hairstyle) or liberty spikes (/wiki/Liberty_spikes) , but it is sometimes cut very short or shaved. Oi! (/wiki/Oi!) skinheads (/wiki/Skinhead) , sometimes known as skunks or punk-skinheads, fuse traditional skinhead (/wiki/Trojan_skinhead) style with street punk fashions. The look is characterised by Dr. Martens (/wiki/Dr._Martens) boots (or similar boots made by a different brand), braces (/wiki/Suspenders) , and tight rolled-up jeans, sometimes splattered with bleach. Other common items are T-shirts (featuring band names, political beliefs or other text and images relevant to skinhead culture) and denim jackets or flight jackets (/wiki/Flight_jacket) . These jackets are sometimes decorated with buttons or patches, and in the case of the denim jackets, sometimes splattered with bleach. Hair is typically shaved shorter than with traditional skinheads (/wiki/Trojan_skinhead) . Other items from traditional skinhead fashion (e.g. Fred Perry (/wiki/Fred_Perry) and Ben Sherman (/wiki/Ben_Sherman) shirts) and, to a lesser extent, punk fashion items (e.g. short mohawk hairstyles, metal studs on jackets) are also sometimes worn. [57] (#cite_note-57) Droog [ edit ] During the early 1980s, some street punks (/wiki/Street_punk) and Oi! (/wiki/Oi!) skinheads (/wiki/Skinhead) adopted elements of the dress style from the film A Clockwork Orange (/wiki/A_Clockwork_Orange_(film)) . [58] (#cite_note-58) [59] (#cite_note-59) On stage, bands like The Adicts (/wiki/The_Adicts) , [60] (#cite_note-60) or more recently The Bolokos and Japan's Hat Trickers, [61] (#cite_note-61) [62] (#cite_note-62) often wear bowler hats (/wiki/Bowler_hat) , white shirts, white trousers, braces (/wiki/Suspenders) , and black combat boots (/wiki/Combat_boot) in imitation of Alex De Large, the protagonist of the film and novel. [63] (#cite_note-63) Some fans also wore fishtail coats, although more often they wore black leather biker jackets (/wiki/Biker_jacket) or long black Crombie (/wiki/Crombie_(clothing)) coats. [ citation needed ] Rivethead [ edit ] Main article: Rivethead (/wiki/Rivethead) A "rivethead" or "rivet head" is a person associated with the industrial dance music (/wiki/Industrial_dance_music) scene. [64] (#cite_note-64) In stark contrast to the original industrial culture (/wiki/Industrial_music) , whose performers and heterogeneous audience were sometimes referred to as "industrialists", the rivethead scene is a coherent youth culture (/wiki/Youth_culture) closely linked to a discernible fashion style. The scene emerged in the late 1980s [65] (#cite_note-steele-65) on the basis of electro-industrial (/wiki/Electro-industrial) , EBM (/wiki/Electronic_body_music) , and industrial rock (/wiki/Industrial_rock) music. The associated dress style draws on military fashion and punk aesthetics [66] (#cite_note-FOOTNOTEGoodladBibby200769-66) with hints of fetish wear (/wiki/Fetish_fashion) , mainly inspired by the scene's musical protagonists. See also [ edit ] Alternative fashion (/wiki/Alternative_fashion) Fetish fashion (/wiki/Fetish_fashion) Heavy metal fashion (/wiki/Heavy_metal_fashion) Gothic fashion (/wiki/Gothic_fashion) PVC clothing (/wiki/PVC_clothing) References [ edit ] Dick Hebdige (1979). Subculture: The Meaning of Style (Routledge, March 10, 1981; softcover ISBN (/wiki/ISBN_(identifier)) 0-415-03949-5 (/wiki/Special:BookSources/0-415-03949-5) ). Cited in Negus, Keith (1996). Popular Music in Theory: An Introduction . Wesleyan University Press (/wiki/Wesleyan_University_Press) . ISBN (/wiki/ISBN_(identifier)) 0-8195-6310-2 (/wiki/Special:BookSources/0-8195-6310-2) . Paul Gorman (/wiki/Paul_Gorman) (2006). The Look: Adventures in Rock and Pop Fashion (Adelita, May 10, 2006; softcover ISBN (/wiki/ISBN_(identifier)) 0-9552017-0-5 (/wiki/Special:BookSources/0-9552017-0-5) ) Notes [ edit ] ^ (#cite_ref-Hudson_1-0) Hudson, Alice (2016). "Understanding the Politics of Punk Clothing from 1976 to 1980 Using Surviving Objects and Oral Testimony" (https://web.archive.org/web/20180403122756/http://arts.brighton.ac.uk/__data/assets/pdf_file/0008/199655/Understanding-the-Politics-of-Punk-Clothing.pdf) (PDF) . University of Brighton (Dissertation). Archived from the original (http://arts.brighton.ac.uk/__data/assets/pdf_file/0008/199655/Understanding-the-Politics-of-Punk-Clothing.pdf) (PDF) on 2018-04-03 . Retrieved 2019-02-12 . ^ (#cite_ref-2) Hyde, Nina S. (/wiki/Nina_Hyde) (1978-01-01). "Fashion Notes" (https://www.washingtonpost.com/archive/lifestyle/1978/01/01/fashion-notes/d8df3044-440b-4fbf-a216-7c263cbd2d5b/) . The Washington Post . Retrieved 2022-04-04 . ...[P]unk...has inspired the huge trash cans with shoulder ropes being sold...as trendy carryalls at New York's Fiorucci. ^ (#cite_ref-3) Mulvagh, Jane (1988). "1977". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 356. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . 1977: Rhodes presented a 'punk' collection of ripped, zipped and safety-pinned jersey evening dress... ^ (#cite_ref-4) Hyde, Nina S. (/wiki/Nina_Hyde) (1977-10-29). "And Now 'Punk Chic' (https://www.washingtonpost.com/archive/lifestyle/1977/10/29/and-now-punk-chic/ef17f57e-977b-4f6a-a2ff-c35e328ab1bd/) " (https://www.washingtonpost.com/archive/lifestyle/1977/10/29/and-now-punk-chic/ef17f57e-977b-4f6a-a2ff-c35e328ab1bd/) . The Washington Post . The French are not the first to exploit punk fashion. British fashion designer Zandra Rhodes incorporated rips and tears and safety pins into $600 silk crepe dresses a season back [spring 1977]. Stores like Sakowitz in Houston sold them 'rather well,' according to Robert Sakowitz, the store owner. ^ (#cite_ref-5) Morris, Bernadine (1977-09-17). "All Around Town, a Week of Lavish Couture Openings" (https://www.nytimes.com/1977/09/17/archives/all-around-town-a-week-of-lavish-couture-openings.html) . The New York Times : 19 . Retrieved 2022-04-04 . ...Zandra Rhodes, the British designer who transcribed the punk rock image into the idiom of high fashion....Zandra Rhodes...catapulted 'punk rock' to the fashion world's attention....The style is characterized by cutouts, safety pins and chains...In Miss Rhode's versions, there was not much of the aggressive, sadistic punk rock flavor. ^ (#cite_ref-6) Hyde, Nina S. (/wiki/Nina_Hyde) (1977-10-24). "Thinking Big for Spring" (https://www.washingtonpost.com/archive/lifestyle/1977/10/24/thinking-big-for-spring/69607aa7-4a9e-4e4a-882e-32172a15cdc6/) . The Washington Post . Retrieved 2022-02-07 . There is punk influence at Thierry Mugler, including a punk model with fluorescent yellow hair... ^ (#cite_ref-7) Hyde, Nina S. (/wiki/Nina_Hyde) (1977-10-29). "And Now 'Punk Chic' (https://www.washingtonpost.com/archive/lifestyle/1977/10/29/and-now-punk-chic/ef17f57e-977b-4f6a-a2ff-c35e328ab1bd/) " (https://www.washingtonpost.com/archive/lifestyle/1977/10/29/and-now-punk-chic/ef17f57e-977b-4f6a-a2ff-c35e328ab1bd/) . The Washington Post . Retrieved 2022-04-04 . At Thierry Mugler, black leather and safety-pin jewelry showed up on the runway worn by the cool, blonde [French punk icon] Edwige. ^ (#cite_ref-8) Mulvagh, Jane (1988). "1976-1986". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 345. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . ...Jean-Paul Gaultier fused the showmanship of a couture training...with the design anarchy borrowed from London's streets... ^ (#cite_ref-9) Cunningham, Bill (1986-03-01). "Bright Spring Fashion Takes a Brave New Direction". Details . IV (8). New York, NY: 98. ISSN (/wiki/ISSN_(identifier)) 0740-4921 (https://www.worldcat.org/issn/0740-4921) . Jean Paul Gaultier...defines the neo-punk yuppies. ^ (#cite_ref-10) Cunningham, Bill (1988-03-01). "Fashionating Rhythm". Details . VI (8). New York, NY: Details Publishing Corp.: 119. ISSN (/wiki/ISSN_(identifier)) 0740-4921 (https://www.worldcat.org/issn/0740-4921) . Stephen Sprouse...continues to manipulate...the Sixties hippie and Seventies punk influences... ^ (#cite_ref-11) Goodman, Wendy (1987-09-21). "Stephen Sprouse Tries a Comeback with a Solid New Store" (https://books.google.com/books?id=l-UCAAAAMBAJ&dq=%22stephen+sprouse%22&pg=PA139) . New York . 20 (37): 139 . Retrieved 2022-08-18 . Stephen Sprouse...T-shirts printed with safety pins, skulls, and barbed wire; eleven-inch micro-skirts in...camouflage patterns;...dresses covered with gold safety pins... ^ (#cite_ref-12) Nika, Colleen (September 14, 2011). "Exclusive: Anna Sui Discusses Her Spring 2012 Show and Punk Rock Heritage" (https://www.rollingstone.com/culture/news/exclusive-anna-sui-discusses-her-spring-2012-show-and-punk-rock-heritage-20110914) . rollingstone.com . Rolling Stone . Retrieved November 2, 2016 . ^ (#cite_ref-13) Drain, Kelsey (May 13, 2016). "Opening Ceremony, Anna Sui Capsule Collection Launches; Designer's '90s Pieces Reissued" (https://web.archive.org/web/20161104003738/http://www.fashiontimes.com/articles/26223/20160513/opening-ceremony-anna-sui-capsule-collection-launches-designers-90s-pieces.htm) . fashiontimes.com . Fashion Times. Archived from the original (http://www.fashiontimes.com/articles/26223/20160513/opening-ceremony-anna-sui-capsule-collection-launches-designers-90s-pieces.htm) on November 4, 2016 . Retrieved November 2, 2016 . ^ (#cite_ref-14) Mulvagh, Jane (1988). "1976". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 353. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . 1976: The punk image began to be covered in Italian Vogue , which featured page after page of black clothing worn with aggressive accessories: low-slung, studded belts, leather knuckle-dusters, dog chains, and wrap-around sunglasses. Hair was dishevelled and tied with black lace ribbons. ^ (#cite_ref-15) Andrew, Scottie. "How Vivienne Westwood dressed the Sex Pistols and shaped punk" (https://www.cnn.com/style/article/vivienne-westwood-punk-fashion-sex-pistols-cec/index.html) . CNN . Retrieved 2023-04-01 . ^ (#cite_ref-16) Price, Authors: Shannon. "Vivienne Westwood (born 1941) and the Postmodern Legacy of Punk Style | Essay | The Metropolitan Museum of Art | Heilbrunn Timeline of Art History" (https://www.metmuseum.org/toah/hd/vivw/hd_vivw.html) . The Met’s Heilbrunn Timeline of Art History . Retrieved 2023-04-01 . ^ (#cite_ref-17) Simonelli, D. (2002-06-01). "Anarchy, Pop and Violence: Punk Rock Subculture and the Rhetoric of Class, 1976-78" (https://doi.org/10.1080/713999447) . Contemporary British History . 16 (2): 121–144. doi (/wiki/Doi_(identifier)) : 10.1080/713999447 (https://doi.org/10.1080%2F713999447) . ISSN (/wiki/ISSN_(identifier)) 1361-9462 (https://www.worldcat.org/issn/1361-9462) . S2CID (/wiki/S2CID_(identifier)) 143857096 (https://api.semanticscholar.org/CorpusID:143857096) . ^ (#cite_ref-18) "The Disco Lifestyle" (http://socialdance.stanford.edu/syllabi/disco_lifestyle.htm) . socialdance.stanford.edu . Retrieved 2020-10-14 . ^ (#cite_ref-punkblane_19-0) Thompson, Dave (2016-02-01). The Rocky Horror Picture Show FAQ: Everything Left to Know About the Campy Cult Classic . Applause Theatre & Cinema Books. p. 1785. ISBN (/wiki/ISBN_(identifier)) 978-1495007477 . ^ (#cite_ref-20) Kawamura, Y (2005). Fashion-ology : An Introduction to Fashion Studies . Oxford: Bloomsbury Publishing. p. 102. ^ (#cite_ref-21) Walker, John. "Malcolm McLaren & the sources of Punk" (http://www.artdesigncafe.com/Malcolm-McLaren-Sex-Pistols-punk-music-art) . ^ (#cite_ref-22) "Rip It to Shreds: A History of Punk and Style" (https://pitchfork.com/features/from-our-partners/9943-rip-it-to-shreds-a-history-of-punk-and-style/) . Pitchfork . 25 October 2016 . Retrieved 2023-04-01 . ^ (#cite_ref-23) "Snow White & The Disneyland Memorial Orgy" (https://web.archive.org/web/20170807192530/http://rockpopfashion.com/blog/?p=60) . Archived from the original (http://rockpopfashion.com/blog/?p=60) on 2017-08-07 . Retrieved 2017-08-07 . ^ (#cite_ref-24) Simonelli, D. (2002-06-01). "Anarchy, Pop and Violence: Punk Rock Subculture and the Rhetoric of Class, 1976-78" (https://doi.org/10.1080/713999447) . Contemporary British History . 16 (2): 121–144. doi (/wiki/Doi_(identifier)) : 10.1080/713999447 (https://doi.org/10.1080%2F713999447) . ISSN (/wiki/ISSN_(identifier)) 1361-9462 (https://www.worldcat.org/issn/1361-9462) . S2CID (/wiki/S2CID_(identifier)) 143857096 (https://api.semanticscholar.org/CorpusID:143857096) . ^ (#cite_ref-25) Shutler, Ali (2022-04-04). "Punk Legend Jordan – aka Pamela Rooke – Has Died" (https://www.nme.com/news/music/punk-legend-jordan-aka-pamela-rooke-has-died-3197799) . New Musical Express . Retrieved 2022-04-22 . Rooke was a model who worked with Vivienne Westwood and helped create the W10 London punk look alongside Johnny Rotten, Soo Catwoman and Siouxsie Sioux. ^ (#cite_ref-26) "Soo Catwoman" (https://www.soocatwoman.com) . Soo Catwoman . Retrieved 2022-04-22 . ^ (#cite_ref-27) Kelly, Mark (2019-08-14). "Exclusive Interview with The Adverts Iconic Bass Player Gaye Advert" (https://www.brightonandhovenews.org/2019/08/14/exclusive-interview-with-the-adverts-iconic-bass-player-gaye-advert/) . Brighton and Hove News . Retrieved 2022-04-22 . ^ (#cite_ref-28) "Understanding the Punk Fashion Movement on 2020's Runways - Coveteur: Inside Closets, Fashion, Beauty, Health, and Travel" (https://coveteur.com/2020/03/17/punk-fashion-movement/) . coveteur.com . Retrieved 2023-04-01 . ^ (#cite_ref-29) "Rip It to Shreds: A History of Punk and Style" (https://pitchfork.com/features/from-our-partners/9943-rip-it-to-shreds-a-history-of-punk-and-style/) . Pitchfork . 25 October 2016 . Retrieved 2023-04-01 . ^ (#cite_ref-30) "The Filth and the Fury: how punk changed everything" (https://www.independent.co.uk/life-style/fashion/features/the-filth-and-the-fury-how-punk-changed-everything-8591618.html) . The Independent . 2013-04-28 . Retrieved 2023-04-01 . ^ (#cite_ref-31) Rosato, Ashley (2022-12-01). "Vivienne Westwood and the Socio-Political Nature of Punk" (https://digitalcommons.pace.edu/honorscollege_theses/368) . Honors College Theses . ^ (#cite_ref-32) "Understanding the Punk Fashion Movement on 2020's Runways - Coveteur: Inside Closets, Fashion, Beauty, Health, and Travel" (https://coveteur.com/2020/03/17/punk-fashion-movement/) . coveteur.com . Retrieved 2023-04-01 . ^ (#cite_ref-33) Hyde, Nina S. (/wiki/Nina_Hyde) (1977-10-29). "And Now 'Punk Chic' (https://www.washingtonpost.com/archive/lifestyle/1977/10/29/and-now-punk-chic/ef17f57e-977b-4f6a-a2ff-c35e328ab1bd/) " (https://www.washingtonpost.com/archive/lifestyle/1977/10/29/and-now-punk-chic/ef17f57e-977b-4f6a-a2ff-c35e328ab1bd/) . Washington Post . ISSN (/wiki/ISSN_(identifier)) 0190-8286 (https://www.worldcat.org/issn/0190-8286) . Retrieved 2023-04-01 . ^ (#cite_ref-34) Simonelli, D. (2002-06-01). "Anarchy, Pop and Violence: Punk Rock Subculture and the Rhetoric of Class, 1976-78" (https://doi.org/10.1080/713999447) . Contemporary British History . 16 (2): 121–144. doi (/wiki/Doi_(identifier)) : 10.1080/713999447 (https://doi.org/10.1080%2F713999447) . ISSN (/wiki/ISSN_(identifier)) 1361-9462 (https://www.worldcat.org/issn/1361-9462) . S2CID (/wiki/S2CID_(identifier)) 143857096 (https://api.semanticscholar.org/CorpusID:143857096) . ^ (#cite_ref-Premium_35-0) "80s Fashion - Vintage 80s Style and Outfits" (https://premrev.com/vintage-80s-fashion/#80s_Punk_Fashion) . Premium Review . 2019-01-31 . Retrieved 2019-01-31 . ^ Jump up to: a b Brockmeier, Siri C. (May 2009). 'Not Just Boys Fun?' The Gendered Experience of American Hardcore (PDF) (Thesis). UNIVERSITETET I OSLO Press. p. 12 . Retrieved 6 July 2016 . ^ (#cite_ref-37) "CITIZINE Interview - Circle Jerks' Keith Morris (Black Flag, Diabetes)" (https://web.archive.org/web/20111006082011/http://www.citizinemag.com/music/music-0303_kmorris.htm) . Citizinemag.com. 2003-02-17. Archived from the original (http://www.citizinemag.com/music/music-0303_kmorris.htm) on 2011-10-06 . Retrieved 2011-12-04 . ^ (#cite_ref-38) "29 Things You Didn't Know About Punk Style - Hardcore punk of the '80s preferred simple, utilitarian style because it was better for moshing" (http://m.complex.com/style/2013/04/29-things-you-didnt-know-about-punk-style/hardcore-punk) . Complex Networks (/wiki/Complex_Networks) . Retrieved 6 July 2016 . ^ (#cite_ref-BrockmeierxDUO_p._11_39-0) Brockmeier, Siri C. (May 2009). 'Not Just Boys Fun?' The Gendered Experience of American Hardcore (PDF) (Thesis). UNIVERSITETET I OSLO Press. p. 11 . Retrieved 6 July 2016 . ^ (#cite_ref-40) Leblanc, Lauraine (1999). 'Pretty in Punk: Girls' Gender Resistance in a Boys' Subculture . Rutgers University Press. p. 52 (https://archive.org/details/prettyinpunkgirl0000lebl/page/52) . ^ (#cite_ref-41) Travis, Tiffini A.; Hardy, Perry (2012). Skinheads: A Guide to an American Subculture . ABC-CLIO. p. 123. {{ cite book (/wiki/Template:Cite_book) }} : |work= ignored ( help (/wiki/Help:CS1_errors#periodical_ignored) ) ^ (#cite_ref-Glasper_42-0) Glasper, Ian (2006). The Day the Country Died: A History of Anarcho Punk 1980 to 1984 . Cherry Red publishing. pp. 197–8. ISBN (/wiki/ISBN_(identifier)) 978-1-901447-70-5 . ^ Jump up to: a b Sweers, B (2005). Electric Folk: Changing Face of English Traditional Music . Oxford: Oxford University Press. pp. 197 (https://archive.org/details/electricfolkchan00swee_830/page/n213) –8. ISBN (/wiki/ISBN_(identifier)) 978-0195174786 . ^ (#cite_ref-apparelsearch_44-0) "Cowpunk Fashion Influence" (https://www.apparelsearch.com/terms/p/punk-categories/cowpunk_fashion.html) . Apparel Search Fashion Guide . Retrieved 2022-04-22 . ^ Jump up to: a b Stewart-Panko, Kevin (August 2008). "I Saw Disfear Three Times in Three Days". Decibel . 46 : 22. ^ (#cite_ref-46) Bradshaw, James (1 January 2007). Punk; A Directory of Modern Subversive Culture . Lulu.com. ISBN (/wiki/ISBN_(identifier)) 9781430321545 . Retrieved 6 July 2016 – via Google Books. [ self-published source ] ^ (#cite_ref-47) Silverman, Carol (24 May 2012). Romani Routes: Cultural Politics and Balkan Music in Diaspora . OUP USA. ISBN (/wiki/ISBN_(identifier)) 9780195300949 . Retrieved 6 July 2016 – via Google Books. ^ (#cite_ref-48) "Home - The Tiger Lillies" (http://www.tigerlillies.com/) . Feast Creative . Retrieved 6 July 2016 . ^ (#cite_ref-49) Bovey, Seth (2006). Don't Tread on Me: The Ethos of '60s Garage Punk . Vol. 29. Routledge. pp. 451–459. {{ cite book (/wiki/Template:Cite_book) }} : |work= ignored ( help (/wiki/Help:CS1_errors#periodical_ignored) ) ^ (#cite_ref-50) Simpson, P. (2003). The Rough Guide to Cult Pop . London: Rough Guides. p. 42 (https://archive.org/details/roughguidetocult00simp/page/42) . ISBN (/wiki/ISBN_(identifier)) 978-1-84353-229-3 . ^ (#cite_ref-51) Roach, M. (2003). This Is It-: the First Biography of the Strokes . London: Omnibus Press. p. 86. ISBN (/wiki/ISBN_(identifier)) 978-0-7119-9601-4 . ^ (#cite_ref-52) P. Auslander (2006). Performing Glam Rock: Gender and Theatricality in Popular Music . Ann Arbor, MI: University of Michigan Press. pp. 222–223. ISBN (/wiki/ISBN_(identifier)) 0-7546-4057-4 . ^ (#cite_ref-53) Strong, Martin C. (2000). The Great Rock Discography (5 ed.). Edinburgh: Mojo Books. pp. 694–695. ISBN (/wiki/ISBN_(identifier)) 1841950173 . ^ (#cite_ref-54) Hannon, Sharon M. (1 January 2010). Punks: A Guide to an American Subculture . ABC-CLIO. ISBN (/wiki/ISBN_(identifier)) 9780313364563 . Retrieved 6 July 2016 – via Google Books. ^ (#cite_ref-55) "The Mighty Mighty Bosstones - Biography, Albums, & Streaming Radio - AllMusic" (http://www.allmusic.com/artist/the-mighty-mighty-bosstones-mn0000891032) . AllMusic (/wiki/AllMusic) . 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ISBN (/wiki/ISBN_(identifier)) 0753501597 . ^ (#cite_ref-64) Goodlad, Lauren M. E.; Bibby, Michael (2007). Goth. Undead subculture . Duke University Press. p. 47. ISBN (/wiki/ISBN_(identifier)) 978-0822339212 . ^ (#cite_ref-steele_65-0) Steele, Valerie; Park, Jennifer (2008). Gothic: Dark Glamour . Yale University Press. p. 48. ISBN (/wiki/ISBN_(identifier)) 978-0300136944 . ^ (#cite_ref-FOOTNOTEGoodladBibby200769_66-0) Goodlad & Bibby 2007 (#CITEREFGoodladBibby2007) , p. 69. External links [ edit ] Wikimedia Commons has media related to Punk fashion (https://commons.wikimedia.org/wiki/Category:Punk_fashion) . "DIY Punk Fashion - Photos and Instructions to make Punk DIY clothing, accessories and jewelry" (http://diyfashion.about.com) . Pauline Weston Thomas (2007). "1970s Punk Fashion History Development" (http://www.fashion-era.com/punks_fashion_history1.htm) . Fashion-Era.com . "Swastica and Punk" (https://web.archive.org/web/20091027065100/http://www.geocities.com/punkscenes/swastica.html) . Punk Scenes . geocities.com. Archived from the original (http://www.geocities.com/punkscenes/swastica.html) on 2009-10-27 . Retrieved 2009-10-27 . "Punk and the Swastica" (https://web.archive.org/web/20091027065100/http://www.acc.umu.se/~samhain/summerofhate/punk.html#punk) . SUMMER OF HATE . Punk Rock Zine. Archived from the original (http://www.acc.umu.se/~samhain/summerofhate/punk.html#punk) on 2009-10-27 . 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Dominican fashion designer (1932–2014) In this Spanish name (/wiki/Spanish_name) , the first or paternal surname (/wiki/Surname) is Renta and the second or maternal family name is Fiallo . Oscar de la Renta De la Renta in 2008 Born Óscar Arístides Renta Fiallo ( 1932-07-22 ) 22 July 1932 Santo Domingo (/wiki/Santo_Domingo) , Dominican Republic Died 20 October 2014 (2014-10-20) (aged 82) Kent, Connecticut (/wiki/Kent,_Connecticut) , U.S. Citizenship United States Dominican Republic (/wiki/Dominican_Republic) Education Real Academia de Bellas Artes de San Fernando (/wiki/Real_Academia_de_Bellas_Artes_de_San_Fernando) Label Oscar de la Renta Spouses Françoise de Langlade (/wiki/Fran%C3%A7oise_de_Langlade) ( m. 1967; died 1983) Annette Engelhard (/wiki/Annette_de_la_Renta) ( m. 1989) Children Moisés de la Renta Relatives Luis Álvarez Renta (/wiki/Luis_%C3%81lvarez_Renta) (nephew) Fabio Fiallo (/wiki/Fabio_Fiallo) (uncle) Luis Arístides Fiallo (/wiki/Luis_Ar%C3%ADstides_Fiallo_Cabral) (uncle) Viriato Fiallo (/wiki/Viriato_Fiallo) (cousin) Larimar Fiallo (/wiki/Larimar_Fiallo) (first cousin-twice removed) José Ortíz de la Renta (/wiki/Jos%C3%A9_Ort%C3%ADz_de_la_Renta) (great-great-grandfather) Awards CFDA Lifetime Achievement Award (/wiki/Council_of_Fashion_Designers_of_America) , American Fashion Critic's Award, Order of (/wiki/Order_of_Merit_of_Duarte,_S%C3%A1nchez_and_Mella) Juan Pablo Duarte (/wiki/Juan_Pablo_Duarte) , Order of (/wiki/Order_of_Christopher_Columbus) Cristóbal Colón (/wiki/Christopher_Columbus) Website www (http://www.oscardelarenta.com) .oscardelarenta (http://www.oscardelarenta.com) .com (http://www.oscardelarenta.com) Óscar Arístides Renta Fiallo (22 July 1932 – 20 October 2014), known professionally as Oscar de la Renta , was a Dominican fashion designer (/wiki/Fashion_design) . Born in Santo Domingo (/wiki/Santo_Domingo) , he was trained by Cristóbal Balenciaga (/wiki/Crist%C3%B3bal_Balenciaga) and Antonio del Castillo (/wiki/Antonio_Castillo_(costume_designer)) . De la Renta became internationally known in the 1960s as one of the couturiers (/wiki/Haute_couture) who dressed Jacqueline Kennedy (/wiki/Jacqueline_Kennedy_Onassis) . He worked for Lanvin (/wiki/Lanvin_(clothing)) and Balmain (/wiki/Balmain_(fashion_house)) . His eponymous (/wiki/Eponym) fashion house has boutiques around the world, and is headquartered (/wiki/Headquartered) on Madison Avenue (/wiki/Madison_Avenue) in Manhattan (/wiki/Manhattan) . Early life [ edit ] De la Renta, the youngest of seven children and the only boy in his family, [1] (#cite_note-nyt10-20-1) was born in Santo Domingo (/wiki/Santo_Domingo) , Dominican Republic (/wiki/Dominican_Republic) , to a Dominican mother, Carmen María Antonia Fiallo and a Puerto Rican father, [2] (#cite_note-2) Óscar Avelino De La Renta, owner of an insurance (/wiki/Insurance) company. The Fiallos, De la Renta's mother's family, were embedded in Dominican (/wiki/Dominican_Americans) society, and counted poets, scholars, businessmen, and top army brass among their members. [3] (#cite_note-3) Their origin in the island can be traced back to the foundation of San Carlos de Tenerife (/wiki/San_Carlos_de_Tenerife) in 1685 by Canarian (/wiki/Isle%C3%B1os) settlers. [4] (#cite_note-4) A maternal uncle, Luis Arístides Fiallo Cabral (/wiki/Luis_Ar%C3%ADstides_Fiallo_Cabral) , was a doctor, lawyer, and architect, who received every degree the University of Santo Domingo (/wiki/Universidad_Aut%C3%B3noma_de_Santo_Domingo) could offer. [5] (#cite_note-mower12-5) Another maternal uncle, Fabio Fiallo (/wiki/Fabio_Fiallo) , was a diplomat and poet. [5] (#cite_note-mower12-5) On his father's side, De la Renta's great-great-grandfather José Ortíz de la Renta (/wiki/Jos%C3%A9_Ort%C3%ADz_de_la_Renta) was the first mayor of Ponce, Puerto Rico (/wiki/Ponce,_Puerto_Rico) , elected by popular vote and who had the distinction of serving as mayor eight times, the most ever for the city. [6] (#cite_note-mower2002-6) De la Renta was raised Catholic (/wiki/Catholic_Church) in a protective family. [7] (#cite_note-nymag02-10-7) [8] (#cite_note-nymag2005-8) His mother died from complications of multiple sclerosis (/wiki/Multiple_sclerosis) when he was 18. [7] (#cite_note-nymag02-10-7) At the age of 18, he went to study painting in Spain at the Royal Academy of San Fernando (/wiki/Real_Academia_de_Bellas_Artes_de_San_Fernando) in Madrid (/wiki/Madrid) . [1] (#cite_note-nyt10-20-1) [7] (#cite_note-nymag02-10-7) [9] (#cite_note-cnn10-20-9) For extra money, he drew clothes for newspapers and fashion houses. [1] (#cite_note-nyt10-20-1) After Francesca Lodge (/wiki/Francesca_Braggiotti) , the wife of John Davis Lodge (/wiki/John_Davis_Lodge) , the U.S. Ambassador to Spain (/wiki/United_States_Ambassador_to_Spain) , saw some of his dress sketches, she commissioned de la Renta to design a gown for her daughter. [1] (#cite_note-nyt10-20-1) The dress appeared on the cover of Life (/wiki/Life_(magazine)) magazine that fall. [9] (#cite_note-cnn10-20-9) He quickly became interested in the world of fashion design and began sketching for leading Spanish fashion houses, which soon led to an apprenticeship with Spain's most renowned couturier (/wiki/Haute_couture) , Cristóbal Balenciaga (/wiki/Crist%C3%B3bal_Balenciaga) . He considered Cristóbal Balenciaga his mentor. [10] (#cite_note-Oscar_de_la_Renta_Sits_for_Q&A_at_the_Design_Leadership_Summit-10) In 1961, de la Renta left Spain to join Antonio del Castillo (/wiki/Antonio_Castillo_(costume_designer)) as a couture assistant at Lanvin (/wiki/Lanvin_(clothing)) in Paris (/wiki/Paris) . [11] (#cite_note-Óscar_de_la_Renta-11) Career [ edit ] 1966 cocktail dress designed by de la Renta at Elizabeth Arden Oscar de la Renta label In 1963, de la Renta turned to Diana Vreeland (/wiki/Diana_Vreeland) , the editor-in-chief of Vogue (/wiki/Vogue_(magazine)) , for advice, saying that what he really wanted was to "get into ready to wear, because that's where the money is". [12] (#cite_note-Óscar_de_la_Renta_1963-12) Vreeland replied, "Then go to Arden (/wiki/Elizabeth_Arden) because you will make your reputation faster. She is not a designer, so she will promote you. At the other place, you will always be eclipsed by the name of Dior (/wiki/Christian_Dior) ." [13] (#cite_note-13) De la Renta proceeded to work for Arden for two years in New York City (/wiki/New_York_City) before he went to work for Jane Derby (/wiki/Jane_Derby) , an American fashion house. [14] (#cite_note-Óscar_de_la_Renta_1965-14) When Derby died in August 1965, de la Renta took over the label. [15] (#cite_note-15) From 1993 to 2002, de la Renta designed the haute couture (/wiki/Haute_couture) collection for the house of Balmain (/wiki/Balmain_(fashion_house)) , becoming the first Dominican to design for a French couture house. [16] (#cite_note-Óscar_de_la_Renta_1993-16) [17] (#cite_note-17) In 2006, the Oscar de la Renta label diversified into bridal wear. [18] (#cite_note-Óscar_de_la_Renta_2006-18) De la Renta's designs have been worn by a diverse group of distinguished women and celebrities. [11] (#cite_note-Óscar_de_la_Renta-11) De la Renta's brand saw international wholesale (/wiki/Wholesale) growth beginning in 2003, under the direction of CEO Alex Bolen, from five to seventy-five locations. [19] (#cite_note-CEO_Talk_by_Imran_Amed,_Business_of_Fashion-19) De la Renta's ready-to-wear designs are available in his retail stores, online, and with select wholesale partners worldwide. [20] (#cite_note-Óscar_de_la_Renta_2004-20) 1966 beaded cellophane lace cocktail minidress 1977 embroidered taffeta evening ensemble Late 1990s red brocade pantsuit In 2014, the George W. Bush Presidential Center (/wiki/George_W._Bush_Presidential_Center) hosted an exhibit titled "Oscar de la Renta: Five Decades of Style" which shared the designer's creations for Mrs. Bush and America's First Ladies. [ citation needed ] Other enterprises [ edit ] In 1977, de la Renta launched his fragrance, OSCAR , [21] (#cite_note-Óscar_de_la_Renta_1977-21) followed by an accessories line in 2001 [22] (#cite_note-Óscar_de_la_Renta_2001-22) and a homewares line in 2002. [23] (#cite_note-Óscar_de_la_Renta_2002-23) The new business venture included 100 home furnishings for Century Furniture featuring dining tables, upholstered chairs, and couches. In 2004, he added a less expensive line of clothing called O Oscar. De la Renta said he wanted to attract new customers whom he could not previously reach. [24] (#cite_note-Biography.com-24) In 2006, de la Renta designed Tortuga Bay, a boutique hotel at Puntacana Resort and Club (/wiki/Puntacana_Resort_and_Club) . The hotel is part of the luxury hotel collection, The Leading Hotels of the World. [25] (#cite_note-25) Awards, honors, and philanthropic endeavors [ edit ] Design awards [ edit ] In 1967 and 1968, de la Renta won the Coty Award (/wiki/Coty_Award) (the U.S. fashion industry " Oscars (/wiki/Academy_Awards) ") and in 1973 was inducted into the Coty Hall of Fame. [26] (#cite_note-Óscar_de_la_Renta_1967-26) From 1973 to 1976, and from 1986 to 1988, he served as President of the CFDA (/wiki/Council_of_Fashion_Designers_of_America) . [27] (#cite_note-Óscar_de_la_Renta_1973-27) He is also a two-time winner of the American Fashion Critic's Award and was inducted into the Fame in 1973. [11] (#cite_note-Óscar_de_la_Renta-11) De la Renta's talents received continual international recognition. Among them, he received the Council of Fashion Designers Designer of the Year Award in 2000 and in 2007 (tied with Proenza Schouler (/wiki/Proenza_Schouler) ). In February 1990, he was honored with the CFDA Lifetime Achievement Award (/wiki/Council_of_Fashion_Designers_of_America) . [28] (#cite_note-Óscar_de_la_Renta_1990-28) King Juan Carlos of Spain (/wiki/Juan_Carlos_I_of_Spain) bestowed de la Renta with two awards, the Gold Medal of Bellas Artes and the La Gran Cruz de la Orden del Mérito Civil (/wiki/Order_of_Civil_Merit) . [11] (#cite_note-Óscar_de_la_Renta-11) He was recognized by the French government with the Légion d'honneur (/wiki/Legion_of_Honour) as a Commandeur. [11] (#cite_note-Óscar_de_la_Renta-11) Other awards [ edit ] Oscar de la Renta was named to the International Best Dressed List (/wiki/International_Best_Dressed_List) Hall of Fame in 1973. [29] (#cite_note-29) The Dominican Republic honored him with the Order of Merit of Duarte, Sánchez and Mella (/wiki/Order_of_Merit_of_Duarte,_S%C3%A1nchez_and_Mella) and the Order of Christopher Columbus (/wiki/Order_of_Christopher_Columbus) . De la Renta founded the Casa del Niño orphanage in La Romana (/wiki/La_Romana,_La_Romana) [30] (#cite_note-Óscar_de_la_Renta_1982-30) He contributed extensively in the construction of a much needed school near his home at the Punta Cana Resort and Club in Punta Cana (/wiki/Punta_Cana) . [ citation needed ] De la Renta held dual citizenship in the Dominican Republic (/wiki/Dominican_Republic) and the United States. [5] (#cite_note-mower12-5) He was an Ambassador-at-Large (/wiki/Ambassador-at-Large) of the Dominican Republic. [5] (#cite_note-mower12-5) De la Renta served as a board member of the Metropolitan Opera (/wiki/Metropolitan_Opera) , Carnegie Hall (/wiki/Carnegie_Hall) and WNET (/wiki/WNET) . He served on the boards of several charitable institutions such as New Yorkers for Children, the America's Society. He was chairman of the Queen Sofía Spanish Institute (/wiki/Queen_Sof%C3%ADa_Spanish_Institute) . [11] (#cite_note-Óscar_de_la_Renta-11) He received an honorary degree from Hamilton College (/wiki/Hamilton_College) on 26 May 2013. In February 2014, Oscar de la Renta recreated his entire Spring presentation, Designed for A Cure 2014 collection , to raise money for the Sylvester Comprehensive Cancer Center at the Miller School of Medicine (/wiki/Miller_School_of_Medicine) at the University of Miami (/wiki/University_of_Miami) . [31] (#cite_note-Oscar_de_la_Renta_Takes_Collection_to_Miami-31) Honors [ edit ] In 1991, de la Renta was the recipient of the Golden Plate Award of the American Academy of Achievement (/wiki/Academy_of_Achievement) . [32] (#cite_note-32) In 2014, de la Renta was the recipient of the Carnegie Hall Medal of Excellence. [33] (#cite_note-Vogue-carnegie-medal-33) In 2017, de la Renta was honored by the United States Postal Service with an eleven stamp series, featuring a black and white photo of him and ten details from his fashion designs. [34] (#cite_note-34) Personal life [ edit ] In 1966, de la Renta became the third husband of Françoise de Langlade (/wiki/Fran%C3%A7oise_de_Langlade) (1921–1983), [35] (#cite_note-35) an editor-in-chief of French Vogue (/wiki/Vogue_(magazine)) who once worked for the fashion house of Elsa Schiaparelli (/wiki/Elsa_Schiaparelli) . They were married until she died of cancer in 1983. [8] (#cite_note-nymag2005-8) After her death, de la Renta adopted a boy from the Dominican Republic and named him Moisés. [8] (#cite_note-nymag2005-8) In 1990, the designer married Annette Engelhard (/wiki/Annette_de_la_Renta) (born 1939), daughter of Fritz Mannheimer (/wiki/Fritz_Mannheimer) and his wife Jane (/wiki/Jane_Engelhard) née Reiss, and adoptive daughter of her mother's second husband, Charles W. Engelhard, Jr. (/wiki/Charles_W._Engelhard,_Jr.) De la Renta had stepchildren from both marriages. His son-in-law Alex Bolen currently operates as chief executive officer, and stepdaughter Eliza Bolen serves as Vice President of Licensing at Oscar de la Renta, LLC. [36] (#cite_note-Óscar_de_la_Renta_Today-36) [37] (#cite_note-37) De la Renta was regarded as an unofficial ambassador of the Dominican Republic (/wiki/Dominican_Republic) , his home country, and held a diplomatic passport. He had homes there in Casa de Campo (/wiki/Casa_de_Campo,_Dominican_Republic) and Punta Cana (/wiki/Punta_Cana) , in addition to his residence in Kent, Connecticut (/wiki/Kent,_Connecticut) . [1] (#cite_note-nyt10-20-1) Later life and death [ edit ] De la Renta was diagnosed with cancer (/wiki/Cancer) in 2006. [38] (#cite_note-38) A year later at the CFDA (/wiki/Council_of_Fashion_Designers_of_America) "Fashion Talks" event, Executive Director Fern Mallis (/wiki/Fern_Mallis) called him "The Sultan of Suave". At that event, he spoke of his cancer, saying: Yes, I had cancer. Right now, I am totally clean. The only realities in life are that you are born, and that you die. We always think we are going to live forever. The dying aspect we will never accept. The one thing about having this kind of warning is how you appreciate every single day of life. [39] (#cite_note-39) De la Renta died of complications from cancer on October 20, 2014, at his home in Kent, Connecticut (/wiki/Kent,_Connecticut) , at the age of 82. [1] (#cite_note-nyt10-20-1) [40] (#cite_note-40) See also [ edit ] List of people from the Dominican Republic (/wiki/List_of_people_from_the_Dominican_Republic) List of fashion designers (/wiki/List_of_fashion_designers) References [ edit ] ^ Jump up to: a b c d e f Horyn, Cathy; Nemy, Enid (20 October 2014). "Oscar de la Renta, Who Clothed Stars and Became One, Dies at 82" (https://www.nytimes.com/2014/10/21/nyregion/oscar-de-la-renta-fashion-designer-dies-at-82.html?emc=edit_na_20141020&nlid=58306152) . The New York Times . Archived (https://web.archive.org/web/20141028023726/http://www.nytimes.com/2014/10/21/nyregion/oscar-de-la-renta-fashion-designer-dies-at-82.html?emc=edit_na_20141020&nlid=58306152) from the original on 28 October 2014 . Retrieved 20 October 2014 . ^ (#cite_ref-2) "Muere el diseñador de moda Oscar de la Renta" (http://www.elmundo.es/america/2014/10/21/5445c23d268e3eb7138b4574.html) . elmundo.es . 21 October 2014. Archived (https://web.archive.org/web/20171013120305/http://www.elmundo.es/america/2014/10/21/5445c23d268e3eb7138b4574.html) from the original on 13 October 2017 . Retrieved 1 May 2018 . ^ (#cite_ref-3) Mower, Sarah (2002). Oscar: The Style, Inspiration and Life of Oscar De La Renta . New York: Assouline. p. 11. ^ (#cite_ref-4) Espinal Hernández, Edwin Rafael (1 November 2013). "Oscar de la Renta: entorno genealógico" (http://www.idg.org.do/capsulas/noviembre2014/noviembre201401.htm) . Instituto Dominicano de Genealogía (in Spanish). Santo Domingo: Hoy. Archived (https://web.archive.org/web/20141129021125/http://www.idg.org.do/capsulas/noviembre2014/noviembre201401.htm) from the original on 29 November 2014 . Retrieved 17 November 2014 . ^ Jump up to: a b c d Mower, Sarah (2002). Oscar: The Style, Inspiration and Life of Oscar De La Renta . New York: Assouline. p. 12. ^ (#cite_ref-mower2002_6-0) Mower, Sarah (2002). Oscar: The Style, Inspiration and Life of Oscar De La Renta . New York: Assouline. ^ Jump up to: a b c Norwich, William (10 February 2013). "Oscar de la Renta on Taking in Galliano, the Women He's Known and Loved, and Why He Once Tried to Hit Cecil Beaton" (https://web.archive.org/web/20141023145657/http://nymag.com/thecut/2013/02/oscar-de-la-renta-william-norwich-interview.html) . New York . Archived from the original (http://nymag.com/thecut/2013/02/oscar-de-la-renta-william-norwich-interview.html) on 23 October 2014 . Retrieved 21 October 2014 . ^ Jump up to: a b c Amsden, David (21 May 2005). "Dynatsty" (http://nymag.com/nymetro/shopping/fashion/spring05/11016) . New York (/wiki/New_York_(magazine)) . Archived (https://web.archive.org/web/20141023142827/http://nymag.com/nymetro/shopping/fashion/spring05/11016/) from the original on 23 October 2014 . Retrieved 21 October 2014 . ^ Jump up to: a b Ahmed, Saeed; Ford, Dana (20 October 2014). "Oscar de la Renta, legendary fashion designer, dies at 82" (http://www.cnn.com/2014/10/20/living/oscar-de-la-renta-death/index.html?hpt=hp_t1) . CNN . Archived (https://web.archive.org/web/20141021032432/http://www.cnn.com/2014/10/20/living/oscar-de-la-renta-death/index.html?hpt=hp_t1) from the original on 21 October 2014 . Retrieved 21 October 2014 . ^ (#cite_ref-Oscar_de_la_Renta_Sits_for_Q&A_at_the_Design_Leadership_Summit_10-0) Feitelberg, Rosemary (7 November 2013). "Oscar de la Renta Sits for Q&A at the Design Leadership Summit" (http://www.wwd.com/fashion-news/fashion-scoops/make-it-a-melba-7266429?src=nl/mornReport/20131107) . WWD. Archived (https://web.archive.org/web/20141104171826/http://www.wwd.com/fashion-news/fashion-scoops/make-it-a-melba-7266429?src=nl%2FmornReport%2F20131107) from the original on 4 November 2014 . 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Archived from the original (http://www.oscardelarenta.com/?folderId=/thehouse/#timelineId=4&) on 22 July 2012 . Retrieved 10 July 2012 . ^ (#cite_ref-15) Kent University Museum (http://dept.kent.edu/museum/exhibit/oscar/main.htm) Archived (https://web.archive.org/web/20090327174232/http://dept.kent.edu/museum/exhibit/oscar/main.htm) 2009-03-27 at the Wayback Machine (/wiki/Wayback_Machine) ^ (#cite_ref-Óscar_de_la_Renta_1993_16-0) "Óscar de la Renta 1993" (https://web.archive.org/web/20120722070743/http://www.oscardelarenta.com/?folderId=%2Fthehouse%2F#timelineId=10&) . Archived from the original (http://www.oscardelarenta.com/?folderId=/thehouse/#timelineId=10&) on 22 July 2012 . Retrieved 10 July 2012 . ^ (#cite_ref-17) Hyland, Véronique (20 October 2014). "Oscar de la Renta Loved Powerful Women" (http://nymag.com/thecut/2014/09/oscar-de-la-renta-loved-powerful-women.html) . New York . 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Archived (https://web.archive.org/web/20170703212414/https://www.usatoday.com/story/life/people/2014/10/20/legendary-designer-oscar-de-la-renta-has-died/17643013/) from the original on 3 July 2017. ^ (#cite_ref-40) "Legendary fashion designer Oscar de la Renta dies at 82" (http://www.wjla.com/articles/2014/10/legendary-fashion-designer-oscar-de-la-renta-dies-at-82-108273.html) . WJLA.com . 20 October 2014. Archived (https://web.archive.org/web/20141024040126/http://www.wjla.com/articles/2014/10/legendary-fashion-designer-oscar-de-la-renta-dies-at-82-108273.html) from the original on 24 October 2014 . Retrieved 21 October 2014 . External links [ edit ] Oscar de la Renta (https://www.imdb.com/name/nm0209363/) at IMDb (/wiki/IMDb_(identifier)) Oscar de la Renta collections (http://www.style.com/fashionshows/designerdirectory/ODLRENTA/seasons/) at style.com (/wiki/Style.com) Oscar de la Renta perfumes (https://www.perfumes.com/oscar-de-la-renta/) on Perfumes.com v t e Geoffrey Beene Lifetime Achievement Award (/wiki/Geoffrey_Beene_Lifetime_Achievement_Award) at the CFDA Fashion Awards (/wiki/CFDA_Fashion_Awards) 1984: James Galanos (/wiki/James_Galanos) 1985: Katharine Hepburn (/wiki/Katharine_Hepburn) 1986: Bill Blass (/wiki/Bill_Blass) 1987: Giorgio Armani (/wiki/Giorgio_Armani) 1988: Nancy Reagan (/wiki/Nancy_Reagan) 1989: Oscar de la Renta 1990: Martha Graham (/wiki/Martha_Graham) 1991: Ralph Lauren (/wiki/Ralph_Lauren) 1997: Geoffrey Beene (/wiki/Geoffrey_Beene) 1999: Yves Saint Laurent (/wiki/Yves_Saint_Laurent_(designer)) 2000: Valentino Garavani (/wiki/Valentino_(fashion_designer)) 2001: Calvin Klein (/wiki/Calvin_Klein) 2002: Karl Lagerfeld (/wiki/Karl_Lagerfeld) 2003: Anna Wintour (/wiki/Anna_Wintour) 2004: Donna Karan (/wiki/Donna_Karan) 2005: Diane von Fürstenberg (/wiki/Diane_von_F%C3%BCrstenberg) 2006: Stan Herman (/wiki/Stan_Herman) 2007: Robert Lee Morris (/wiki/Robert_Lee_Morris) 2008: Carolina Herrera (/wiki/Carolina_Herrera) 2009: Anna Sui (/wiki/Anna_Sui) 2010: Michael Kors (/wiki/Michael_Kors) 2011: Marc Jacobs (/wiki/Marc_Jacobs) 2012: Tommy Hilfiger (/wiki/Tommy_Hilfiger) 2013: Vera Wang (/wiki/Vera_Wang) 2014: Tom Ford (/wiki/Tom_Ford) 2015: Betsey Johnson (/wiki/Betsey_Johnson) 2016: Norma Kamali (/wiki/Norma_Kamali) 2017: Rick Owens (/wiki/Rick_Owens) 2018: Narciso Rodriguez (/wiki/Narciso_Rodriguez) 2019: Bob Mackie (/wiki/Bob_Mackie) Portals (/wiki/Wikipedia:Contents/Portals) : Dominican Republic (/wiki/Portal:Dominican_Republic) Fashion (/wiki/Portal:Fashion) Biography (/wiki/Portal:Biography) Authority control databases (/wiki/Help:Authority_control) International FAST (http://id.worldcat.org/fast/116911/) ISNI (https://isni.org/isni/0000000121293760) VIAF (https://viaf.org/viaf/40444236) WorldCat (https://id.oclc.org/worldcat/entity/E39PBJtxjTGgT7rMwHKY6Qr6rq) National France (https://catalogue.bnf.fr/ark:/12148/cb14526253k) BnF data (https://data.bnf.fr/ark:/12148/cb14526253k) Germany (https://d-nb.info/gnd/129020265) Israel (http://olduli.nli.org.il/F/?func=find-b&local_base=NLX10&find_code=UID&request=987012384932805171) United States (https://id.loc.gov/authorities/n83160443) Netherlands (http://data.bibliotheken.nl/id/thes/p387290311) Poland (https://dbn.bn.org.pl/descriptor-details/9810535331105606) Artists Victoria (https://www.ngv.vic.gov.au/explore/collection/artist/7223/) ULAN (https://www.getty.edu/vow/ULANFullDisplay?find=&role=&nation=&subjectid=500273034) Other SNAC (https://snaccooperative.org/ark:/99166/w6815rrh) 2 (https://snaccooperative.org/ark:/99166/w6vd83km) IdRef (https://www.idref.fr/061508187) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐tnmzg Cached time: 20240719205854 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.758 seconds Real time usage: 0.989 seconds Preprocessor visited node count: 5146/1000000 Post‐expand include size: 100520/2097152 bytes Template argument size: 10509/2097152 bytes Highest expansion depth: 25/100 Expensive parser function count: 26/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 156029/5000000 bytes Lua time usage: 0.474/10.000 seconds Lua memory usage: 11041923/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 905.282 1 -total 31.30% 283.359 1 Template:Reflist 28.13% 254.647 1 Template:Infobox_fashion_designer 20.39% 184.627 26 Template:Cite_web 13.28% 120.178 20 Template:Pluralize_from_text 10.64% 96.304 1 Template:Plainlist 10.08% 91.227 2 Template:Marriage 8.73% 79.014 1 Template:Geoffrey_Beene_Lifetime_Achievement_Award 8.52% 77.152 1 Template:Navbox 8.37% 75.777 1 Template:Short_description Saved in parser cache with key enwiki:pcache:idhash:127317-0!canonical and timestamp 20240719205854 and revision id 1230792868. 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French fashion designer (1936–2008) Yves Saint Laurent Saint Laurent in 1958 Born Yves Henri Donat Mathieu-Saint-Laurent ( 1936-08-01 ) 1 August 1936 Oran (/wiki/Oran) , Algeria (/wiki/Algeria) Died 1 June 2008 (2008-06-01) (aged 71) Paris (/wiki/Paris) , France Education Chambre Syndicale de la Haute Couture (/wiki/Chambre_Syndicale_de_la_Haute_Couture) Occupation Fashion designer Label Yves Saint Laurent (/wiki/Yves_Saint_Laurent_(brand)) Partner Pierre Bergé (/wiki/Pierre_Berg%C3%A9) Yves Henri Donat Mathieu-Saint-Laurent (1 August 1936 – 1 June 2008), [1] (#cite_note-1) referred to as Yves Saint Laurent ( / (/wiki/Help:IPA/English) ˌ iː v ˌ s æ̃ l ɔː ˈ r ɒ̃ / (/wiki/Help:IPA/English) , also UK (/wiki/British_English) : /- (/wiki/Help:IPA/English) l ɒ ˈ -/ (/wiki/Help:IPA/English) , US (/wiki/American_English) : /- (/wiki/Help:IPA/English) l oʊ ˈ -/ (/wiki/Help:IPA/English) , French: [iv (/wiki/Help:IPA/French) sɛ̃ (/wiki/Help:IPA/French) lɔʁɑ̃] (/wiki/Help:IPA/French) ⓘ (/wiki/File:Prononciation_de_Yves_Saint_Laurent.ogg) ) or YSL , was a French fashion designer who, in 1962, founded his eponymous fashion label (/wiki/Yves_Saint_Laurent_(brand)) . He is regarded as being among the foremost fashion designers of the twentieth century. [2] (#cite_note-telegraph_UK_obbit-2) In 1985, Caroline Milbank wrote, "The most consistently celebrated and influential designer of the past twenty-five years, Yves Saint Laurent can be credited with both spurring the couture's rise from its 1960s (/wiki/1960s_in_Western_fashion) ashes and with finally rendering ready-to-wear (/wiki/Ready-to-wear) reputable." [3] (#cite_note-Goodreads-3) He developed his style to accommodate the changes in fashion during that period. He approached his aesthetic (/wiki/Aesthetics) from a different perspective by helping women find confidence by looking both comfortable and elegant at the same time. He is also credited with having introduced the " Le Smoking (/wiki/Le_Smoking) " tuxedo (/wiki/Black_tie) suit for women and was known for his use of non-European cultural references and of diverse models. [4] (#cite_note-Yslbptr-4) Early life [ edit ] Saint Laurent was born on 1 August 1936, in Oran (/wiki/Oran) , Algeria (/wiki/French_Algeria) , [5] (#cite_note-5) [6] (#cite_note-6) to French (/wiki/French_people) parents ( Pieds-Noirs (/wiki/Pied-Noir) ), Charles and Lucienne Andrée Mathieu-Saint-Laurent. [7] (#cite_note-biobio-7) He grew up in a villa by the Mediterranean (/wiki/Mediterranean_Sea) with his two younger sisters, Michèle and Brigitte. [7] (#cite_note-biobio-7) Saint Laurent liked to create intricate paper dolls (/wiki/Paper_dolls) , and by his early teen years, he was designing dresses for his mother and sisters. [8] (#cite_note-Yves_Saint_Laurent-8) At the age of 18, Saint Laurent moved to Paris and enrolled at the Chambre Syndicale de la Haute Couture , where his designs quickly gained notice. Michel De Brunhoff, the editor of Vogue France (/wiki/Vogue_Paris) , introduced Saint Laurent to designer Christian Dior (/wiki/Christian_Dior) , a giant in the fashion world. "Dior fascinated me," Saint Laurent later recalled. "I couldn't speak in front of him. He taught me the basis of my art. Whatever was to happen next, I never forgot the years I spent at his side." Under Dior's tutelage, Saint Laurent's style continued to mature and gain even more notice. [8] (#cite_note-Yves_Saint_Laurent-8) Personal life and early career [ edit ] Young designer [ edit ] In 1953, Saint Laurent submitted three sketches to a contest for young fashion designers organized by the International Wool Secretariat (/wiki/International_Wool_Secretariat) . Saint Laurent won first place. Subsequently, he was invited to attend the awards ceremony held in Paris in December. [9] (#cite_note-9) During his stay in Paris, Saint Laurent met Michel de Brunhoff, editor-in-chief of the French edition of Vogue (/wiki/Vogue_(magazine)) magazine and a connection to his father. Michel De Brunhoff, a considerate person who encouraged new talent, was impressed by the sketches that Saint Laurent brought with him and suggested he should become a fashion designer. Saint Laurent eventually considered a course of study at the Chambre Syndicale de la Haute Couture, the council which regulates the haute couture (/wiki/Haute_couture) industry and provides training to its employees. Saint Laurent followed the advice, left Oran for Paris after graduation, began his studies there and eventually graduated as a star pupil. Later that same year, he entered the International Wool Secretariat competition again and won, beating his friend Fernando Sánchez (/wiki/Fernando_S%C3%A1nchez_(designer)) and young German student Karl Lagerfeld (/wiki/Karl_Lagerfeld) . [10] (#cite_note-alice-10) Shortly after his win, he brought a number of sketches to de Brunhoff who recognized close similarities to sketches he had been shown that morning by Christian Dior. Knowing that Dior had created the sketches that morning and that the young man could not have seen them, de Brunhoff sent him to Dior, who hired him on the spot. [11] (#cite_note-11) Although Dior (/wiki/Dior) recognised his talent immediately, Saint Laurent spent his first year at the House of Dior on mundane tasks, decorating the studio and designing accessories. Eventually he was allowed to submit sketches for the couture collection. With each passing season, more of his sketches were accepted by Dior. Some Dior collections from this period contain themes that would be seen in Saint Laurent's independent work years later, such as the smock tops and safari jackets in Dior's 1957 "Libre" line. [12] (#cite_note-12) In August 1957, Dior met with Saint Laurent's mother to tell her that he had chosen Saint Laurent to succeed him as a designer. His mother later said that she had been confused by the remark, as Dior was only 52 years old at the time. Both she and her son were surprised when Dior died at a health spa in northern Italy of a massive heart attack in October 1957. [10] (#cite_note-alice-10) Yves Saint Laurent trapeze dress for Dior, 1958 In 1957, Saint Laurent found himself at age 21 the head designer of the House of Dior (/wiki/Christian_Dior_S.A.) . His spring 1958 collection almost certainly saved the enterprise from financial ruin. [13] (#cite_note-13) [14] (#cite_note-14) The simple, flaring lines of his first collection for Dior, called the Trapeze line, [15] (#cite_note-15) [16] (#cite_note-16) a variation of Dior's 1955 A-Line, [17] (#cite_note-17) [18] (#cite_note-18) [19] (#cite_note-19) catapulted him to international stardom. Dresses in the collection featured a narrow shoulder that flared gently to a hem that just covered the knee. [20] (#cite_note-20) In his second collection for Dior, presented for fall 1958, he iconoclastically lowered hemlines by five inches and was not greeted with the same level of approval that his first collection received, with many considering it a major misstep. [21] (#cite_note-21) [22] (#cite_note-22) [23] (#cite_note-23) Soon after, Marc Bohan (/wiki/Marc_Bohan) was hired to assist St. Laurent, [24] (#cite_note-24) and the spring 1959 Dior collection brought lengths back to the knee in a well-received collection inspired by the 1930s. [25] (#cite_note-25) Later collections for the House of Dior featuring hobble skirts (/wiki/Hobble_skirt) (fall 1959) [26] (#cite_note-26) [27] (#cite_note-27) and beatnik (/wiki/Beatnik) fashions (fall 1960) [28] (#cite_note-28) [29] (#cite_note-29) were savaged by the press. [30] (#cite_note-30) In 1959, he was chosen by Farah Diba (/wiki/Farah_Diba) , who was a student in Paris, to design her wedding dress for her marriage to the Shah of Iran (/wiki/Shah_of_Iran) . [31] (#cite_note-31) Conscription and illness [ edit ] In 1960, Saint Laurent found himself conscripted to serve in the French Army (/wiki/French_Army) during the Algerian War (/wiki/Algerian_War) . [32] (#cite_note-32) Neri Karra writes that there was speculation at the time that Marcel Boussac (/wiki/Marcel_Boussac) , the owner of the House of Dior and a powerful press baron, had put pressure on the government not to conscript Saint Laurent in 1958 and 1959, but after the disastrous Fall 1958 season, reversed course and asked that the designer be conscripted so that he could be replaced. [33] (#cite_note-33) 1965 Mondrian dresses 1965 knitted wedding dress 1968 "Safari" jacket for the Rive Gauche boutique Le Smoking (/wiki/Le_Smoking) evening trouser-suits 1988 "Homage to Vincent Van Gogh" jacket, embroidered by Lesage (/wiki/Fran%C3%A7ois_Lesage) Saint Laurent's studio, with a toile (/wiki/Toile) for a Safari jacket Saint Laurent was in the military for 20 days before the stress of hazing (/wiki/Hazing) by fellow soldiers led to him being admitted to a military hospital, where he received news that he had been fired from Dior, to be replaced by Marc Bohan (/wiki/Marc_Bohan) . [34] (#cite_note-34) This exacerbated his condition, and he was transferred to Val-de-Grâce (/wiki/Val-de-Gr%C3%A2ce) military hospital (/wiki/Military_hospital) , where he was given large doses of sedatives and psychoactive drugs and subjected to electroshock therapy (/wiki/Electroshock_therapy) . [35] (#cite_note-35) Saint Laurent himself traced the origin of both his mental problems and his drug addictions to this time in hospital. [10] (#cite_note-alice-10) YSL [ edit ] After his release from the hospital in November 1960, Saint Laurent sued Dior for breach of contract and won. After a period of convalescence, he and his partner (/wiki/Significant_other) , industrialist Pierre Bergé (/wiki/Pierre_Berg%C3%A9) , started their own fashion house, Yves Saint Laurent (/wiki/Yves_Saint_Laurent_(brand)) or YSL, with funds from American millionaire J. Mack Robinson (/wiki/J._Mack_Robinson) , [36] (#cite_note-36) cosmetics company Charles of the Ritz, and others. [37] (#cite_note-37) Many Dior staff joined him at his new enterprise. [38] (#cite_note-38) [39] (#cite_note-39) Saint Laurent and Bergé split romantically in 1976 but remained business partners. [40] (#cite_note-glbtq-40) His debut collection, presented for spring 1962, received mixed reviews, but his second collection, for fall 1962, was celebrated as his best since his 1958 Trapeze collection for Dior. [41] (#cite_note-41) Fashion writers ranked the collection with that of Givenchy (/wiki/Hubert_de_Givenchy) as among the best in Paris. [42] (#cite_note-42) In the 1960s, Saint Laurent popularized fashion trends (/wiki/Fashion_trend) such as the beatnik (/wiki/Beatnik) look (1962), [43] (#cite_note-43) [44] (#cite_note-44) pea coats (1962), [45] (#cite_note-45) thigh-high boots (1963, via his chosen shoe designer Roger Vivier (/wiki/Roger_Vivier) ), [46] (#cite_note-46) [47] (#cite_note-47) safari jackets for men and women (1967), [48] (#cite_note-48) and arguably the most famous classic tuxedo suit for women, Le Smoking (/wiki/Le_Smoking) (1966). [49] (#cite_note-49) [50] (#cite_note-nytimes.com-50) Many of his designs were inspired by women's lives in the sociopolitical climate of the time, particularly the trousers he showed in 1968 after witnessing the epochal French uprisings (/wiki/May_68) of that year. [51] (#cite_note-51) [52] (#cite_note-52) Saint Laurent is often said to have been the main designer responsible for making more widely acceptable the wearing of pants by women. [53] (#cite_note-53) [54] (#cite_note-54) [55] (#cite_note-55) Yves Saint Laurent brought in new changes to the fashion industry in the 60s and the 70s. The French designer opened his prêt-à-porter house YSL Rive Gauche in 1967, where he was starting to shift his focus from haute couture to ready-to-wear. One of the purposes was to provide a wider range of fashionable styles being available to choose from in the market, as they were affordable and cheaper. He was the first French couturier to come out with a full prêt-à-porter (/wiki/Pr%C3%AAt-%C3%A0-porter) (ready-to-wear) line; although Alicia Drake (/wiki/Alicia_Drake) credits this move with Saint Laurent's wish to democratize fashion; [56] (#cite_note-drake-56) others [ who? ] point out that other couture houses were preparing prêt-à-porter lines at the same time – the House of Yves Saint Laurent merely announced its line first. The first of the company's Rive Gauche stores, which sold the prêt-à-porter line, opened on the rue de Tournon in the 6th arrondissement of Paris (/wiki/6th_arrondissement_of_Paris) , on 26 September 1966. The first customer was Catherine Deneuve (/wiki/Catherine_Deneuve) . [10] (#cite_note-alice-10) He ended up doing many costumes for her in films such as Heartbeat , Mississippi Mermaid (/wiki/Mississippi_Mermaid) , and Love to Eternity (/wiki/Liza_(1972_film)) . [57] (#cite_note-57) During the 1970s, Saint Laurent came to be considered the most prominent designer in the world, [58] (#cite_note-58) [59] (#cite_note-59) adapting his designs to modern women's needs. [60] (#cite_note-60) [61] (#cite_note-61) [62] (#cite_note-62) Even in his sometimes lavish Russian peasant collections of the middle of the decade, the clothes themselves remained comfortable and wearable. [63] (#cite_note-63) [64] (#cite_note-64) [65] (#cite_note-65) He is also credited with initiating in 1978 the prominently shoulder-padded (/wiki/Shoulder_pads_(fashion)#Fall_1978) styles that would characterize the 1980s. [66] (#cite_note-66) [67] (#cite_note-67) Many of his collections were positively received by both his fans and the press, such as the autumn 1966 collection, which introduced Le Smoking (/wiki/Le_Smoking) tailored tuxedo suit, and his 1965 Mondrian collection (/wiki/The_Mondrian_collection_of_Yves_Saint_Laurent) . Other collections raised controversy, such as his spring 1971 collection, which was inspired by 1940s fashion. Though 1930s and '40s revival (/wiki/Shoulder_pad_(fashion)#1970s) had been a trend among some London designers like Ossie Clark (/wiki/Ossie_Clark) since the late sixties [68] (#cite_note-68) and although Saint Laurent had presented a few 1940s looks late in the previous year, [69] (#cite_note-69) for a designer of his stature to devote an entire couture collection to the 1940s raised some hackles. [70] (#cite_note-70) Some felt it romanticized the German occupation of France during World War II (/wiki/German_occupation_of_France_during_World_War_II) , which he did not experience, while others felt it brought back the unattractive utilitarianism of the time. The French newspaper France Soir (/wiki/France_Soir) called the spring 1971 collection "Une grande farce!" [10] (#cite_note-alice-10) Criticism notwithstanding, Saint Laurent's influence was such that the collection did lead to some general fashion changes in shoulder and lapel shape and increased the popularity of tailored blazers. [71] (#cite_note-71) During the 1960s and 1970s, Saint Laurent was considered one of Paris's " jet set (/wiki/Jet_set) ". [56] (#cite_note-drake-56) He was often seen at clubs in France and New York City, such as Regine's (/wiki/Regine%27s) and Studio 54 (/wiki/Studio_54) , and was known to be both a heavy drinker and a frequent user of cocaine (/wiki/Cocaine) . [10] (#cite_note-alice-10) When he was not actively supervising the preparation of a collection, he spent time at his villa in Marrakech (/wiki/Marrakech) , Morocco. In the late 1970s, he and Bergé bought a neo-gothic villa, Château Gabriel in Benerville-sur-Mer (/wiki/Benerville-sur-Mer) , near Deauville (/wiki/Deauville) , France. Yves Saint Laurent was a great admirer of Marcel Proust (/wiki/Marcel_Proust) who had been a frequent guest of Gaston Gallimard (/wiki/Gaston_Gallimard) , one of the previous owners of the villa. When they bought Château Gabriel , Saint Laurent and Bergé commissioned Jacques Grange (/wiki/Jacques_Grange) to decorate it with themes inspired by Proust's Remembrance of Things Past (/wiki/Remembrance_of_Things_Past) . [72] (#cite_note-72) The prêt-à-porter line became extremely popular with the public if not with the critics and eventually earned many times more for Saint Laurent and Bergé than the haute couture line. However, Saint Laurent, whose health had been precarious for years, became erratic under the pressure of designing two haute couture (/wiki/Haute_couture) and two prêt-à-porter collections every year. He increasingly turned to alcohol and drugs. [73] (#cite_note-73) At some shows, he could barely walk down the runway at the end of the show, and he had to be supported by models. [74] (#cite_note-74) Following his 1978 introduction of the big-shoulder-pad (/wiki/Shoulder_pads_(fashion)#Fall_1978) looks [75] (#cite_note-75) that would dominate the 1980s, he relied on a restricted set of styles based largely on big-shouldered jackets, narrow skirts and trousers, and pumps [76] (#cite_note-76) [77] (#cite_note-77) that didn't vary much during the decade, [78] (#cite_note-78) [79] (#cite_note-79) [80] (#cite_note-80) [81] (#cite_note-81) resulting in some fashion writers bemoaning the loss of his former inventiveness [82] (#cite_note-82) [83] (#cite_note-83) [84] (#cite_note-84) and others welcoming the familiarity. [85] (#cite_note-85) [86] (#cite_note-86) [87] (#cite_note-87) He was one of the last designers to give up big shoulder pads at the end of the eighties. [88] (#cite_note-88) After a disastrous 1987 prêt-à-porter show in New York City, which featured US$100,000 jeweled casual jackets only days after the "Black Monday" stock market crash (/wiki/Black_Monday_(1987)) , he turned over the responsibility of the prêt-à-porter line to his assistants. Although the line remained popular with his fans, it was soon dismissed as "boring" by the press. [10] (#cite_note-alice-10) Later life [ edit ] A favorite among his female clientele, Saint Laurent had numerous muses that inspired his work. Among them were: French model Victoire Doutreleau (/wiki/Victoire_Doutreleau) , [89] (#cite_note-kennedy-89) who opened his first fashion show in 1962; [90] (#cite_note-90) Loulou de la Falaise (/wiki/Loulou_de_la_Falaise) , [89] (#cite_note-kennedy-89) [91] (#cite_note-elsa-91) the daughter of a French marquis and an Anglo-Irish model, who became the jewelry designer for the brand; [92] (#cite_note-92) Betty Catroux (/wiki/Betty_Catroux) , [89] (#cite_note-kennedy-89) [91] (#cite_note-elsa-91) the half-Brazilian daughter of an American diplomat, who Saint Laurent considered his "twin sister"; [93] (#cite_note-93) French actress Catherine Deneuve (/wiki/Catherine_Deneuve) ; [89] (#cite_note-kennedy-89) [91] (#cite_note-elsa-91) French model Danielle Luquet de Saint Germain, [94] (#cite_note-94) who inspired the Le Smoking (/wiki/Le_Smoking) suit; [95] (#cite_note-95) American-French artist Niki de Saint Phalle (/wiki/Niki_de_Saint_Phalle) , who also inspired the Le Smoking (/wiki/Le_Smoking) suit; [50] (#cite_note-nytimes.com-50) Mounia, [89] (#cite_note-kennedy-89) [91] (#cite_note-elsa-91) a model from Martinique who was the oft-used bride at his fashion shows; Lucie de la Falaise (/wiki/Lucie_de_la_Falaise) , [96] (#cite_note-96) [97] (#cite_note-97) a Welsh-French model and niece of Loulou, who was the bride in his fashion shows in 1990–1994; jewelry designer Paloma Picasso (/wiki/Paloma_Picasso) ; [89] (#cite_note-kennedy-89) [91] (#cite_note-elsa-91) Dutch actress Talitha Getty (/wiki/Talitha_Getty) ; [98] (#cite_note-98) [99] (#cite_note-99) American socialite Nan Kempner (/wiki/Nan_Kempner) , [100] (#cite_note-100) [101] (#cite_note-101) who was named ambassador for the brand; [102] (#cite_note-102) Italian model Marina Schiano (/wiki/Marina_Schiano) , [89] (#cite_note-kennedy-89) [91] (#cite_note-elsa-91) who managed the YSL boutiques in North America; French model Nicole Dorier, [103] (#cite_note-103) who became the director of his runway shows, [104] (#cite_note-104) and later, the "memory" of his house when it became a museum; and French model Laetitia Casta (/wiki/Laetitia_Casta) , [105] (#cite_note-105) who was the bride in his fashion shows in 1998–2001. [106] (#cite_note-106) In 1983, Saint Laurent became the first living fashion designer to be honored by the Metropolitan Museum of Art (/wiki/Metropolitan_Museum_of_Art) with a solo exhibition. In 2001, he was awarded the rank of Commander of the Légion d'Honneur (/wiki/L%C3%A9gion_d%27Honneur) by French President Jacques Chirac (/wiki/Jacques_Chirac) . Saint Laurent retired in 2002 and became increasingly reclusive. [107] (#cite_note-107) In 2007, he was awarded the rank of Grand officier de la Légion d'honneur (/wiki/Grand_officier_de_la_L%C3%A9gion_d%27honneur) by French President Nicolas Sarkozy (/wiki/Nicolas_Sarkozy) . [108] (#cite_note-108) [109] (#cite_note-109) He also created a foundation with Bergé in Paris to trace the history of the house of YSL, complete with 15,000 objects and 5,000 pieces of clothing. [110] (#cite_note-110) Death [ edit ] Saint Laurent died on 1 June 2008 of brain cancer (/wiki/Brain_cancer) at his residence in Paris. [111] (#cite_note-111) According to The New York Times (/wiki/The_New_York_Times) , [112] (#cite_note-112) a few days prior, he and Bergé had been joined in a same-sex civil union (/wiki/Civil_union) known as a Pacte civil de solidarité (/wiki/Pacte_civil_de_solidarit%C3%A9) (PACS) in France. When Saint Laurent was diagnosed as terminal, with only one or two weeks left to live, Bergé and the doctor mutually decided that it would be better for him not to know of his impending death. Bergé said, "I have the belief that Yves would not have been strong enough to accept that." [113] (#cite_note-113) He was given a Catholic funeral (/wiki/Requiem_mass) at Église Saint-Roch (/wiki/Saint-Roch,_Paris) in Paris. [114] (#cite_note-114) The funeral attendees included the former Empress of Iran Farah Pahlavi (/wiki/Farah_Pahlavi) , Bernadette Chirac (/wiki/Bernadette_Chirac) , Catherine Deneuve (/wiki/Catherine_Deneuve) , and President Nicolas Sarkozy (/wiki/Nicolas_Sarkozy) and his wife, Carla Bruni (/wiki/Carla_Bruni) . [115] (#cite_note-115) His body was cremated (/wiki/Cremated) , and his ashes were scattered in Marrakech (/wiki/Marrakech) , Morocco, in the Majorelle Garden (/wiki/Majorelle_Garden) , a residence and botanical garden (/wiki/Botanical_garden) that he owned with Bergé since 1980 and often visited to find inspiration and refuge. [116] (#cite_note-116) Bergé said at the funeral service (in French): "But I also know that I will never forget what I owe you and that one day I will join you under the Moroccan palms." Legacy [ edit ] In February 2009, an auction of 733 items was held by Christie's (/wiki/Christie%27s) at the Grand Palais (/wiki/Grand_Palais) , ranging from paintings by Picasso (/wiki/Pablo_Picasso) to ancient Egyptian (/wiki/Ancient_Egypt) sculptures. Saint Laurent and Bergé began collecting art in the 1950s. Before the sale, Bergé commented that the decision to sell the collection was taken because, without Saint Laurent, "it has lost the greater part of its significance", with the proceeds proposed for the creation of a new foundation for AIDS research (/wiki/AIDS_research) . [117] (#cite_note-117) Before the sale commenced, the Chinese government tried to stop the sale of two of twelve bronze statue heads (/wiki/Haiyantang) taken from the Old Summer Palace (/wiki/Old_Summer_Palace) in China during the Second Opium War (/wiki/Second_Opium_War) . A French judge dismissed the claim and the sculptures, heads of a rabbit and a rat, sold for €15,745,000. [118] (#cite_note-118) However, the anonymous buyer revealed himself to be Cai Mingchao, a representative of the PRC (/wiki/PRC) 's National Treasures Fund, and claimed that he would not pay for them on "moral and patriotic grounds". [119] (#cite_note-119) The heads remained in Bergé's possession [120] (#cite_note-120) until acquired by François Pinault (/wiki/Fran%C3%A7ois_Pinault) , owner of many luxury brands including Yves Saint Laurent. He then donated them to China in a ceremony on 29 June 2013. [121] (#cite_note-121) On the first day of the sale, Henri Matisse (/wiki/Henri_Matisse) 's painting Les coucous, tapis bleu et rose broke the previous world record (/wiki/World_record) set in 2007 for a Matisse work and sold for 32 million euros. The record-breaking sale realized 342.5 million euros (£307 million). [122] (#cite_note-122) The subsequent auction, 17–20 November, included 1,185 items from the couple's Normandy villa. While not as impressive as the first auction, it featured the designer's last Mercedes-Benz (/wiki/Mercedes-Benz) car and his Hermès (/wiki/Herm%C3%A8s) luggage. [123] (#cite_note-123) Forbes (/wiki/Forbes) rated Saint Laurent the top-earning dead celebrity (/wiki/Forbes%27_list_of_the_world%27s_highest-paid_dead_celebrity) in 2009. [124] (#cite_note-124) Museum [ edit ] His house in his hometown of Oran, where he lived until the age of 18, was bought by an Oran entrepreneur named Mohamed Affane. He restored and transformed it into a museum, which has been open since July 2022. [125] (#cite_note-125) The period furniture has been recovered and replaced exactly as it was. Around 400 sketches by Yves Saint-Laurent are exhibited, along with childhood photos of the renowned designer. [126] (#cite_note-126) [127] (#cite_note-127) In popular culture [ edit ] On film [ edit ] 2002: David Teboul's Yves Saint Laurent: His Life and Times [128] (#cite_note-128) 2002: Yves Saint Laurent: 5 Avenue Marceau 75116 Paris [129] (#cite_note-129) 2009: Pierre Thoretton's L'Amour Fou [130] (#cite_note-130) 2014: Yves Saint Laurent (/wiki/Yves_Saint_Laurent_(film)) [131] (#cite_note-Yves_Saint_Laurent_Biopic_Wins_Pierre_Bergé's_Approval-131) by Pierre Niney (/wiki/Pierre_Niney) 2014: Saint Laurent (/wiki/Saint_Laurent_(film)) [132] (#cite_note-132) by Gaspard Ulliel (/wiki/Gaspard_Ulliel) Television [ edit ] 1965: Appeared on 24 October as a "mystery guest" on the American television game show What's My Line? (/wiki/What%27s_My_Line%3F) [133] (#cite_note-10-25-1965_What's_My_Line-133) Books [ edit ] 2014: Yves Saint Laurent: A Moroccan Passion , Pierre Bergé (/wiki/Pierre_Berg%C3%A9) , illustrated by Lawrence Mynott (/wiki/Lawrence_Mynott) , Abrams, ISBN (/wiki/ISBN_(identifier)) 978-1419713491 (/wiki/Special:BookSources/978-1419713491) [134] (#cite_note-134) 2017: Dior by YSL , Laurence Benaïm, photography by Laziz Hamani, Assouline (/wiki/Assouline) , ISBN (/wiki/ISBN_(identifier)) 9781614285991 (/wiki/Special:BookSources/9781614285991) [135] (#cite_note-135) 2020: Yves Saint Laurent: The Impossible Collection , Laurence Benaïm, Assouline (/wiki/Assouline) , ISBN (/wiki/ISBN_(identifier)) 9781614289425 (/wiki/Special:BookSources/9781614289425) [136] (#cite_note-136) See also [ edit ] Yves Saint Laurent (brand) (/wiki/Yves_Saint_Laurent_(brand)) References [ edit ] ^ (#cite_ref-1) "Yves Saint Laurent Dies – Yves Saint Laurent Has Died in Paris Aged 71" (http://news.ninemsn.com.au/article.aspx?id=573020) Archived (https://web.archive.org/web/20080603114738/http://news.ninemsn.com.au/article.aspx?id=573020) 3 June 2008 at the Wayback Machine (/wiki/Wayback_Machine) . Agence France-Presse (/wiki/Agence_France-Presse) ( via Nine News (/wiki/Nine_News) ). (2 June 2008). Retrieved 12 June 2010. ^ (#cite_ref-telegraph_UK_obbit_2-0) "Yves Saint Laurent, Who Has Died Aged 71, was, with Coco Chanel, regarded as the Greatest Figure in French Fashion in the 20th Century, and could be said to have Created the Modern Woman's Wardrobe" (https://web.archive.org/web/20080604051842/http://www.telegraph.co.uk/news/obituaries/2063264/Yves-Saint-Laurent.html) . The Daily Telegraph . UK. 1 June 2008. Archived from the original (https://www.telegraph.co.uk/news/obituaries/2063264/Yves-Saint-Laurent.html) on 4 June 2008 . Retrieved 24 July 2010 . ^ (#cite_ref-Goodreads_3-0) "Yves Saint-Laurent" (http://www.goodreads.com/author/show/132725.Yves_Saint_Laurent) . Goodreads . Retrieved 20 May 2012 . ^ (#cite_ref-Yslbptr_4-0) Yves Saint Laurent's body put to rest (http://www.fashiontelevision.com/infashion/industrynews/industrynews_2116.aspx) Archived (https://web.archive.org/web/20141029221215/http://www.fashiontelevision.com/infashion/industrynews/industrynews_2116.aspx) 29 October 2014 at the Wayback Machine (/wiki/Wayback_Machine) Fashion Television . ^ (#cite_ref-5) "Yves Saint Laurent" (http://www.fondation-pb-ysl.net/en/Biographie-Yves-Saint-Laurent-519.html) . Fondation Pierre Bergé – Yves Saint Laurent . Retrieved 4 November 2014 . ^ (#cite_ref-6) "Yves Saint Laurent" (http://www.britannica.com/EBchecked/topic/517530/Yves-Saint-Laurent) . Encyclopædia Britannica . Retrieved 4 November 2014 . ^ Jump up to: a b "Yves Saint Laurent Biography" (http://www.biography.com/people/yves-saint-laurent-9469669#synopsis) . bio . Retrieved 7 June 2015 . ^ Jump up to: a b "Yves Saint Laurent" (https://www.biography.com/fashion-designer/yves-saint-laurent) . Biography . 18 August 2020. ^ (#cite_ref-9) "Yves Saint Laurent | Encyclopedia.com" (https://www.encyclopedia.com/people/literature-and-arts/fashion-biographies/yves-saint-laurent) . www.encyclopedia.com . Retrieved 23 October 2020 . ^ Jump up to: a b c d e f g Rawsthorn, Alice (1996). Yves Saint Laurent: A Biography. Nan A. Talese (/wiki/Nan_A._Talese) / Doubleday (/wiki/Doubleday_(publisher)) (New York City); ISBN (/wiki/ISBN_(identifier)) 0-385-47645-0 (/wiki/Special:BookSources/0-385-47645-0) ^ (#cite_ref-11) "Debut at Dior" (https://museeyslparis.com/en/biography/les-debuts-chez-dior) . Musée Yves Saint Laurent Paris . Retrieved 23 October 2020 . ^ (#cite_ref-12) Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior" (https://www.academia.edu/81000093) . Artte . 7 (3): 173. doi (/wiki/Doi_(identifier)) : 10.15547/artte.2019.03.002 (https://doi.org/10.15547%2Fartte.2019.03.002) . ISSN (/wiki/ISSN_(identifier)) 1314-8796 (https://www.worldcat.org/issn/1314-8796) . Retrieved 23 May 2023 . ...Dior based much of his Libre line on two classic items of clothing[:]...the vareuse, or fishermen's smock,...and...the khaki bush jacket ^ (#cite_ref-13) Howell, Georgina (1978). "1948-1959". In Vogue: Sixty Years of Celebrities and Fashion from British Vogue . Harmondsworth, Middlesex, England: Penguin Books Ltd. pp. 204–205. ISBN (/wiki/ISBN_(identifier)) 0-14-00-4955-X . Yves Saint Laurent...at the age of 21 found himself perched upon the multi-million franc edifice of the most influential fashion house in the world....[W]ith his first collection,...he launched the [T]rapeze line....'Saint Laurent has saved France!' said the French headlines. 'The great Dior tradition will continue!' ^ (#cite_ref-14) Mulvagh, Jane (1988). "1958". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 251. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . For the nation's largest industry, the well-being of its most prominent couture house was of great social and economic importance....Saint Laurent's first collection...was a resounding success. ^ (#cite_ref-15) Howell, Georgina (1978). "1958". In Vogue: Sixty Years of Celebrities and Fashion from British Vogue . Harmondsworth, Middlesex, England: Penguin Books Ltd. pp. 246, 247. ISBN (/wiki/ISBN_(identifier)) 0-14-00-4955-X . Saint Laurent's [T]rapeze line, backbone of his successful first collection for Dior. ^ (#cite_ref-16) Mulvagh, Jane (1988). "1958". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 254. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . Saint Laurent's first collection introduced a new silhouette, the wedge-shaped 'Trapeze'... ^ (#cite_ref-17) Howell, Georgina (1978). "1948-1959". In Vogue: Sixty Years of Celebrities and Fashion from British Vogue . Harmondsworth, Middlesex, England: Penguin Books Ltd. p. 204. ISBN (/wiki/ISBN_(identifier)) 0-14-00-4955-X . ...[W]ith his first collection,...[Saint Laurent] launched the [T]rapeze line – not too different from Dior's A line, but just different enough. ^ (#cite_ref-18) Howell, Georgina (1978). "1955". In Vogue: Sixty Years of Celebrities and Fashion from British Vogue . Harmondsworth, Middlesex, England: Penguin Books Ltd. p. 239. ISBN (/wiki/ISBN_(identifier)) 0-14-00-4955-X . Dior produces his new A line, a triangle widened from a small head and shoulders to a full pleated or stiffened hem. ^ (#cite_ref-19) Mulvagh, Jane (1988). "1955". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 230. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . Dior's...'A' line consisted of coats, suits and dresses flared out into wide triangles from narrow shoulders. The waistline was the cross bar of the A and could be positioned either under the bust in an Empire manner or low down on the hips. ^ (#cite_ref-20) Mulvagh, Jane (1988). "1958". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 254. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . The dress sloped down from the shoulders to a widened hem just below the knee, maintaining a definite geometric line through precise tailoring. ^ (#cite_ref-21) "Bohan is Hired By Dior as Aide to St. Laurent" (https://www.nytimes.com/1958/08/08/archives/bohan-is-hired-by-dior-as-aide-to-st-laurent.html) . The New York Times : 23. 8 August 1958 . Retrieved 18 July 2023 . Bucking the trend toward kneecap-length skirts, St. Laurent dropped his hems to mid-calf or longer. Some viewers called the move a mistake. ^ (#cite_ref-22) Peterson, Patricia (1 August 1958). "Fashion Trends Abroad, Paris: St. Laurent Drops Hem 5 Inches" (https://www.nytimes.com/1958/08/01/archives/fashion-trends-abroad-paris-st-laurent-drops-hem-5-inches.html) . The New York Times : 10 . Retrieved 18 July 2023 . ...Yves St. Laurent...shocked us with his mid-calf skirts, which were about five inches longer than those shown by other Paris designers. ^ (#cite_ref-23) "What to Look For in Paris Styles" (https://www.nytimes.com/1958/08/05/archives/what-to-look-for-in-paris-styles.html) . The New York Times : 18. 5 August 1958 . Retrieved 18 July 2023 . ...American store buyers are asking [St. Laurent] to shorten the hems... ^ (#cite_ref-24) "Bohan is Hired By Dior as Aide to St. Laurent" (https://www.nytimes.com/1958/08/08/archives/bohan-is-hired-by-dior-as-aide-to-st-laurent.html) . The New York Times : 23. 8 August 1958 . Retrieved 18 July 2023 . Marc Bohan...has been hired by the House of Christian Dior to help Yves St. Laurent turn out Dior fashions for New York and South America... ^ (#cite_ref-25) Donovan, Carrie (30 January 1959). "Fashion Trends Abroad, Paris: Dior Has the Feeling of the Thirties" (https://www.nytimes.com/1959/01/30/archives/fashion-trends-abroad-paris-dior-has-the-feeling-of-the-thirties.html) . The New York Times : 18 . Retrieved 18 July 2023 . The spring collection, the third designed by young Yves St. Laurent, is full of the feeling of the Thirties....St. Laurent...now shows the same length that is shown all over Paris – an inch or two below the knee. ^ (#cite_ref-26) Howell, Georgina (1978). "1959". In Vogue: Sixty Years of Celebrities and Fashion from British Vogue . Harmondsworth, Middlesex, England: Penguin Books Ltd. p. 259. ISBN (/wiki/ISBN_(identifier)) 0-14-00-4955-X . Yves Saint Laurent at Dior raises the skirt to the knees...and pulls the skirt in to a tight knee-band.... Vogue ...show[ed] the hobble first in its 'least exaggerated'...form before leading up to the 'extreme trendsetter'. ^ (#cite_ref-27) Donovan, Carrie (26 August 1959). "French Styles en Route: Dior Skirt Splits Critics" (https://www.nytimes.com/1959/08/26/archives/french-styles-en-route-dior-skirt-splits-critics.html) . The New York Times : 32 . Retrieved 30 June 2023 . ...Yves Saint Laurent['s]...newly cut skirt...seemed to constrict the knees and then balloon above them. The skirt obviously was based on the hobble skirts of yore....The majority of the daily newspaper reporters immediately labeled it 'hobble'... ^ (#cite_ref-28) Howell, Georgina (1978). "1960". In Vogue: Sixty Years of Celebrities and Fashion from British Vogue . Harmondsworth, Middlesex, England: Penguin Books Ltd. p. 272. ISBN (/wiki/ISBN_(identifier)) 0-14-00-4955-X . The beat look is the news at Dior...pale zombie faces; leather suits and coats; knitted caps and high turtleneck collars, black endlessly....Saint Laurent's...'beat' collection is the most unpopular look in Paris, and his last for Dior. ^ (#cite_ref-29) Mulvagh, Jane (1988). "1960". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. pp. 262–263. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . Saint Laurent's decision to interpret...youthful street fashion in expensive materials caused a furore at Dior...His Left Bank 'Beat Look' included black leather suits and coats, knitted caps, high turtleneck collars, and biker-style jackets in mink and crocodile skin....Saint Laurent had failed to court the buyers and press by gently evolving a line collection by collection. ^ (#cite_ref-30) Hall, Harriet (16 December 2016). "Celebrating 70 years of Christian Dior: From the New Look to feminist slogans" (https://www.stylist.co.uk/fashion/christian-dior-70-years-saint-laurent-galliano-raf-simons-maria-grazia-chiuri-new-look-fashion-style-history/121806) . Stylist . Retrieved 23 October 2020 . ^ (#cite_ref-31) Weller, Sheila (2015). The News Sorority: Diane Sawyer, Katie Couric, Christiane Amanpour -- and the (ongoing, Imperfect, Complicated) Triumph of Women in TV News . Penguin Books. p. 72. ISBN (/wiki/ISBN_(identifier)) 978-0-14-312777-2 . ^ (#cite_ref-32) "5 Must-Know Tales About The Late Yves Saint Laurent" (https://en.vogue.me/fashion/5-things-to-know-about-yves-saint-laurent/) . Vogue Arabia . 1 August 2018 . Retrieved 11 June 2021 . ^ (#cite_ref-33) Karra, Neri (28 November 2021). Fashion Entrepreneurship: The Creation of the Global Fashion Business . Routledge. p. 162. ISBN (/wiki/ISBN_(identifier)) 978-1-315-45875-5 . ^ (#cite_ref-34) "Marc Bohan Appointed Dior's New Designer" (https://www.nytimes.com/1960/09/29/archives/marc-bohan-appointed-diors-new-designer.html) . The New York Times : 38. 29 September 1960 . Retrieved 18 July 2023 . The fashion house of Christian Dior...has bestowed the ultimate glory on...Marc Bohan. It has been announced that Bohan will replace...Yves Saint Laurent as chief designer. ^ (#cite_ref-35) The Biography Channel – Yves Saint Laurent Biography (http://www.thebiographychannel.co.uk/biography_story/931:1087/1/Yves_Saint_Laurent.htm) Archived (https://web.archive.org/web/20090806090342/http://www.thebiographychannel.co.uk/biography_story/931:1087/1/Yves_Saint_Laurent.htm) 6 August 2009 at the Wayback Machine (/wiki/Wayback_Machine) ^ (#cite_ref-36) Torpy, Bill. "Metro Atlanta Business News" (http://www.ajc.com/business/content/business/stories/2008/06/02/stlaurent_0603.html) . ajc.com . Retrieved 15 August 2010 . ^ (#cite_ref-37) Mulvagh, Jane (1988). "1962". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. pp. 268–269. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . He received financial backing from a variety of sources, including a businessman from Georgia and the cosmetics company Charles of the Ritz... ^ (#cite_ref-38) Mulvagh, Jane (1988). "1962". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 268. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . ...Saint Laurent...was joined by many of the staff from Dior when he opened his own house. ^ (#cite_ref-39) Molli, Jeanne (24 October 1962). "Dior to Sue Yves St. Laurent" (https://www.nytimes.com/1962/10/24/archives/dior-to-sue-yves-st-laurent.html) . The New York Times : 42 . Retrieved 15 March 2024 . Approximately 25 [Dior] employees...have gone to work for St. Laurent. ^ (#cite_ref-glbtq_40-0) Cole, Shaun (2002). "Saint Laurent, Yves" (https://web.archive.org/web/20070814081121/http://www.glbtq.com/arts/saintlaurent_y.html) . glbtq.com (/wiki/Glbtq.com) . Archived from the original (http://www.glbtq.com/arts/saintlaurent_y.html) on 14 August 2007 . Retrieved 25 August 2007 . ^ (#cite_ref-41) Donovan, Carrie (12 August 1962). "Paris Hit" (https://www.nytimes.com/1962/08/12/archives/paris-hit.html) . The New York Times : 50 . Retrieved 15 March 2024 . Called a prodigy...in 1957...[h]is success was not repeated until now....His first collection was less than a smash but his second...has lifted him to the pinnacle of Paris couture. ^ (#cite_ref-42) Donovan, Carrie (1 August 1962). "Praise Given to Givenchy Rivals St. Laurent Acclaim" (https://www.nytimes.com/1962/08/01/archives/praise-given-to-givenchy-rivals-st-laurent-acclaim.html) . The New York Times : 35 . Retrieved 15 March 2024 . ...[B]uyers are...acclaiming the Givenchy and St. Laurent showings as the great collections of the season... ^ (#cite_ref-43) Howell, Georgina (1978). "1961-62". In Vogue: Sixty Years of Celebrities and Fashion from British Vogue . Harmondsworth, Middlesex, England: Penguin Books Ltd. p. 276. ISBN (/wiki/ISBN_(identifier)) 0-14-00-4955-X . His autumn [1962] collection brings the Left Bank into the couture with total success. ^ (#cite_ref-44) Mulvagh, Jane (1988). "1963". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 277. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . Saint Laurent's 1960 beat look was belatedly adapted: Samuel Robery showed simple leather shifts, Scaasi presented black alligator trousers, Ellen Brooke used black lacquered alligator for windbreaker jackets, and mock alligator was chosen by Modelia for polo coats and by David Kidd for short coats. ^ (#cite_ref-45) Mulvagh, Jane (1988). "1962". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 271. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . The most important coat to come out of the couture this year [1962] was Saint Laurent's 'pea jacket.' Modelled on the sailor's traditional double-breasted garment and already an American classic, it now gained lasting international popularity. ^ (#cite_ref-46) Peterson, Patricia (30 July 1963). "St. Laurent and Chanel Designs New but Familiar" (https://www.nytimes.com/1963/07/30/archives/st-laurent-and-chanel-designs-new-but-familiar.html) . The New York Times : 16 . Retrieved 15 March 2024 . ...[B]oots by Roger Vivier wrapped the leg to mid-thigh. ^ (#cite_ref-47) Peake, Andy (2018). "Chapeau Melon et Bottes de Cuir". Made for Walking . Atglen, Pennsylvania: Schiffer Fashion Press. p. 57. ISBN (/wiki/ISBN_(identifier)) 978-0-7643-5499-1 . Yves Saint Laurent's fall...1963...visored caps, black leather jerkins, and Roger Vivier's towering cuissardes [thigh-high boots] in black crocodile...gave what [the Daily Mail ' s Iris] Ashley called 'a real space girl effect...' ^ (#cite_ref-48) "First Safari Jacket" (https://museeyslparis.com/en/biography/premiere-saharienne-pe) . Musée Yves Saint Laurent Paris . Retrieved 18 July 2023 . Yves Saint Laurent first introduced the safari jacket in his 1967 runway shows. However, it was a one-off design created for a photo-essay for Vogue (Paris) the following year that made the design famous and quickly turned it into a classic. ^ (#cite_ref-49) "First Tuxedo" (https://museeyslparis.com/en/biography/premier-smoking) . Musée Yves Saint Laurent Paris . Retrieved 18 July 2023 . In his Autumn-Winter 1966 collection, Yves Saint Laurent introduced his most iconic piece: the tuxedo....[T]he Saint Laurent Rive Gauche version was a success. The label's younger clientele was quick to purchase it, making the tuxedo a classic. Saint Laurent would go on to include it in each of his collections until 2002. ^ Jump up to: a b Emerson, Gloria (/wiki/Gloria_Emerson) (5 August 1966). "A Nude Dress That Isn't: Saint Laurent in a New, Mad Mood" (https://www.nytimes.com/1966/08/05/archives/a-nude-dress-that-isnt-saint-laurent-in-a-new-mad-mood.html) . The New York Times : R53 . Retrieved 23 July 2023 . Niki de Saint-Phalle, an American artist living in [France], has had the best influence of all on Saint Laurent...Miss Saint-Phalle...always wears trouser suits with...boots....Now Saint Laurent has copied her 'black tie' trouser suit in velvet and in wool....In wool, it has a very ruffly white shirt, a big black bow at the neck, a wide cummerbund of satin, and satin stripes down the rather wide pants. It is worn with...satin boots. ^ (#cite_ref-51) Morris, Bernadine (15 August 1976). "Fashion: Paris Report" (https://www.nytimes.com/1976/08/15/archives/fashion-paris-report-peasant-luxe.html) . The New York Times . p. 179 . Retrieved 4 April 2022 . In the late 1960's, [Saint Laurent] watched the student riots in Paris and came up with the pants suit, which everyone is still wearing. ^ (#cite_ref-52) Morris, Bernadine (16 September 1968). "Saint Laurent Has a New Name for Madison Avenue – Rive Gauche" (https://www.nytimes.com/1968/09/16/archives/saint-laurent-has-a-new-name-for-madison-ave-rive-gauche.html) . The New York Times : 54 . Retrieved 23 April 2023 . During the student upheavals in Paris in May [1968], [Saint Laurent] saw the girls and boys behind the barricades dressed...in pants...'They looked beautiful...,' he said...'Fashion is not only couture....Events are more important.'...[In] his last Paris couture collection, shown in July,...[p]ants outfits overshadowed more conventional attire. ^ (#cite_ref-53) Heathcote, Phyllis W. "Fashion and Dress". Britannica Book of the Year 1970: Events of 1969 . Encyclopaedia Britannica, Inc. p. 341. ISBN (/wiki/ISBN_(identifier)) 0-85229-144-2 . Leading Paris couturier Yves St. Laurent, from whose influence the vogue for trousers could be said to have stemmed, continued to promote them in his spring and fall [1969] collections. ^ (#cite_ref-54) Morris, Bernadine (7 October 1968). "Even the Restaurateurs Concede That Pants are Fashionable" (https://www.nytimes.com/1968/10/07/archives/even-the-restaurateurs-concede-that-pants-are-fashionable.html) . The New York Times : 54 . Retrieved 13 July 2023 . Pants...have the endorsement of...Yves Saint Laurent, who devoted a good part of his last Paris collection to them and now is selling them like blue jeans...The wider cut to the legs has won many adherents. ^ (#cite_ref-55) Morris, Bernadine (4 December 1972). "Pants Have Come a Long Way, and They're Coming Further" (https://www.nytimes.com/1972/12/04/archives/pants-have-come-a-long-way-and-theyre-coming-further.html) . The New York Times : 52 . Retrieved 1 March 2023 . Yves Saint Laurent in Paris gave the [pants-wearing] movement cachet in 1968 when he showed a couture collection that was almost totally pants. The same year Kimberly, the knitwear concern when dresses were the backbone of many conservative American wardrobes, introduced its first pants suits. ^ Jump up to: a b Drake, Alicia (/wiki/Alicia_Drake) . The Beautiful Fall: Lagerfeld, Saint Laurent, and Glorious Excess in 1970s Paris . Little, Brown and Company, 2006. p.49. ^ (#cite_ref-57) "Yves Saint-Laurent" (https://www.imdb.com/name/nm0756721/) . IMDb . Retrieved 30 December 2019 . ^ (#cite_ref-58) Donovan, Carrie (12 November 1978). "Why the Big Change Now" (https://www.nytimes.com/1978/11/12/archives/why-the-big-change-now.html) . The New York Times . p. SM226 . Retrieved 18 November 2021 . ...Yves Saint Laurent — the most influential fashion designer in the world... ^ (#cite_ref-59) Hyde, Nina S. (/wiki/Nina_Hyde) (21 September 1978). "Saint Laurent: On the Scent of a New 'Seduction' (https://www.washingtonpost.com/archive/lifestyle/1978/09/21/saint-laurent-on-the-scent-of-a-new-seduction/8a19f270-4c0b-4dbd-ab8d-2182863ed7f8/) " (https://www.washingtonpost.com/archive/lifestyle/1978/09/21/saint-laurent-on-the-scent-of-a-new-seduction/8a19f270-4c0b-4dbd-ab8d-2182863ed7f8/) . The Washington Post . Retrieved 18 March 2022 . He is the most influential fashion designer in the world... ^ (#cite_ref-60) Morris, Bernadine (12 April 1978). "Saint Laurent: The Clothes are the Message" (https://www.nytimes.com/1978/04/12/archives/saint-laurent-the-clothes-are-the-message.html) . The New York Times . p. C14 . Retrieved 1 December 2021 . The reason why he is the most copied designer in the world is because he looks at the way people live and the way they dress and then tries to make them look a little better. ^ (#cite_ref-61) Mulvagh, Jane (1988). "1968-1975". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 296. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . [Quote from Catherine Deneuve] 'Saint Laurent designs for women with double lives. His day clothes...permit her to go anywhere without attracting unwelcome attention...In the evening..., he makes her seductive.' ^ (#cite_ref-62) Russell, Mary (5 March 1978). "What They're Wearing in Paris, Milan, Tokyo" (https://www.nytimes.com/1978/03/05/archives/what-theyre-wearing-in-paris-milan-tokyo-paris-milan-paris-milan.html?searchResultPosition=12) . The New York Times : AS11 . Retrieved 7 April 2024 . Paris: On the Right Bank, Saint Laurent can be seen in all his glory, worn by women of every age and nationality... ^ (#cite_ref-63) Peake, Andy (2018). "The New Ease in Fashion". Made for Walking . Atglen, Pennsylvania: Schiffer Fashion Press. p. 113. ISBN (/wiki/ISBN_(identifier)) 978-0-7643-5499-1 . ...[I]n 1974,...Saint Laurent created a Russian-themed collection....Saint Laurent's collection featured full skirts that fell below the knees, thick sweaters, capes, quilted gold jackets, velvet and satin knickerbockers, long fur coats and matching fur hats, and a new, and very distinctive, style of knee-length fashion boot...loose-fitting... ^ (#cite_ref-64) Morris, Bernadine (7 April 1976). "Saint Laurent Was Hailed and Adored; For Kenzo, Tumult and Frenzy" (https://www.nytimes.com/1976/04/07/archives/saint-laurent-was-hailed-and-adored-for-kenzo-tumult-and-frenzy.html) . The New York Times . p. 47 . Retrieved 18 February 2022 . Next fall's peasants, according to Saint Laurent, will wear boots and babushkas... ^ (#cite_ref-65) Freund, Andreas (8 August 1976). "The Empire of Saint Laurent" (https://www.nytimes.com/1976/08/08/archives/the-empire-of-saint-laurent.html) . The New York Times . p. 87 . Retrieved 18 February 2022 . The noise about Saint Laurent's big silhouette and folkloric look served to enhance his reputation... ^ (#cite_ref-66) Donovan, Carrie (12 November 1978). "Why the Big Change Now" (https://www.nytimes.com/1978/11/12/archives/why-the-big-change-now.html) . The New York Times . p. 226 . Retrieved 18 November 2021 . What Saint Laurent sprang on the fashion world last January when he introduced man‐tailored suit jackets with shoulders squared out with padding...has now become staple fashion in Italy, France and America. ^ (#cite_ref-67) "1978 Broadway Suit Collection" (https://museeyslparis.com/en/biography/collection-broadway-suit) . Musée Yves Saint Laurent Paris . 'YSL's...mannequin...got ovations every time she sauntered out on the runway in another version of the spencer jacket'. ^ (#cite_ref-68) Howell, Georgina (1978). "1967-68". In Vogue: Sixty Years of Celebrities and Fashion from British Vogue . Harmondsworth, Middlesex, England: Penguin Books Ltd. p. 296. ISBN (/wiki/ISBN_(identifier)) 0-14-00-4955-X . Ossie Clark...turns to the recent past for fawn jersey tailored suits with square shoulders, a forties-through-sixties-eyes look. ^ (#cite_ref-69) Morris, Bernadine (24 July 1970). "Saint Laurent, Ungaro and Dior: Many Styles, No New Look" (https://www.nytimes.com/1970/07/24/archives/saint-laurent-ungaro-and-dior-many-styles-no-new-look.html) . The New York Times : 37 . Retrieved 3 December 2021 . Yves Saint Laurent was good for a few laughs...An obvious tart...sashayed through the salon. She represented the spirit of the nineteen-forties....The first spurts of laughter were followed by nervous reflection....Was Saint Laurent making fun of the nineteen-forties – or the audience? Or was the whole collection one big parody of fashion? ^ (#cite_ref-70) "Saint Laurent Retorts" (https://www.nytimes.com/1971/02/19/archives/saint-laurent-retorts.html) . The New York Times : 30. 19 February 1971 . Retrieved 11 January 2022 . ...[C]ritics...attacked [Yves Saint Laurent's] World War II floozy look...When his mannequins paraded like 1940s streetwalkers..., one critic cried 'hideous' and a...news magazine renamed him 'Yves St. Debacle.'. ^ (#cite_ref-71) Sweetinburgh, Thelma. "Fashion". The 1972 Compton Yearbook: A Summary and Interpretation of the Events of 1971 to Supplement Compton's Encyclopedia . F. E. Compton Co., William Benton. p. 249. ISBN (/wiki/ISBN_(identifier)) 0-85229-169-8 . ...Saint Laurent's 1940's revival had its effect. As it turned out, the tailored style came back, with a slightly lifted shoulderline and wider, more pointed lapels, and the blazer became a mainstay of U.S. fashion in the fall. ^ (#cite_ref-72) Grange, Jacques (21 October 2009). "An Introduction to Château Gabriel" (http://www.christies.com/features/2009-november-introduction-to-chateau-gabriel-by-j-284-1.aspx?languagetypeid=0) . Christie's (/wiki/Christie%27s) . Retrieved 20 October 2014 . ^ (#cite_ref-73) Horyn, Cathy (24 December 2000). "Yves of Destruction" (https://www.nytimes.com/2000/12/24/magazine/yves-of-destruction.html) . The New York Times . ISSN (/wiki/ISSN_(identifier)) 0362-4331 (https://www.worldcat.org/issn/0362-4331) . Retrieved 11 June 2021 . ^ (#cite_ref-74) " (https://www.seattletimes.com/entertainment/movies/saint-laurent-another-view-of-the-great-fashion-designer/) 'Saint Laurent': Another view of the great fashion designer" (https://www.seattletimes.com/entertainment/movies/saint-laurent-another-view-of-the-great-fashion-designer/) . The Seattle Times . 11 June 2015 . Retrieved 11 June 2021 . ^ (#cite_ref-75) Larkin, Kathy. "Fashion". 1979 Collier's Yearbook Covering the Year 1978 . Crown-Collier Publishing Company. pp. 251–252. ...Saint Laurent...confirmed huge shoulders, puffed sleeves to emphasize width further... ^ (#cite_ref-76) Morris, Bernadine (30 August 1981). "The Ultimate Luxury" (https://www.nytimes.com/1981/08/30/magazine/the-ultimate-luxury.html) . The New York Times . p. 206 . Retrieved 6 March 2022 . Saint Laurent emphasized suits that were squared at the top and tapering to the hem, like a triangle standing on its point. ^ (#cite_ref-77) Donovan, Carrie (31 March 1985). "Fashion: Feminine Flourishes" (https://www.nytimes.com/1985/03/31/magazine/fashion-feminine-flourishes.html) . The New York Times . p. 80 . Retrieved 9 March 2022 . Karl Lagerfeld..., Yves Saint Laurent, Emanuel Ungaro and Hubert de Givenchy...continued with their versions of the rather aggressive broad-shouldered silhouette... ^ (#cite_ref-78) Hyde, Nina S. (21 September 1978). "Saint Laurent: On the Scent of a New 'Seduction' (https://www.washingtonpost.com/archive/lifestyle/1978/09/21/saint-laurent-on-the-scent-of-a-new-seduction/8a19f270-4c0b-4dbd-ab8d-2182863ed7f8/) " (https://www.washingtonpost.com/archive/lifestyle/1978/09/21/saint-laurent-on-the-scent-of-a-new-seduction/8a19f270-4c0b-4dbd-ab8d-2182863ed7f8/) . The Washington Post . Retrieved 3 December 2021 . His classics,...he says, 'are the modern things and they are for the future. They are now as good as they can be....The basic things have been made. Now we can stop'. ^ (#cite_ref-79) Russell, Mary (8 April 1979). "Fashion/Beauty Fallout from Paris" (https://www.nytimes.com/1979/04/08/archives/fashionbeauty-fallout-from-paris-fashionbeauty.html) . The New York Times . p. SM19 . Retrieved 3 March 2022 . Yves Saint Laurent has retreated into an autocritical contemplation of his years as the established 'No. 1' of Paris fashion. These days, he is creating refined and rethought versions of his legendary look. ^ (#cite_ref-80) Donovan, Carrie (6 May 1979). "American Designers Come of Age" (https://www.nytimes.com/1979/05/06/archives/fashion-view-american-designers-come-of-age-fashion.html) . The New York Times . p. 254 . Retrieved 4 April 2022 . ...Saint Laurent may have reached the point where he feels that he has made his basic contribution to fashion and that now, like Chanel who kept on and on with her famous suit — he wants to reinforce his legend. ^ (#cite_ref-81) Hyde, Nina (/wiki/Nina_Hyde) (6 December 1983). "YSL" (https://www.washingtonpost.com/archive/lifestyle/1983/12/06/ysl/0952dbbf-dee8-479e-8019-5da58b852276/) . The Washington Post . Retrieved 7 March 2022 . Saint Laurent says the day of big fashion changes is over. What he cares about is refining the classic, the basics, perfecting what he has already put into the fashion vernacular. ^ (#cite_ref-82) Donovan, Carrie (22 June 1986). "Paris Cachet: Infinite Ideas" (https://www.nytimes.com/1986/06/22/magazine/fashion-view-paris-cachet-infinite-ideas.html) . The New York Times . p. 39 . Retrieved 22 June 2022 . Saint Laurent's...ready-to-wear efforts have been slowly sagging season after season. ^ (#cite_ref-83) Cunningham, Bill (1 March 1986). "Bright New Fashion Takes a Brave New Direction". Details . Vol. IV, no. 8. New York, NY: Details Publishing Corp. p. 90. ISSN (/wiki/ISSN_(identifier)) 0740-4921 (https://www.worldcat.org/issn/0740-4921) . Yves Saint Laurent, the acknowledged king of the status quo in Europe, may have been a revolutionary in his early days...Now, however, St. Laurent has imposed a paralyzing primness...that suggests a retreat to the philistine cathedral of acceptable good taste. ^ (#cite_ref-84) Cunningham, Bill (1 March 1988). "Fashionating Rhythm". Details . Vol. VI, no. 8. New York, NY: Details Publishing Corp. p. 121. ISSN (/wiki/ISSN_(identifier)) 0740-4921 (https://www.worldcat.org/issn/0740-4921) . The saddest moment of the spring ready-to-wear collections was the hackneyed offering of Yves Saint Laurent. What a pathetic decline for the former king of world fashion, who dominated design for...twenty years. One couldn't believe that the same man was responsible for what was paraded before the buyers and press. The loss of Saint Laurent's legendary color mixing, the rehash of decade-old designs, the afterthought accessories, left the audience confounded. One wanted to believe that Saint Laurent was not involved....[H]e appeared to have lost a very rare gift – his creative talent. ^ (#cite_ref-85) Hyde, Nina S. (/wiki/Nina_Hyde) (2 April 1980). "The Phases of Yves" (https://www.washingtonpost.com/archive/lifestyle/1980/04/02/the-phases-of-yves/afdcf6c6-c175-4fc5-9800-086051ead849/) . The Washington Post . Retrieved 6 March 2022 . When did he first do the Mondrian styles? When was the first smoking jacket? How about the first tiered challis printed baby dress, the first cowboy styles, the first ruffled peasant styles? If you didn't remember exactly, it didn't matter, since the current versions, while new, look familiar enough to be the original versions. ^ (#cite_ref-86) Hyde, Nina (/wiki/Nina_Hyde) (27 October 1988). "YSL, At the Ready" (https://www.washingtonpost.com/archive/lifestyle/1988/10/27/ysl-at-the-ready/b56f0c3c-33c8-450e-8982-e71c5b806a9c/) . The Washington Post . Retrieved 1 March 2022 . ...Saint Laurent revived things from past collections to assure his customers that they can keep on wearing his styles no matter what the year. ^ (#cite_ref-87) Finley, Ruth, ed. (1 December 1989). "Paris Designer Focus". Fashion International . XVIII (3/4). New York, NY, USA: Fashion International: 5. Yves Saint Laurent shows his signature timeless classics in new and original versions... ^ (#cite_ref-88) Hyde, Nina (/wiki/Nina_Hyde) (6 November 1988). "Clear Signs of Spring" (https://www.washingtonpost.com/archive/lifestyle/1988/11/06/clear-signs-of-spring/6319c770-93d1-4c2c-99e9-d626c4c6aae2/) . The Washington Post . Retrieved 20 August 2022 . Shoulder pads have collapsed in many of the collections, though Yves Saint Laurent makes it all right with the fashion world to keep on wearing them... ^ Jump up to: a b c d e f g Smith, Kennedy (1 August 2021). 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"The unique sell of YSL: Fashion king's art auction" (https://www.independent.co.uk/life-style/fashion/news/the-unique-sell-of-ysl-fashion-king-8217-s-art-auction-1628962.html) . The Independent . Archived (https://ghostarchive.org/archive/20220507/https://www.independent.co.uk/life-style/fashion/news/the-unique-sell-of-ysl-fashion-king-8217-s-art-auction-1628962.html) from the original on 7 May 2022 . Retrieved 10 October 2021 . ^ (#cite_ref-105) Mallard, Anne-Sophie (19 April 2012). "Laetitia Casta in 15 unforgettable runway moments" (https://www.vogue.fr/fashion/fashion-pictures/diaporama/laetitia-castas-top-runway-looks/11499) . Vogue Paris . Retrieved 10 October 2021 . ^ (#cite_ref-106) Zahm, Olivier (Spring 2011). "Laetitia Casta" (https://purple.fr/magazine/ss-2011-issue-15/laetitia-casta/) . Purple Magazine . No. 15 . Retrieved 10 October 2021 . ^ (#cite_ref-107) Thurman, Judith (2008). Cleopatra's Nose: 39 Varieties of Desire . Farrar, Straus and Giroux. p. 281. ISBN (/wiki/ISBN_(identifier)) 978-1-4299-2300-2 . ^ (#cite_ref-108) "Yves Saint Laurent Devient Grand Officier de la Legion D'Honneur !" (http://www.marieclaire.fr/,yves-saint-laurent-devient-grand-officier-de-la-legion-d-honneur,20314,2165.asp) . Marie Claire (in French). 2008 . Retrieved 15 July 2016 . ^ (#cite_ref-109) "Obituary: Yves Saint Laurent" (https://www.telegraph.co.uk/news/obituaries/culture-obituaries/2063264/Obituary-Yves-Saint-Laurent.html) . The Telegraph . 3 June 2008 . Retrieved 15 July 2016 . ^ (#cite_ref-110) "Pierre Bergé – Yves Saint Laurent Foundation | champs-elysees-paris.org" (https://web.archive.org/web/20210611093114/http://www.champs-elysees-paris.org/?p=2505) . www.champs-elysees-paris.org . Archived from the original (http://www.champs-elysees-paris.org/?p=2505) on 11 June 2021 . Retrieved 11 June 2021 . ^ (#cite_ref-111) "Tributes for Yves Saint Laurent" (http://news.bbc.co.uk/1/hi/world/europe/7431715.stm) . BBC News . 2 June 2008 . Retrieved 2 June 2008 . ^ (#cite_ref-112) France Salutes the Ultimate Couturier (https://www.nytimes.com/2008/06/06/world/europe/06ysl.html?_r=1&hp&oref=slogin) New York Times. ^ (#cite_ref-113) "Pierre Bergé: "Yves Died at the Right Time" (http://the-talks.com/interviews/pierre-berge/) " (http://the-talks.com/interviews/pierre-berge/) . The Talks . 22 February 2012. ^ (#cite_ref-114) "Catholic farewell for YSL" (https://web.archive.org/web/20120324112301/http://www.cathnews.com/article.aspx?aeid=7504) . CathNews . 6 June 2008. Archived from the original (http://www.cathnews.com/article.aspx?aeid=7504) on 24 March 2012 . Retrieved 26 January 2012 . ^ (#cite_ref-115) "Empress Farah Pahlavi attends the funeral services of fashion designer Yves Saint Laurent on June 5" (https://web.archive.org/web/20100703022127/http://www.farahpahlavi.org/YVES.html) . Farah Pahlavi website . 5 June 2008. Archived from the original (http://www.farahpahlavi.org/YVES.html) on 3 July 2010 . Retrieved 15 August 2010 . ^ (#cite_ref-116) "Yves Saint Laurent's Ashes Scattered In Marrakesh" (https://www.timesofmalta.com/articles/view/20080612/world-news/yves-saint-laurents-ashes-scattered-in-marrakesh) . Reuters. 12 June 2008 . Retrieved 24 March 2009 . ^ (#cite_ref-117) WW, FashionNetwork com. "Proceeds of Saint Laurent sale to battle AIDS" (https://ww.fashionnetwork.com/news/Proceeds-of-saint-laurent-sale-to-battle-aids,77120.html) . FashionNetwork.com . ^ (#cite_ref-118) "features in upcoming Christie's auctions" (http://www.christies.com/LotFinder/lot_details.aspx?from=salesummary&intObjectID=5157530&sid=1480c942-875b-4d8f-8871-7ef2026f6109) . Christies.com . Retrieved 15 August 2010 . [ dead link ] ^ (#cite_ref-119) "China 'patriot' sabotages auction" (http://news.bbc.co.uk/1/hi/world/asia-pacific/7918128.stm) . BBC News . 2 March 2009 . Retrieved 27 March 2010 . ^ (#cite_ref-120) McDonald, Mark; Vogel, Carol (2 March 2009). "Twist in Sale of Relics Has China Winking" (https://www.nytimes.com/2009/03/03/world/asia/03auction.html) . The New York Times . New York City. ^ (#cite_ref-121) "Looted Bronzes Return To China: Animal Heads Were Taken From Beijing Palace In 1860" (http://www.huffingtonpost.com/2013/06/28/looted-bronzes-return-china_n_3516133.html) . Huffington Post . 28 June 2013 . Retrieved 30 June 2013 . ^ (#cite_ref-122) "Record bids for YSL private art" (http://news.bbc.co.uk/1/hi/world/europe/7905364.stm) . BBC News . 24 February 2009 . Retrieved 27 March 2010 . ^ (#cite_ref-123) "Yves Saint Laurent auction items from Normandy hideaway up for sale" (https://www.telegraph.co.uk/culture/art/artsales/6538688/Yves-Saint-Laurent-auction-items-from-Normandy-hideaway-up-for-sale.html) . The Telegraph . 10 November 2009 . Retrieved 18 May 2011 . ^ (#cite_ref-124) Matthew Miller (27 October 2009). "Top-Earning Dead Celebrities" (https://www.forbes.com/2009/10/27/top-earning-dead-celebrities-list-dead-celebs-09-entertainment_land.html?boxes=listschannelinsidelists) . Forbes . ^ (#cite_ref-125) Métaoui, Fayçal (11 July 2022). "A Oran, la résidence de Yves Saint-Laurent reprend vie - 24H Algérie - Infos - vidéos - opinions" (https://www.24hdz.com/oran-residence-yves-saint-laurent-reprend-vie/) (in French) . Retrieved 16 August 2023 . ^ (#cite_ref-126) "EN IMAGES : Oran, source d'inspiration pour Yves Saint Laurent" (https://www.middleeasteye.net/fr/reportages/algerie-oran-source-inspiration-yves-saint-laurent-mode-culture) . Middle East Eye édition française (in French) . Retrieved 16 August 2023 . ^ (#cite_ref-127) "Yves Saint-Laurent : restauration de sa maison natale à Oran" (https://www.tsa-algerie.com/yves-saint-laurent-restauration-de-sa-maison-natale-a-oran/) . TSA (in French). 5 July 2022 . Retrieved 16 August 2023 . ^ (#cite_ref-128) Yves Saint Laurent: Time Regained (2002) , retrieved 11 June 2021 ^ (#cite_ref-129) Yves Saint Laurent 5, Avenue Marceau 75116 Paris (2002) , retrieved 11 June 2021 ^ (#cite_ref-130) Holden, Steven (12 May 2011). "The Passions and Demons of Yves Saint Laurent" (https://movies.nytimes.com/2011/05/13/movies/lamour-fou-yves-saint-laurent-review.html) . The New York Times . p. C12 . Retrieved 13 May 2011 . ^ (#cite_ref-Yves_Saint_Laurent_Biopic_Wins_Pierre_Bergé's_Approval_131-0) Diderich, Joelle (10 January 2014). "Yves Saint Laurent Biopic Wins Pierre Bergé's Approval" (http://www.wwd.com/eye/people/yves-saint-laurent-biopic-wins-pierre-bergs-approval-7333885?src=nl/wkEye/20140110) . WWD . Retrieved 10 January 2014 . ^ (#cite_ref-132) Saint Laurent (2014) , retrieved 11 June 2021 ^ (#cite_ref-10-25-1965_What's_My_Line_133-0) "10-25-1965 What's My Line" (https://www.youtube.com/watch?v=sfTAMv7ohSM) . YouTube (/wiki/YouTube) . Archived (https://ghostarchive.org/varchive/youtube/20211211/sfTAMv7ohSM) from the original on 11 December 2021 . Retrieved 23 December 2014 . ^ (#cite_ref-134) "Yves Saint Laurent: A Moroccan Passion – Fashion – Abrams & Chronicle" (https://web.archive.org/web/20150402165846/http://www.abramsandchronicle.co.uk/books/fashion/9781419713491-yves-saint-laurent-a-moroccan-passion) . Archived from the original (http://www.abramsandchronicle.co.uk/books/fashion/9781419713491-yves-saint-laurent-a-moroccan-passion) on 2 April 2015 . Retrieved 21 March 2015 . ^ (#cite_ref-135) "Dior by YSL" (https://www.assouline.com/products/dior-by-ysl) . ASSOULINE . ^ (#cite_ref-136) "Yves Saint Laurent: The Impossible Collection" (https://www.assouline.com/products/yves-saint-laurent-the-impossible-collection) . ASSOULINE . Further reading [ edit ] Bergé, Pierre (1997). Yves Saint Laurent: The Universe of Fashion . Rizzoli (/wiki/RCS_MediaGroup) . ISBN (/wiki/ISBN_(identifier)) 0-7893-0067-2 (/wiki/Special:BookSources/0-7893-0067-2) . Milbank, Caroline Rennolds (1985). Couture: The Great Fashion Designers . Thames & Hudson (/wiki/Thames_%26_Hudson) . Rawsthorn, Alice (1996). Yves Saint Laurent: A Biography . Nan A. Talese (/wiki/Nan_Talese) / Doubleday (/wiki/Doubleday_(publisher)) . ISBN (/wiki/ISBN_(identifier)) 0-385-47645-0 (/wiki/Special:BookSources/0-385-47645-0) . External links [ edit ] Wikimedia Commons has media related to Yves Saint Laurent (https://commons.wikimedia.org/wiki/Category:Yves_Saint_Laurent) . Wikiquote has quotations related to Yves Saint Laurent (https://en.wikiquote.org/wiki/Yves_Saint_Laurent) . ysl.com (http://www.ysl.com/) , official Yves Saint Laurent (brand) (/wiki/Yves_Saint_Laurent_(brand)) website Trapèze dresses at Digital Collections at Chicago History Museum (http://digitalcollection.chicagohistory.org/cdm/search/collection/p16029coll3/searchterm/Trap%C3%A8ze) Archived (https://web.archive.org/web/20191012124759/http://digitalcollection.chicagohistory.org/cdm/search/collection/p16029coll3/searchterm/Trap%C3%A8ze) 12 October 2019 at the Wayback Machine (/wiki/Wayback_Machine) "Yves Saint Laurent, legendary designer and Pied Piper of fashion, dies aged 71" (https://www.theguardian.com/lifeandstyle/2008/jun/02/fashion.france1) , The Guardian (/wiki/The_Guardian) : retrospective article "Interactive timeline of couture houses and couturier biographies" (http://www.vam.ac.uk/vastatic/microsites/1486_couture/explore.php) . Victoria and Albert Museum (/wiki/Victoria_and_Albert_Museum) . 29 July 2015. Biography of Yves Saint Laurent (https://web.archive.org/web/20040925151538/http://www.thebiographychannel.co.uk/new_site/biography.php?id=931&showgroup=1087) Yves Saint Laurent Biography (https://web.archive.org/web/20130620015352/http://blogs.palmbeachpost.com/panthers/yves-saint-laurent-biography.html) "Yves Saint Laurent shuts its doors" (http://news.bbc.co.uk/1/hi/world/europe/2383729.stm) – BBC World 31 October 2002 "All About Yves" (https://www.pbs.org/newshour/extra/features/jan-june02/yves.html) Archived (https://web.archive.org/web/20130504175857/http://www.pbs.org/newshour/extra/features/jan-june02/yves.html) 4 May 2013 at the Wayback Machine (/wiki/Wayback_Machine) – Jim Lehrer 16 January 2002 By Jessica Moore "Yves Saint Laurent announces retirement" (https://web.archive.org/web/20050319183624/http://archives.cnn.com/2002/SHOWBIZ/News/01/07/ysl.retires/) – CNN 7 January 2002 "All About Yves: As the incomparable Yves Saint Laurent celebrates his 40th anniversary as a couturier, the world salutes his genius." (https://web.archive.org/web/20000817203312/http://www.time.com/time/magazine/1998/int/980803/the_arts.fashion.all_abo12.html) – Julie K.L. 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French fashion designer (1905–1957) This article is about the fashion designer. For the company, see Dior (/wiki/Dior) . Christian Dior Christian Dior in 1954 Born ( 1905-01-21 ) 21 January 1905 Normandy, France Died 24 October 1957 (1957-10-24) (aged 52) Montecatini Terme (/wiki/Montecatini_Terme) , Tuscany, Italy Alma mater Sciences Po (/wiki/Sciences_Po) [1] (#cite_note-1) Label Christian Dior (/wiki/Dior) Parents Maurice Dior (/wiki/Maurice_Dior) (father) Madeleine Martin (/wiki/Madeleine_Dior) (mother) Relatives Catherine Dior (/wiki/Catherine_Dior) (sister) Françoise Dior (/wiki/Fran%C3%A7oise_Dior) (niece) Christian Ernest Dior ( French: [kʁistjɑ̃ (/wiki/Help:IPA/French) djɔʁ] (/wiki/Help:IPA/French) ; 21 January 1905 – 24 October 1957) was a French fashion designer (/wiki/Fashion_design) and founder of one of the world's top fashion houses, Christian Dior SE (/wiki/Dior) . His fashion house is known all around the world, having gained prominence "on five continents in only a decade." [2] (#cite_note-2) Dior's skills led to his employment and design for various fashion icons in attempts to preserve the fashion industry during World War II (/wiki/World_War_II) . After the war, he founded and established the Dior fashion house, with his collection of the " New Look (/wiki/New_Look_(style_of_clothing)) ". In 1947, the collection debuted featuring rounded shoulders, a cinched waist, and very full skirt. The New Look celebrated ultra-femininity and opulence in women's fashion. Throughout his lifetime, he won numerous awards for Best Costume Design. Upon his death in 1957, contemporary icons paid tribute to his life and work. Early life [ edit ] The Christian Dior Home and Museum in Granville (/wiki/Granville,_Manche) , France Dior was born in Granville (/wiki/Granville,_Manche) , a seaside town on the coast of Normandy (/wiki/Normandy) , France. He was the second of five children born to Maurice Dior (/wiki/Maurice_Dior) , a wealthy fertilizer manufacturer (the family firm was Dior Frères), and his wife, formerly Madeleine Martin (/wiki/Madeleine_Dior) . He had four siblings: Raymond (father of Françoise Dior (/wiki/Fran%C3%A7oise_Dior) ), Jacqueline, Bernard, and Catherine Dior (/wiki/Catherine_Dior) . [3] (#cite_note-Pochna5-3) When Christian was about five years old, the family moved to Paris. [4] (#cite_note-bibby-4) Dior's family had hoped he would become a diplomat, but Dior was interested in art. [5] (#cite_note-5) To make money, he sold his fashion sketches outside his house for about 10 cents each ($2 in 2023 dollars [6] (#cite_note-inflation-US-6) ). In 1928, he left school and received money from his father to finance a small art gallery, where he and a friend sold art by the likes of Pablo Picasso (/wiki/Pablo_Picasso) . The gallery closed three years later, following the deaths of Dior's mother and brother, as well as financial trouble during the Great Depression (/wiki/Great_Depression) that resulted in his father losing control of the family business. [7] (#cite_note-7) [8] (#cite_note-boa-8) Dior had no choice but to find another source of income to support himself. [8] (#cite_note-boa-8) In search of work, Dior again created and sold fashion sketches. Those sketches were discovered by Robert Piguet (/wiki/Robert_Piguet) . [9] (#cite_note-9) From 1937, Dior was employed by fashion designer Piguet, who gave him the opportunity to design for three collections. [10] (#cite_note-marly-10) [11] (#cite_note-pochna2-11) Dior later said that "Robert Piguet taught me the virtues of simplicity through which true elegance must come." [12] (#cite_note-quin-12) [13] (#cite_note-13) One of his original designs for Piguet, a day dress with a short, full skirt that was in his collection called "Cafe Anglais", was particularly well-received. [10] (#cite_note-marly-10) [11] (#cite_note-pochna2-11) Whilst at Piguet, Dior worked alongside Pierre Balmain (/wiki/Pierre_Balmain) , and was succeeded as house designer by Marc Bohan (/wiki/Marc_Bohan) – who would, in 1960, become head of design for Christian Dior Paris. [11] (#cite_note-pochna2-11) Dior left Piguet when he was called up for military service. [4] (#cite_note-bibby-4) In 1942, when Dior left the army, he joined the fashion house of Lucien Lelong (/wiki/Lucien_Lelong) , where he and Balmain were the primary designers. For the duration of World War II, Dior, as an employee of Lelong, designed dresses for the wives of Nazi officers and French collaborators, as did other fashion houses that remained in business during the war, including Jean Patou (/wiki/Jean_Patou) , Jeanne Lanvin (/wiki/Jeanne_Lanvin) , and Nina Ricci (/wiki/Nina_Ricci_(brand)) . [14] (#cite_note-14) [15] (#cite_note-15) His sister, Catherine (1917–2008), a member of the French Resistance (/wiki/French_Resistance) , was captured by the Gestapo (/wiki/Gestapo) and sent to the Ravensbrück concentration camp (/wiki/Ravensbr%C3%BCck_concentration_camp) , where she was incarcerated until her liberation in May 1945. [16] (#cite_note-16) In 1947, Dior named his debut fragrance Miss Dior (/wiki/Miss_Dior) in tribute to her. [17] (#cite_note-17) [18] (#cite_note-18) Dior was known for being superstitious. He often consulted his astrologer before making decisions, and his collections frequently featured talismanic symbols. He also carried a cluster of lucky charms with him, believing they brought him good fortune. [19] (#cite_note-19) The Dior fashion house [ edit ] The "Bar Suit" on display at the Denver Art Museum (/wiki/Denver_Art_Museum) (2019) In 1946, Marcel Boussac (/wiki/Marcel_Boussac) , a successful entrepreneur, invited Dior to design for Philippe et Gaston (/wiki/Philippe_et_Gaston) , a Paris fashion house launched in 1925. [20] (#cite_note-rom-20) Dior refused, wishing to make a fresh start under his own name rather than reviving an old brand. [21] (#cite_note-pochna-21) In 1946, with Boussac's backing, Dior founded his fashion house. The name of the line of his first collection, presented on 12 February 1947, [22] (#cite_note-22) was Corolle (literally the botanical term corolla or circlet of flower petals in English). Dior's debut collection included a launch of 90 garments displayed in outfits. [23] (#cite_note-sowray2012-23) The phrase New Look was coined for it by Carmel Snow (/wiki/Carmel_Snow) , the editor-in-chief of Harper's Bazaar (/wiki/Harper%27s_Bazaar) . [4] (#cite_note-bibby-4) Dior's designs were more voluptuous than the boxy, fabric-conserving shapes of the recent World War II styles that had been influenced by the wartime rationing of fabric (/wiki/Fabric) . [24] (#cite_note-24) Despite being called "New," the Corolle line was clearly drawn from styles of the Edwardian era (/wiki/Edwardian_era) , [25] (#cite_note-25) [26] (#cite_note-26) [27] (#cite_note-27) refining and crystallizing trends in skirt shape and waistline that had been burgeoning in high fashion since the late 1930s. [28] (#cite_note-28) [29] (#cite_note-29) [30] (#cite_note-30) The house employed Pierre Cardin (/wiki/Pierre_Cardin) as head of its tailoring atelier for the first three years of its existence, [31] (#cite_note-31) and it was Cardin who designed one of the most popular of the Corolle ensembles, the 1947 Bar suit. [32] (#cite_note-32) The " New Look (/wiki/The_New_Look_(style)) " revolutionized women's dress, reestablished Paris (/wiki/Paris) as the centre of the fashion world after World War II (/wiki/World_War_II) , [33] (#cite_note-33) [34] (#cite_note-34) and made Dior a virtual arbiter of fashion for much of the following decade. [35] (#cite_note-35) Dior's collection was an inspiration to many women post-war and helped them regain their love for fashion. [36] (#cite_note-36) Each season featured a newly titled Dior "line," in the manner of 1947's "Corolle" line, that would be trumpeted in the fashion press: [37] (#cite_note-37) the Envol [38] (#cite_note-38) [39] (#cite_note-39) and Cyclone/Zigzag lines [40] (#cite_note-40) in 1948; the Trompe l'Oeil [41] (#cite_note-41) [42] (#cite_note-42) and Mid-Century lines [43] (#cite_note-43) in 1949; the Vertical [44] (#cite_note-44) [45] (#cite_note-45) and Oblique lines [46] (#cite_note-46) [47] (#cite_note-47) in 1950; the Oval [48] (#cite_note-48) and Longue/Princesse [49] (#cite_note-49) [50] (#cite_note-50) lines in 1951; the Sinueuse [51] (#cite_note-51) and Profilėe [52] (#cite_note-52) [53] (#cite_note-53) lines in 1952; the Tulipe [54] (#cite_note-54) [55] (#cite_note-55) and Vivante/Cupola lines [56] (#cite_note-56) [57] (#cite_note-57) in 1953; the Muguet/Lily of the Valley line [58] (#cite_note-58) and H-Line [59] (#cite_note-59) in 1954; the A-Line [60] (#cite_note-60) [61] (#cite_note-61) [62] (#cite_note-62) and Y-Line [63] (#cite_note-63) in 1955; the Flèche/Arrow [64] (#cite_note-64) and Aimant/Magnet lines [65] (#cite_note-65) in 1956; and the Libre/Free [66] (#cite_note-66) and Fuseau/Spindle lines [67] (#cite_note-67) [68] (#cite_note-68) in 1957, followed by successor Yves Saint Laurent (/wiki/Yves_Saint_Laurent_(designer)) 's Trapeze line in 1958. [69] (#cite_note-69) [70] (#cite_note-70) In 1955, 19-year-old Yves Saint Laurent (/wiki/Yves_Saint_Laurent_(designer)) became Dior's design assistant. Dior told Saint Laurent's mother in 1957 that he had chosen Saint Laurent to succeed him at Dior. She indicated later that she was confused by the remark, as Dior was only 52 at the time. [23] (#cite_note-sowray2012-23) Death [ edit ] Dior died of a sudden heart attack while on vacation in Montecatini, Italy, on 24 October 1957 in the late afternoon while playing a game of cards. [71] (#cite_note-time-71) He was survived by Jacques Benita, a North African singer three decades his junior, the last of a number of discreet male lovers. [72] (#cite_note-72) [73] (#cite_note-NYT_2002-73) [74] (#cite_note-74) Awards and honors [ edit ] Dior on a Romanian stamp (2005) Dior was nominated for the 1955 Academy Award (/wiki/27th_Academy_Awards) for Best Costume Design (/wiki/Academy_Award_for_Best_Costume_Design) in black and white for the Terminal Station (/wiki/Terminal_Station_(film)) directed by Vittorio De Sica (/wiki/Vittorio_De_Sica) (1953). He was also nominated in 1967 for a BAFTA (/wiki/BAFTA) for Best British Costume (Colour) for the Arabesque (/wiki/Arabesque_(1966_film)) directed by Stanley Donen (/wiki/Stanley_Donen) (1966). [75] (#cite_note-75) For the 11th César Awards (/wiki/11th_C%C3%A9sar_Awards) in 1986, he was nominated for Best Costume Design (Meilleurs costumes) for the 1985 film Bras de fer . [76] (#cite_note-76) See also [ edit ] Château de La Colle Noire (/wiki/Ch%C3%A2teau_de_La_Colle_Noire) References [ edit ] ^ (#cite_ref-1) Nowinski, Elodie (10 August 2015). "Christian Dior: A Passion for Beauty" (https://www.sciencespo.fr/en/news/christian-dior-passion-beauty/) . Sciences Po . Retrieved 18 February 2024 . ^ (#cite_ref-2) "The History of the House of Dior" (https://www.crfashionbook.com/fashion/a25167232/the-history-of-the-house-of-dior/) . 20 November 2018. [ permanent dead link ] [ dead link ] ^ (#cite_ref-Pochna5_3-0) Pochna, M-F. (1996). Christian Dior: The Man Who Made the World Look New p. 5, Arcade Publishing. ISBN (/wiki/ISBN_(identifier)) 1-55970-340-7 (/wiki/Special:BookSources/1-55970-340-7) . ^ Jump up to: a b c Sowray, Bibby (5 April 2012). "Biography: Christian Dior" (https://www.vogue.co.uk/article/christian-dior) . Vogue . Retrieved 28 February 2024 . ^ (#cite_ref-5) Pochna, Marie-France (1996). Christian Dior: The Man Who Made the World Look New (1st English language ed.). New York: Arcade Pub. p. 207 (https://archive.org/details/christiandiorman00poch/page/207) . ISBN (/wiki/ISBN_(identifier)) 1-55970-340-7 . ^ (#cite_ref-inflation-US_6-0) 1634–1699: McCusker, J. J. (/wiki/John_J._McCusker) (1997). How Much Is That in Real Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy of the United States: Addenda et Corrigenda (PDF) . American Antiquarian Society (/wiki/American_Antiquarian_Society) . 1700–1799: McCusker, J. J. (/wiki/John_J._McCusker) (1992). How Much Is That in Real Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy of the United States (PDF) . American Antiquarian Society (/wiki/American_Antiquarian_Society) . 1800–present: Federal Reserve Bank of Minneapolis. "Consumer Price Index (estimate) 1800–" (https://www.minneapolisfed.org/about-us/monetary-policy/inflation-calculator/consumer-price-index-1800-) . Retrieved 29 February 2024 . ^ (#cite_ref-7) Cooper, Leah Faye (1 July 2022). "How Christian Dior Pioneered 75 Years of Feminist Fashion" (https://www.vanityfair.com/style/2022/07/christian-dior-feminist-fashion) . Vanity Fair . ^ Jump up to: a b "Christian Dior (1905-1957)" (https://www.businessoffashion.com/articles/news-analysis/christian-dior-1905-1957/) . The Business of Fashion . 23 November 2015 . Retrieved 14 May 2023 . ^ (#cite_ref-9) "Christian Dior (1905-1957)" (https://www.businessoffashion.com/articles/news-analysis/christian-dior-1905-1957/) . The Business of Fashion . 23 November 2015 . Retrieved 14 May 2023 . ^ Jump up to: a b Marly, Diana de (1990). Christian Dior . London: B.T. Batsford. p. 12. ISBN (/wiki/ISBN_(identifier)) 978-0-7134-6453-5 . Dior designed three collections while at Piguet's, and the most famous dress he created then was the Cafe Anglais ^ Jump up to: a b c Pochna, Marie-France (1996). Christian Dior: The Man Who Made the World Look New . Translated by Savill, Joanna (1st English language ed.). New York: Arcade Pub. pp. 62 (https://archive.org/details/christiandiorman00poch/page/62) , 72, 74, 80, 102. ISBN (/wiki/ISBN_(identifier)) 978-1-55970-340-6 . Robert Piguet. ^ (#cite_ref-quin_12-0) Grainger, Nathalie (2010). Quintessentially Perfume . London: Quintessentially Pub. Ltd. p. 125. ISBN (/wiki/ISBN_(identifier)) 978-0-9558270-6-8 . ^ (#cite_ref-13) Picken, Mary Brooks; Dora Loues Miller (1956). Dressmakers of France: The Who, How, and why of the French Couture . Harper. p. 105. ^ (#cite_ref-14) Jayne Sheridan, Fashion, Media, Promotion: The New Black Magic (John Wiley & Sons, 2010), p. 44. ^ (#cite_ref-15) Yuniya Kawamura, The Japanese Revolution in Fashion (Berg Publishers, 2004), page 46. As quoted in the book, Lelong was a leading force in keeping the French fashion industry from being forcibly moved to Berlin, arguing, "You can impose anything upon us by force, but Paris couture cannot be uprooted, neither as a whole or in any part. Either it stays in Paris, or it does not exist. It is not within the power of any nation to steal fashion creativity, for not only does it function quite spontaneously, also it is the product of a tradition maintained by a large body of skilled men and women in a variety of crafts and trades." Kawamura explains that the survival of the French fashion industry was critical to the survival of France, stating, "Export of a single dress by a leading couturier enabled the country to buy ten tons of coal, and a liter of perfume was worth two tons of petrol" (page 46). ^ (#cite_ref-16) Sereny, Gitta (2002). The Healing Wound: Experiences and Reflections, Germany, 1938–2001 . New York: W. W. Norton & Company. pp. 15–16 (https://archive.org/details/healingwoundexpe00sere/page/15) . ISBN (/wiki/ISBN_(identifier)) 0-393-04428-9 . ^ (#cite_ref-17) Ranscombe, Sian (7 November 2017). "An exclusive interview with the nose behind the new Miss Dior perfume" (https://www.harpersbazaar.com/uk/beauty/fragrance/a13330467/miss-dior-perfumer-francois-demachy-interview/) . Harper's Bazaar . Retrieved 18 February 2024 . ^ (#cite_ref-18) Pithers, Ellie (12 November 2013). "Who was the original Miss Dior?" (http://fashion.telegraph.co.uk/beauty/news-features/TMG10443967/Who-was-the-original-Miss-Dior.html) . The Telegraph . Retrieved 18 February 2024 . ^ (#cite_ref-19) Picardie, Justine (11 September 2021). "How superstition and clairvoyants influenced fashion designers from Christian Dior to Coco Chanel" (https://www.telegraph.co.uk/luxury/womens-style/superstition-clairvoyants-influenced-fashion-designers-christian) . The Telegraph . Retrieved 28 September 2023 . ^ (#cite_ref-rom_20-0) Palmer, Alexandra (Spring 2010). "Dior's Scandalous New Look" (https://www.rom.on.ca/en/collections-research/books-magazine/rom-magazine/spring-2010/article/diors-scandalous-new-look) . ROM Magazine . Royal Ontario Museum (/wiki/Royal_Ontario_Museum) . Retrieved 6 November 2015 . ^ (#cite_ref-pochna_21-0) Pochna, Marie-France (1996). Christian Dior: The Man Who Made the World Look New . Translated by Savill, Joanna (1st English language ed.). New York: Arcade Pub. pp. 90 (https://archive.org/details/christiandiorman00poch/page/90) –92. ISBN (/wiki/ISBN_(identifier)) 978-1-55970-340-6 . ^ (#cite_ref-22) Company History at Dior's website (http://www.dior-finance.com/en/historique.asp) Archived (https://web.archive.org/web/20081107025618/http://www.dior-finance.com/en/historique.asp) 7 November 2008 at the Wayback Machine (/wiki/Wayback_Machine) ^ Jump up to: a b Sowray, Bibby (5 April 2012). "Christian Dior" (https://www.vogue.co.uk/article/christian-dior) . British Vogue . Retrieved 4 June 2020 . ^ (#cite_ref-24) Grant, L. (22 September 2007). "Light at the end of the tunnel" (https://www.theguardian.com/lifeandstyle/2007/sep/22/fashion.features) . The Guardian, Life & Style . London . Retrieved 11 November 2013 . ^ (#cite_ref-25) Morris, Bernadine (29 July 1976). "A Revolutionary Saint Laurent Showing" (https://www.nytimes.com/1976/07/29/archives/a-revolutionary-saint-laurent-showing.html) . The New York Times (/wiki/The_New_York_Times) : 65 . Retrieved 16 March 2022 . [T]he collection Christian Dior showed in 1947 ... was Edwardian ^ (#cite_ref-26) Mulvagh, Jane (1988). "1946-1956". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. pp. 180–181. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . Dior's New Look was still relying on old-fashioned underpinnings like boned corsetry ... Fashion ... reviv[ed] the mock-Edwardian style first presented in the late thirties. ... [Dior's] tighter waists, longer, fuller skirts and more pronounced hips were in fact the maximization of an old style ^ (#cite_ref-27) "Christian Dior Cuts Skirt Length in Move Disrupting Couture World" (https://www.nytimes.com/1948/02/10/archives/christian-dior-cuts-skirt-length-in-move-disrupting-couture-world.html) . The New York Times : 28. 10 February 1948. As in 1900, horizontal strips of tucked lawn, lace insertion and Valenciennes ruching alternate from décolletage to hem... ^ (#cite_ref-28) Mulvagh, Jane (1988). "1947". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 194. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . [T]he trend towards longer skirts, smaller waists and feminine lines had begun in the late thirties and was seen in America in the early forties; hence Dior was not the originator of this mode, but its rejuvenator and popularist. ^ (#cite_ref-29) Snow, Carmel (1948). "Fashion and Dress". 1948 Britannica Book of the Year: A Record of the March of Events of 1947 . Encyclopaedia Britannica, Inc. p. 321. ...[Christian Dior's] designs...crystallized and dramatized a trend that had started before World War II, but was interrupted by the exigencies of wartime conservation. ^ (#cite_ref-30) Cunningham, Bill (1 March 1988). "Fashionating Rhythm". Details . VI (8). New York, NY: Details Publishing Corp.: 121. ISSN (/wiki/ISSN_(identifier)) 0740-4921 (https://www.worldcat.org/issn/0740-4921) . Each of the major fashion changes that mark a season is the result of a series of creative designers adding essential elements to the overall picture. The eventual credit for the genius is often given to the designer who articulated the look with commercial success, such as Dior achieved with his 1947 New Look, although it had been seen in small prototypes at Balenciaga in the early Forties and at other Paris houses just before the war. ^ (#cite_ref-31) "Cardin First Struck Gold with Suit Made for Dior" (https://www.nytimes.com/1958/08/07/archives/cardin-first-struck-gold-with-suit-made-for-dior.html) . The New York Times : 22. 27 August 1958 . Retrieved 5 April 2023 . Cocteau and Berard...introduced...Cardin to [Dior,] who was...preparing his first fashion collection...Cardin designed, cut, and made a coat and a suit. He showed them to Dior, who...enrolled him on his team....Cardin spent three...years at Dior... ^ (#cite_ref-32) "Cardin First Struck Gold with Suit Made for Dior" (https://www.nytimes.com/1958/08/07/archives/cardin-first-struck-gold-with-suit-made-for-dior.html) . The New York Times : 22. 27 August 1958 . Retrieved 5 April 2023 . ...Cardin...designed one of the most successful models...a suit called 'Bar,' which buyers the world over bought. ^ (#cite_ref-33) Morris, Bernadine (14 April 1981). "How Paris Kept Position in Fashion" (https://www.nytimes.com/1981/04/14/style/how-paris-kept-position-in-fashion.html) . The New York Times : B19 . Retrieved 4 April 2022 . Dior's bombshell brought manufacturers as well as store buyers rushing back to the City of Light as they sought to interpret his inspirational designs for their own clients....Throughout the 1950s, Paris was acclaimed as the source of fashion, and Dior's success helped stave off the development of other independent style centers for at least a decade. ^ (#cite_ref-34) "Christian Dior – Fashionsizzle" (https://fashionsizzle.com/2014/01/12/christian-dior/) . fashionsizzle.com . 12 January 2014 . Retrieved 2 November 2017 . ^ (#cite_ref-35) Howell, Georgina (1978). "1948-1959". In Vogue: Sixty Years of Celebrities and Fashion from British Vogue . Harmondsworth, Middlesex, England: Penguin Books Ltd. p. 204. ISBN (/wiki/ISBN_(identifier)) 0-14-004955-X . Women obeyed Paris because of Christian Dior. ^ (#cite_ref-36) "Christian Dior (1905-1957)" (https://www.businessoffashion.com/articles/news-analysis/christian-dior-1905-1957/) . The Business of Fashion . 23 November 2015 . Retrieved 14 May 2023 . ^ (#cite_ref-37) Radieva, Krasimira (1 March 2019). "An Investigation of the Silhouettes of Christian Dior" (https://www.academia.edu/81000093) . Artte . 7 (3): 169–173. doi (/wiki/Doi_(identifier)) : 10.15547/artte.2019.03.002 (https://doi.org/10.15547%2Fartte.2019.03.002) . ISSN (/wiki/ISSN_(identifier)) 1314-8796 (https://www.worldcat.org/issn/1314-8796) . S2CID (/wiki/S2CID_(identifier)) 213675775 (https://api.semanticscholar.org/CorpusID:213675775) . Retrieved 5 May 2023 . ^ (#cite_ref-38) Howell, Georgina (1978). "1948-49". In Vogue: Sixty Years of Celebrities and Fashion from British Vogue . Harmondsworth, Middlesex, England: Penguin Books Ltd. p. 221. ISBN (/wiki/ISBN_(identifier)) 0-14-004955-X . ...Dior produces his 'envol' line, superimposing an angle of fullness upon an arrow-thin sheath. ^ (#cite_ref-39) Mulvagh, Jane (1988). "1948". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 200. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . Dior introduced the 'Envol' line, which featured jutting wings and accentuated back interest. ^ (#cite_ref-40) Mulvagh, Jane (1988). "1948". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 202. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . Dior's autumn collection was entitled 'Zig Zag'. It emphasized an asymmetrical line... ^ (#cite_ref-41) Mulvagh, Jane (1988). "1949". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 205. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . Dior showed...an ample silhouette, with soft bulk in the skirt or torso, neatly belted in. This was an extension of his New Look. He used trompe-l'oeil devices... ^ (#cite_ref-42) Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior" (https://www.academia.edu/81000093) . Artte . 7 (3): 170. doi (/wiki/Doi_(identifier)) : 10.15547/artte.2019.03.002 (https://doi.org/10.15547%2Fartte.2019.03.002) . ISSN (/wiki/ISSN_(identifier)) 1314-8796 (https://www.worldcat.org/issn/1314-8796) . Retrieved 23 May 2023 . In his Trompe l'oeil collection, Dior used all sorts of tricks to make busts look wider...[H]e put flying panels or pleats on nearly every skirt; when standing still, the figure looked slender and lean, but with movement the panels fluttered and flew. ^ (#cite_ref-43) Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior" (https://www.academia.edu/81000093) . Artte . 7 (3): 170. doi (/wiki/Doi_(identifier)) : 10.15547/artte.2019.03.002 (https://doi.org/10.15547%2Fartte.2019.03.002) . ISSN (/wiki/ISSN_(identifier)) 1314-8796 (https://www.worldcat.org/issn/1314-8796) . Retrieved 23 May 2023 . Dior's Autumn Collection was called the Mid-Century look. The new Dior dresses and suits were softly bloused on top with tiny belted waists and pencil skirts... ^ (#cite_ref-44) Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior" (https://www.academia.edu/81000093) . Artte . 7 (3): 170. doi (/wiki/Doi_(identifier)) : 10.15547/artte.2019.03.002 (https://doi.org/10.15547%2Fartte.2019.03.002) . ISSN (/wiki/ISSN_(identifier)) 1314-8796 (https://www.worldcat.org/issn/1314-8796) . Retrieved 23 May 2023 . The first new look of the fifties was Dior's Vertical Line....Dior was aiming at...the look of a straight line between shoulder and hip... ^ (#cite_ref-45) Mulvagh, Jane (1988). "1950". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 209. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . The designers of the most uncompromising sheaths were Dior, with his 'Vertical' line... ^ (#cite_ref-46) Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior" (https://www.academia.edu/81000093) . Artte . 7 (3): 171. doi (/wiki/Doi_(identifier)) : 10.15547/artte.2019.03.002 (https://doi.org/10.15547%2Fartte.2019.03.002) . ISSN (/wiki/ISSN_(identifier)) 1314-8796 (https://www.worldcat.org/issn/1314-8796) . Retrieved 23 May 2023 . Dior stayed with geometry for his...Oblique line. There were...asymmetrical necklines and bodices...[T]ucks and seams spiraled around the body. ^ (#cite_ref-47) Mulvagh, Jane (1988). "1950". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 209. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . Dior uses a stole cut in one with the jacket to achieve the oblique line on his grey flannel suit. ^ (#cite_ref-48) Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior" (https://www.academia.edu/81000093) . Artte . 7 (3): 171. doi (/wiki/Doi_(identifier)) : 10.15547/artte.2019.03.002 (https://doi.org/10.15547%2Fartte.2019.03.002) . ISSN (/wiki/ISSN_(identifier)) 1314-8796 (https://www.worldcat.org/issn/1314-8796) . Retrieved 23 May 2023 . The Oval line[:]...[e]very edge was rounded: suits hugged the body...; shoulders...smoothed into sleeves...; and hips and breasts were gently molded. Sleeves...curved at the top...Dior...used a simple mandarin neck-band – and jackets were rounded off at the front....He introduced a new, snug bolero jacket that...stopped just below the bust. ^ (#cite_ref-49) Howell, Georgina (1978). "1951-52". In Vogue: Sixty Years of Celebrities and Fashion from British Vogue . Harmondsworth, Middlesex, England: Penguin Books Ltd. p. 227. ISBN (/wiki/ISBN_(identifier)) 0-14-004955-X . This is Dior's first collection without stiffened and padded underlinings, and he launches his immediately successful 'princess' line with dresses fitted through the midriff, waist unmarked. ^ (#cite_ref-50) Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior" (https://www.academia.edu/81000093) . Artte . 7 (3): 171. doi (/wiki/Doi_(identifier)) : 10.15547/artte.2019.03.002 (https://doi.org/10.15547%2Fartte.2019.03.002) . ISSN (/wiki/ISSN_(identifier)) 1314-8796 (https://www.worldcat.org/issn/1314-8796) . Retrieved 23 May 2023 . ...[T]he Long line was soon christened the Princess line...[F]or the Princess line, the waist...stayed where it was...[T]he illusion of a high waist was given by...putting short bolero jackets...over dresses, or by placing a seam under the bust..., or by attaching a half-belt high up across the back...Skirts were fractionally longer to emphasize this long line... ^ (#cite_ref-51) Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior" (https://www.academia.edu/81000093) . Artte . 7 (3): 171. doi (/wiki/Doi_(identifier)) : 10.15547/artte.2019.03.002 (https://doi.org/10.15547%2Fartte.2019.03.002) . ISSN (/wiki/ISSN_(identifier)) 1314-8796 (https://www.worldcat.org/issn/1314-8796) . Retrieved 23 May 2023 . ...the Sinuous line: soft, fluid clothes that moved with the body...The sweater look consisted of...a soft cardigan jacket, a simple little top...and gentle skirt. ^ (#cite_ref-52) Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior" (https://www.academia.edu/81000093) . Artte . 7 (3): 171. doi (/wiki/Doi_(identifier)) : 10.15547/artte.2019.03.002 (https://doi.org/10.15547%2Fartte.2019.03.002) . ISSN (/wiki/ISSN_(identifier)) 1314-8796 (https://www.worldcat.org/issn/1314-8796) . Retrieved 23 May 2023 . ...[T]he Profile line...was sharper and more defined...[T]he clothes were simpler...and cut to outline the body in a dramatic way....[H]e invented a...skirt...constructed to jut out over the hips. ^ (#cite_ref-53) Mulvagh, Jane (1988). "1952". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 219. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . Dior's jutting 'Profile'-line dress..., which stands out as two points of a square at the front and two at the back. ^ (#cite_ref-54) Howell, Georgina (1978). "1953". In Vogue: Sixty Years of Celebrities and Fashion from British Vogue . Harmondsworth, Middlesex, England: Penguin Books Ltd. p. 230. ISBN (/wiki/ISBN_(identifier)) 0-14-004955-X . Dior reintroduces padding over the bust with his 'tulip' line... ^ (#cite_ref-55) Mulvagh, Jane (1988). "1953". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 223. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . Dior showed his 'Tulip' line, the long body rounding out over the bust and shoulders in petal-shaped curves. ^ (#cite_ref-56) Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior" (https://www.academia.edu/81000093) . Artte . 7 (3): 172. doi (/wiki/Doi_(identifier)) : 10.15547/artte.2019.03.002 (https://doi.org/10.15547%2Fartte.2019.03.002) . ISSN (/wiki/ISSN_(identifier)) 1314-8796 (https://www.worldcat.org/issn/1314-8796) . Retrieved 23 May 2023 . Dior called his Autumn Collection the Cupola, or Dome, line; there were wide, barrel-shaped coats and jackets with exaggeratedly round shoulders,...dresses with full busts and bell skirts, and a...rounded 'bustle' back for evening dresses...Princess dresses...with waists less marked...He raised the hemline by two inches... ^ (#cite_ref-57) Mulvagh, Jane (1988). "1953". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 224. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . The headline news from Paris this autumn was Dior's skirt – some 16 inches from the ground....Dior offset the rise in hemline by raising the bustline to create an unbroken line,...giving an illusion of length. ^ (#cite_ref-58) Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior" (https://www.academia.edu/81000093) . Artte . 7 (3): 172. doi (/wiki/Doi_(identifier)) : 10.15547/artte.2019.03.002 (https://doi.org/10.15547%2Fartte.2019.03.002) . ISSN (/wiki/ISSN_(identifier)) 1314-8796 (https://www.worldcat.org/issn/1314-8796) . Retrieved 23 May 2023 . [Dior] called [his spring collection] his Lily of the Valley line. There were relaxed...suits with pleated skirts and short, sailor-collared jackets....The waist was less emphasized than ever before. ^ (#cite_ref-59) Mulvagh, Jane (1988). "1954". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 228. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . Dior's 'H' line suggested 'the tapering figure of a young girl' by increasing the distance between the hips and the bust....His dresses featured...bodices...which flattened the bust... ^ (#cite_ref-60) Howell, Georgina (1978). "1955". In Vogue: Sixty Years of Celebrities and Fashion from British Vogue . Harmondsworth, Middlesex, England: Penguin Books Ltd. p. 239. ISBN (/wiki/ISBN_(identifier)) 0-14-004955-X . Dior produces his new A line, a triangle widened from a small head and shoulders to a full pleated or stiffened hem. ^ (#cite_ref-61) Mulvagh, Jane (1988). "1955". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 230. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . Dior evolved last year's 'H' line into the 'A' line, which was commercially successful and widely adopted. The 'A' line...flared out into wide triangles from narrow shoulders. ^ (#cite_ref-62) Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior" (https://www.academia.edu/81000093) . Artte . 7 (3): 172. doi (/wiki/Doi_(identifier)) : 10.15547/artte.2019.03.002 (https://doi.org/10.15547%2Fartte.2019.03.002) . ISSN (/wiki/ISSN_(identifier)) 1314-8796 (https://www.worldcat.org/issn/1314-8796) . Retrieved 23 May 2023 . The A line and its predecessor, the H line, were revolutionary. They marked a complete U-turn in fashion away from the nipped-in waists and full skirts of the New Look to a sleeker, almost waistless shape... ^ (#cite_ref-63) Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior" (https://www.academia.edu/81000093) . Artte . 7 (3): 172. doi (/wiki/Doi_(identifier)) : 10.15547/artte.2019.03.002 (https://doi.org/10.15547%2Fartte.2019.03.002) . ISSN (/wiki/ISSN_(identifier)) 1314-8796 (https://www.worldcat.org/issn/1314-8796) . Retrieved 23 May 2023 . The Y line...was defined as a slender body with a top-heavy look....The Y could be upside-down too: long tunics with deep slits up the sides. These were...waistless and easy... ^ (#cite_ref-64) Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior" (https://www.academia.edu/81000093) . Artte . 7 (3): 172. doi (/wiki/Doi_(identifier)) : 10.15547/artte.2019.03.002 (https://doi.org/10.15547%2Fartte.2019.03.002) . ISSN (/wiki/ISSN_(identifier)) 1314-8796 (https://www.worldcat.org/issn/1314-8796) . Retrieved 23 May 2023 . ...[T]he Arrow line...showed two new versions of the high waist that he had loved since his Princesse line....[T]here were...jackets...chopped off above the waist to show the belt of the dress underneath, and...loose cut jackets caught in with a belt or sash well above the waist and worn over slim skirts. ^ (#cite_ref-65) Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior" (https://www.academia.edu/81000093) . Artte . 7 (3): 173. doi (/wiki/Doi_(identifier)) : 10.15547/artte.2019.03.002 (https://doi.org/10.15547%2Fartte.2019.03.002) . ISSN (/wiki/ISSN_(identifier)) 1314-8796 (https://www.worldcat.org/issn/1314-8796) . Retrieved 23 May 2023 . ...[Dior] produced daytime suits with skirts as long as those of an Edwardian lady. The new line was called Aimant, or Loving... ^ (#cite_ref-66) Radieva, Krasimira (2 March 2019). "An Investigation of the Silhouettes of Christian Dior" (https://www.academia.edu/81000093) . Artte . 7 (3): 173. doi (/wiki/Doi_(identifier)) : 10.15547/artte.2019.03.002 (https://doi.org/10.15547%2Fartte.2019.03.002) . ISSN (/wiki/ISSN_(identifier)) 1314-8796 (https://www.worldcat.org/issn/1314-8796) . Retrieved 23 May 2023 . ...Dior based much of his Libre line on two classic items of clothing[:]...the vareuse, or fishermen's smock,...and...the khaki bush jacket ^ (#cite_ref-67) Howell, Georgina (1978). "1956-57". In Vogue: Sixty Years of Celebrities and Fashion from British Vogue . Harmondsworth, Middlesex, England: Penguin Books Ltd. p. 242. ISBN (/wiki/ISBN_(identifier)) 0-14-004955-X . ...Dior's last collection leaves a legacy, the waistless shift or chemise dress that narrows toward the hem,...called the 'spindle'... ^ (#cite_ref-68) Blackwell, Betsy Talbot (1958). "Fashion". The American Peoples Encyclopedia Yearbook: Events and Personalities of 1957 . Chicago, IL, USA: Spencer Press, Inc. p. 316. ...Paris, led by Christian Dior, ushered in the shift....A dress that bypassed the waist completely, it was actually the climax to a long-evolving 'relaxed look' that was everywhere gaining favor. ^ (#cite_ref-69) Howell, Georgina (1978). "1958". In Vogue: Sixty Years of Celebrities and Fashion from British Vogue . Harmondsworth, Middlesex, England: Penguin Books Ltd. p. 246. ISBN (/wiki/ISBN_(identifier)) 0-14-004955-X . ^ (#cite_ref-70) Mulvagh, Jane (1988). "1958". Vogue History of 20th Century Fashion . London, England: Viking, The Penguin Group. pp. 251–252. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . ^ (#cite_ref-time_71-0) "Died. Christian Dior, 52" (https://web.archive.org/web/20071012203435/http://www.time.com/time/magazine/article/0,9171,867898-1,00.html) . Time (/wiki/Time_(magazine)) . 4 November 1957. Archived from the original (http://www.time.com/time/magazine/article/0,9171,867898-1,00.html) on 12 October 2007 . Retrieved 7 March 2008 . ^ (#cite_ref-72) Zotoff, Lucy (25 December 2015). "Revolutions in fashion: Christian Dior" (https://web.archive.org/web/20221014192144/http://www.hautecouturenews.com/2015/story/christian-dior/) . Haute Couture News. Archived from the original (http://www.hautecouturenews.com/2015/story/christian-dior/) on 14 October 2022 . Retrieved 14 October 2022 . ^ (#cite_ref-NYT_2002_73-0) Blanks, Tim (18 August 2002). "The Last Temptation of Christian" (https://www.nytimes.com/2002/08/18/magazine/the-last-temptation-of-christian.html) . The New York Times (/wiki/The_New_York_Times) . Retrieved 14 October 2022 . ^ (#cite_ref-74) Du Plessix Gray, Francine (27 October 1996). "Prophets of Seduction" (https://www.newyorker.com/magazine/1996/11/04/prophets-of-seduction) . New Yorker . Retrieved 14 October 2022 . ^ (#cite_ref-75) "1967 Film British Costume Design – Colour | BAFTA Awards" (http://awards.bafta.org/award/1967/film/british-costume-design-colour) . Awards.bafta.org . Retrieved 12 February 2017 . ^ (#cite_ref-76) "Awards – Académie des Arts et Techniques du Cinéma" (https://web.archive.org/web/20141018013409/http://www.academie-cinema.org/en/ceremony/awards.html) . Academie-cinema.org. Archived from the original (http://www.academie-cinema.org/en/ceremony/awards.html) on 18 October 2014 . Retrieved 12 February 2017 . Further reading [ edit ] Charleston, Beth Duncuff (October 2004). "Christian Dior (1905–1957)" (http://www.metmuseum.org/toah/hd/dior/hd_dior.htm) . Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art (/wiki/The_Metropolitan_Museum_of_Art) . Based on original work by Harold Koda (/wiki/Harold_Koda) . Dior, Christian (1957). Christian Dior and I . New York: Dutton (/wiki/E._P._Dutton) . Garcia-Moreau, Guillaume, Le château de La Colle Noire, un art de vivre en Provence , Dior, 2018. Read online (https://www.academia.edu/45102103/Le_château_de_La_Colle_Noire_un_art_de_vivre_en_Provence) Martin, Richard (/wiki/Richard_Martin_(curator)) ; Koda, Harold (/wiki/Harold_Koda) (1996). Christian Dior . New York: The Metropolitan Museum of Art (/wiki/The_Metropolitan_Museum_of_Art) . ISBN (/wiki/ISBN_(identifier)) 978-0-87099-822-5 (/wiki/Special:BookSources/978-0-87099-822-5) . External links [ edit ] Wikimedia Commons has media related to Christian Dior (https://commons.wikimedia.org/wiki/Category:Christian_Dior) . Wikiquote has quotations related to Christian Dior (https://en.wikiquote.org/wiki/Special:Search/Christian_Dior) . Photos of Dior and Samples of New Look Fashion (https://web.archive.org/web/20071013210607/http://topfoto.co.uk/gallery/Dior/default.htm) (archived 13 October 2007) "Interactive timeline of couture houses and couturier biographies" (http://www.vam.ac.uk/vastatic/microsites/1486_couture/explore.php) . Victoria and Albert Museum (/wiki/Victoria_and_Albert_Museum) . 29 July 2015. Documentary film (https://web.archive.org/web/20081006041541/http://www.frenchcx.com/en_films/dior-en.html) Christian Dior, The Man Behind The Myth (archived 6 October 2008) Christian Dior at Chicago History Museum Digital Collections (http://www.digitalcollection.chicagohistory.org/cdm/search/collection/p16029coll3/searchterm/dior/field/creato/mode/all/conn/and/order/title) . Archived (https://web.archive.org/web/20150115041004/http://www.digitalcollection.chicagohistory.org/cdm/search/collection/p16029coll3/searchterm/dior/field/creato/mode/all/conn/and/order/title) 15 January 2015 at the Wayback Machine (/wiki/Wayback_Machine) . v t e Members of the Fédération de la Haute Couture et de la Mode (/wiki/F%C3%A9d%C3%A9ration_de_la_Haute_Couture_et_de_la_Mode) Members Adeline André (/wiki/Adeline_Andr%C3%A9) Alexandre Vauthier (/wiki/Alexandre_Vauthier) Alexis Mabille (/wiki/Alexis_Mabille) Bouchra Jarrar (/wiki/Bouchra_Jarrar) Chanel (/wiki/Chanel) Dior (/wiki/Dior) Frank Sorbier (/wiki/Frank_Sorbier) Giambattista Valli (/wiki/Giambattista_Valli) Givenchy (/wiki/Givenchy) Jean Paul Gaultier (/wiki/Jean_Paul_Gaultier) Julien Fournié (/wiki/Julien_Fourni%C3%A9) Maison Margiela (/wiki/Maison_Margiela) Maurizio Galante Schiaparelli (/wiki/Maison_Schiaparelli) Stéphane Rolland (/wiki/St%C3%A9phane_Rolland) Invited, foreign and guest members See: List of grands couturiers (/wiki/List_of_grands_couturiers) Portals (/wiki/Wikipedia:Contents/Portals) : Arts (/wiki/Portal:Arts) Fashion (/wiki/Portal:Fashion) LGBT (/wiki/Portal:LGBT) Biography (/wiki/Portal:Biography) Authority control databases (/wiki/Help:Authority_control) International VIAF (https://viaf.org/viaf/54156365) National France (https://catalogue.bnf.fr/ark:/12148/cb119641815) BnF data (https://data.bnf.fr/ark:/12148/cb119641815) Germany (https://d-nb.info/gnd/118827413) United States (https://id.loc.gov/authorities/n83046645) Australia (https://nla.gov.au/anbd.aut-an35966716) Artists KulturNav (http://kulturnav.org/1c5d7586-f822-4dc0-acea-00c84642bb90) RKD Artists (https://rkd.nl/en/explore/artists/267962) ULAN (https://www.getty.edu/vow/ULANFullDisplay?find=&role=&nation=&subjectid=500073211) People Deutsche Biographie (https://www.deutsche-biographie.de/pnd118827413.html?language=en) Other SNAC (https://snaccooperative.org/ark:/99166/w62r4wqq) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐9qxnq Cached time: 20240721202809 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.982 seconds Real time usage: 1.242 seconds Preprocessor visited node count: 7646/1000000 Post‐expand include size: 179255/2097152 bytes Template argument size: 4566/2097152 bytes Highest expansion depth: 22/100 Expensive parser function count: 21/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 314273/5000000 bytes Lua time usage: 0.660/10.000 seconds Lua memory usage: 21525154/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 1148.297 1 -total 32.74% 376.009 1 Template:Reflist 17.92% 205.828 1 Template:Infobox_fashion_designer 16.92% 194.335 31 Template:Cite_book 9.42% 108.117 1 Template:IPA-fr 9.31% 106.853 1 Template:IPA 8.16% 93.712 22 Template:Cite_journal 7.71% 88.546 1 Template:Inflation-fn 6.43% 73.799 1 Template:Short_description 6.27% 71.991 4 Template:Br_separated_entries Saved in parser cache with key enwiki:pcache:idhash:147187-0!canonical and timestamp 20240721202809 and revision id 1233139760. 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Japanese clothing, traditional and modern Photograph of a man and woman wearing traditional clothing, taken in Osaka, Japan There are typically two types of clothing worn in Japan (/wiki/Japan) : traditional clothing known as Japanese clothing ( 和服 , wafuku ) , including the national dress of Japan, the kimono (/wiki/Kimono) , and Western clothing ( 洋服 , yōfuku ) , which encompasses all else not recognised as either national dress or the dress of another country. Traditional Japanese fashion represents a long-standing history of traditional culture, encompassing colour palettes developed in the Heian period (/wiki/Heian_period) , silhouettes adopted (/wiki/Japanese_missions_to_Tang_China) from Tang dynasty (/wiki/Tang_dynasty) clothing and cultural traditions, motifs taken from Japanese culture (/wiki/Culture_of_Japan) , nature (/wiki/Wildlife_of_Japan) and traditional literature (/wiki/Japanese_literature) , the use of types of silk (/wiki/Silk) for some clothing, and styles of wearing primarily fully-developed by the end of the Edo period (/wiki/Edo_period) . The most well-known form of traditional Japanese fashion is the kimono, with the term kimono translating literally as "something to wear" or "thing worn on the shoulders". [1] (#cite_note-Tradition_and_Innovation-1) Other types of traditional fashion include the clothing of the Ainu people (/wiki/Ainu_people#Culture) (known as the attus ) [2] (#cite_note-Kyoto_National_Museum-2) and the clothes of the Ryukyuan people (/wiki/Ryukyuan_people) which is known as ryūsō ( 琉装 ) , [3] (#cite_note-3) [4] (#cite_note-4) most notably including the traditional fabrics of bingata (/wiki/Bingata) and bashōfu (/wiki/Kij%C5%8Dka-bash%C5%8Dfu) [2] (#cite_note-Kyoto_National_Museum-2) produced on the Ryukyu Islands (/wiki/Ryukyu_Islands) . Modern Japanese fashion mostly encompasses yōfuku (Western clothes), though many well-known Japanese fashion designers – such as Issey Miyake (/wiki/Issey_Miyake) , Yohji Yamamoto (/wiki/Yohji_Yamamoto) and Rei Kawakubo (/wiki/Rei_Kawakubo) – have taken inspiration from and at times designed clothes taking influence from traditional fashion. Their works represent a combined impact on the global fashion industry, with many pieces displayed at fashion shows all over the world, [5] (#cite_note-Bonnie_English-5) as well as having had an impact within the Japanese fashion industry itself, with many designers either drawing from or contributing to Japanese street fashion (/wiki/Japanese_street_fashion) . Despite previous generations wearing traditional clothing near-entirely, following the end of World War II (/wiki/World_War_II) , Western clothing and fashion became increasingly popular due to their increasingly-available nature and, over time, their cheaper price. [6] (#cite_note-:4-6) [ verification needed ] It is now increasingly rare for someone to wear traditional clothing as everyday clothes, and over time, traditional clothes within Japan have garnered an association with being difficult to wear and expensive. As such, traditional garments are now mainly worn for ceremonies and special events, with the most common time for someone to wear traditional clothes being to summer festivals, when the yukata (/wiki/Yukata) is most appropriate; outside of this, the main groups of people most likely to wear traditional clothes are geisha (/wiki/Geisha) , maiko (/wiki/Maiko) and sumo (/wiki/Rikishi) wrestlers, all of whom are required to wear traditional clothing in their profession. Traditional Japanese clothing has garnered fascination in the Western world as a representation (/wiki/Orientalism) of a different culture; first gaining popularity in the 1860s, Japonisme (/wiki/Japonisme) saw traditional clothing – some produced exclusively for export and differing in construction from the clothes worn by Japanese people everyday – exported to the West, where it soon became a popular item of clothing for artists (/wiki/La_Japonaise_(painting)) and fashion designers. Fascination for the clothing of Japanese people continued into WW2, where some stereotypes of Japanese culture such as "geisha girls" (/wiki/Geisha#"Geisha_(Gee-sha)_girls") became widespread. Over time, depictions and interest in traditional and modern Japanese clothing has generated discussions surrounding cultural appropriation (/wiki/Cultural_appropriation) and the ways in which clothing can be used to stereotype a culture; in 2016, the "Kimono Wednesday" event held at the Boston Museum of Arts became a key example of this. [7] (#cite_note-Valk-7) History [ edit ] Yayoi period (Neolithic to Iron Age) [ edit ] Reconstructed Yayoi clothing Little is known of the clothing of the Yayoi period (/wiki/Yayoi_period) . In the 3rd-century Weizhi Worenchuan (魏志倭人伝 ( Gishi Wajinden (/wiki/Wajinden) ) , a section of the Records of the Three Kingdoms (/wiki/Records_of_the_Three_Kingdoms) compiled by Chinese scholar Chen Shou (/wiki/Chen_Shou) ), [8] (#cite_note-8) [ better source needed ] there is some description of clothing worn in Japan. It describes broad cloth (possibly double-width (/wiki/Loom#Flying_shuttle) ), made into unshaped garments by being tied about the waist and shoulders. [9] (#cite_note-iz2_1-9) Kofun period (300–538 CE) [ edit ] Museum-reconstruction figurines (conducting religious ceremony; note shide (/wiki/Shide_(Shinto)) ) Haniwa (/wiki/Haniwa) figure Reconstruction Haniwa (/wiki/Haniwa) figure with reconstruction Figure (reconstruction?) from Honshu (/wiki/Honshu) , decorated with red pigment Haniwa (/wiki/Haniwa) figure with reconstruction 6th-century figure Tanko armour (/w/index.php?title=Tanko_armour&action=edit&redlink=1) Figure in a loincloth Until the 5th century CE, there is little artistic evidence of the clothing worn in Japan. [10] (#cite_note-LtK-10) Kofun period (/wiki/Kofun_period) clothing is known from clay sculptures used atop haniwa (/wiki/Haniwa) offering cylinders. [11] (#cite_note-MET_kofun-11) These were used in the 5th and 6th century, [10] (#cite_note-LtK-10) though most haniwa have no sculpture on top. [11] (#cite_note-MET_kofun-11) These figures likely do not represent everyday dress; they may represent riding dress. Many wear armour. [10] (#cite_note-LtK-10) In the Kofun period, the right side was wrapped over the left (unlike in China), and the overlapped edge was secured with ties on the right side. Sleeves and trousers were tubular. Female figures often wear a skirt, with male figures wearing trousers tied with garters (/wiki/Garter) just above the calf, so that they balloon over the knee, allowing freedom of movement. [10] (#cite_note-LtK-10) Mo , wrapped skirts, were worn by men and women, sometimes over hakama (/wiki/Hakama) (trousers). [9] (#cite_note-iz2_1-9) Traditional Chinese clothing (/wiki/Chinese_clothing) had been introduced to Japan via Chinese envoys in the Kofun period, with immigration between the two countries and envoys to the Tang dynasty court (/wiki/Japanese_missions_to_Tang_China) leading to Chinese styles of dress, appearance and culture becoming extremely popular in Japanese court society. [12] (#cite_note-Dalby_Fashioning_Culture-12) The Imperial Japanese court quickly adopted Chinese styles of dress and clothing. [13] (#cite_note-13) As early as the 4th century CE, images of priestess-queens and tribal chiefs in Japan depicted figures wearing clothing similar that of Han dynasty (/wiki/Han_dynasty) China. [14] (#cite_note-14) There is evidence of the oldest samples of shibori (/wiki/Shibori) tie-dyed fabric stored at the Shōsōin Temple (/wiki/Sh%C5%8Ds%C5%8Din) being Chinese in origin, due to the limitations of Japan's ability to produce the fabrics at the time [15] (#cite_note-Wada-15) (see tanmono (/wiki/Tanmono) ). Asuka period (538–710 CE) [ edit ] Part of the Tenjukoku Shūchō Mandala (/wiki/Tenjukoku_Sh%C5%ABch%C5%8D_Mandala) , an embroidery from the reign of Empress Suiko (/wiki/Empress_Suiko) (593–628) Women's dress under Goguryeo (/wiki/Goguryeo) influence, with overlapping collar and mo skirt. [16] (#cite_note-Jill-16) Takamatsuzuka Tomb (/wiki/Takamatsuzuka_Tomb) , c. 686 CE . [17] (#cite_note-686CE-17) Replica of the dress of the leftmost figure in the preceding picture; mo with stripes and frill Replica of the dress of the center-right figure in the preceding picture Contemporary men's dress, with green hō , white hakama , and kanmuri (/wiki/Kanmuri_(headwear)) cap. This reconstruction is probably outdated; the hō should be shorter, with a short pleated frill beneath, as in the women's costume. [9] (#cite_note-iz2_1-9) The Asuka period (/wiki/Asuka_period) began with the introduction of Buddhism (/wiki/Buddhism) , and the writing system of Chinese characters (/wiki/Chinese_characters) to Japan; during this time, Chinese influence over Japan was fairly strong. [10] (#cite_note-LtK-10) Judging by the depictions in the Tenjukoku Shūchō Mandala (/wiki/Tenjukoku_Sh%C5%ABch%C5%8D_Mandala) , during the reign of Empress Suiko (/wiki/Empress_Suiko) (593–628), male and female court dress were very similar. Both wore round-necked front-fastening hō with non-overlapping lapels, the front, collar, and cuffs edged with contrasting fabric, possibly an underlayer; the ran skirt, above knee-length, had a matching edge. Below the ran and extending below it to about knee length, a more heavily pleated contrasting skirt called a hirami was worn. Below the hirami , men wore narrow hakama with a contrasting lower edge, and women wore a pleated mo long enough to trail. [9] (#cite_note-iz2_1-9) The Takamatsuzuka Tomb (/wiki/Takamatsuzuka_Tomb) ( c. 686 CE ) [17] (#cite_note-686CE-17) is a major source of information for upper-class clothing of this period. By this time, the hō lapels overlapped (still right side over left), and the hō and mo were edged with pleated frills, replacing the hirami . Kanmuri (/wiki/Kanmuri_(headwear)) (black gauze caps stiffened with lacquer) were being worn by male courtiers, and were regulaed in the 11th regnal year of Emperor Tenmu (/wiki/Emperor_Tenmu) (~684 CE); this fashion persists in formal use into the 21st century. [9] (#cite_note-iz2_1-9) Nara period (710–794) [ edit ] Women's dress, with overvest, overskirt, waist sash, and stole (/wiki/Stole_(shawl)) Men's dress, with kanmuri (/wiki/Kanmuri_(headwear)) hat, hakama , ornate sash, shaku (/wiki/Shaku_(ritual_baton)) and sword Children's dress, late 8th century, 2005 reconstruction In contemporary art Nara court dress with stole, apron and overvest, 2009 reconstruction More pictures (https://commons.wikimedia.org/wiki/Category:Clothing_of_the_Nara_period) Tarikubi collar, and lower garments outermost Agekubi outer collar, with upper garments outermost Nara-period upper-class clothing was much simpler than some later styles, taking no more than a few minutes to don, with the clothing itself allowing for freedom of movement. Women's upper-class dress consisted of a left-over-right lap-fronted top (over a similar underrobe), [10] (#cite_note-LtK-10) and a wrapped, pleated skirt ( mo ). [18] (#cite_note-sora-18) [19] (#cite_note-Foutfits-19) Women also sometimes wore a lap-fronted overvest, and a narrow rectangular stole (/wiki/Stole_(shawl)) . Men's upper-class dress had narrow, unpleated (single-panel) hakama (/wiki/Hakama) (trousers) under a loose, mandarin-collared coat ( hō ( 袍 ) ), [ citation needed ] with elaborate hats of stiffened open-weave black cloth ( kanmuri (/wiki/Kanmuri_(headwear)) ). Clothing was belted with narrow sashes. [18] (#cite_note-sora-18) Nara-period women's clothing was heavily influenced by Tang-dynasty (/wiki/Tang-dynasty) China. Women adopted tarikubi ( 垂領 , "drape-necked") collars, which overlapped like modern kimono collars, though men continued wearing round agekubi ( 上領 , "high-necked") mandarin collars (/wiki/Mandarin_collar) , which were associated with scholasticism, only later adopting tarikubi . Lower-body garments ( mo and hakama ) had been worn under the outermost upper-body garments, but now, following the newer Chinese fashion, they transitioned to being worn on top (again, by women, but not yet by men). In 718 CE, the Yoro clothing code (/w/index.php?title=Yoro_clothing_code&action=edit&redlink=1) was instituted, which stipulated that all robes had to be overlapped at the front with a left-to-right closure, following typical Chinese fashions. [20] (#cite_note-kimono_inspiration-20) : 133–136 China considered right-over-left wraps barbaric. [10] (#cite_note-LtK-10) This convention of wear is still followed today, with a right-to-left closure worn only by the deceased. [20] (#cite_note-kimono_inspiration-20) In 752 CE, a massive bronze Buddha statue at Tōdai-ji (/wiki/T%C5%8Ddai-ji) , Nara (/wiki/Nara_(city)) , was consecrated (/wiki/Buddh%C4%81bhi%E1%B9%A3eka) with great ceremony. The ceremonial clothing of attendees (probably not all made in Japan) was preserved in the Shōsō-in (/wiki/Sh%C5%8Ds%C5%8D-in) . [10] (#cite_note-LtK-10) [21] (#cite_note-bamforth-21) Most of them close left-over-right, but some abut or overlap right-over-left. Collar shapes include narrow, round or v-shaped. There is craftsmen's clothing in asa (domestic bast fiber (/wiki/Bast_fiber) ), with long, round-collared outer robes. Richer garments in silk are ornamented with figural and geometric patterns, woven and dyed; some have flaring sleeves. Aprons, hakama , leggings, socks and shoes have also been preserved. [10] (#cite_note-LtK-10) Social segregation of clothing was primarily noticeable in the Nara period (/wiki/Nara_period) (710–794), through the division of upper and lower class. People of higher social status wore clothing that covered the majority of their body, or as Svitlana Rybalko states, "the higher the status, the less was open to other people's eyes". For example, the full-length robes would cover most from the collarbone to the feet, the sleeves were to be long enough to hide their fingertips, and women carried fans to protect them from speculative looks. [22] (#cite_note-raiment-22) Heian period (794–1185) [ edit ] During the Heian period (/wiki/Heian_period) (794-1185 CE), Japan stopped sending envoys to the Chinese dynastic courts. This prevented Chinese-imported goods—including clothing—from entering the Imperial Palace (/wiki/Heian_Palace) and disseminating to the upper classes, who were the main arbiters of traditional Japanese culture at the time and the only people allowed to wear such clothing. The ensuing cultural vacuum facilitated the development of a Japanese culture independent from Chinese fashions. Elements previously lifted from the Tang Dynastic courts developed independently into what is known literally as "national culture" or " kokufū culture" ( 国風文化 , kokufū-bunka ) , the term used to refer to Heian-period Japanese culture, particularly that of the upper classes. [23] (#cite_note-23) Clothing became increasingly stylised (/wiki/Junihitoe) , with some elements—such as the round-necked and tube-sleeved chun ju jacket, worn by both genders in the early 7th century—being abandoned by both male and female courtiers. Others, such as the wrapped-front robes, also worn by men and women, were kept. Some elements, such as the mo skirt worn by women, continued on in a reduced capacity, worn only to formal occasions; [12] (#cite_note-Dalby_Fashioning_Culture-12) the mō ( 裳 ) grew too narrow to wrap all the way around and became a trapezoidal pleated train (/wiki/Train_(clothing)) . [24] (#cite_note-Fgarments-24) Formal hakama (trousers) became longer than the legs and also trailed behind the wearer. [19] (#cite_note-Foutfits-19) Men's formal dress included agekubi collars and very wide sleeves. [10] (#cite_note-LtK-10) The concept of the hidden body remained, with ideologies suggesting that the clothes served as "protection from the evil spirits and outward manifestation of a social rank". This proposed the widely held belief that those of lower ranking, who were perceived to be of less clothing due to their casual performance of manual labor, were not protected in the way that the upper class were in that time period. This was also the period in which Japanese traditional clothing became introduced to the Western world. [6] (#cite_note-:4-6) [ dubious – discuss (/wiki/Talk:Japanese_clothing#Dubious) ] During the later Heian period, various clothing edicts reduced the number of layers a woman could wear, leading to the kosode (/wiki/Kosode) (lit., "small sleeve") garment—previously considered underwear—becoming outerwear by the time of the Muromachi period (/wiki/Muromachi_period) (1336-1573 CE). In the late Heian period, the jūnihitoe (/wiki/J%C5%ABnihitoe) consisted of many layers ( hitoe ) worn over a plain kosode (/wiki/Kosode) and hakama (/wiki/Hakama) [25] (#cite_note-Bardo-25) ( The Tale of Genji (/wiki/The_Tale_of_Genji) , 12th century). The courtiers in the foreground are wearing their hitoe off-the-shoulder, showing the kosode beneath. Tarikubi collars on husband and wife, in their home. Note red hakama (/wiki/Hakama) of standing woman. ( Sashinuki (https://en.wiktionary.org/wiki/%E6%8C%87%E8%B2%AB) ) / nu-bakama and agekubi collar in men's court dress Kamakura period (1185–1333) [ edit ] Fugen (/wiki/Samantabhadra_(Bodhisattva)) and the Ten Rasetsunyo (/wiki/Ten_Rasetsunyo) , detail. Note red and purple naga-bakama with trailing waist ties. Empress Shoshi (/wiki/Empress_Shoshi) and son, 13th century illustration. Pale pleated mō train Simple unisex everyday dress, kosode and hakama , matching Carpenters in common dress, 1309; kosode and hakama do not match. Muromachi period (1336–1573 CE) [ edit ] Azuchi-Momoyama period (1568–1600) [ edit ] The kosode worn as outerwear. Note wider cut, and unisex narrow obi and shorter sleeves. Matsuura byōbu (/wiki/By%C5%8Dbu) , c. 1650 Originally worn with hakama (/wiki/Hakama) , the kosode began to be held closed with a small belt known as an obi instead. [12] (#cite_note-Dalby_Fashioning_Culture-12) The kosode resembled a modern kimono, though at this time the sleeves were sewn shut at the back and were smaller in width (shoulder seam to cuff) than the body of the garment. During the Sengoku period (/wiki/Sengoku_period) (1467–1615)/ Azuchi-Momoyama period (/wiki/Azuchi-Momoyama_period) (1568–1600), decoration of the kosode developed further, with bolder designs and flashy primary colours becoming popular. [ citation needed ] By this time, separate lower-body garments such as the mō and hakama were almost never worn, [19] (#cite_note-Foutfits-19) allowing full-length patterns to be seen. Edo period (1603–1867) [ edit ] The overall silhouette of the kimono transformed during the Edo period due to the broadening of the obi , lengthening of the sleeves, and the style of wearing multiple layered kimono ( Utagawa Kuniyoshi (/wiki/Utagawa_Kuniyoshi) , Plum Blossoms at Night , woodblock print, 19th century). During the Edo period (/wiki/Edo_period) (1603–1867 CE), both Japan's culture and economy developed significantly. A particular factor in the development of the Edo period was the early Genroku (/wiki/Genroku) period (1688–1704 CE), wherein " Genroku culture (/wiki/Genroku_culture) " - luxurious displays of wealth and increased patronage of the arts - led to the further development of many art forms, including those of clothing. Genroku culture was spearheaded by the growing and increasingly-powerful merchant classes (/wiki/Ch%C5%8Dnin) ( chōnin ); the clothing of chōnin classes, representative of their increasing economic power, rivalled that of the aristocracy and samurai classes, brightly coloured and utilising expensive production techniques, such as handpainted dyework. Rinzu (/wiki/Rinzu) , a damask (/wiki/Damask) fabric, also became the preferred material for kimono at this time, replacing the previously popular nerinuki plain-weave silk, which had been used to create tsujigahana (/wiki/Tsujigahana) . [26] (#cite_note-26) In response to the increasing material wealth of the merchant classes, the Tokugawa shogunate (/wiki/Tokugawa_shogunate) issued a number of sumptuary laws `for the lower classes, prohibiting the use of purple or red fabric, gold embroidery, and the use of intricately dyed shibori patterns. [27] (#cite_note-27) As a result, a school of aesthetic thought known as iki (/wiki/Iki_(aesthetics)) , which valued and prioritised the display of wealth through almost mundane appearances, developed, a concept of kimono design and wear that continues to this day as a major influence. From this point onwards, the basic shape of both men's and women's kimono remained largely unchanged. [12] (#cite_note-Dalby_Fashioning_Culture-12) The sleeves of the kosode began to grow in length, especially amongst unmarried women, and the obi became much longer and wider, with various styles of knots coming into fashion, alongside stiffer weaves of material to support them. [12] (#cite_note-Dalby_Fashioning_Culture-12) In the Edo period, the kimono market was divided into craftspeople, who made the tanmono and accessories, tonya , or wholesalers, and retailers. [7] (#cite_note-Valk-7) : 129 Modern period (1869–), by regnal era [ edit ] Meiji period (1868–1912) [ edit ] Main article: Japanese clothing during the Meiji period (/wiki/Japanese_clothing_during_the_Meiji_period) Part of the Ootuki family in kimono, 1874 Assorted types of kimono, Western dress, a court lady in keiko (https://commons.wikimedia.org/wiki/Category:Keiko_(dress)) , and a schoolgirl in a high-collared shirt, kimono and hakama . All wear both purple and red. 1890. Family of Horiai Setsuko (/w/index.php?title=Horiai_Setsuko&action=edit&redlink=1) , May 1912, some in European dress, some in kimono, some wearing hakama . Women's hakama spread from the court as part of Japanese reform dress (/wiki/Reform_dress#Japan) . In 1869, the social class system was abolished, and with them, class-specific sumptuary laws. [7] (#cite_note-Valk-7) : 113 Kimono with formerly-restricted elements, like red and purple colours, became popular, [7] (#cite_note-Valk-7) : 147 particularly with the advent of synthetic dyestuffs such as mauvine (/wiki/Mauvine) . Following the opening of Japan's borders in the early Meiji period to Western trade, a number of materials and techniques - such as wool and the use of synthetic dyestuffs - became popular, with casual wool kimono being relatively common in pre-1960s Japan; the use of safflower dye ( beni ) for silk linings fabrics (known as momi ; literally, "red silk") was also common in pre-1960s Japan, making kimono from this era easily identifiable. During the Meiji period (/wiki/Meiji_period) , the opening of Japan to Western trade after the enclosure of the Edo period led to a drive towards Western dress as a sign of "modernity". After an edict by Emperor Meiji (/wiki/Emperor_Meiji) , [ citation needed ] policemen, railroad workers and teachers moved to wearing Western clothing within their job roles, with the adoption of Western clothing by men in Japan happening at a much greater pace than by women. Initiatives such as the Tokyo Women's & Children's Wear Manufacturers' Association ( 東京婦人子供服組合 ) promoted Western dress as everyday clothing. In Japan, modern Japanese fashion history might be conceived as a gradual westernization (/wiki/Westernization) of Japanese clothes; both the woolen and worsted industries in Japan originated as a product of Japan's re-established contact with the West in the early Meiji period (1850s-1860s). Before the 1860s, Japanese clothing consisted entirely of kimono (/wiki/Kimono) of a number of varieties. [ citation needed ] With the opening of Japan's ports for international trade in the 1860s, clothing from a number of different cultures arrived as exports; despite Japan's historic contact with the Dutch before this time through its southerly ports, Western clothing had not caught on, despite the study of and fascination with Dutch technologies and writings. The first Japanese to adopt Western clothing were officers and men of some units of the shōgun's army and navy; sometime in the 1850s, these men adopted woolen uniforms worn by the English marines stationed at Yokohama. Wool was difficult to produce domestically, with the cloth having to be imported. Outside of the military, other early adoptions of Western dress were mostly within the public sector, and typically entirely male, with women continuing to wear kimono both inside and outside of the home, and men changing into the kimono usually within the home for comfort. [28] (#cite_note-Jackson95-28) From this point on, Western clothing styles spread outwards of the military and upper public sectors, with courtiers and bureaucrats urged to adopt Western clothing, promoted as both modern and more practical. The Ministry of Education (/wiki/Ministry_of_Education) ordered that Western-style student uniforms be worn in public colleges and universities. Businessmen, teachers, doctors, bankers, and other leaders of the new society wore suits to work and at large social functions. Despite Western clothing becoming popular within the workplace, in schools and on the streets, it was not worn by everybody, and was actively considered uncomfortable and undesirable by some; one account tells of a father promising to buy his daughters new kimono as a reward for wearing Western clothing and eating meat. [29] (#cite_note-29) By the 1890s, appetite for Western dress as a fashion statement had cooled considerably, and the kimono remained an item of fashion. A number of different fashions from the West arrived and were also incorporated into the way that people wore kimono; numerous woodblock prints from the later Meiji period show men wearing bowler hats and carrying Western-style umbrellas whilst wearing kimono, and Gibson girl hairstyles - typically a large bun on top of a relatively wide hairstyle, similar to the Japanese nihongami (/wiki/Nihongami) - became popular amongst Japanese women as a more low-effort hairstyle for everyday life. By the beginning of the 20th century, Western dress had become a symbol of social dignity and progressiveness; however, the kimono was still considered to be fashion, with the two styles of dress essentially growing in parallel with one another over time. With Western dress being considered street wear and a more formal display of fashionable clothing, most Japanese people wore the comfortable kimono at home and when out of the public eye. [28] (#cite_note-Jackson95-28) Taishō period (1912–1926) [ edit ] Western clothing quickly became standard issue as army uniform (/wiki/Kokumin-fuku) for men [30] (#cite_note-30) and school uniform for boys, and between 1920 and 1930, the fuku sailor outfit (/wiki/Japanese_school_uniform) replaced the kimono and undivided hakama as school uniform for girls. [12] (#cite_note-Dalby_Fashioning_Culture-12) : 140 However, kimono still remained popular as an item of everyday fashion; following the Great Kantō Earthquake (/wiki/Great_Kant%C5%8D_Earthquake) of 1923, cheap, informal and ready-to-wear meisen (/wiki/Meisen) kimono, woven from raw and waste silk threads unsuitable for other uses, became highly popular, following the loss of many people's possessions. [31] (#cite_note-Taisho_Kimono-31) By 1930, ready-to-wear meisen kimono had become highly popular for their bright, seasonally changing designs, many of which took inspiration from the Art Deco (/wiki/Art_Deco) movement. Meisen kimono were usually dyed using the ikat (/wiki/Ikat) ( kasuri (/wiki/Kasuri) ) technique of dyeing, where either warp or both warp and weft threads (known as heiyō-gasuri ) [31] (#cite_note-Taisho_Kimono-31) : 85 were dyed using a stencil pattern before weaving. It was during the Taishō period that the modern formalisation of kimono and kimono types began to emerge. The Meiji period had seen the slow introduction of kimono types that mediated between the informal and the most formal, a trend that continued throughout the Taishō period, as social occasions and opportunities for leisure increased under the abolition of class distinctions. As Western clothing increased in popularity for men as everyday clothing, the kimono industry further established its own traditions of formal and informal dress for women; this saw the invention of the hōmongi , divisions of tomesode (short-sleeved) kimono for women, and montsuki hakama . [7] (#cite_note-Valk-7) : 133-134 The bridal kimono trousseau (/wiki/Hope_chest) ( oyomeiri dōgu ), an uncommon practice of the upper classes in the Edo period, also became common throughout the middle classes; [7] (#cite_note-Valk-7) : 67, 76 traditions of kimono bridalwear for marriage ceremonies were also codified in this time, which resembled the bridalwear of samurai-class women. [7] (#cite_note-Valk-7) : 82, 93, 146 Standards of kitsuke at this time began to slowly graduate to a more formalised, neatened appearance, with a flat, uniform ohashori and a smooth, uncreased obi , which also resembled the "proper" kitsuke of upper-class women. However, kitsuke standards were still relatively informal, and would not become formalised until after World War II. Shōwa period (1926–1989) [ edit ] A 1957 clothing ad, showing postwar kitsuke standards for women, which promoted a smooth, streamlined appearance While kimono were no longer common wear for men, they remained everyday wear for Japanese women until World War II (/wiki/Japan_during_World_War_II) (1940–1945). [7] (#cite_note-Valk-7) : 17 Though the Taishō period had seen a number of invented traditions, standards of kitsuke (wearing kimono) were still not as formalised in this time, with creases, uneven ohashori and crooked obi still deemed acceptable. [7] (#cite_note-Valk-7) : 44-45 Until the 1930s, the majority of Japanese still wore kimono, and Western clothes were still restricted to out-of-home use by certain classes. [28] (#cite_note-Jackson95-28) During the war, kimono factories shut down, and the government encouraged people to wear monpe (/wiki/Monpe) (also romanised as mompe ) - trousers constructed from old kimono - instead. [7] (#cite_note-Valk-7) : 131 Fibres such as rayon became widespread during WWII, being inexpensive to produce and cheap to buy, and typically featured printed designs. [ citation needed ] Cloth rationing persisted until 1951, so most kimono were made at home from repurposed fabrics. [7] (#cite_note-Valk-7) : 131 In the second half of the 20th century, the Japanese economy boomed, [7] (#cite_note-Valk-7) : 36 and silk became cheaper, [ citation needed ] making it possible for the average family to afford silk kimono. [7] (#cite_note-Valk-7) : 76 The kimono retail industry had developed an elaborate codification of rules for kimono-wearing, with types of kimono, levels of formality, and rules on seasonality, which intensified after the war; there had previously been rules about kimono-wearing, but these were not rigidly codified and varied by region and class. [7] (#cite_note-Valk-7) : 36 Formalisation sought perfection, with no creases or uneveness in the kimono, and an increasingly tubular figure was promoted as the ideal for women in kimono. [7] (#cite_note-Valk-7) : 44-45 The kimono-retail industry also promoted a sharp distinction between Japanese and Western clothes; [7] (#cite_note-Valk-7) : 54 for instance, wearing Western shoes with Japanese clothing (while common in the Taishō period) was codified as improper; [7] (#cite_note-Valk-7) : 16 these rules on proper dressing are often described in Japanese using the English phrase "Time, Place, and Occasion" (TPO). As neither Japanese men or women commonly wore kimono, having grown up under wartime auspices, commercial kitsuke schools were set up to teach women how to don kimono. [7] (#cite_note-Valk-7) : 44 Men in this period rarely wore kimono, and menswear thus escaped most of the formalisation. [7] (#cite_note-Valk-7) : 36, 133 ). Kimono were promoted as essential for ceremonial occasions; [7] (#cite_note-Valk-7) : 76, 135 for instance, the expensive furisode (/wiki/Furisode) worn by young women for Seijinshiki (/wiki/Seijinshiki) was deemed a necessity. [7] (#cite_note-Valk-7) : 60 Bridal trousseaus containing tens of kimono of every possible subtype were also promoted as de rigueur , and parents felt obliged to provide [7] (#cite_note-Valk-7) : 76 kimono trousseaus that cost up to 10 million yen (~£70,000), [7] (#cite_note-Valk-7) : 262 which were displayed and inspected publicly as part of the wedding, including being transported in transparent trucks. [7] (#cite_note-Valk-7) : 81 By the 1970s, formal kimono formed the vast majority of kimono sales. [7] (#cite_note-Valk-7) : 132 Kimono retailers, due to the pricing structure of brand new kimono, had developed a relative monopoly on not only prices but also a perception of kimono knowledge, allowing them to dictate prices and heavily promote more formal (and expensive) purchases, as selling a single formal kimono could support the seller comfortably for three months. The kimono industry peaked in 1975, with total sales of 2.8 trillion yen (~£18 billion). The sale of informal brand new kimono was largely neglected. [7] (#cite_note-Valk-7) : 135, 136 Heisei period (1989–2019) [ edit ] A young woman wearing very formal Japanese dress, 2010; note the katsuyama -style nihongami (/wiki/Nihongami) wig with attached locks and numerous kanzashi (/wiki/Kanzashi) , paired with a formal brocade uchikake overkimono. The economic collapse of the 1990s bankrupted much of the kimono industry [7] (#cite_note-Valk-7) : 129 and ended a number of expensive practices. [7] (#cite_note-Valk-7) : 98 The rules for how to wear kimono lost their previous hold over the entire industry, [7] (#cite_note-Valk-7) : 36 and formerly-expensive traditions such as bridal kimono trousseaus generally disappeared, and when still given, were much less extensive. [7] (#cite_note-Valk-7) : 98 It was during this time that it became acceptable and even preferred for women to wear Western dress to ceremonial occasions like weddings and funerals. [7] (#cite_note-Valk-7) : 95, 263 Many women had dozens or even hundreds of kimono, mostly unworn, in their homes; a secondhand kimono, even if unworn, would sell for about 500 yen (less than £3.50; [7] (#cite_note-Valk-7) : 98 about US$5), a few percent of the bought-new price. In the 1990s and early 2000s, many secondhand kimono shops opened as a result of this. [7] (#cite_note-Valk-7) : 98 In the early years of the 21st century, the cheaper and simpler yukata became popular with young people. [7] (#cite_note-Valk-7) : 37 Around 2010, men began wearing kimono again in situations other than their own wedding, [7] (#cite_note-Valk-7) : 36, 159 and kimono were again promoted and worn as everyday dress by a small minority. [7] (#cite_note-Valk-7) Reiwa period (2019–present) [ edit ] Today, the vast majority of people in Japan wear Western clothing in the everyday, and are most likely to wear kimono either to formal occasions such as wedding ceremonies and funerals, or to summer events, where the standard kimono is the easy-to-wear, single-layer cotton yukata . Types of traditional clothing [ edit ] See also: List of items traditionally worn in Japan (/wiki/List_of_items_traditionally_worn_in_Japan) Kimono [ edit ] Main article: Kimono (/wiki/Kimono) Gion geisha Sayaka wearing a kurotomesode The kimono (着物) , labelled the "national costume of Japan", [1] (#cite_note-Tradition_and_Innovation-1) is the most well-known form of traditional Japanese clothing. The kimono is worn wrapped around the body, left side over right, and is sometimes worn layered. It is always worn with an obi (/wiki/Obi_(sash)) , and may be worn with a number of traditional accessories and types of footwear. [32] (#cite_note-Goldstein-Gidoni99-32) Kimono differ in construction and wear between men and women. After the four-class system ended in the Tokugawa period (/wiki/Edo_period) (1603–1867), the symbolic meaning of the kimono shifted from a reflection of social class to a reflection of self, allowing people to incorporate their own tastes and individualize their outfit. [ vague ] The process of wearing a kimono requires, depending on gender and occasion, a sometimes detailed knowledge of a number of different steps and methods of tying the obi , with formal kimono for women requiring at times the help of someone else to put on. Post-WW2, kimono schools were built to teach those interested in kimono how to wear it and tie a number of different knots. [1] (#cite_note-Tradition_and_Innovation-1) Japanese Woman in Traditional Dress Posing Outdoors by Suzuki Shin'ichi (/wiki/Suzuki_Shin%27ichi_I) , c. 1870s A number of different types (/wiki/Kimono#Types_of_kimono) of kimono exist that are worn in the modern day, with women having more varieties than men. Whereas men's kimono differ in formality typically through fabric choice, the number of crests (/wiki/Mon_(crest)) on the garment (known as mon or kamon ) and the accessories worn with it, women's kimono differ in formality through fabric choice, decoration style, construction and crests. Women's kimono [ edit ] The furisode (/wiki/Furisode) (lit., "swinging sleeve") is a type of formal kimono usually worn by young women, often for Coming of Age Day (/wiki/Seijin_no_Hi) or as bridalwear, and is considered the most formal kimono for young women. The uchikake (/wiki/Kimono#Uchikake) is also worn as bridalwear as an unbelted outer layer. The kurotomesode (/wiki/Kimono#Kurotomesode_and_kuro-montsuki) and irotomesode (/wiki/Kimono#Irotomesode_and_iro-montsuki) are formal kimono with a design solely along the hem, and are considered the most formal kimono for women outside of the furisode . The houmongi (/wiki/Kimono#Hōmongi) and the tsukesage (/wiki/Kimono#Tsukesage) are semi-formal women's kimono featuring a design on part of the sleeves and hem. The iromuji (/wiki/Kimono#Iromuji) is a low-formality solid-colour kimono worn for tea ceremony and other mildly-formal events. The komon (/wiki/Kimono#Komon) and edo komon (/wiki/Kimono#Edo_komon) are informal kimono with a repeating pattern all over the kimono. Other types of kimono, such as the yukata (/wiki/Yukata) and mofuku (/wiki/Kimono#Mofuku) (mourning) kimono are worn by both men and women, with differences only in construction and sometimes decoration. In previous decades, women only stopped wearing the furisode when they got married, typically in their early- to mid-twenties; however, in the modern day, a woman will usually stop wearing furisode around this time whether she is married or not. [32] (#cite_note-Goldstein-Gidoni99-32) Dressing in kimono [ edit ] The word kimono literally translates as "thing to wear", and up until the 19th century it was the main form of dress worn by men and women alike in Japan. [33] (#cite_note-Grant05-33) Traditionally, the art of wearing kimono (known as kitsuke ) was passed from mother to daughter as simply learning how to dress, and in the modern day, this is also taught in specialist kimono schools. [32] (#cite_note-Goldstein-Gidoni99-32) First, one puts on tabi , which are white cotton socks. [33] (#cite_note-Grant05-33) Then the undergarments are put on followed by a top and a wraparound skirt. [33] (#cite_note-Grant05-33) Next, the nagajuban (under-kimono) is put on, which is then tied by a koshihimo . [33] (#cite_note-Grant05-33) Finally, the kimono is put on, with the left side covering the right, tied in place with one or two koshihimo and smoothed over with a datejime belt. The obi is then tied in place. Kimono are always worn left-over-right unless being worn by the dead, in which case they are worn right-over-left. [33] (#cite_note-Grant05-33) When the kimono is worn outside, either zōri or geta sandals are traditionally worn. [33] (#cite_note-Grant05-33) A couple wearing kimono on their wedding day Women typically wear kimono when they attend traditional arts, such as a tea ceremonies or ikebana (/wiki/Ikebana) classes. [28] (#cite_note-Jackson95-28) During wedding ceremonies, the bride and groom will often go through many costume changes; though the bride may start off in an entirely-white outfit before switching to a colourful one, [32] (#cite_note-Goldstein-Gidoni99-32) grooms will wear black kimono made from habutae silk. Funeral kimono ( mofuku ) for both men and women are plain black with five crests, though Western clothing is also worn to funerals. Any plain black kimono with less than five crests is not considered to be mourning wear. The "coming of age" ceremony, Seijin no Hi (/wiki/Seijin_no_Hi) , is another occasion where kimono are worn. [34] (#cite_note-34) At these annual celebrations, women wear brightly coloured furisode , often with fur stoles around the neck. Other occasions where kimono are traditionally worn in the modern day include the period surrounding the New Year, graduation ceremonies, and Shichi-go-san (/wiki/Shichi-go-san) , which is a celebration for children aged 3, 5 and 7. Seasons [ edit ] Kimono are matched with seasons. Awase (lined) kimono, made of silk, wool, or synthetic fabrics, are worn during the cooler months. [28] (#cite_note-Jackson95-28) During these months, kimono with more rustic colours and patterns (like russet leaves), and kimono with darker colours and multiple layers, are favoured. [28] (#cite_note-Jackson95-28) Lightweight cotton yukata are worn by men and women during the spring and summer months. In the warmer weather months, vibrant colors and floral designs (like cherry blossoms) are common. [28] (#cite_note-Jackson95-28) Materials [ edit ] Formal tateya musubi obi knot Up until the 15th century the vast majority of kimono worn by most people were made of hemp (/wiki/Hemp) or linen, and they were made with multiple layers of materials. [35] (#cite_note-Yamaka12-35) Today, kimono can be made of silk, silk brocade, silk crepes (such as chirimen ) and satin weaves (such as rinzu (/wiki/Rinzu) ). [35] (#cite_note-Yamaka12-35) Modern kimono that are made with less-expensive easy-care fabrics such as rayon, cotton sateen, cotton, polyester and other synthetic fibers, are more widely worn today in Japan. [35] (#cite_note-Yamaka12-35) However, silk is still considered the ideal fabric for more formal kimono. [28] (#cite_note-Jackson95-28) Kimono are typically 39–43 inches (990–1,090 mm) long with eight 14–15 inches (360–380 mm) wide pieces. [36] (#cite_note-Nakagawa63-36) These pieces are sewn together to create the basic T-shape. Kimono are traditionally sewn by hand, a technique known as wasai . [36] (#cite_note-Nakagawa63-36) However, even machine-made kimono require substantial hand-stitching. Kimono are traditionally made from a single bolt of fabric called a tanmono (/wiki/Tanmono) . [28] (#cite_note-Jackson95-28) Tanmono come in standard dimensions, and the entire bolt is used to make one kimono. [28] (#cite_note-Jackson95-28) The finished kimono consists of four main strips of fabric — two panels covering the body and two panels forming the sleeves — with additional smaller strips forming the narrow front panels and collar. [36] (#cite_note-Nakagawa63-36) Kimono fabrics are frequently hand-made and -decorated. Kimono are worn with sash-belts called obi , of which there are several varieties. In previous centuries, obi were relatively pliant and soft, so literally held the kimono closed; modern-day obi are generally stiffer, meaning the kimono is actually kept closed through tying a series of flat ribbons, such as kumihimo, around the body. The two most common varieties of obi for women are fukuro obi , which can be worn with everything but the most casual forms of kimono, and nagoya obi , which are narrower at one end to make them easier to wear. Yukata [ edit ] Main article: Kimono § yukata (/wiki/Kimono#yukata) A couple in yukata buy morning glories (/wiki/Morning_glory) at the Asagao Festival (/wiki/Ipomoea_nil#Morning_glories_in_Japan) in Tokyo (/wiki/Tokyo) . The yukata ( 浴衣 ) is an informal kimono worn specifically in the spring and summer, and it is generally less expensive than the traditional kimono. Because it was made for warm weather, yukata are almost entirely made of cotton of an often lighter weight and brighter color than most kimono fabrics. It is worn for festivals and cherry blossom viewing ceremonies. [37] (#cite_note-:5-37) Hakama, obi, zōri [ edit ] The hakama , which resembles a long, wide pleated skirt, is generally worn over the kimono and is considered formal wear. Although it was traditionally created to be worn by men of all occupations (craftsmen, farmers, samurai, etc.), it is now socially accepted to be worn by women as well. The obi is similar to a belt, wrapping around the outer kimono and helping to keep all of the layers together, though it does not actually tie them closed. Obi are typically long, rectangular belts that can be decorated and coloured in a variety of different ways, as well as being made of a number of different fabrics. Modern obi are typically made of a crisp, if not stiff, weave of fabric, and may be relatively thick and unpliant. Zōri (/wiki/Z%C5%8Dri) are a type of sandal worn with kimono that resemble flip-flops by design, with the exception that the base is sturdier and at times forms a gently sloping heel. Zōri can be made of wood, leather and vinyl, with more formal varieties featuring decorated straps (known as hanao ) that may be embroidered and woven with gold and silver yarn. These shoes are typically worn with white socks usually mostly covered by the kimono's hem. Geta (/wiki/Geta_(footwear)) are sandals similar to zōri that are made to be worn in the snow or dirt, featured with wooden columns underneath the shoes. [37] (#cite_note-:5-37) Design [ edit ] Designers [ edit ] Multiple designers use the kimono as a foundation for their current designs, being influenced by its cultural and aesthetic aspects and including them into their garments. Issey Miyake (/wiki/Issey_Miyake) is most known for crossing boundaries in fashion and reinventing forms of clothing while simultaneously transmitting the traditional qualities of the culture into his work. He has explored various techniques in design, provoking discussion on what identifies as "dress". He has also been tagged the "Picasso of Fashion" due to his recurring confrontation of traditional values. Miyake found interest in working with dancers to create clothing that would best suit them and their aerobic movements, eventually replacing the models he initially worked with for dancers, in hopes of producing clothing that benefits people of all classifications. [5] (#cite_note-Bonnie_English-5) His use of pleats and polyester jersey reflected a modern form of fashion due to their practical comfort and elasticity. Over 10 years of Miyake's work was featured in Paris in 1998 at the "Issey Miyake: Making Things" exhibition. His two most popular series were titled, "Pleats, Please" and "A-POC (A piece of Cloth)". Yohji Yamamoto (/wiki/Yohji_Yamamoto) and Rei Kawakubo (/wiki/Rei_Kawakubo) are Japanese fashion designers who share similar tastes in design and style, their work often considered by the public to be difficult to differentiate. They were influenced by social conflicts, as their recognizable work bloomed and was influenced by the post war era of Japan. They differ from Miyake and several other fashion designers in their dominating use of dark colors, especially the color black. Traditional clothing often included a variety of colors in their time, and their use of "the absence of color" provoked multiple critics to voice their opinions and criticize the authenticity of their work. American Vogue of April 1983 labeled the two "avant-garde designers", eventually leading them to their success and popularity. [5] (#cite_note-Bonnie_English-5) Aesthetics [ edit ] The Japanese are often recognized for their traditional art and its capability of transforming simplicity into creative designs. As stated by Valerie Foley, "Fan shapes turn out to be waves, waves metamorphose into mountains; simple knots are bird wings; wobbly semicircles signify half-submerged Heian period carriage wheels". [38] (#cite_note-38) These art forms have been transferred onto fabric that then mold into clothing. With traditional clothing, specific techniques are used and followed, such as metal applique, silk embroidery, and paste- resist. The type of fabric used to produce the clothing was often indicative of a person's social class, for the wealthy were able to afford clothing created with fabrics of higher quality. Stitching techniques and the fusion of colors also distinguished the wealthy from the commoner, as those of higher power had a tendency to wear ornate, brighter clothing. [39] (#cite_note-39) Influence on modern fashion [ edit ] Tokyo street fashion [ edit ] Main article: Japanese street fashion (/wiki/Japanese_street_fashion) Kogal (/wiki/Kogal) girls, identified by shortened Japanese school uniform (/wiki/Japanese_school_uniform) skirts Japanese street fashion emerged in the 1990s and differed from traditional fashion in the sense that it was initiated and popularized by the general public, specifically teenagers, rather than by fashion designers. [40] (#cite_note-Japanese_street_fashion-40) Different forms of street fashion have emerged in different Tokyo locales, such as the rorīta in Harajuku (/wiki/Harajuku) , the koakuma ageha (/wiki/Koakuma_Ageha) of Shibuya (/wiki/Shibuya) or the Gyaru (/wiki/Gyaru) subculture fashion style. Lolita fashion became popular in the mid-2000s. It is characterized by "a knee length skirt or dress in a bell shape assisted by petticoats, worn with a blouse, knee high socks or stockings and a headdress". [40] (#cite_note-Japanese_street_fashion-40) Different sub-styles of lolita include casual, sweet, gothic, black and hime ("princess"). [41] (#cite_note-41) Kogyaru or kogal is another Japanese street fashion based on a Shibuya club-hostess look. Women with this style tan their bodies and faces to a deep brown colour, and will frequently use light lipstick to accentuate the darkness and brownness of their complexion. The kogal (/wiki/Kogal) trend is found in both Shibuya and Harajuku, and is influenced by a "schoolgirl" look, with participants often wearing short skirts, oversized knee-high socks, and sparkling accessories. [42] (#cite_note-42) See also [ edit ] Culture of Japan (/wiki/Culture_of_Japan) Ryusou (/wiki/Ryusou) – traditional Okinawan clothing Hanfu (/wiki/Hanfu) – traditional Chinese clothing Hanbok (/wiki/Hanbok) – traditional Korean clothing Vietnamese clothing (/wiki/Vietnamese_clothing) – traditional Vietnamese clothing References [ edit ] ^ Jump up to: a b c Assmann, Stephanie. "Between Tradition and Innovation: The Reinvention of the Kimono in Japanese Consumer Culture." Fashion Theory: The Journal of Dress, Body & Culture 12, no. 3 (September 2008): 359-376. Art & Architecture Source , EBSCO host (accessed November 1, 2016) ^ Jump up to: a b "Ryukyu and Ainu Textiles" (https://www.kyohaku.go.jp/eng/dictio/senshoku/ryui.html) . kyohaku.go.jp . Kyoto National Museum. Archived (https://archive.today/20200710185804/https://www.kyohaku.go.jp/eng/dictio/senshoku/ryui.html) from the original on 10 July 2020 . Retrieved 10 July 2020 . ^ (#cite_ref-3) Boivin, Mai (22 April 2013). "Okinawa Traditional Costume – Ryuso" (https://insideokinawa.wordpress.com/2013/04/22/ryukyu-beauties/) . insideokinawa.wordpress.com . Archived (https://archive.today/20161018150400/https://insideokinawa.wordpress.com/2013/04/22/ryukyu-beauties/) from the original on 18 October 2016 . Retrieved 10 July 2020 . ^ (#cite_ref-4) "Traditional Costume that Represents Okinawa's Culture and National Features, the "Ryusou" (http://okinawatravelinfo.com/feature/201601ryuusou/) " (http://okinawatravelinfo.com/feature/201601ryuusou/) . okinawatravelinfo.com . Archived (https://archive.today/20160714163506/http://okinawatravelinfo.com/feature/201601ryuusou/) from the original on 14 July 2016. ^ Jump up to: a b c English, Bonnie. Japanese fashion designers : the work and influence of Issey Miyake, Yohji Yamamoto and Rei Kawakubo . n.p.: Oxford ; New York : Berg, 2011., 2011. Ignacio: USF Libraries Catalog , EBSCO host (accessed November 2, 2016). ^ Jump up to: a b Rybalko, Svitlana. "JAPANESE TRADITIONAL RAIMENT IN THE CONTEXT OF EMERGENT CULTURAL PARADIGMS." Cogito (2066-7094) 4, no. 2 (June 2012): 112-123. Humanities Source , EBSCO host (accessed October 29, 2016) ^ 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 Valk, Julie. "The 'Kimono Wednesday' protests: identity politics and how the kimono became more than Japanese." Asian Ethnology no. 2 (2015): 379. Literature Resource Center , EBSCO host (accessed October 31, 2016). ^ (#cite_ref-8) 魏志倭人伝 (http://www.geocities.jp/mb1527/wajinden.htm) Archived (https://web.archive.org/web/20101016074410/http://www.geocities.jp/mb1527/wajinden.htm) 2010-10-16 at the Wayback Machine (/wiki/Wayback_Machine) , Chinese texts and its Japanese translation ^ Jump up to: a b c d e f "The Costume Museum - The Rebirth of The Tale of Genji" (https://www.iz2.or.jp/english/fukusyoku/fukusei/index.htm) . www.iz2.or.jp . The Costume Museum, Kyoto . Retrieved 16 October 2021 . See "Explanation" button for relevant costumes. ^ Jump up to: a b c d e f g h i j Kennedy, Alan. "Japanese Traditional Dress and Adornment" (https://fashion-history.lovetoknow.com/clothing-around-world/japanese-traditional-dress-adornment) . LoveToKnow . ^ Jump up to: a b Department of Asian Art. "Kofun Period (ca. 300–710)" (https://www.metmuseum.org/toah/hd/kofu/hd_kofu.htm) . www.metmuseum.org . MET Museum. ^ Jump up to: a b c d e f Dalby, Liza (1993). Kimono: Fashioning Culture (1st ed.). Seattle: University of Washington Press. ISBN (/wiki/ISBN_(identifier)) 9780099428992 . ^ (#cite_ref-13) Elizabeth LaCouture, Journal of Design History, Vol. 30, Issue 3, 1 September 2017, Pages 300–314 . ^ (#cite_ref-14) Textile Museum (Washington, D.C.) (1996). The kimono inspiration : art and art-to-wear in America . Rebecca A. T. Stevens, Yoshiko Iwamoto Wada, Textile Museum (1st ed.). Washington, D.C.: Pomegranate. p. 132. ISBN (/wiki/ISBN_(identifier)) 0-87654-897-4 . OCLC (/wiki/OCLC_(identifier)) 33947597 (https://www.worldcat.org/oclc/33947597) . ^ (#cite_ref-Wada_15-0) Wada, Yoshiko Iwamoto; Rice, Mary Kellogg; Barton, Jane (2011). Shibori: The Inventive Art of Japanese Shaped Resist Dyeing (3rd ed.). New York: Kodansha USA, Inc. pp. 11–13. ISBN (/wiki/ISBN_(identifier)) 978-1-56836-396-7 . ^ (#cite_ref-Jill_16-0) Liddell, Jill (1989). The Story of the Kimono . E.P. Dutton. p. 28. ISBN (/wiki/ISBN_(identifier)) 978-0525245742 . ^ Jump up to: a b [9] (#cite_note-iz2_1-9) (around the end of Emperor Tenmu (/wiki/Emperor_Tenmu) 's reign and the beginning of Empress Jitō (/wiki/Empress_Jit%C5%8D) 's reign; the usual date for the transition is 686 CE). ^ Jump up to: a b Rogers, Krista (14 December 2015). "Dress like an aristocrat from the Nara period at new costume rental shop in Nara【Photos】" (https://soranews24.com/2015/12/14/dress-like-an-aristocrat-from-the-nara-period-at-new-costume-rental-shop-in-nara%E3%80%90photos%E3%80%91/) . SoraNews24 -Japan News- . Retrieved 16 October 2021 . ^ Jump up to: a b c Badgley, Joshua L. "Women's Outfits" (https://sengokudaimyo.com/garb/womens-outfits) . Sengoku Daimyo . ^ Jump up to: a b Stevens, Rebecca A. T.; Wada, Yoshiko Iwamoto (1996). The kimono inspiration: art and art-to-wear in America (first ed.). Washington DC, San Francisco: The Textile Museum, Pomegranate Artbooks. ISBN (/wiki/ISBN_(identifier)) 0-87654-897-4 . OCLC (/wiki/OCLC_(identifier)) 33947597 (https://www.worldcat.org/oclc/33947597) . ^ (#cite_ref-bamforth_21-0) Bamforth, Chris (26 May 2006), "The capital delights of Nara" (https://www.japantimes.co.jp/life/2006/05/26/travel/the-capital-delights-of-nara/#.W-emJuKIaSo) , The Japan Times (/wiki/The_Japan_Times) ^ (#cite_ref-raiment_22-0) Rybalko, Svitlana (June 2012). "JAPANESE TRADITIONAL RAIMENT IN THE CONTEXT OF EMERGENT CULTURAL PARADIGMS" (https://www.academia.edu/3435310) . Cogito (2066-7094, Humanities Source, EBSCO (Host) . 4 (2): 112–123 . Retrieved October 29, 2016 . ^ (#cite_ref-23) 平安時代の貴族の服装 (https://www2.nhk.or.jp/school/movie/clip.cgi?das_id=D0005310767_00000) NHK (/wiki/NHK) for school ^ (#cite_ref-Fgarments_24-0) Badgley, Joshua L. "Women's Garments" (https://sengokudaimyo.com/garb/womens-garments) . Sengoku Daimyo . ^ (#cite_ref-Bardo_25-0) Fassbender, Bardo; Peters, Anne; Peter, Simone; Högger, Daniel (2012). The Oxford Handbook of the History of International Law . Oxford: Oxford University Press. p. 477. ISBN (/wiki/ISBN_(identifier)) 978-0198725220 . ^ (#cite_ref-26) Ishimura Hayao et al. Robes of Elegance: Japanese Kimonos of the 16th-20th Centuries . North Carolina Museum of Art (/wiki/North_Carolina_Museum_of_Art) (1988), p. 1. ISBN (/wiki/ISBN_(identifier)) 0-88259-955-0 (/wiki/Special:BookSources/0-88259-955-0) . ^ (#cite_ref-27) 町人のきもの 1 寛文~江戸中期までの着物 (https://www.jstage.jst.go.jp/article/fiber/64/7/64_7_P_242/_pdf) Mami Baba. Sen'i gakkaishi vol.64 ^ Jump up to: a b c d e f g h i j Jackson, Anna. "Kimono: Fashioning Culture by Liza Dalby". Rev. of Kimono: Fashioning Culture. Bulletin of the School of Oriental and African Studies, University of London 58 (1995): 419-20. JSTOR. Web. 6 Apr. 2015. ^ (#cite_ref-29) Dalby, Liza. (Mar 1995) "Kimono: Fashioning Culture". ^ (#cite_ref-30) 更新日:2010年11月25日. "戦時衣生活簡素化実施要綱" (https://web.archive.org/web/20080616143836/http://www.ndl.go.jp/horei_jp/kakugi/txt/txt00477.htm) . Ndl.go.jp. Archived from the original (http://www.ndl.go.jp/horei_jp/kakugi/txt/txt00477.htm) on 2008-06-16 . Retrieved 2012-07-22 . {{ cite web (/wiki/Template:Cite_web) }} : CS1 maint: numeric names: authors list ( link (/wiki/Category:CS1_maint:_numeric_names:_authors_list) ) ^ Jump up to: a b Dees, Jan (2009). Taisho Kimono: Speaking of Past and Present (1st ed.). Milano, Italy: Skira Editore S.p.A. ISBN (/wiki/ISBN_(identifier)) 978-88-572-0011-8 . ^ Jump up to: a b c d Goldstein-Gidoni, O. (1999). Kimono and the construction of gendered and cultural identities. 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Bibliography of Asian Studies , EBSCO host (accessed November 3, 2016). ^ (#cite_ref-39) Carpenter, John T. "Weaving Kimono Back into the Fabric of Japanese Art History." Orientations (October 2014): 1-5. Art & Architecture Source , EBSCO host (accessed November 9, 2016). ^ Jump up to: a b Aliyaapon, Jiratanatiteenun, et al. "The Transformation of Japanese Street Fashion between 2006 and 2011." Advances In Applied Sociology no. 4 (2012): 292. Airiti Library eBooks & Journals - 華藝線上圖書館 , EBSCO host (accessed October 29, 2016). ^ (#cite_ref-41) Peirson-Smith, Anne; II, Joseph H. Hancock (15 July 2018). Transglobal Fashion Narratives: Clothing Communication, Style Statements and Brand Storytelling . Intellect Books. p. 179. ISBN (/wiki/ISBN_(identifier)) 978-1-78320-845-6 . ^ (#cite_ref-42) Black, Daniel. "Wearing Out Racial Discourse: Tokyo Street Fashion and Race as Style." Journal of Popular Culture 42, no. 2 (April 2009): p.241. Humanities Source , EBSCO host (accessed November 16, 2016). External links [ edit ] Wikimedia Commons has media related to Clothing of Japan (https://commons.wikimedia.org/wiki/Category:Clothing_of_Japan) . Video about Traditional Japanese Wear (https://www.youtube.com/watch?v=c2UWzVjdjQE) v t e Japanese clothing List of items traditionally worn in Japan (/wiki/List_of_items_traditionally_worn_in_Japan) Traditional Chihaya (/wiki/Chihaya_(clothing)) Fundoshi (/wiki/Fundoshi) Furisode (/wiki/Furisode) Hanten (/wiki/Hanten) Hakama (/wiki/Hakama) Haori (/wiki/Haori) Happi (/wiki/Happi) Jinbei (/wiki/Jinbei) Jōe (/wiki/J%C5%8De) Jūnihitoe (/wiki/J%C5%ABnihitoe) Keikogi (/wiki/Keikogi) Kosode (/wiki/Kosode) Kimono (/wiki/Kimono) Kyahan (/wiki/Kyahan) Mawashi (/wiki/Mawashi) Mino (/wiki/Mino_(straw_cape)) Nemaki (/wiki/Nemaki) Samue (/wiki/Samue) Shitagi (/wiki/Shitagi) Sokutai (/wiki/Sokutai) Uwagi (/wiki/Uwagi) Yukata (/wiki/Yukata) Headgear Benkan (/wiki/Benkan) Hachimaki (/wiki/Hachimaki) Kanmuri (/wiki/Kanmuri_(headwear)) Kanzashi (/wiki/Kanzashi) Kasa (/wiki/Kasa_(hat)) Raikan (/wiki/Raikan) Shaguma (/wiki/Shaguma) Tenugui (/wiki/Tenugui) Tokin (/wiki/Tokin_(headwear)) Tsunokakushi 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Handmade lace Bobbin lace in progress at the Musée des Ursulines de Québec (/wiki/Qu%C3%A9bec) Early bobbin lace in gold and silver thread, c. 1570. Bobbin lace is a lace (/wiki/Lace) textile (/wiki/Textile) made by braiding (/wiki/Braid) and twisting lengths of thread (/wiki/Yarn) , which are wound on bobbins (#Bobbins) to manage them. As the work progresses, the weaving is held in place with pins set in a lace pillow (/wiki/Lace_pillow) , the placement of the pins usually determined by a pattern or pricking pinned on the pillow. Bobbin lace is also known as pillow lace , because it was worked on a pillow, and bone lace , because early bobbins were made of bone (/wiki/Bone) [1] (#cite_note-1) or ivory (/wiki/Ivory) . Bobbin lace is one of the two major categories of handmade laces, the other being needle lace (/wiki/Needle_lace) , derived from earlier cutwork (/wiki/Cutwork) and reticella (/wiki/Reticella) . [2] (#cite_note-Levey-2) Origin [ edit ] Fiore D'Ogni Virtu Per le Nobili Et Honeste Matrone, page 34. Isabella Parasole BLW Bobbin lace - detail A will of 1493 by the Milanese Sforza (/wiki/House_of_Sforza) family mentions lace created with twelve bobbins. [3] (#cite_note-3) There are two books that represent the early known pattern descriptions for bobbin lace, Le Pompe [4] (#cite_note-4) from Venice (/wiki/Venice) and Nüw Modelbuch [5] (#cite_note-5) from Zürich (/wiki/Z%C3%BCrich) . Other popular lace pattern books were produced by Isabella Parasole (/wiki/Isabella_Parasole) , which included patterns for reticella, needle lace and bobbin lace designs. Other pattern books of this period include Cesare Vecellio [6] (#cite_note-6) and Bartolomeo Danieli. [7] (#cite_note-7) Bobbin lace evolved from passementerie (/wiki/Passementerie) or braid (/wiki/Braid) -making in 16th-century Italy (/wiki/Italy) . [2] (#cite_note-Levey-2) Genoa (/wiki/Genoa) was famous for its braids, hence it is not surprising to find bobbin lace developed in the city. It traveled along with the Spanish troops through Europe. [8] (#cite_note-reigate-8) Coarse passements of gold (/wiki/Gold) and silver (/wiki/Silver) -wrapped threads or colored silks (/wiki/Silk) gradually became finer, and later bleached linen (/wiki/Linen) yarn was used to make both braids and edgings. [9] (#cite_note-9) The making of bobbin lace was easier to learn than the elaborate cutwork of the 16th century, and the tools and materials for making linen bobbin lace were inexpensive. There was a ready market for bobbin lace of all qualities, and women throughout Europe (/wiki/Europe) soon took up the craft which earned a better income than spinning (/wiki/Spinning_(textiles)) , sewing (/wiki/Sewing) , weaving (/wiki/Weaving) or other home-based textile arts (/wiki/Textile_arts) . Bobbin lace-making was established in charity schools (/wiki/Charity_school) , almshouses (/wiki/Almshouse) , and convents (/wiki/Convent) . [2] (#cite_note-Levey-2) In the 17th century, the textile centers of Flanders (/wiki/Flanders) and Normandy (/wiki/Normandy) eclipsed Italy as the premiere sources for fine bobbin lace, but until the coming of mechanization (/wiki/Industrial_revolution) hand-lacemaking continued to be practiced throughout Europe, suffering only in those periods of simplicity when lace itself fell out of fashion. [2] (#cite_note-Levey-2) Some skilled lace makers work to re-create older lace patterns based on the period portraiture and extant lace samples. [10] (#cite_note-10) On paintings that have sufficient detail, entire pieces can be reconstructed by lacemakers who understand the early structural techniques and details. [11] (#cite_note-11) [12] (#cite_note-12) Materials [ edit ] Bobbin lace may be made with coarse or fine threads. Traditionally it was made with linen (/wiki/Linen) , silk (/wiki/Silk) , wool (/wiki/Wool) , or, later, cotton (/wiki/Cotton) threads, or with precious metals. Bess of Hardwick (/wiki/Bess_of_Hardwick) bought red silk, gold, and silver thread for making "bone lace" in 1549, the earliest English reference to this kind of work. [13] (#cite_note-13) Today bobbin lace is made with a variety of natural (/wiki/Natural_fiber) and synthetic fibers (/wiki/Synthetic_fiber) and with wire and other filaments. [14] (#cite_note-14) Even bobbin lace made from human hair, point tresse , was once popular as a personal memento. [15] (#cite_note-15) Structure [ edit ] Elements of bobbin lace may include toile (/wiki/Toile) or toilé (clothwork), réseau (the net-like ground (/wiki/Bobbin_lace_ground) of continuous lace), fillings of part laces (/wiki/Part_lace) , tapes, gimp (/wiki/Gimp_(thread)) , picots (/wiki/Picot) , tallies, ribs and rolls. Not all styles of bobbin lace include all these elements. The close up of the back shows the fillings are sewn onto the ribs and tied off A single plait can choose a clever path to construct a filling with sewings but without tying off mesh (or ground) with a solitary gimp Picots . Top: double threaded, bottom single threaded. Raised work, a rib on top of the left section, a roll on top of the right section Rectangular tallies Another common shape of tallies arranged as flower petals Mesh ground motif ; toilé with a gimp , corner of half stitch , petals of cloth stitch part lace motifs , before being assembled completed part lace A Tape (or braid) with footside on the left and a headside on the right top headside bottom footside Polychrome lace by Michelangelo Jesurum combines styles and colored threads for effect. A lace guide for makers and collectors; Gertrude Whiting's sampler (1920) Traditional types [ edit ] State portrait of Maria Theresa (/wiki/Maria_Theresa) , which depicts her as the "first lady of Europe" in a precious dress of Brabant (/wiki/Duchy_of_Brabant) bobbin lace. [16] (#cite_note-16) (by Martin van Meytens (/wiki/Martin_van_Meytens) , c. 1752) Many styles of lace were made in the heyday of lacemaking (approximately the 16th–18th centuries) before machine-made lace became available. Classification of traditional styles by technique Continuous bobbin lace also known as: straight lace or fil continu. Mesh grounded lace (/wiki/Mesh_grounded_bobbin_lace) has motifs connected with ground (/wiki/Bobbin_lace_ground) too many types to repeat here Guipure (/wiki/Guipure) lace has motifs connected with plaits [17] (#cite_note-earnshawID-17) : glossary Bedfordshire lace (/wiki/Bedfordshire_lace) (Beds) – this has flowing lines and picots (to foil the lace machines) Cluny lace (/wiki/Cluny_lace) – has radiating long, thin leaves, called wheatears Maltese lace (/wiki/Maltese_lace) – often has the 8 pointed Maltese cross (/wiki/Maltese_cross) as part of the pattern Yak lace (/wiki/Yak_lace) – made of wool Cantu Lace (/w/index.php?title=Cantu_Lace&action=edit&redlink=1) —also called Venetian Pointe lace Genoese lace (/wiki/Genoese_lace) – usually a geometric design Part lace (/wiki/Part_lace) Honiton lace (/wiki/Honiton_lace) – very fine English lace with many flowers Rosaline Perlée (/wiki/Rosaline_lace) – a mixed lace, but mainly bobbin lace Bruges lace (/wiki/Bruges_lace) – assembled from leaves scrolls and open flowers Brussels lace (/wiki/Brussels_lace) – Point d'Angleterre, Point plat appliqué, Point Duchesse Bobbin tape lace (/wiki/Bobbin_tape_lace) sometimes categorized as part lace (not to be confused with tape lace (/wiki/Tape_lace) which uses prefabricated tapes) Russian lace (/wiki/Russian_lace) Idrija lace (/wiki/Idrija_lace) Schneeberg lace (/wiki/Schneeberg_lace) – since about 1910 Milanese lace (/wiki/Milanese_lace) Hinojosa lace (/w/index.php?title=Hinojosa_lace&action=edit&redlink=1) Peasant lace (/w/index.php?title=Peasant_lace&action=edit&redlink=1) Contemporary laces [ edit ] Contemporary handmade woollen bobbin lace articles, Wool Expo, Armidale NSW. Pale green lace is made of 2 ply wool. The advent of machine-made lace (/wiki/Lace_machine) at first pushed lace-makers into more complicated designs beyond the capabilities of early machines, then simpler designs so they could compete on price, and finally pushed them out of business almost entirely. The resurgence of lace-making is a recent phenomenon and is mostly done as a hobby. Lacemaking groups still meet in regions as varied as Devonshire (/wiki/Devon) , England and Orange County, California (/wiki/Orange_County,_California) . [18] (#cite_note-18) In the European towns where lace was once a major industry or popular artisanry (/wiki/Artisanry) , especially in Belgium (/wiki/Belgium) , England, Spain (/wiki/Spain) ( Camariñas (/wiki/Camari%C3%B1as) and Almagro (/wiki/Almagro,_Ciudad_Real) ), Portugal (/wiki/Portugal) ( Azores (/wiki/Azores) , Caminha (/wiki/Caminha) , Lagos (/wiki/Lagos,_Portugal) , Nisa (/wiki/Nisa,_Portugal) , Olhão (/wiki/Olh%C3%A3o) , Peniche (/wiki/Peniche,_Portugal) , Póvoa de Varzim (/wiki/P%C3%B3voa_de_Varzim) , Sesimbra (/wiki/Sesimbra) , Setúbal (/wiki/Set%C3%BAbal) , Silves (/wiki/Silves,_Portugal) , Viana do Castelo (/wiki/Viana_do_Castelo) , Vila do Conde (/wiki/Vila_do_Conde) and Viseu (/wiki/Viseu) (Farminhão), [19] (#cite_note-19) being known as Renda de Bilros ), [20] (#cite_note-20) [21] (#cite_note-21) [22] (#cite_note-22) France and Slovenia (/wiki/Slovenia) lacemakers still demonstrate the craft and sell their wares, though their customer base has shifted from the wealthy nobility to the curious tourist. Still new types of lace are being developed such as the 3D Rosalibre [23] (#cite_note-23) and a colored version of Milanese lace by borrowing rolls from Duchesse lace (/wiki/Brussels_lace#Point_Duchesse) to store various shades and colors. [24] (#cite_note-woods-24) Other artists are giving grounds (/wiki/Mesh_grounded_bobbin_lace) a major role by distorting and varying stitches, pin distances and thread sizes or colours. The variations are explored by experimentation [25] (#cite_note-kantbrief-25) [26] (#cite_note-26) [27] (#cite_note-27) and mathematics and algorithms. [28] (#cite_note-28) The lace maintaining its shape without stiffening is no longer a requirement. [25] (#cite_note-kantbrief-25) Inspiring journals, guilds and foundations show that old techniques with a new twist can challenge young people to create works that can definitely classify as art. [29] (#cite_note-kantbrief2-29) A Dutch design (/wiki/Dutch_design) graduate in 2006 discovered bobbin lace was a technique to make a fancy fence. The first fences became museum pieces. The fences are now produced in Bangalore (/wiki/Bangalore) by concrete rebar (/wiki/Rebar) plaiters. [30] (#cite_note-fence-30) Tools [ edit ] prickings for various types of lace and a very fine hook Duration: 1 minute and 5 seconds. 1:05 Bobbin lace maker presents bobbin lace made in Myjava (Slovakia) The major tools to make bobbin lace are a pillow, bobbins, pins and prickings. The part laces also require a crochet hook, very fine types of lace require very fine hooks. There are different types of pillows and bobbins linked to areas, eras and type of lace. Bobbins [ edit ] Bobbins, which are traditionally made of wood or bone, are used to hold the thread. They come in different shapes, often associated with certain types of lace. The parts of a bobbin are the neck, which is where the thread is wound, a head, where thread is hitched to keep it from coming unwound, and the shank, which is used as a handle. Bobbins from England may also have a beaded spangle at the end of the shank, which makes the bobbin heavier and helps with tensioning the thread. [31] (#cite_note-31) Bobbins are usually 3 1/2 - 4 inches long, though they may be shorter or longer. [32] (#cite_note-32) Bobbins are wound and used in pairs. Bobbin collection is a common aspect of the hobby for many lace makers. Within the lace community, commemorative bobbins designating annual meetings, special anniversaries, or historic events are frequently offered which become collector's items. There are many types of bobbins, including: Belgian bobbins: They have a single head and a bulbous rounding near the end of the shank that helps with tensioning threads. [33] (#cite_note-:0-33) Binche bobbins: The round bulb near the end of the shank is small, making these bobbins good for fine, straight laces. East Midlands bobbins: These double-headed bobbins are slender and spangled. They are also called Bucks or Midlands bobbins. [33] (#cite_note-:0-33) Honiton bobbins: Honiton bobbins are straight below the single head, and the end of the shank comes to a blunt point, which helps with sewing. They may be called a lace stick. [33] (#cite_note-:0-33) Square bobbins: Square bobbins have a shank with flattened sides, which makes it easier to keep them from rolling on the pillow. Portuguese bobbins: The bobbin is an elongated pear-shaped wooden artefact where the thread is wrapped. Cat tails, whose points are convenient for sewing Danish bobbins Spangled bobbins (/wiki/Bobbin) Hooded bobbins Large bulbs to throw every now and then, Cogne (/wiki/Cogne) winding schemes with a single hitch Types of pillow [ edit ] "A lady sits and reads, the chambermaid comes with tea" 1775 roller pillow The pillows must be firm, or otherwise the pins will wobble. The pillows were traditionally stuffed with straw, but nowadays polystyrene (styrofoam) is generally used. [34] (#cite_note-34) An early type of pillow can be seen in The Lace Maker (/wiki/The_Lace_Maker) by Caspar Netscher (/wiki/Caspar_Netscher) . The pillow has a wooden frame, and is slightly sloping. The lace-maker rests it on her lap. Another representation of the similar style of pillow is found in the painting The Lacemaker (/wiki/The_Lacemaker_(Vermeer)) by Johannes Vermeer (/wiki/Johannes_Vermeer) . The Lace-Maker (/wiki/The_Lace-Maker_(Metsu)) portrait by Gabriël Metsu (/wiki/Gabri%C3%ABl_Metsu) was memorialized in a postage stamp (/wiki/Postage_stamp) . The bolster (/wiki/Bolster) or cylindrical pillow was much cheaper to make as it is just a fabric bag stuffed with straw. It was used in Bedfordshire lace (/wiki/Bedfordshire_lace) . It needs a stand as it does not have a flat bottom. [35] (#cite_note-35) Usually the bolster had the pattern pinned round the cylinder, so by turning the pillow, the lace could be as long as was needed. However, Maltese lacemakers (/wiki/Maltese_lace) used the pillow the other way. They had a long thin pillow, which they rested against something. Then they worked the lace down the length of the pillow. [36] (#cite_note-crafts-36) This problem (of the lace needing to be longer than the pillow) is solved in a different way by the roller pillow, which has a small roller, for working the lace, set into a larger area, where the bobbins are laid. This means that the pattern can be pinned round the roller, but the pillow has a flat bottom. The cheapest modern pillow is domed and made of polystyrene (styrofoam). It is often called a cookie pillow, because of its shape. Another modern pillow is a block pillow, with a frame which holds covered polystyrene blocks. The blocks can be moved around as the lace progresses, to keep the lace being worked on at the centre of the pillow. by Caspar Netscher (/wiki/Caspar_Netscher) an early pillow with a wooden frame DDR 1959 Michel 694 Gabriël Metsu (/wiki/Gabri%C3%ABl_Metsu) by Vasily Tropinin (/wiki/Vasily_Tropinin) by Robert Frederick Blum (/wiki/Robert_Frederick_Blum) bolster pillows by Léon Augustin Lhermitte (/wiki/L%C3%A9on_Augustin_Lhermitte) a pillow typical for Queyras (/wiki/Queyras) Cogne (/wiki/Cogne) pillows and stands Victorian domed pillow in The Hunting of the Snark (/wiki/The_Hunting_of_the_Snark) Modern domed pillow or "cookie pillow" Maltese bolster Ipswich bolster Roller pillow Roller pillow Block pillow Type of lace loom in use in the Dauphinoise Alps Lacemaking organizations [ edit ] Lacemaking is considered a folk art with technique and materials varying widely across the globe. Most lacemakers belong to regional guilds (/wiki/Guild) within their country of origin. Guilds can be devoted to one kind of lace, often that which developed locally, or may include makers of all kinds. In the United States, most guilds are organized within chapters of the International Organization of Lace (https://internationalorganizationoflace.org/) , which also includes Canadian lace guilds. Quarterly publications of "The Bulletin" journal provide articles about current projects and events, historical research, annual meeting details, patterns, and more. Internationally, the Organisation Internationale de la Dentelle au Fuseau et à l'Aiguille (OIDFA, International Bobbin and Needle Lace Organization (https://www.oidfa.com/) ) is the primary governing and networking body for lacemakers. OIDFA organizes annual global congresses, regional fairs, and local gatherings to promote the appreciation and knowledge of lacemaking. References [ edit ] ^ (#cite_ref-1) Oxford English Dictionary definition of "bone lace" ^ Jump up to: a b c d Santina M. Levey (/wiki/Santina_M._Levey) (2003). "Lace in the Early Modern Period c. 1500-1780". In D.T. Jenkins (ed.). Cambridge History of Western Textiles . Cambridge University Press. pp. 585–580. ^ (#cite_ref-3) Verhaegen, Pierre (1912). La Dentelle Belge . Brussel: L. Lebègue. p. 10. ^ (#cite_ref-4) Le Pompe, 1559 : patterns for Venetian bobbin lace . Levey, Santina M., Payne, Patricia C. Carlton, Bedford: R. Bean. 1983. ISBN (/wiki/ISBN_(identifier)) 0-903585-16-2 . OCLC (/wiki/OCLC_(identifier)) 12663277 (https://www.worldcat.org/oclc/12663277) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: others ( link (/wiki/Category:CS1_maint:_others) ) ^ (#cite_ref-5) R., M. (1561). Nüw Modelbuoch . Zürich: Christoph Froschauer d. Ä. doi (/wiki/Doi_(identifier)) : 10.3931/e-rara-5463 (https://doi.org/10.3931%2Fe-rara-5463) . ^ (#cite_ref-6) Vecellio, Cesare; Appelbaum, Stanley; Waldrep, Mary Carolyn; Vecellio, Cesare (1988). Pattern book of renaissance lace: a reprint of the 1617 edition of the "Corona delle nobili et virtuose donne" . New York: Dover. ISBN (/wiki/ISBN_(identifier)) 978-0-486-25828-7 . ^ (#cite_ref-7) "Bartolomeo Danieli | Vari disegni di merletti" (https://www.metmuseum.org/art/collection/search/348344) . The Metropolitan Museum of Art . Retrieved 2023-12-02 . ^ (#cite_ref-reigate_8-0) Reigate, Emily (1986). An Illustrated Guide to Lace (1988 ed.). Antique Collers' Club Ltd. p. 44. ISBN (/wiki/ISBN_(identifier)) 1-85149-003-5 . ^ (#cite_ref-9) Janine Montupet, Ghislaine Schoeller (1988). Fabuleuses dentelles . Robert Laffont. pp. 16–18. ISBN (/wiki/ISBN_(identifier)) 9782221057544 . ^ (#cite_ref-10) Dye, Gilian (2013). Surface decoration in silk and metallic thread . Glasgow. ISBN (/wiki/ISBN_(identifier)) 978-0-9553223-5-8 . OCLC (/wiki/OCLC_(identifier)) 870644836 (https://www.worldcat.org/oclc/870644836) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) ^ (#cite_ref-11) "Lace for Lady Anne Clifford by Gilian Dye" (https://www.britishportraits.org.uk/blog/lace-for-lady-anne-clifford/) . Understanding British Portraits . 2018-07-24 . Retrieved 2020-10-05 . ^ (#cite_ref-12) " (https://www.britishportraits.org.uk/research-papers/portraits-and-lace-by-gil-dye/) 'Portraits and Lace' by Gil Dye" (https://www.britishportraits.org.uk/research-papers/portraits-and-lace-by-gil-dye/) . Understanding British Portraits . Retrieved 2020-10-05 . ^ (#cite_ref-13) Santina M. Levey, 'References to Dress in the Earliest Account Book of Bess of Hardwick', Costume , 34:1 (2000), 21. ^ (#cite_ref-14) Fuhrmann, Brigita (1985). Bobbin Lace: An Illustrated Guide to Traditional and Contemporary Techniques . Dover Publications. p. 38. ISBN (/wiki/ISBN_(identifier)) 9780486249025 . ^ (#cite_ref-15) "Hair Lace" (https://trc-leiden.nl/trc-needles/techniques/lace-making/hair-lace) . Textile Research Center . ^ (#cite_ref-16) "Hall of Ceremonies" (https://www.schoenbrunn.at/en/about-schoenbrunn/the-palace/tour-of-the-palace/hall-of-ceremonies) . ^ (#cite_ref-earnshawID_17-0) Earnshaw, Pat (1985). The Identification of Lace . De Bilt: Cantecleer. ISBN (/wiki/ISBN_(identifier)) 9021302179 . ^ (#cite_ref-18) "Lacemaking: Associations and Guilds" (https://web.archive.org/web/20120203143142/http://www.fibreartsonline.com/fac/lace/index.htm) . Fibre Arts Online Web. Archived from the original (http://www.fibreartsonline.com/fac/lace/index.htm) on February 3, 2012 . Retrieved 8 August 2011 . ^ (#cite_ref-19) unify.pt. "Tradição de bilros com nova "casa" em Farminhão" (https://www.jornaldocentro.pt/noticias/detalhe/49286) . www.jornaldocentro.pt . Retrieved 2023-09-04 . ^ (#cite_ref-20) "The Meticulous Handcrafted Technique of Bobbin Lace" (https://www.covetfoundation.com/events/the-meticulous-technique-of-bobbin-lace/) . Events . 2018-07-23 . Retrieved 2023-09-04 . ^ (#cite_ref-21) "Rendas de Bilros" (https://www.rendasdebilros.com/noticias.php?a=6&id=14) . A tradição das Rendas de Bilros de Vila do Conde para todo o mundo . Retrieved 2023-09-04 . ^ (#cite_ref-22) "Renda de Bilros | Saber Fazer Portugal" (https://programasaberfazer.gov.pt/arte/renda-de-bilros) . programasaberfazer.gov.pt (in European Portuguese) . Retrieved 2023-09-04 . ^ (#cite_ref-23) Belleville, Cathleen (2002). Introducing Rosalibre Bobbin Lacle . ^ (#cite_ref-woods_24-0) Woods, Sandy (2003). Special Effects in Bobbin Lace . Batsford. ISBN (/wiki/ISBN_(identifier)) 0713480718 . ^ Jump up to: a b Wanzenried, Esther (2014). "Moderne Gronden". Kantbrief (2014–4): 24–25. ^ (#cite_ref-26) Voelcker-Löhr, Ulrike (2003). Viele Gute Gründe . Bochum. {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) ^ (#cite_ref-27) Ulrich, Uta (2009). Gründe mit System . Gammelby: Fay, Barbara Verlag. ISBN (/wiki/ISBN_(identifier)) 978-3925184086 . ^ (#cite_ref-28) Irvine, Veronika; Ruskey, Frank (2014). "Developing a Mathematical Model for Bobbin Lace". Journal of Mathematics and the Arts . 8 (3–4): 95–110. arXiv (/wiki/ArXiv_(identifier)) : 1406.1532 (https://arxiv.org/abs/1406.1532) . Bibcode (/wiki/Bibcode_(identifier)) : 2014arXiv1406.1532I (https://ui.adsabs.harvard.edu/abs/2014arXiv1406.1532I) . doi (/wiki/Doi_(identifier)) : 10.1080/17513472.2014.982938 (https://doi.org/10.1080%2F17513472.2014.982938) . S2CID (/wiki/S2CID_(identifier)) 119168759 (https://api.semanticscholar.org/CorpusID:119168759) . ^ (#cite_ref-kantbrief2_29-0) Dings, Marcella (2014). "Schatgraven - Uitdaging" [Treasure Hunt - Challenge]. Kantbrief (2014–4): 34. ^ (#cite_ref-fence_30-0) de Vries-de Graaf, Tonny (2011). "Lace Fence (1)" (http://www.lokk.nl/kantarchief/KB32011/KANTK%20016%20Lace%20Fence_1.pdf) (PDF) . Kantbrief (in Dutch) (2011–3): 18–20 . Retrieved 26 December 2014 . ^ (#cite_ref-31) Dye, Gilian; Thunder, Adrienne (2007). Beginner's guide to bobbin lace . Tunbridge Wells: Search. pp. 8–9. ISBN (/wiki/ISBN_(identifier)) 9781844481088 . OCLC (/wiki/OCLC_(identifier)) 163617814 (https://www.worldcat.org/oclc/163617814) . ^ (#cite_ref-32) Hopewell, Jeffery (1984). Pillow lace and bobbins (Third ed.). Aylesbury: Shire Publications Ltd. p. 15. ISBN (/wiki/ISBN_(identifier)) 0852636598 . OCLC (/wiki/OCLC_(identifier)) 12516276 (https://www.worldcat.org/oclc/12516276) . ^ Jump up to: a b c Stillwell, Alexandra (1996). Cassell illustrated dictionary of lacemaking . London: Cassell. ISBN (/wiki/ISBN_(identifier)) 0304341452 . OCLC (/wiki/OCLC_(identifier)) 34597563 (https://www.worldcat.org/oclc/34597563) . ^ (#cite_ref-34) Leader, Jean E. "Lace Types: Bobbin Lace" (https://www.lacetypes.com/bobbin.html) . Retrieved 26 July 2022 . ^ (#cite_ref-35) Elizabeth Mincoff (1981). Pillow Lace . Ruth Bean. ISBN (/wiki/ISBN_(identifier)) 0-903585-10-3 . ^ (#cite_ref-crafts_36-0) "Maltese Crafts" (https://vassallohistory.wordpress.com/maltese-crafts/) . VassaloMalta. 2013-04-18 . Retrieved 21 November 2014 . Further reading [ edit ] Chisholm, Hugh (/wiki/Hugh_Chisholm) , ed. (1911). "Lace" (https://en.wikisource.org/wiki/1911_Encyclop%C3%A6dia_Britannica/Lace) . Encyclopædia Britannica (/wiki/Encyclop%C3%A6dia_Britannica_Eleventh_Edition) . Vol. 16 (11th ed.). Cambridge University Press. pp. 37 ff. External links [ edit ] Wikimedia Commons has media related to Bobbin lacemaking (https://commons.wikimedia.org/wiki/Category:Bobbin_lacemaking) . Encajedebolillos.es - Shows 20 different lace styles (http://www.encajedebolillos.es) An animation and explanation of various lace stitches (https://web.archive.org/web/20080513231652/http://gwydir.demon.co.uk/jo/lace/stitches.htm) v t e Lace (/wiki/Lace) types Needle lace (/wiki/Needle_lace) Filet lace (/wiki/Filet_lace) Punto in Aria (/wiki/Punto_in_Aria) Point de Venise (/wiki/Point_de_Venise) Point de France (/wiki/Point_de_France) Alençon (/wiki/Alen%C3%A7on_lace) Aemilia Ars (/w/index.php?title=Aemilia_Ars&action=edit&redlink=1) Argentan (/wiki/Argentan_lace) Argentella (/wiki/Argentella) Armenian (/wiki/Armenian_needlelace) Burano (https://it.wikipedia.org/wiki/Merletto%20di%20Burano) Halas lace (/wiki/Halas_lace) Hedebo embroidery (/wiki/Hedebo_embroidery) Hollie Point (/wiki/Hollie_Point) Nallıhan (/wiki/Nall%C4%B1han_silk_needlelace) Point de Gaze (/wiki/Point_de_Gaze) Kenmare Lace (/wiki/Kenmare_lace) Ñandutí (/wiki/%C3%91andut%C3%AD) Oya (/wiki/Oya_(lace)) Pag (/wiki/Pag_lace) Puncetto Valsesiano (/w/index.php?title=Puncetto_Valsesiano&action=edit&redlink=1) Tenerife (/wiki/Tenerife_lace) Youghal (/wiki/Youghal_lace) Embroidery (/wiki/Embroidery) Buratto (/wiki/Buratto) Filet lace (/wiki/Filet_lace) Reticella (/wiki/Reticella) Limerick (/wiki/Limerick_lace) Needlerun net (/wiki/Needlerun_net) Tambour (/wiki/Tambour_lace) Cutwork (/wiki/Cutwork) Broderie anglaise (/wiki/Broderie_anglaise) Carrickmacross (/wiki/Carrickmacross_lace) Lefkara lace (/wiki/Lefkara_lace) Saba lace (/wiki/Saba_lace) Bobbin lace Mesh grounds (/wiki/Mesh_grounded_bobbin_lace) Torchon (/wiki/Torchon_lace) Freehand (/wiki/Freehand_lace) Arras (/wiki/Arras_lace) Bayeux (/wiki/Bayeux_lace) Beeralu (/w/index.php?title=Beeralu&action=edit&redlink=1) Blonde (/wiki/Blonde_lace) Bucks point (/wiki/Bucks_point_lace) Chantilly (/wiki/Chantilly_lace) Chefoo (/w/index.php?title=Chefoo_lace&action=edit&redlink=1) Cogne (/wiki/Cogne_lace) Tønder (/wiki/T%C3%B8nder_lace) Beveren (/wiki/Beveren_lace) Lille (/wiki/Lille_lace) Binche (/wiki/Binche_lace) Flanders (/wiki/Flanders_lace) Paris (/wiki/Paris_lace) Valenciennes (/wiki/Valenciennes_lace) Antwerp (/wiki/Antwerp_lace) Mechlin (/wiki/Mechlin_lace) Ipswich (/wiki/Ipswich_lace) 's Gravenmoer (/w/index.php?title=%27s_Gravenmoer_lace&action=edit&redlink=1) Mundillo (/wiki/Mundillo) Guipure (/wiki/Guipure) Greek (/wiki/Greek_lace) Genoese (/wiki/Genoese_lace) Bedfordshire (/wiki/Bedfordshire_lace) Cluny (/wiki/Cluny_lace) Dentelle du Puy (https://fr.wikipedia.org/wiki/Dentelle_du_Puy) Liptov (/wiki/Liptov) Maltese (/wiki/Maltese_lace) Yak lace (/wiki/Yak_lace) Part laces (/wiki/Part_lace) Honiton (/wiki/Honiton_lace) Bruges (/wiki/Bruges_lace) Brussels (/wiki/Brussels_lace) Rosaline (/wiki/Rosaline_lace) Point d'Angleterre (/wiki/Brussels_lace#Point_d'Angleterre) Tape (/wiki/Bobbin_tape_lace) Cantù (/w/index.php?title=Cant%C3%B9_lace&action=edit&redlink=1) Milanese (/wiki/Milanese_bobbin_lace) Hinojosa (/w/index.php?title=Hinojosa_lace&action=edit&redlink=1) Russian (/wiki/Russian_lace) Idrija (/wiki/Idrija_lace) Schneeberg (/wiki/Schneeberg_lace) Peasant (/w/index.php?title=Peasant_lace&action=edit&redlink=1) Tape lace (/wiki/Tape_lace) Mezzopunto (/w/index.php?title=Mezzopunto&action=edit&redlink=1) Princess (/wiki/Princess_lace) Renaissance (/wiki/Renaissance_lace) Battenberg (/wiki/Battenberg_lace) Romanian point (/wiki/Romanian_point_lace) Branscombe (/wiki/Branscombe_lace) Crocheted lace (/wiki/Crocheted_lace) Broomstick lace (/wiki/Broomstick_lace) Irish crochet (/wiki/Irish_lace) Hairpin (/wiki/Hairpin_lace) Filet crochet (/wiki/Filet_crochet) Orvieto lace (/w/index.php?title=Orvieto_lace&action=edit&redlink=1) Machine (/wiki/Lace_machine) -made lace Bobbinet (/wiki/Bobbinet) Leavers (/wiki/Leavers_machine) Pusher (/wiki/Pusher_machine) Barmen (/wiki/Barmen_lace_machine) Curtain Machine (/wiki/Nottingham_lace_curtain_machine) Chemical (/wiki/Chemical_lace) Raschel (/wiki/Warp_knitting) Stocking Frame (/wiki/Stocking_frame) Warp Knit (/wiki/Warp_knitting) Other handmade laces Metal laces (/wiki/Metal_lace) Lace knitting (/wiki/Lace_knitting) Macramé (/wiki/Macram%C3%A9) Tatting (/wiki/Tatting) Punto a groppo (/wiki/Punto_a_groppo) Sprang (/wiki/Sprang) Liturgical lace (/wiki/Liturgical_lace) Media related to Lace (https://commons.wikimedia.org/wiki/Category:Lace) at Wikimedia Commons Fashion portal (/wiki/Portal:Fashion) Clothing portal (/wiki/Portal:Clothing) Authority control databases (/wiki/Help:Authority_control) : National Germany (https://d-nb.info/gnd/4031207-0) Czech Republic (https://aleph.nkp.cz/F/?func=find-c&local_base=aut&ccl_term=ica=ph123913&CON_LNG=ENG) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐scqzd Cached time: 20240720181602 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.749 seconds Real time usage: 1.150 seconds Preprocessor visited node count: 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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=Bobbin_lace&oldid=1230220903 (https://en.wikipedia.org/w/index.php?title=Bobbin_lace&oldid=1230220903) " Categories (/wiki/Help:Category) : Bobbin lace (/wiki/Category:Bobbin_lace) Textiles (/wiki/Category:Textiles) Fashion (/wiki/Category:Fashion) Hidden categories: CS1 maint: others (/wiki/Category:CS1_maint:_others) CS1 maint: location missing publisher (/wiki/Category:CS1_maint:_location_missing_publisher) CS1 European Portuguese-language sources (pt-pt) (/wiki/Category:CS1_European_Portuguese-language_sources_(pt-pt)) CS1 Dutch-language sources (nl) (/wiki/Category:CS1_Dutch-language_sources_(nl)) 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 containing French-language text (/wiki/Category:Articles_containing_French-language_text) Wikipedia articles incorporating a citation from the 1911 Encyclopaedia Britannica with Wikisource reference (/wiki/Category:Wikipedia_articles_incorporating_a_citation_from_the_1911_Encyclopaedia_Britannica_with_Wikisource_reference) Commons category link is on Wikidata (/wiki/Category:Commons_category_link_is_on_Wikidata) Articles with GND identifiers (/wiki/Category:Articles_with_GND_identifiers) Articles with NKC identifiers (/wiki/Category:Articles_with_NKC_identifiers) |
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( December 2010 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Part of a series (/wiki/Category:Formal_wear) on Western dress codes (/wiki/Western_dress_codes) and corresponding attires (/wiki/Clothing) Formal (/wiki/Formal_wear) ( full dress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) ) White tie (/wiki/White_tie) Morning dress (/wiki/Morning_dress) Full dress uniform (/wiki/Full_dress_uniform) Frock coat (/wiki/Frock_coat) Evening gown (/wiki/Evening_gown) Ball gown (/wiki/Ball_gown) Semi-formal (/wiki/Semi-formal_wear) ( half dress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) ) Black tie (/wiki/Black_tie) Black lounge suit (/wiki/Black_lounge_suit) Mess dress uniform (/wiki/Mess_dress_uniform) Evening gown (/wiki/Evening_gown) Cocktail dress (/wiki/Cocktail_dress) Informal (/wiki/Informal_wear) ( undress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) , "dress clothes") Suit (/wiki/Suit) Service dress uniform (/wiki/Service_dress_uniform) Cocktail dress (/wiki/Cocktail_dress) Pantsuit (/wiki/Pantsuit) Casual (/wiki/Casual_wear) (anything not above) Business casual (/wiki/Business_casual) Casual Friday Combat uniform (/wiki/Combat_uniform) Smart casual (/wiki/Smart_casual) Workwear (/wiki/Workwear) Streetwear (/wiki/Streetwear) Sportswear (/wiki/Sportswear) known as Sportswear (fashion) (/wiki/Sportswear_(fashion)) and Athleisure (/wiki/Athleisure) Undress (/wiki/Undress_code) Supplementary alternatives Ceremonial dress (/wiki/Ceremonial_dress) law courts (/wiki/Court_dress) royal courts (/wiki/Court_uniform_and_dress_in_the_United_Kingdom) diplomatic (/wiki/Diplomatic_uniform) academic (/wiki/Academic_dress) , etc. Religious clothing (/wiki/Religious_clothing) cassock (/wiki/Cassock) , habit (/wiki/Religious_habit) , etc. Folk costume (/wiki/Folk_costume) Distinctions Orders (/wiki/Order_(distinction)) medals (/wiki/Medal) , etc. Legend: = Day (before 6 p.m.) = Evening (after 6 p.m.) = Bow tie (/wiki/Bow_tie) colour = Ladies = Gentlemen Fashion portal (/wiki/Portal:Fashion) v t e Casual Friday (also known as dress-down Friday or casual day ) is a Western dress code (/wiki/Western_dress_code) trend in which businesses relax their dress code (/wiki/Social_aspects_of_clothing#Private_dress_codes) on Fridays. Businesses that usually require employees to wear suits (/wiki/Suit) , dress shirts (/wiki/Dress_shirt) , neckties (/wiki/Necktie) , and dress shoes (/wiki/Dress_shoe) , may allow more casual or business casual (/wiki/Business_casual) wear on such days. In 1994, 497 of the 1000 most important companies in America observed casual Friday, including General Motors (/wiki/General_Motors) , Ford (/wiki/Ford_Motor_Company) , and IBM (/wiki/IBM) . [1] (#cite_note-1) The trend originated from Hawaii (/wiki/Hawaii) 's midcentury custom of Aloha Friday (/wiki/Aloha_Friday) which slowly spread to California (/wiki/California) , continuing around the globe until the 1990s when it became known as Casual Friday. Casual Friday began in the United States in the 1950s and 1960s, when Hewlett-Packard (/wiki/Hewlett-Packard) allowed its employees to dress more casually on Friday and work on new ideas. [2] (#cite_note-2) Today in Hawaii, "Aloha Wear" is suitable business attire any day of the week, and the term "Aloha Friday" is generally used simply to refer to the last day of the workweek (/wiki/Workweek) . Valerie Steele (/wiki/Valerie_Steele) described the introduction of casual Friday as the most radical change in work fashion since the 70s, when women asked for the right to wear trousers in the office. [3] (#cite_note-:1-3) See also [ edit ] Casual wear (/wiki/Casual_wear) Business casual (/wiki/Business_casual) Smart casual (/wiki/Smart_casual) Workwear (/wiki/Workwear) Sportswear (/wiki/Sportswear_(fashion)) Cool Biz campaign (/wiki/Cool_Biz_campaign) Workweek and weekend (/wiki/Workweek_and_weekend) References [ edit ] ^ (#cite_ref-1) Don't Thank the Boss for 'Casual Friday'; Men's Wear Angst , in: New York Times , July 26, 1994 ^ (#cite_ref-2) Michael Shawn Malone (2007). Bill & Dave: How Hewlett and Packard Built the World's Greatest Company . Penguin (/wiki/Penguin_Books) . ISBN (/wiki/ISBN_(identifier)) 978-1-59184-152-4 . ^ (#cite_ref-:1_3-0) Anne D'Innocenzio: Casual confusion: what to wear? in: WWD , vol 169, n. 75, 19 April 1995, pp. 6–7. Moran, Malie; Pohlmann, Attila & Reilly, Andrew (2014) Honolulu Street Style . University of Chicago Press (/wiki/University_of_Chicago_Press) , ISSN 2047-0568, ISBN (/wiki/ISBN_(identifier)) 978-1-78320-307-9 (/wiki/Special:BookSources/978-1-78320-307-9) ; p. 59. v t e Employment (/wiki/Employment) Classifications Academic tenure (/wiki/Academic_tenure) Casual (/wiki/Casual_employment_(contract)) Contingent work (/wiki/Contingent_work) Full-time job (/wiki/Full-time_job) Gig worker (/wiki/Gig_worker) Job sharing (/wiki/Job_sharing) Part-time job (/wiki/Part-time_job) Self-employment (/wiki/Self-employment) Side job (/wiki/Side_job) Skilled worker (/wiki/Skilled_worker) Journeyman (/wiki/Journeyman) Technician (/wiki/Technician) Independent contractor (/wiki/Independent_contractor) Labour hire (/wiki/Labour_hire) Temporary work (/wiki/Temporary_work) Laborer (/wiki/Laborer) Wage labour (/wiki/Wage_labour) Hiring (/wiki/Recruitment) Application (/wiki/Application_for_employment) Background check (/wiki/Background_check) Business networking 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Lace made with a needle and thread Needle lace borders from the Ore Mountains (/wiki/Ore_Mountains) of Germany in 1884, displayed in the Victoria and Albert Museum (/wiki/Victoria_and_Albert_Museum) Needle lace, detail Parchment With Unfinished Needle Lace (England), 17th century (CH 18637569) Runner (ST557) - Lace-Needle Lace - MoMu Antwerp Needle lace is a type of lace (/wiki/Lace) created using a needle (/wiki/Sewing_needle) and thread (/wiki/Yarn) to create hundreds of small stitches to form the lace itself. Origins [ edit ] The origins of needle lace date back to the 15th century and embroidery. Cutwork (/wiki/Cutwork) and drawn work (/wiki/Drawn_thread_work) were developed to add interest to white on white embroidery, and the methods used in these techniques led to needle lace. [1] (#cite_note-:0-1) : 56–57 A second expert puts the development of needle lace in the following century, the 16th, in Italy, also stemming from embroidery, the openwork (/wiki/Openwork) on linen (/wiki/Linen) technique called reticella (/wiki/Reticella) . [2] (#cite_note-2) To show off their wealth in that period in Italy, the aristocracy favored wearing rich cloth embellished by embroidery and braid. As the century progressed, the small areas that were cut from the fabric to highlight the needle lace were replaced by much larger areas of cutwork. The needlework was dependent on remaining threads running vertically and horizontally, leaving squares and rectangles, which led to geometric designs. [3] (#cite_note-3) : 17 Venice was a center of needle lace making in the 1400s, as documented by official records. In the 1500s, city officials decreed that young men in Venice were prohibited from lace wearing until they had turned 25. [1] (#cite_note-:0-1) : 57–58 Lace was a prized possession, appearing in lists of people's assets. [1] (#cite_note-:0-1) : 57–58 Materials [ edit ] A variety of styles developed where the work is started by securing heavier guiding threads onto a stiff background (such as thick paper) with stitches that can later be removed. The work is then built up using a variety of stitches—the most basic being a variety of buttonhole (/wiki/Buttonhole_stitch) or blanket stitch (/wiki/Blanket_stitch) . When the entire area is covered with the stitching, the stay-stitches are released and the lace comes away from the paper. Needle lace is also used to create the fillings or insertions in cutwork (/wiki/Cutwork) . [4] (#cite_note-4) Structure [ edit ] In its basic form, the only equipment and materials used are a needle, thread and scissors (/wiki/Scissors) . Often there is a supporting substrate that is used to tether the outline stitches for the basic framework, and then many types of stitches will fill in the open spaces subsequently. [5] (#cite_note-5) Many different needle lace styles and traditions have developed over the centuries, and distinctive stitches can characterize different styles. [6] (#cite_note-6) Many needle lace texts are available to assist contemporary lacemakers to reproduce the classic stitches. [7] (#cite_note-7) Modern lacemakers can also explore contemporary design and novel uses for needle lace beyond the traditional reproduction work. [8] (#cite_note-8) The Royal School of Needlework (/wiki/Royal_School_of_Needlework) contains a stitch library of many types of stitching, including some needle lace techniques. [9] (#cite_note-9) For example, Hollie Point (/wiki/Hollie_point) structure and steps can be examined in detail. [10] (#cite_note-10) References [ edit ] ^ Jump up to: a b c Bath, Virginia Churchill (1979). Lace . New York: Penguin Books. ^ (#cite_ref-2) de Dillmont, Thérèse, ed. (1902). Needle-made Laces: 1st series . Mulhouse, France: Dollfus Mieg & Cie. ^ (#cite_ref-3) Toomer, Heather; Voysey, Cynthia, eds. (1989). Lace: a guide to identification of old lace types and techniques . London: Batsford. ISBN (/wiki/ISBN_(identifier)) 978-0-7134-5701-8 . ^ (#cite_ref-4) Blomkamp, Hazel (2017). Needle Weaving Techniques for Hand Embroidery . Search Press. ISBN (/wiki/ISBN_(identifier)) 9781782215172 . ^ (#cite_ref-5) Jacqueline, Peter (2020). Practical Guide to Needle Lace . Schiffer Craft. ISBN (/wiki/ISBN_(identifier)) 9780764358692 . ^ (#cite_ref-6) Earnshaw, Pat (1989). Needle-Made Laces: Materials, Designs, Techniques . Ward Lock Ltd. ISBN (/wiki/ISBN_(identifier)) 9780706366204 . ^ (#cite_ref-7) Barley, Catherine (1994). Needlelace: Designs and Techniques Classic and Contemporary . B T Batsford Ltd. ISBN (/wiki/ISBN_(identifier)) 9780713468106 . ^ (#cite_ref-8) Jill Nordfors, Clark (1999). Needle Lace : Techniques and Inspiration . Search Press, Limited. ISBN (/wiki/ISBN_(identifier)) 9780855328979 . ^ (#cite_ref-9) "Needlelace - RSN StitchBank" (https://rsnstitchbank.org/technique/needlelace) . rsnstitchbank.org . Retrieved 2024-01-28 . ^ (#cite_ref-10) "Hollie stitch - RSN StitchBank" (https://rsnstitchbank.org/stitch/hollie-stitch) . rsnstitchbank.org . Retrieved 2024-01-28 . "Structures of Antique Lace" (http://www.marlamallett.com/lace.htm) . A Collection of Antique Laces . Retrieved July 26, 2005 . External links [ edit ] Wikimedia Commons has media related to Needle lace (https://commons.wikimedia.org/wiki/Category:Needle_lace) . Kenmare Lace And other forms of Irish Lace (http://www.KenmareLace.ie/) Needlelace (https://web.archive.org/web/20130809053008/http://lace.lacefairy.com/Lace/ID/NeedlelaceID.html) - Lace Identification and Types Old Point Lace: How to Copy and Imitate It (https://www2.cs.arizona.edu/patterns/weaving/books/archive_036.pdf) (1878) by Daisy Waterhouse Hawkins. Chatto and Windus, London. hide v t e Lace (/wiki/Lace) types Needle lace Filet lace (/wiki/Filet_lace) Punto in Aria (/wiki/Punto_in_Aria) Point de Venise (/wiki/Point_de_Venise) Point de France (/wiki/Point_de_France) Alençon (/wiki/Alen%C3%A7on_lace) Aemilia Ars (/w/index.php?title=Aemilia_Ars&action=edit&redlink=1) Argentan (/wiki/Argentan_lace) Argentella (/wiki/Argentella) Armenian (/wiki/Armenian_needlelace) Burano (https://it.wikipedia.org/wiki/Merletto%20di%20Burano) Halas lace (/wiki/Halas_lace) Hedebo embroidery (/wiki/Hedebo_embroidery) Hollie Point (/wiki/Hollie_Point) Nallıhan (/wiki/Nall%C4%B1han_silk_needlelace) Point de Gaze (/wiki/Point_de_Gaze) Kenmare Lace (/wiki/Kenmare_lace) Ñandutí (/wiki/%C3%91andut%C3%AD) Oya (/wiki/Oya_(lace)) Pag (/wiki/Pag_lace) Puncetto Valsesiano (/w/index.php?title=Puncetto_Valsesiano&action=edit&redlink=1) Tenerife (/wiki/Tenerife_lace) Youghal (/wiki/Youghal_lace) Embroidery (/wiki/Embroidery) Buratto (/wiki/Buratto) Filet lace (/wiki/Filet_lace) Reticella (/wiki/Reticella) Limerick (/wiki/Limerick_lace) Needlerun net (/wiki/Needlerun_net) Tambour (/wiki/Tambour_lace) Cutwork (/wiki/Cutwork) Broderie anglaise (/wiki/Broderie_anglaise) Carrickmacross (/wiki/Carrickmacross_lace) Lefkara lace (/wiki/Lefkara_lace) Saba lace (/wiki/Saba_lace) Bobbin lace (/wiki/Bobbin_lace) Mesh grounds (/wiki/Mesh_grounded_bobbin_lace) Torchon (/wiki/Torchon_lace) Freehand (/wiki/Freehand_lace) Arras (/wiki/Arras_lace) Bayeux (/wiki/Bayeux_lace) Beeralu (/w/index.php?title=Beeralu&action=edit&redlink=1) Blonde (/wiki/Blonde_lace) Bucks point (/wiki/Bucks_point_lace) Chantilly (/wiki/Chantilly_lace) Chefoo (/w/index.php?title=Chefoo_lace&action=edit&redlink=1) Cogne (/wiki/Cogne_lace) Tønder (/wiki/T%C3%B8nder_lace) Beveren (/wiki/Beveren_lace) Lille (/wiki/Lille_lace) Binche (/wiki/Binche_lace) Flanders (/wiki/Flanders_lace) Paris (/wiki/Paris_lace) Valenciennes (/wiki/Valenciennes_lace) Antwerp (/wiki/Antwerp_lace) Mechlin (/wiki/Mechlin_lace) Ipswich (/wiki/Ipswich_lace) 's Gravenmoer (/w/index.php?title=%27s_Gravenmoer_lace&action=edit&redlink=1) Mundillo (/wiki/Mundillo) Guipure (/wiki/Guipure) Greek (/wiki/Greek_lace) Genoese (/wiki/Genoese_lace) Bedfordshire (/wiki/Bedfordshire_lace) Cluny (/wiki/Cluny_lace) Dentelle du Puy (https://fr.wikipedia.org/wiki/Dentelle_du_Puy) Liptov (/wiki/Liptov) Maltese (/wiki/Maltese_lace) Yak lace (/wiki/Yak_lace) Part laces (/wiki/Part_lace) Honiton (/wiki/Honiton_lace) Bruges (/wiki/Bruges_lace) Brussels (/wiki/Brussels_lace) Rosaline (/wiki/Rosaline_lace) Point d'Angleterre (/wiki/Brussels_lace#Point_d'Angleterre) Tape (/wiki/Bobbin_tape_lace) Cantù (/w/index.php?title=Cant%C3%B9_lace&action=edit&redlink=1) Milanese (/wiki/Milanese_bobbin_lace) Hinojosa (/w/index.php?title=Hinojosa_lace&action=edit&redlink=1) Russian (/wiki/Russian_lace) Idrija (/wiki/Idrija_lace) Schneeberg (/wiki/Schneeberg_lace) Peasant (/w/index.php?title=Peasant_lace&action=edit&redlink=1) Tape lace (/wiki/Tape_lace) Mezzopunto (/w/index.php?title=Mezzopunto&action=edit&redlink=1) Princess (/wiki/Princess_lace) Renaissance (/wiki/Renaissance_lace) Battenberg (/wiki/Battenberg_lace) Romanian point (/wiki/Romanian_point_lace) Branscombe (/wiki/Branscombe_lace) Crocheted lace (/wiki/Crocheted_lace) Broomstick lace (/wiki/Broomstick_lace) Irish crochet (/wiki/Irish_lace) Hairpin (/wiki/Hairpin_lace) Filet crochet (/wiki/Filet_crochet) Orvieto lace (/w/index.php?title=Orvieto_lace&action=edit&redlink=1) Machine (/wiki/Lace_machine) -made lace Bobbinet (/wiki/Bobbinet) Leavers (/wiki/Leavers_machine) Pusher (/wiki/Pusher_machine) Barmen (/wiki/Barmen_lace_machine) Curtain Machine (/wiki/Nottingham_lace_curtain_machine) Chemical (/wiki/Chemical_lace) Raschel (/wiki/Warp_knitting) Stocking Frame (/wiki/Stocking_frame) Warp Knit (/wiki/Warp_knitting) Other handmade laces Metal laces (/wiki/Metal_lace) Lace knitting (/wiki/Lace_knitting) Macramé (/wiki/Macram%C3%A9) Tatting (/wiki/Tatting) Punto a groppo (/wiki/Punto_a_groppo) Sprang (/wiki/Sprang) Liturgical lace (/wiki/Liturgical_lace) Media related to Lace (https://commons.wikimedia.org/wiki/Category:Lace) at Wikimedia Commons Fashion portal (/wiki/Portal:Fashion) Clothing portal (/wiki/Portal:Clothing) Authority control databases (/wiki/Help:Authority_control) : National Czech Republic (https://aleph.nkp.cz/F/?func=find-c&local_base=aut&ccl_term=ica=ph1090865&CON_LNG=ENG) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐jzghv Cached time: 20240720205524 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.345 seconds Real time usage: 0.504 seconds Preprocessor visited node count: 2064/1000000 Post‐expand include size: 49392/2097152 bytes Template argument size: 1372/2097152 bytes Highest expansion depth: 15/100 Expensive parser function count: 4/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 51665/5000000 bytes Lua time 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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=Needle_lace&oldid=1205278660 (https://en.wikipedia.org/w/index.php?title=Needle_lace&oldid=1205278660) " Category (/wiki/Help:Category) : Needle lace (/wiki/Category:Needle_lace) Hidden categories: Articles with short description (/wiki/Category:Articles_with_short_description) Short description matches Wikidata (/wiki/Category:Short_description_matches_Wikidata) Commons category link from Wikidata (/wiki/Category:Commons_category_link_from_Wikidata) Articles with NKC identifiers (/wiki/Category:Articles_with_NKC_identifiers) |
19th century Irish crochet (/wiki/Irish_crochet) Crochet lace is an application of the art of crochet (/wiki/Crochet) . Generally it uses finer threads and more decorative styles of stitching, often with flowing lines or scalloped edges to give interest. Variation of the size of the holes also gives a piece a "lacy" look. Originally crocheted lace was not regarded as true lace. Crocheting was considered an easy, and less time-consuming, but otherwise clearly inferior surrogate for "true" lace such as bobbin lace (/wiki/Bobbin_lace) , needle lace (/wiki/Needle_lace) or netting (/wiki/Net_(textile)) . [1] (#cite_note-Lace_a_History-1) The first examples of crocheted lace try to reproduce the products of other lacemaking techniques as faithfully as possible. Over time, the many possibilities and inherent beauty of crocheted lace became more widely appreciated. [2] (#cite_note-2) Main styles of crocheted lace include filet crochet (/wiki/Filet_crochet) , Irish crochet (/wiki/Irish_crochet) and its modern derivatives, pineapple crochet. Freeform crocheted lace also exists, examples of which are pieces striving to imitate reticella (/wiki/Reticella) lace. [3] (#cite_note-3) Gallery [ edit ] Italian Filet lace, crocheted Irish crocheted lace coat with cutwork French crochet lace tablecloth detail English crochet lace doily Csetneki crochet lace from Slovakia References [ edit ] Wikimedia Commons has media related to Crochet lace (https://commons.wikimedia.org/wiki/Category:Crochet_lace) . ^ (#cite_ref-Lace_a_History_1-0) Levey, Santina M. (/wiki/Santina_M._Levey) (1983). Lace: a History . London: Victoria & Albert Museum. ISBN (/wiki/ISBN_(identifier)) 090128615X . ^ (#cite_ref-2) Paludan, Lis. Crochet: History & Technique . Loveland CO: Interweave Press. ISBN (/wiki/ISBN_(identifier)) 1883010098 . ^ (#cite_ref-3) Bronstein, Zelda (April 19, 2005). "Art That Saved the Irish From Starvation". Berkeley Daily Planet. v t e Crochet (/wiki/Crochet) Tools Crochet hook (/wiki/Crochet_hook) Cro-hook (/wiki/Cro-hook) Hook gauge (/wiki/Hook_gauge) List of yarns for crochet and knitting (/wiki/List_of_yarns_for_crochet_and_knitting) Scissors (/wiki/Scissors) Stitch marker (/wiki/Stitch_marker_(crochet)) Techniques and motifs Bead crochet (/wiki/Bead_crochet) Blocking (/wiki/Blocking_(textile_arts)) Gauge (/wiki/Gauge_(knitting)) Granny square (/wiki/Granny_square) List of crochet stitches (/wiki/List_of_crochet_stitches) Shell stitch (/wiki/Shell_stitch) Tapestry crochet (/wiki/Tapestry_crochet) Tunisian crochet (/wiki/Tunisian_crochet) Items Amigurumi (/wiki/Amigurumi) Noken or Bilum (/wiki/Noken) Doily (/wiki/Doily) Crocheted lace Broomstick lace (/wiki/Broomstick_lace) Crocheted lace Filet crochet (/wiki/Filet_crochet) Hairpin lace (/wiki/Hairpin_lace) Irish crochet (/wiki/Irish_lace) Related Crochet thread (/wiki/Crochet_thread) Dye lot (/wiki/Dye_lot) Yarn (/wiki/Yarn) v t e Lace (/wiki/Lace) types Needle lace (/wiki/Needle_lace) Filet lace (/wiki/Filet_lace) Punto in Aria (/wiki/Punto_in_Aria) Point de Venise (/wiki/Point_de_Venise) Point de France (/wiki/Point_de_France) Alençon (/wiki/Alen%C3%A7on_lace) Aemilia Ars (/w/index.php?title=Aemilia_Ars&action=edit&redlink=1) Argentan (/wiki/Argentan_lace) Argentella (/wiki/Argentella) Armenian (/wiki/Armenian_needlelace) Burano (https://it.wikipedia.org/wiki/Merletto%20di%20Burano) Halas lace (/wiki/Halas_lace) Hedebo embroidery (/wiki/Hedebo_embroidery) Hollie Point (/wiki/Hollie_Point) Nallıhan (/wiki/Nall%C4%B1han_silk_needlelace) Point de Gaze (/wiki/Point_de_Gaze) Kenmare Lace (/wiki/Kenmare_lace) Ñandutí (/wiki/%C3%91andut%C3%AD) Oya (/wiki/Oya_(lace)) Pag (/wiki/Pag_lace) Puncetto Valsesiano (/w/index.php?title=Puncetto_Valsesiano&action=edit&redlink=1) Tenerife (/wiki/Tenerife_lace) Youghal (/wiki/Youghal_lace) Embroidery (/wiki/Embroidery) Buratto (/wiki/Buratto) Filet lace (/wiki/Filet_lace) Reticella (/wiki/Reticella) Limerick (/wiki/Limerick_lace) Needlerun net (/wiki/Needlerun_net) Tambour (/wiki/Tambour_lace) Cutwork (/wiki/Cutwork) Broderie anglaise (/wiki/Broderie_anglaise) Carrickmacross (/wiki/Carrickmacross_lace) Lefkara lace (/wiki/Lefkara_lace) Saba lace (/wiki/Saba_lace) Bobbin lace (/wiki/Bobbin_lace) Mesh grounds (/wiki/Mesh_grounded_bobbin_lace) Torchon (/wiki/Torchon_lace) Freehand (/wiki/Freehand_lace) Arras (/wiki/Arras_lace) Bayeux (/wiki/Bayeux_lace) Beeralu (/w/index.php?title=Beeralu&action=edit&redlink=1) Blonde (/wiki/Blonde_lace) Bucks point (/wiki/Bucks_point_lace) Chantilly (/wiki/Chantilly_lace) Chefoo (/w/index.php?title=Chefoo_lace&action=edit&redlink=1) Cogne (/wiki/Cogne_lace) Tønder (/wiki/T%C3%B8nder_lace) Beveren (/wiki/Beveren_lace) Lille (/wiki/Lille_lace) Binche (/wiki/Binche_lace) Flanders (/wiki/Flanders_lace) Paris (/wiki/Paris_lace) Valenciennes (/wiki/Valenciennes_lace) Antwerp (/wiki/Antwerp_lace) Mechlin (/wiki/Mechlin_lace) Ipswich (/wiki/Ipswich_lace) 's Gravenmoer (/w/index.php?title=%27s_Gravenmoer_lace&action=edit&redlink=1) Mundillo (/wiki/Mundillo) Guipure (/wiki/Guipure) Greek (/wiki/Greek_lace) Genoese (/wiki/Genoese_lace) Bedfordshire (/wiki/Bedfordshire_lace) Cluny (/wiki/Cluny_lace) Dentelle du Puy (https://fr.wikipedia.org/wiki/Dentelle_du_Puy) Liptov (/wiki/Liptov) Maltese (/wiki/Maltese_lace) Yak lace (/wiki/Yak_lace) Part laces (/wiki/Part_lace) Honiton (/wiki/Honiton_lace) Bruges (/wiki/Bruges_lace) Brussels (/wiki/Brussels_lace) Rosaline (/wiki/Rosaline_lace) Point d'Angleterre (/wiki/Brussels_lace#Point_d'Angleterre) Tape (/wiki/Bobbin_tape_lace) Cantù (/w/index.php?title=Cant%C3%B9_lace&action=edit&redlink=1) Milanese (/wiki/Milanese_bobbin_lace) Hinojosa (/w/index.php?title=Hinojosa_lace&action=edit&redlink=1) Russian (/wiki/Russian_lace) Idrija (/wiki/Idrija_lace) Schneeberg (/wiki/Schneeberg_lace) Peasant (/w/index.php?title=Peasant_lace&action=edit&redlink=1) Tape lace (/wiki/Tape_lace) Mezzopunto (/w/index.php?title=Mezzopunto&action=edit&redlink=1) Princess (/wiki/Princess_lace) Renaissance (/wiki/Renaissance_lace) Battenberg (/wiki/Battenberg_lace) Romanian point (/wiki/Romanian_point_lace) Branscombe (/wiki/Branscombe_lace) Crocheted lace Broomstick lace (/wiki/Broomstick_lace) Irish crochet (/wiki/Irish_lace) Hairpin (/wiki/Hairpin_lace) Filet crochet (/wiki/Filet_crochet) Orvieto lace (/w/index.php?title=Orvieto_lace&action=edit&redlink=1) Machine (/wiki/Lace_machine) -made lace Bobbinet (/wiki/Bobbinet) Leavers (/wiki/Leavers_machine) Pusher (/wiki/Pusher_machine) Barmen (/wiki/Barmen_lace_machine) Curtain Machine (/wiki/Nottingham_lace_curtain_machine) Chemical (/wiki/Chemical_lace) Raschel (/wiki/Warp_knitting) Stocking Frame (/wiki/Stocking_frame) Warp Knit (/wiki/Warp_knitting) Other handmade laces Metal laces (/wiki/Metal_lace) Lace knitting (/wiki/Lace_knitting) Macramé (/wiki/Macram%C3%A9) Tatting (/wiki/Tatting) Punto a groppo (/wiki/Punto_a_groppo) Sprang (/wiki/Sprang) Liturgical lace (/wiki/Liturgical_lace) Media related to Lace (https://commons.wikimedia.org/wiki/Category:Lace) at Wikimedia Commons Fashion portal (/wiki/Portal:Fashion) Clothing portal (/wiki/Portal:Clothing) Authority control databases (/wiki/Help:Authority_control) : National Czech Republic (https://aleph.nkp.cz/F/?func=find-c&local_base=aut&ccl_term=ica=ph136862&CON_LNG=ENG) NewPP limit report Parsed by mw‐web.eqiad.main‐57d74c944b‐jzgcq Cached time: 20240720170454 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1] CPU time usage: 0.388 seconds Real time usage: 0.586 seconds Preprocessor visited node count: 759/1000000 Post‐expand include size: 44795/2097152 bytes Template argument size: 680/2097152 bytes Highest expansion depth: 14/100 Expensive parser function count: 4/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 38046/5000000 bytes Lua time usage: 0.263/10.000 seconds Lua memory usage: 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Woollen cap covering the head and neck "Ski mask" redirects here. For other uses, see Ski Mask (/wiki/Ski_Mask_(disambiguation)) . Different ways of wearing a balaclava A woman modeling a knitted balaclava A balaclava , also known as a monkey cap, balaclava helmet , ski mask or sheisty , [1] (#cite_note-1) is a form of cloth headgear (/wiki/Headgear) designed to expose only part of the face, usually the eyes and mouth. Depending on style and how it is worn, only the eyes, mouth and nose, or just the front of the face are unprotected. Versions with enough of a full face opening may be rolled into a hat to cover the crown of the head (/wiki/Crown_(anatomy)) or folded down as a collar around the neck. It is commonly used in alpine skiing and snowboarding. History [ edit ] Similar styles of headgear were known in the 19th century as the Uhlan (/wiki/Uhlan) cap worn by Polish and Prussian soldiers, and the Templar (/wiki/Templar) cap worn by outdoor sports enthusiasts. [2] (#cite_note-Chico-2) [3] (#cite_note-Rutt-3) The name comes from their use at the Battle of Balaclava (/wiki/Battle_of_Balaclava) during the Crimean War (/wiki/Crimean_War) of 1854, referring to the town (/wiki/Balaklava) near Sevastopol (/wiki/Sevastopol) in the Crimea (/wiki/Crimea) , [4] (#cite_note-Games2007-4) where British troops there wore knitted headgear to keep warm. [2] (#cite_note-Chico-2) Handmade balaclavas were sent over to the British troops (/wiki/British_Army) to help protect them from the bitter cold weather. British troops required this aid, as their own supplies (warm clothing, weatherproof quarters, and food) never arrived in time. [5] (#cite_note-Shepherd-5) According to Richard Rutt in his History of Handknitting , the name "balaclava helmet" was not used during the war but appears much later, in 1881. [3] (#cite_note-Rutt-3) Uses [ edit ] Warmth [ edit ] Thin Balaclavas can be used under motorcycle, snowmobile, ski, and snowboard helmets for warmth in cool or winter conditions. Sports [ edit ] Balaclava worn during a snowstorm (/wiki/Snowstorm) Many skiers, snowboarders, cyclists, and runners wear balaclavas in cold weather for warmth. They protect the head, face, and neck from wind and low temperatures and can fit easily under helmets. These sports balaclavas can be full balaclavas, which cover the entire head leaving only the eyes uncovered, or half-balaclavas, which leave the forehead free, but cover most of the head. Key elements of sports balaclavas are that they are warm, windproof, and moisture-wicking. Racing [ edit ] See also: Racing suit (/wiki/Racing_suit) and Anti-flash gear (/wiki/Anti-flash_gear) Race drivers (/wiki/Race_driver) in Fédération Internationale de l'Automobile (/wiki/F%C3%A9d%C3%A9ration_Internationale_de_l%27Automobile) sanctioned events must wear balaclavas made of fire-retardant material underneath their crash helmets. In racing events, hill-climbs, special stages of rallies and selective sections of cross-country events entered on the International Sporting Calendar, all drivers and co-drivers must wear overalls as well as gloves (optional for co-drivers), long underwear, a balaclava, and shoes homologated to the FIA 8856-2000 standard. [6] (#cite_note-6) Concealment [ edit ] A rib-knit (/wiki/Ribbing_(knitting)) three-hole balaclava Balaclavas are in certain contexts associated with criminality as gang members have used them to conceal their identity. [7] (#cite_note-:0-7) In 2004, police in Prestwich (/wiki/Prestwich) , England, began demanding that people on the street remove their balaclavas, describing the garment as "extremely threatening". [7] (#cite_note-:0-7) In 2008, police in Kent (/wiki/Kent) confiscated a copy of the War on Terror (/wiki/War_on_Terror_(game)) board game partly because of the inclusion of a balaclava, stating that it "could be used to conceal someone's identity or could be used in the course of a criminal act." [8] (#cite_note-8) Military and police [ edit ] Afghan soldier wearing a balaclava In South Asia (/wiki/South_Asia) , balaclavas are commonly referred to as monkey caps because of their typical earth tone colours, and the fact that they blot out most human facial features. Monkey caps sometimes have a small, decorative, woollen pom-pom (/wiki/Pom-pom) on top. They are commonly worn by troops on Himalayan (/wiki/Himalaya) duty for protection from the cold. [9] (#cite_note-9) In December 2006, the United States Marine Corps (/wiki/United_States_Marine_Corps) began issuing balaclavas with hinged face guards as part of the Flame Resistant Organizational Gear (/wiki/Flame_Resistant_Organizational_Gear) program. [10] (#cite_note-10) [11] (#cite_note-11) In the Soviet Union (/wiki/Soviet_Union) , the balaclava became a part of standard OMON (/wiki/OMON) (special police task force) uniform as early as the Perestroyka (/wiki/Perestroyka) years of the late 1980s. The original intent was to protect the identity of the officers to avoid intimidation from organized crime. Because of increased problems with organized crime of the 1990s, TV shots of armed men in black balaclavas became common. Armed Russian police commonly conduct raids and searches of white-collar premises (typically in Moscow) while wearing balaclavas. Such raids have therefore come to be known in Russia as " maski (/wiki/Mask) shows", an allusion to a popular comic TV show of the 1990s. [12] (#cite_note-aknyt-12) Balaclavas are often used by police battling drug cartels and gangs in Latin America (/wiki/Latin_America) to conceal their identity and protect their families. [13] (#cite_note-13) [14] (#cite_note-14) Fashion [ edit ] Knitted balaclavas were featured in some collections at the 2018 New York Fashion Week (/wiki/New_York_Fashion_Week) . [15] (#cite_note-theguardian-15) [16] (#cite_note-SZ-16) [17] (#cite_note-Welt-17) See also [ edit ] Fashion portal (/wiki/Portal:Fashion) Anti-flash gear (/wiki/Anti-flash_gear) Anti-mask laws (/wiki/Anti-mask_laws) Facekini (/wiki/Facekini) Keffiyeh (/wiki/Keffiyeh) (traditional Middle Eastern headwear) Knit cap (/wiki/Knit_cap) Mask (/wiki/Mask) Neck gaiter (/wiki/Neck_gaiter) "Ski mask" toque (/wiki/Toque) — Canadian English (/wiki/Canadian_English) ; also commonly worn when using snowmobiles (/wiki/Snowmobile) ; typically a three-hole balaclava with generous neck tube for maximal wind protection References [ edit ] ^ (#cite_ref-1) "sheisty, adj. — Green's Dictionary of Slang" (https://greensdictofslang.com/entry/nkza5ry) . greensdictofslang.com . Retrieved 2023-11-22 . ^ Jump up to: a b Chico, Beverly (2013). "Balaclava". Hats and Headwear Around the World: A Cultural Encyclopedia . ABC-CLIO. pp. 35–36. ISBN (/wiki/ISBN_(identifier)) 978-1-6106-9063-8 . ^ Jump up to: a b Rutt, Richard (1987). A History of Handknitting . Interweave Press. pp. 134–5. ISBN (/wiki/ISBN_(identifier)) 978-0934026352 . Archived (https://web.archive.org/web/20220210193829/https://books.google.com/books?id=fztUAAAAMAAJ&q=balaclava) from the original on 2022-02-10 . Retrieved 2021-12-09 . (Note that there is a misprint in the date of the Battle of Balaclava, which took place 1854, in the original edition cited here.) ^ (#cite_ref-Games2007_4-0) Games, Alex (2007). Balderdash & piffle: one sandwich short of a dog's dinner . London: BBC. ISBN (/wiki/ISBN_(identifier)) 978-1-84607-235-2 . ^ (#cite_ref-Shepherd_5-0) Shepherd, John (1991). The Crimean Doctors: A History of the British Medical Services in the Crimean War . Vol. 1. Liverpool University Press. pp. 296–306. ISBN (/wiki/ISBN_(identifier)) 9780853231073 . Archived (https://web.archive.org/web/20211216122423/https://books.google.com/books?id=HpCgkcvNiLcC&pg=PA296) from the original on 2021-12-16 . Retrieved 2019-08-15 . ^ (#cite_ref-6) "Appendix L to the International Sporting Code" (https://web.archive.org/web/20110711002355/http://argent.fia.com/web/fia-public.nsf/4C1C7A762BC27980C12575B700525253/%24FILE/Annexe%20L_2009_15.05.09.pdf) (PDF) . Archived from the original (http://argent.fia.com/web/fia-public.nsf/4C1C7A762BC27980C12575B700525253/$FILE/Annexe%20L_2009_15.05.09.pdf) (PDF) on 2011-07-11 . Retrieved 2021-07-16 . ^ Jump up to: a b Manchester Evening News (2004-08-12). "Gangs face arrest if they wear balaclavas" (http://www.manchestereveningnews.co.uk/news/greater-manchester-news/gangs-face-arrest-if-they-wear-balaclavas-1098765) . Manchester Evening News . Archived (https://web.archive.org/web/20220228132612/https://www.manchestereveningnews.co.uk/news/greater-manchester-news/gangs-face-arrest-if-they-wear-balaclavas-1098765) from the original on 2022-02-28 . Retrieved 2022-02-28 . ^ (#cite_ref-8) "War On Terror board game seized by police" (https://web.archive.org/web/20120806052916/http://www.cambridge-news.co.uk/Home/War-On-Terror-board-game-seized-by-police.htm?ID=338658) . Cambridge News (/wiki/Cambridge_News) . Archived from the original (http://www.cambridge-news.co.uk/cn_news_home/DisplayArticle.asp?ID=338658) on 2012-08-06 . Retrieved 2021-07-16 . ^ (#cite_ref-9) Ghosh, Subir (November 19, 2005). "Thanda lege jabey" (https://www.rajibroy.com/2008/09/10/thanda-legey-jabey/) . Hindustan Times (/wiki/Hindustan_Times) . New Delhi (/wiki/New_Delhi) . Archived (https://web.archive.org/web/20210716052856/https://www.rajibroy.com/2008/09/10/thanda-legey-jabey/) from the original on July 16, 2021 . Retrieved July 16, 2021 – via Rajib Roy. ^ (#cite_ref-10) "Nothing "Sheepish" About Fire-Safe Fabrics" (https://web.archive.org/web/20121029084623/http://www.marcorsyscom.usmc.mil/sites/pmice/News/Clothing/Fire-safe%20fabrics_Sep%202006.pdf) (PDF) . Leatherneck Magazine (/wiki/Leatherneck_Magazine) . September 2006. Archived from the original (http://www.marcorsyscom.usmc.mil/sites/pmice/News/Clothing/Fire-safe%20fabrics_Sep%202006.pdf) (PDF) on October 29, 2012. ^ (#cite_ref-11) "Flame Resistant Organizational Gear" (https://web.archive.org/web/20120916065851/http://www.marcorsyscom.usmc.mil/sites/pmice/InfoPapers/Clothing/FROG.pdf) (PDF) . US Marine Corps: Program Manager Infantry Combat Equipment . August 24, 2007. Archived from the original (http://www.marcorsyscom.usmc.mil/sites/pmice/InfoPapers/Clothing/FROG.pdf) (PDF) on September 16, 2012. ^ (#cite_ref-aknyt_12-0) Kramer, Andrew E. (August 31, 2011). "Memo to Exxon: Business With Russia May Involve Guns and Balaclavas" (https://www.nytimes.com/2011/09/01/business/global/bp-russia.html?nl=afternoonupdate&emc=aua22) . The New York Times (/wiki/The_New_York_Times) . Archived (https://web.archive.org/web/20191016125712/https://www.nytimes.com/2011/09/01/business/global/bp-russia.html?nl=afternoonupdate&emc=aua22) from the original on October 16, 2019 . Retrieved February 26, 2017 . ^ (#cite_ref-13) Sieff, Kevin (March 3, 2019). "It's so dangerous to police MS-13 in El Salvador that officers are fleeing the country" (https://www.washingtonpost.com/world/the_americas/its-so-dangerous-to-police-ms-13-in-el-salvador-that-officers-are-fleeing-the-country/2019/03/03/e897dbaa-2287-11e9-b5b4-1d18dfb7b084_story.html) . The Washington Post (/wiki/The_Washington_Post) . Archived (https://web.archive.org/web/20190305141146/https://www.washingtonpost.com/world/the_americas/its-so-dangerous-to-police-ms-13-in-el-salvador-that-officers-are-fleeing-the-country/2019/03/03/e897dbaa-2287-11e9-b5b4-1d18dfb7b084_story.html) from the original on March 5, 2019 . Retrieved March 5, 2019 . ^ (#cite_ref-14) "Why anti-terror officers wear different clothes" (https://www.bbc.co.uk/newsbeat/article/34863049/why-anti-terror-officers-wear-different-clothes) . BBC News (/wiki/BBC_News) . November 18, 2015. Archived (https://web.archive.org/web/20190306051646/http://www.bbc.co.uk/newsbeat/article/34863049/why-anti-terror-officers-wear-different-clothes) from the original on March 6, 2019 . Retrieved March 5, 2019 . ^ (#cite_ref-theguardian_15-0) "Balaclavas and hi-vis: we know what you'll be wearing next autumn/winter" (https://www.theguardian.com/fashion/2018/mar/08/balaclavas-and-hi-vis-we-know-what-youll-be-wearing-next-autumnwinter-a-photo-essay) . The Guardian . March 8, 2018. Archived (https://web.archive.org/web/20180618101831/https://www.theguardian.com/fashion/2018/mar/08/balaclavas-and-hi-vis-we-know-what-youll-be-wearing-next-autumnwinter-a-photo-essay) from the original on June 18, 2018. ^ (#cite_ref-SZ_16-0) "Achtung, die Vollmützen kommen!" (https://www.sueddeutsche.de/stil/mode-winter-trend-sturmhaube-1.4182417) . Sueddeutsche.de . October 28, 2018. Archived (https://web.archive.org/web/20191212013809/https://www.sueddeutsche.de/stil/mode-winter-trend-sturmhaube-1.4182417) from the original on December 12, 2019. ^ (#cite_ref-Welt_17-0) "Diese Gangster-Mütze ist jetzt cool – muss das sein?" (https://www.welt.de/icon/mode/article181288196/Balaclava-Diese-Gangster-Muetze-ist-jetzt-cool-muss-das-sein.html) . Welt.de . August 28, 2018. Archived (https://web.archive.org/web/20210725045006/https://www.welt.de/icon/mode/article181288196/Balaclava-Diese-Gangster-Muetze-ist-jetzt-cool-muss-das-sein.html) from the original on July 25, 2021. 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American actress (born 1975) In this name that follows Eastern Slavic naming customs (/wiki/Eastern_Slavic_naming_customs) , the patronymic (/wiki/Patronymic) is Bogdanovna and the family name (/wiki/Surname) is Jovovich . Milla Jovovich Jovovich in 2019 Born Milica Bogdanovna Jovović ( 1975-12-17 ) December 17, 1975 (age 48) Kiev (/wiki/Kiev) , Ukrainian SSR (/wiki/Ukrainian_SSR) , Soviet Union Nationality Ukrainian (until 1994) American (from 1994) Occupations Actress model singer Years active 1988–present Spouses Shawn Andrews (/wiki/Shawn_Andrews_(actor)) ( m. 1992; ann. 1992) Luc Besson (/wiki/Luc_Besson) ( m. 1997; div. 1999) Paul W. S. Anderson (/wiki/Paul_W._S._Anderson) ( m. 2009) Children 3, including Ever Anderson (/wiki/Ever_Anderson) Parent Galina Loginova (/wiki/Galina_Jovovich) (mother) Website www (https://www.millaj.com/) .millaj (https://www.millaj.com/) .com (https://www.millaj.com/) Milica Bogdanovna Jovovich [a] (#cite_note-2) [b] (#cite_note-3) ( / (/wiki/Help:IPA/English) ˈ j oʊ v ə v ɪ tʃ / (/wiki/Help:IPA/English) YOH -və-vitch ; born December 17, 1975), known professionally as Milla Jovovich ( MEE -lə ), is an American actress and former fashion model. [2] (#cite_note-4) Her starring roles in numerous science-fiction (/wiki/Science_fiction_film) and action films (/wiki/Action_film) led the music channel VH1 (/wiki/VH1) to deem her the "reigning queen of kick-butt" in 2006. [3] (#cite_note-VH1-5) In 2004, Forbes (/wiki/Forbes) determined that she was the highest-paid model in the world. [4] (#cite_note-Forbes-6) Born in Kiev (/wiki/Kiev) and raised in Los Angeles, Jovovich began modeling when Herb Ritts (/wiki/Herb_Ritts) photographed her for the cover of the Italian magazine Lei in 1987. [5] (#cite_note-PurpleLove-7) [6] (#cite_note-8) Richard Avedon (/wiki/Richard_Avedon) featured her in Revlon (/wiki/Revlon) 's "Most Unforgettable Women in the World" advertisements. [7] (#cite_note-9) In 1988, she made her screen debut in the television film The Night Train to Kathmandu (/wiki/The_Night_Train_to_Kathmandu) and appeared in her first feature film, Two Moon Junction (/wiki/Two_Moon_Junction) . Jovovich gained attention for her role in the 1991 romance film Return to the Blue Lagoon (/wiki/Return_to_the_Blue_Lagoon) . [8] (#cite_note-10) She was considered to have a breakthrough with her role in the 1997 French science-fiction action film The Fifth Element (/wiki/The_Fifth_Element) , written and directed by Luc Besson (/wiki/Luc_Besson) . Jovovich and Besson married that year but soon divorced. She starred as Joan of Arc (/wiki/Joan_of_Arc) in Besson's The Messenger: The Story of Joan of Arc (/wiki/The_Messenger:_The_Story_of_Joan_of_Arc) (1999). From 2002 to 2016, she portrayed Alice (/wiki/Alice_(Resident_Evil)) in the action horror film franchise Resident Evil (/wiki/Resident_Evil_(film_series)) , [9] (#cite_note-new_release_date-11) which became the highest-grossing film series to be based on video games (/wiki/List_of_films_based_on_video_games) . [10] (#cite_note-12) Jovovich released her debut album, The Divine Comedy (/wiki/The_Divine_Comedy_(Milla_Jovovich_album)) , in 1994, and a follow-up, The People Tree Sessions (/wiki/The_People_Tree_Sessions) , in 1998. She continues to release demos for other songs on her official website and frequently contributes to film soundtracks. In 2003, she co-created the clothing line Jovovich–Hawk (/wiki/Jovovich%E2%80%93Hawk) —which ran until 2008—with model Carmen Hawk. Early life and family [ edit ] Milica Bogdanovna Jovovich was born on December 17, 1975, in Kiev (/wiki/Kiev) in what was then the Ukrainian Soviet Socialist Republic (/wiki/Ukrainian_Soviet_Socialist_Republic) , [11] (#cite_note-history-13) the daughter of Galina (/wiki/Galina_Jovovich) ( née (/wiki/Birth_name#Maiden_and_married_names) Loginova ), a Russian actress, and Bogdan Jovović, a Serbian doctor. [12] (#cite_note-boomsbeat.com-14) [13] (#cite_note-SC3532-15) Her maternal ancestors were from Tula (/wiki/Tula,_Russia) . [14] (#cite_note-EG-16) She spent most of her early childhood in Moscow, her mother's native city. [15] (#cite_note-Purple2009-17) Jovovich has stated that she was born in Ukraine "pretty much by accident", [16] (#cite_note-Sunderland-18) while she has no memories of her early years there. [17] (#cite_note-Vogue2016-19) However, Jovovich "remembers a lot" about her life in Russia. [15] (#cite_note-Purple2009-17) In 1980, she immigrated with her family to London and then Sacramento, California (/wiki/Sacramento,_California) [18] (#cite_note-SSSlang-20) before settling in Los Angeles seven months later. Jovovich's parents divorced soon after their arrival. In 1988, her father had a relationship with an Argentine woman, with whom he had a son. [19] (#cite_note-21) [20] (#cite_note-22) Due to her parents' divorce years before, Jovovich saw little of her half brother. [21] (#cite_note-23) In Los Angeles, her mother tried to get acting jobs but found little success because of language barriers, and eventually resorted to cleaning houses to earn money. Both of Jovovich's parents served as cooks and housekeepers for director Brian De Palma (/wiki/Brian_De_Palma) . [22] (#cite_note-Wang-24) Her father was convicted and imprisoned for participating in the largest health-insurance fraud ever investigated. He was given a 20-year sentence in 1994 [23] (#cite_note-prison-25) [24] (#cite_note-NYT-26) but was released in 1999. [25] (#cite_note-V_Russia-27) Jovovich has stated, "Prison was good for him. He's become a much better person. It gave him a chance to stop and think." [26] (#cite_note-telegraph-28) She attended public schools in Los Angeles, becoming fluent in English in three months. [27] (#cite_note-29) She was teased by classmates for coming from the Soviet Union (/wiki/Anti-Russian_sentiment) . Jovovich has stated, "I was called a commie (/wiki/Commie) and a Russian spy. I was [never] accepted into the crowd." [28] (#cite_note-Europe-30) At age 12, she left seventh grade to focus on modeling, which she had started at age nine. [29] (#cite_note-cafe-31) According to Jovovich, she was rebellious during her early teens, engaging in drug use, shopping-mall vandalism, and credit-card fraud. [26] (#cite_note-telegraph-28) She became a naturalized U.S. citizen (/wiki/Naturalized_U.S._citizen) in 1994. [30] (#cite_note-houstonpress-32) Career [ edit ] Early roles and hiatus (1985–1996) [ edit ] Jovovich's mother had "raised her to be a movie star." [26] (#cite_note-telegraph-28) In 1985, Loginova enrolled Jovovich at the age of ten in acting classes, and when her acting jobs picked up, she started attending school for young actors rather than regular school. [18] (#cite_note-SSSlang-20) [31] (#cite_note-33) [32] (#cite_note-34) In 1988, Jovovich appeared in her debut professional film role as Samantha Delongpre in the romantic thriller Two Moon Junction (/wiki/Two_Moon_Junction) . Later that year, she appeared in the made-for-television film as Lily McLeod in The Night Train to Kathmandu (/wiki/The_Night_Train_to_Kathmandu) . She had several roles in television series, including Paradise (/wiki/Paradise_(American_TV_series)) (1988), Married... with Children (/wiki/Married..._with_Children_(season_4)) (1989), and Parker Lewis Can't Lose (/wiki/Parker_Lewis_Can%27t_Lose) (1990). At age 15, she was cast as the lead in Return to the Blue Lagoon (/wiki/Return_to_the_Blue_Lagoon) (1991), opposite Brian Krause (/wiki/Brian_Krause) . Given her age and beauty, she was often compared to Brooke Shields (/wiki/Brooke_Shields) , another child model (/wiki/Child_model) -turned-actress, who had starred in The Blue Lagoon (/wiki/The_Blue_Lagoon_(1980_film)) (1980). [33] (#cite_note-yahoo-35) The role was controversial as, like Shields, Jovovich appeared nude in the film. [28] (#cite_note-Europe-30) Jovovich was nominated for "Best Young Actress Starring in a Motion Picture" at the 1991 Young Artist Awards (/wiki/Young_Artist_Award) , and "Worst New Star" at the 1991 Golden Raspberry Awards (/wiki/Golden_Raspberry_Award) . In 1992, Jovovich co-starred with Christian Slater (/wiki/Christian_Slater) in the comedy Kuffs (/wiki/Kuffs) . Later that year, she portrayed Mildred Harris (/wiki/Mildred_Harris) in the Charlie Chaplin (/wiki/Charlie_Chaplin) biographical film Chaplin (/wiki/Chaplin_(film)) . In 1993, she acted in Richard Linklater (/wiki/Richard_Linklater) 's film Dazed and Confused (/wiki/Dazed_and_Confused_(film)) . She played Michelle Burroughs, the on-screen girlfriend to Pickford (played by her then-boyfriend Shawn Andrews (/wiki/Shawn_Andrews_(actor)) ). Strongly featured in promotions for the film, Jovovich was upset to find her role much reduced in the released film. [33] (#cite_note-yahoo-35) Discouraged, she took a hiatus from acting roles, [34] (#cite_note-36) moving to Europe. Breakthrough (1997–2001) [ edit ] Jovovich attended the 2000 Cannes Film Festival (/wiki/2000_Cannes_Film_Festival) . Jovovich returned to acting in 1997 with a lead role in the French science-fiction action film The Fifth Element , alongside Bruce Willis (/wiki/Bruce_Willis) and Gary Oldman (/wiki/Gary_Oldman) . This was written and directed by Luc Besson (/wiki/Luc_Besson) . She portrayed Leeloo, an alien who helps to save the planet. Jovovich said she "worked like hell: no band practice, no clubs, no pot, nothing" [35] (#cite_note-work-37) to acquire the role and impress Besson. Jovovich co-created and mastered an alien fictional language (/wiki/Fictional_language) of over 400 words for her role. [33] (#cite_note-yahoo-35) She wore a costume that came to be known as the "ACE-bandage" costume; the body suit designed by Jean-Paul Gaultier (/wiki/Jean-Paul_Gaultier) was made of medical bandages. [33] (#cite_note-yahoo-35) [36] (#cite_note-38) The Fifth Element was selected as the opening film for the 1997 Cannes Film Festival (/wiki/Cannes_Film_Festival) and its worldwide box office (/wiki/Box_office) gross was over $263 million, more than three times its budget of $80 million. [37] (#cite_note-39) The Fifth Element was often praised for its visual style; critic James Berardinelli wrote, "Jovovich makes an impression, although her effectiveness has little to do with acting and less to do with dialogue". [38] (#cite_note-40) Jovovich was nominated for "Favorite Female Newcomer" at the Blockbuster Entertainment Awards (/wiki/Blockbuster_Entertainment_Awards) and "Best Fight" at the MTV Movie Awards (/wiki/MTV_Movie_Awards) . The film inspired a video game (/wiki/The_Fifth_Element_(video_game)) and a planned Leeloo action figure, but the figure was never released due to licensing problems. [39] (#cite_note-41) In a 2003 interview, Jovovich said Leeloo was her favorite role. [40] (#cite_note-Leeloo-42) In 1998, Jovovich appeared in Spike Lee (/wiki/Spike_Lee) 's drama He Got Game (/wiki/He_Got_Game) , as abused prostitute Dakota Burns; she acted with Denzel Washington (/wiki/Denzel_Washington) and Ray Allen (/wiki/Ray_Allen) . In 1999, she appeared in the music video for the song " If You Can't Say No (/wiki/If_You_Can%27t_Say_No) " by Lenny Kravitz (/wiki/Lenny_Kravitz) . That year she returned to the action genre playing the title role (/wiki/Joan_of_Arc) in The Messenger: The Story of Joan of Arc (/wiki/The_Messenger:_The_Story_of_Joan_of_Arc) , under direction of Luc Besson. She cut her hair short and wore armour in several extensive battle scenes. Jovovich received generally good reviews for her performance. The historical drama did moderately well at the box office, gaining $66 million worldwide. [41] (#cite_note-43) In 2000, Jovovich appeared as the troubled Eloise in The Million Dollar Hotel (/wiki/The_Million_Dollar_Hotel) , a film based on a concept story by Bono (/wiki/Bono) of the band U2 (/wiki/U2) and Nicholas Klein. Directed by Wim Wenders (/wiki/Wim_Wenders) , Jovovich starred alongside Jeremy Davies (/wiki/Jeremy_Davies) and Mel Gibson (/wiki/Mel_Gibson) ; she provided vocals on the film's soundtrack. That year she also played bar owner Lucia, in the British western (/wiki/Western_(genre)) film The Claim (/wiki/The_Claim_(2000_film)) (2000). This was followed by a supporting role as the evil Katinka in the comedy Zoolander (/wiki/Zoolander) (2001). International success (2002–2009) [ edit ] Jovovich at the 2002 Cannes Film Festival (/wiki/2002_Cannes_Film_Festival) In 2002, Jovovich starred in the horror-action film Resident Evil (/wiki/Resident_Evil_(film)) , released in the United States on March 15, 2002, and based on the Capcom (/wiki/Capcom) video game series of the same name (/wiki/Resident_Evil) . She portrayed Alice (/wiki/Alice_(Resident_Evil)) , the film's heroine, who fights a legion of zombies (/wiki/Zombie) created by the Umbrella Corporation (/wiki/Umbrella_Corporation) . Jovovich had accepted the role because she and her brother Marco had been fans of the video game franchise. [42] (#cite_note-44) Jovovich had performed all the stunts required in the film, except for a scene that would involve her jumping to a cement platform, which her management deemed too dangerous, [43] (#cite_note-45) and had trained in karate (/wiki/Karate) , kickboxing (/wiki/Kickboxing) , and combat-training. [44] (#cite_note-46) The film was commercially successful, grossing US$17 million on its opening weekend; it eventually made US$40 million domestically and $102 million worldwide. [45] (#cite_note-47) Later, she portrayed the manipulative gang wife Erin in No Good Deed (/wiki/No_Good_Deed_(2002_film)) (2002), Nadine in the romantic comedy You Stupid Man (/wiki/You_Stupid_Man) (2002), punk rocker Fangora ("Fanny") in Dummy (/wiki/Dummy_(2002_film)) (2003), and provided a guest voice on the television series King of the Hill (/wiki/King_of_the_Hill) . The role of Fangora in Dummy allowed Jovovich to act in film with Oscar (/wiki/Oscar_Award) -winning Adrien Brody (/wiki/Adrien_Brody) , who was a friend prior to filming. Jovovich found it easy to identify with this role because she felt Fangora possessed similar qualities to the actress' own life. [40] (#cite_note-Leeloo-42) In 2004, Jovovich reprised the role of Alice in the sequel to Resident Evil , Resident Evil: Apocalypse (/wiki/Resident_Evil:_Apocalypse) . The role required her to do fight training for three hours a day, [40] (#cite_note-Leeloo-42) in addition to the three months prior to filming in which she had "gun training, martial arts, everything". [46] (#cite_note-48) Apocalypse received even more negative reactions from the critics than the first film, but it was an even greater commercial success, ranking number one at the box office. Following the release of the film, Jovovich was unhappy with the critical results and director Alexander Witt (/wiki/Alexander_Witt) 's effort. [47] (#cite_note-punk-49) She noted during an interview that year that her large action films take care of the commercial part of her career, while she acts in "independent little films that never come out" to appease her artistic side, and "It's a good balance". [40] (#cite_note-Leeloo-42) The following year, she was featured in Gore Vidal (/wiki/Gore_Vidal) 's faux trailer remake of Caligula (/wiki/Caligula_(film)) , as Drusilla (/wiki/Drusilla_(sister_of_Caligula)) . In 2006, Jovovich's film, the science fiction (/wiki/Science_fiction) /action thriller Ultraviolet (/wiki/Ultraviolet_(film)) , was released on March 3. She played the title role of Violet Song jat Shariff, a role that also involved heavily choreographed fight sequences. It was not screened for critics, but when reviewed, it was critically panned [48] (#cite_note-Tomatoes-50) and failed at the box office (/wiki/Box-office_bomb) , grossing US$31 million worldwide. [49] (#cite_note-51) Also in 2006, Jovovich starred in the independent thriller .45 (/wiki/.45_(film)) , with Scottish actor Angus Macfadyen (/wiki/Angus_Macfadyen) . In 2007, Jovovich reprised her role as Alice in Resident Evil: Extinction (/wiki/Resident_Evil:_Extinction) , the third of the Resident Evil series. The film grossed an estimated $24 million on its opening weekend, topping the box-office gross for that week. [50] (#cite_note-52) [51] (#cite_note-53) In 2009, Jovovich starred in David Twohy (/wiki/David_Twohy) 's A Perfect Getaway (/wiki/A_Perfect_Getaway) with Kiele Sanchez (/wiki/Kiele_Sanchez) , Timothy Olyphant (/wiki/Timothy_Olyphant) , and Steve Zahn (/wiki/Steve_Zahn) . The film is a thriller about a newlywed couple (Milla and Zahn) on their honeymoon in Hawaii. Reviews for the film were mostly positive; while The Hollywood Reporter (/wiki/The_Hollywood_Reporter) felt that Jovovich gave a "fairly subtle performance", [52] (#cite_note-54) The Globe and Mail noted that she and "[...]Kiele Sanchez manage to bring some dramatic tension to the frightened-girlfriend moments". [53] (#cite_note-55) A Perfect Getaway garnered modest box office returns. [54] (#cite_note-56) Jovovich starred in the science-fiction thriller The Fourth Kind (/wiki/The_Fourth_Kind) , [55] (#cite_note-57) as a psychologist in Alaska who uses hypnosis to uncover memories from her patients of alien abduction. While the film was largely panned by critics, it made US$47.71 million in cinemas worldwide. [56] (#cite_note-58) Recent works (2010–present) [ edit ] In 2010, Jovovich returned as Alice (/wiki/Alice_(Resident_Evil)) [57] (#cite_note-59) in the fourth movie of the Resident Evil series (/wiki/Resident_Evil_(franchise)) , Afterlife (/wiki/Resident_Evil:_Afterlife) , which was directed by her husband, Paul W. S. Anderson (/wiki/Paul_W._S._Anderson) , [58] (#cite_note-60) and portrayed the mother of a promiscuous and troubled high school student in the independent coming-of-age dramedy Dirty Girl (/wiki/Dirty_Girl_(2010_film)) , which premiered at the Toronto Film Festival, opposite Juno Temple (/wiki/Juno_Temple) , William H. Macy (/wiki/William_H._Macy) , Mary Steenburgen (/wiki/Mary_Steenburgen) , and Tim McGraw (/wiki/Tim_McGraw) . In its review for the latter film, The Hollywood Reporter found Jovovich to be "terrific" in what it described as a "sweet [and] sassy period comedy with a Juno sensibility and the soul of a Little Miss Sunshine ". [59] (#cite_note-61) [60] (#cite_note-62) Jovovich played the wife of a jailed arsonist in Stone (/wiki/Stone_(2010_film)) , a psychological thriller co-starring Robert De Niro (/wiki/Robert_De_Niro) and Edward Norton (/wiki/Edward_Norton) . Filming began in May 2009 at the recently closed Southern Michigan Correctional Facility in Jackson, Michigan. [61] (#cite_note-63) The film was released in late 2010, to a mixed response. [62] (#cite_note-64) Nevertheless, The A.V. Club noted that Jovovich was "particularly good as a breathy femme fatale who seduces De Niro with a mere change in inflection". [63] (#cite_note-65) Jovovich attended the 2012 WonderCon (/wiki/WonderCon) promoting Resident Evil: Retribution (/wiki/Resident_Evil:_Retribution) . Jovovich starred in Paul W. S. Anderson (/wiki/Paul_W._S._Anderson) 's romantic action adventure film The Three Musketeers (/wiki/The_Three_Musketeers_(2011_film)) , as Milady de Winter (/wiki/Milady_de_Winter) , in 2011, alongside Matthew Macfadyen (/wiki/Matthew_Macfadyen) , Logan Lerman (/wiki/Logan_Lerman) , Ray Stevenson (/wiki/Ray_Stevenson) , Luke Evans (/wiki/Luke_Evans_(actor)) , Orlando Bloom (/wiki/Orlando_Bloom) , and Christoph Waltz (/wiki/Christoph_Waltz) . After the lackluster response for Musketeers , Jovovich criticised Summit Entertainment (/wiki/Summit_Entertainment) for not "promoting [the film] properly" as a "family film" in the United States. Deadline Hollywood (/wiki/Deadline_Hollywood) reported that Summit responded: "She doesn't know what she's talking about and we don't know where she's coming from." [64] (#cite_note-66) She would next headline the little-seen psychological thriller Faces in the Crowd (/wiki/Faces_in_the_Crowd_(2011_film)) , [65] (#cite_note-67) which was written and directed by Julien Magnat; [66] (#cite_note-68) in it, she plays the survivor of a serial killer's attack that leaves her suffering from a condition called prosopagnosia (/wiki/Prosopagnosia) , which renders her unable to recognize faces. [67] (#cite_note-69) Sight and Sound remarked that the film suffered from "a central performance not quite strong enough to win Jovovich recognition as a dramatic actress". [68] (#cite_note-70) [69] (#cite_note-71) Also in 2011, Jovovich appeared as a Ukrainian con artist in Famke Janssen (/wiki/Famke_Janssen) 's directorial debut film Bringing Up Bobby (/wiki/Bringing_Up_Bobby_(2011_film)) , alongside Marcia Cross (/wiki/Marcia_Cross) , and starred in the romantic comedy Lucky Trouble (/wiki/Lucky_Trouble) , which was her Russian-language film debut. Jovovich at the 2016 Cannes Film Festival (/wiki/2016_Cannes_Film_Festival) Jovovich returned to her role as Alice in the fifth installment of Resident Evil for Resident Evil: Retribution (/wiki/Resident_Evil:_Retribution) , which was released on September 14, 2012. [70] (#cite_note-72) She played an ambitious woman and the second wife of the leader of a motorcycle club in 2014's Cymbeline (/wiki/Cymbeline_(film)) , a film version of the eponymous play by William Shakespeare (/wiki/William_Shakespeare) , and in 2015's Survivor (/wiki/Survivor_(film)) , she took on the role of a Diplomatic Security Service (/wiki/Diplomatic_Security_Service) / Foreign Service (/wiki/United_States_Foreign_Service) officer at the US Embassy in London. Both films received a video on demand (/wiki/Video_on_demand) release in North America, despite theatrical runs abroad. [71] (#cite_note-73) [72] (#cite_note-74) [73] (#cite_note-75) [74] (#cite_note-76) Jovovich made a cameo appearance reprising the role of villain Katinka in 2016's Zoolander 2 (/wiki/Zoolander_2) . [75] (#cite_note-77) Resident Evil: The Final Chapter (/wiki/Resident_Evil:_The_Final_Chapter) (2016), the sixth and final film of the Resident Evil franchise, [76] (#cite_note-78) starred Jovovich as Alice as she continues her vengeance against Umbrella for the death of her allies and the catastrophe they have caused. Time Out in its review for the film noted: "While the franchise has slackened into dependably dumb post-apocalyptic thrills, star Milla Jovovich has only gotten better, seasoning her long-legged athleticism with a commanding stare". [77] (#cite_note-79) The Final Chapter was the highest-grossing film in the franchise, earning over US$312 million worldwide. [78] (#cite_note-80) In Shock and Awe (/wiki/Shock_and_Awe_(film)) (2017), Jovovich played the wife of an investigator working on the reasons (/wiki/Rationale_for_the_Iraq_War) behind the Bush Administration (/wiki/Presidency_of_George_W._Bush) 's 2003 invasion of Iraq (/wiki/2003_invasion_of_Iraq) , starring opposite Woody Harrelson (/wiki/Woody_Harrelson) and Tommy Lee Jones (/wiki/Tommy_Lee_Jones) . [79] (#cite_note-81) [80] (#cite_note-82) In Future World (/wiki/Future_World_(film)) (2018), she obtained the role of a drug lord, alongside James Franco (/wiki/James_Franco) , who also directed the film. While reviewers felt Jovovich was "underused" in Shock and Awe , [81] (#cite_note-83) Future World holds a 0% approval rating (/wiki/List_of_films_with_a_0%25_rating_on_Rotten_Tomatoes) on review aggregator website Rotten Tomatoes (/wiki/Rotten_Tomatoes) , based on 9 reviews. [82] (#cite_note-84) Jovovich starred as the administrator of an island-bound reform school in the fantasy film Paradise Hills (/wiki/Paradise_Hills_(film)) (2019), the directorial debut of Alice Waddington (/wiki/Alice_Waddington) . She also played the evil Vivienne Nimue, the Blood Queen in the Hellboy (/wiki/Hellboy_(2019_film)) reboot movie, released in 2019. [83] (#cite_note-85) Jovovich is the co-founder and owner of the production company Creature Entertainment. [84] (#cite_note-H&Q-86) [85] (#cite_note-87) Other endeavors [ edit ] Music [ edit ] Jovovich had begun working on a music album as early as 1988, when she was signed by SBK Records (/wiki/SBK_Records) after the company heard a demo she recorded. [86] (#cite_note-music-88) In August 1990, she asserted in an interview that the then-forthcoming album would be "a mix between Kate Bush (/wiki/Kate_Bush) , Sinéad O'Connor (/wiki/Sin%C3%A9ad_O%27Connor) , This Mortal Coil (/wiki/This_Mortal_Coil) , and the Cocteau Twins (/wiki/Cocteau_Twins) ." [87] (#cite_note-89) After it was initially presented by SBK strictly as a pop (/wiki/Pop_music) album, Jovovich protested, insisting on using her personal poetry for lyrics and recording her own instrumental material. [86] (#cite_note-music-88) Jovovich had written the lyrics and composed the music of the songs when she was fifteen, except a cover of a Ukrainian folk song, "In a Glade". In April 1994, billed under her first name, she released The Divine Comedy (/wiki/The_Divine_Comedy_(Milla_Jovovich_album)) , a title that was a reference to the epic poem (/wiki/Epic_poem) by Dante Alighieri (/wiki/Dante_Alighieri) of the same name (/wiki/Divine_Comedy) . Jovovich had chosen the title after seeing Russian artist Alexis Steele's proposed cover artwork sketch for the then untitled album. Jovovich found that the sketch had "all the struggle that I'm singing about. It is the divine comedy." [86] (#cite_note-music-88) The Divine Comedy was well received by critics, and features pop-infused traditional Ukrainian folk songs that led to comparisons with Tori Amos (/wiki/Tori_Amos) and Kate Bush (/wiki/Kate_Bush) . [22] (#cite_note-Wang-24) John McAlley of Rolling Stone (/wiki/Rolling_Stone) called the album "remarkable", "strikingly mature and rich in invention", and as featuring "angst-laced poetry with vivid melodies and arrangements that find a common spirit in synth pop (/wiki/Synth_pop) , European folk and psychedelic dream rock (/wiki/Dream_rock) ". [88] (#cite_note-90) Jovovich released the track "The Gentleman Who Fell (Before The Court)", with an accompanying music video (/wiki/Music_video) , as the sole single from the album. The music video was originally directed by Lisa Bonet (/wiki/Lisa_Bonet) and featured Harry Dean Stanton (/wiki/Harry_Dean_Stanton) , but Jovovich, unsatisfied with the results, decided to film another video. The second video for "The Gentleman Who Fell", a homage to Maya Deren (/wiki/Maya_Deren) , was directed by Kate Garner and Paul Archard and was subsequently played on MTV (/wiki/MTV) . Jovovich toured the United States and Canada during most of 1994 to promote the album, opening for Toad the Wet Sprocket (/wiki/Toad_the_Wet_Sprocket) , The Philosopher Kings (/wiki/The_Philosopher_Kings) , and Crash Test Dummies (/wiki/Crash_Test_Dummies) , as well as playing smaller acoustic sets. Jovovich had opted to perform in smaller and more intimate settings, turning down a musical appearance on Saturday Night Live (/wiki/Saturday_Night_Live) . Jovovich has also been collaborating musically with longtime friend and musician Chris Brenner, who co-wrote with her on the Divine Comedy Album and who was the musical coordinator for the supporting tour. She and Brenner met in 1993 and have since worked together on several ventures. [89] (#cite_note-Oxymoron-91) Following The Divine Comedy , she expressed interest in releasing a second album, having had ten songs ready for a future recording that was intended for a mid-1996 release. [28] (#cite_note-Europe-30) [29] (#cite_note-cafe-31) In May 1999, Jovovich, along with Chris Brenner, formed an experimental band called "Plastic Has Memory", in which she wrote and composed the songs, sang, and played electric guitar. [90] (#cite_note-92) The band was "[m]uch heavier and darker than the vaguely Ukrainian folk-sounding elements of her first album", and it had a similar sound to a grunge (/wiki/Grunge) and trip hop (/wiki/Trip_hop) Portishead (/wiki/Portishead_(band)) . [91] (#cite_note-93) "Plastic Has Memory" played about a dozen shows in Los Angeles and New York City (/wiki/New_York_City) for a potential Virgin Records (/wiki/Virgin_Records) album release, [92] (#cite_note-94) one of which Mick Jagger (/wiki/Mick_Jagger) had attended. [93] (#cite_note-95) But though "Plastic Has Memory" was featured on Hollywood Goes Wild! , a benefit celebrity compilation album, the group never formally released any albums, and had disbanded as of 2021. [94] (#cite_note-96) Jovovich has contributed tracks to soundtracks of several of her own films, including The Million Dollar Hotel (/wiki/The_Million_Dollar_Hotel) (2000) and Dummy (/wiki/Dummy_(2002_film)) (2002), and for others films such as Underworld (/wiki/Underworld_(2003_film)) (2003) produced by musician Danny Lohner, who was the bass player in Nine Inch Nails (/wiki/Nine_Inch_Nails) for many years. Her song "The Gentlemen Who Fell" is on The Rules of Attraction (/wiki/The_Rules_of_Attraction) soundtrack of 2002. In 2001, Jovovich joined many celebrities whose vocals were featured in a cover of "We are Family" to raise money for the American Red Cross (/wiki/American_Red_Cross) . She has appeared as guest vocalist on the song "Former Lover" on Deepak Chopra (/wiki/Deepak_Chopra) 's album, A Gift of Love II: Oceans of Ecstasy (2002) and Legion of Boom (/wiki/Legion_of_Boom_(album)) (2004) by The Crystal Method (/wiki/The_Crystal_Method) . Beginning in 2003, Jovovich worked with musician Maynard James Keenan (/wiki/Maynard_James_Keenan) , of Tool (/wiki/Tool_(band)) and A Perfect Circle (/wiki/A_Perfect_Circle) , on his Industrial (/wiki/Industrial_music) side project Puscifer (/wiki/Puscifer) , [95] (#cite_note-97) contributing vocals to the track "REV 22:20," which was featured on various film soundtracks in its original or a remixed form. [96] (#cite_note-98) In January 2009, she collaborated with Maynard and Danny Lohner on the Puscifer track called, "The Mission". She performed the song at the first live Puscifer performance on February 13, 2009, in Las Vegas, Nevada (/wiki/Las_Vegas,_Nevada) . Danny Lohner, and longtime music collaborator Chris Brenner record and perform with Jovovich, who has made several highly praised appearances. [ citation needed ] A new single called "Electric Sky" was released on May 18, 2012, [97] (#cite_note-99) and presented at the Life Ball (/wiki/Life_Ball) . In 2017, she collaborated in the single "Attention of Ernest Shalubin". Jovovich writes songs which she refers to as "demos", freely downloadable from her website with license to remix the tracks and reserved right to sell and issue them. [98] (#cite_note-100) Modeling [ edit ] Jovovich's early work with Herb Ritts (/wiki/Herb_Ritts) , Richard Avedon (/wiki/Richard_Avedon) , and Peter Lindbergh (/wiki/Peter_Lindbergh) led to her success in advertising, bringing the young model contracts. Since then, she has been featured on more than 100 magazine covers, including Vogue (/wiki/Vogue_(magazine)) , Cosmopolitan (/wiki/Cosmopolitan_(magazine)) , Elle (/wiki/Elle_(magazine)) , Glamour (/wiki/Glamour_(magazine)) , Marie Claire (/wiki/Marie_Claire_(magazine)) , Harper's Bazaar (/wiki/Harper%27s_Bazaar_(magazine)) , and GQ (/wiki/GQ_(magazine)) . [99] (#cite_note-101) She has walked for Balmain (/wiki/Balmain_(fashion_house)) , Versace (/wiki/Versace) , Fendi (/wiki/Fendi) , Trussardi (/wiki/Trussardi) , Alessandro Dell'Acqua (/wiki/Alessandro_Dell%27Acqua) , Costume National (/wiki/Costume_National) , Iceberg (/wiki/Iceberg_(fashion_house)) , Anna Sui (/wiki/Anna_Sui) , Dries van Noten (/wiki/Dries_van_Noten) , Ann Demeulemeester (/wiki/Ann_Demeulemeester) , Marc Jacobs (/wiki/Marc_Jacobs) , Miu Miu (/wiki/Miu_Miu) , Salvatore Ferragamo (/wiki/Salvatore_Ferragamo) , Missoni (/wiki/Missoni) , Blumarine (/wiki/Blumarine) , Jil Sander (/wiki/Jil_Sander) , and Jean Paul Gautier (/wiki/Jean_Paul_Gautier) . She has been part of campaigns for Banana Republic (/wiki/Banana_Republic) , Christian Dior (/wiki/Christian_Dior) , Jimmy Choo (/wiki/Jimmy_Choo) , Prada (/wiki/Prada) , Isabel Marant (/wiki/Isabel_Marant) , Celine (/wiki/Celine) , Guess? (/wiki/Guess%3F) , Chanel (/wiki/Chanel) , Tommy Hilfiger (/wiki/Tommy_Hilfiger) , Tiffany & Co. (/wiki/Tiffany_%26_Co.) , Roberto Cavalli (/wiki/Roberto_Cavalli) , Damiani (/wiki/Damiani_(jewelry_company)) , Donna Karan (/wiki/Donna_Karan) , Gap (/wiki/Gap_(clothing)) , Versace (/wiki/Versace) , Calvin Klein (/wiki/Calvin_Klein) , DKNY (/wiki/DKNY) , Coach (/wiki/Coach,_Inc.) , Giorgio Armani (/wiki/Giorgio_Armani) , H&M (/wiki/H%26M) , and Revlon (/wiki/Revlon) . Since 1998, Jovovich has been an "international spokesmodel" for L'Oréal (/wiki/L%27Or%C3%A9al) cosmetics. She was referred to in a minor cameo in Bret Easton Ellis (/wiki/Bret_Easton_Ellis) 's novel Glamorama (/wiki/Glamorama) , a satire of society's obsession with celebrities and beauty. [100] (#cite_note-102) Jovovich was said to be designer Miuccia Prada (/wiki/Miuccia_Prada) 's muse (/wiki/Muse) in 2002; [101] (#cite_note-arena-103) a 2003 article claimed she was Gianni Versace (/wiki/Gianni_Versace) 's "favourite supermodel". [84] (#cite_note-H&Q-86) In 2004, Jovovich topped Forbes (/wiki/Forbes) magazine's "Richest Supermodels of the World" list, earning a reported $10.5 million, [4] (#cite_note-Forbes-6) and in 2006, Jovovich was picked up by Mango (/wiki/Mango_(clothing)) , a Spanish clothing line, as their new spokesmodel and is featured in their advertising campaigns; [102] (#cite_note-104) she is in advertisements for Etro (/wiki/Etro) . She has said that "Modeling was never a priority" [103] (#cite_note-105) and that the money she earns enables her "to be selective about the creative decisions [she] make[s]". [84] (#cite_note-H&Q-86) In 2012, Jovovich was hired as the new "face" of a global advertising campaign for wristwatch (/wiki/Watch) and jewelry (/wiki/Jewelry) retailer Jacob & Co (/wiki/Jacob_%26_Co) . [104] (#cite_note-106) In 2018, Jovovich became the "face" of a global advertising campaign for Balmain (/wiki/Balmain_(fashion_house)) . [105] (#cite_note-107) In 2019, Jovovich joined more than one hundred models who signed a petition to help protect Victoria's Secret models against sexual misconduct. [106] (#cite_note-108) Fashion design [ edit ] Jovovich and fellow model Carmen Hawk launched a line of clothing called Jovovich–Hawk (/wiki/Jovovich%E2%80%93Hawk) in 2003. The pair opened a showroom in New York City's Greenwich Village (/wiki/Greenwich_Village) on September 13, 2005. All of the dresses for Jovovich-Hawk line were designed by herself and her partner Carmen Hawk. The atelier (/wiki/Studio) is based in Los Angeles, but pieces were at Fred Segal (/wiki/Fred_Segal) in Los Angeles, Harvey Nichols (/wiki/Harvey_Nichols) , and over 50 stores around the world. Vogue (/wiki/Vogue_(magazine)) praised the line for its "girl-about-town cult status most designers spend years trying to achieve". [107] (#cite_note-Vogue-109) In November 2006, the Council of Fashion Designers of America (/wiki/Council_of_Fashion_Designers_of_America) (CFDA) and US Vogue nominated Jovovich-Hawk for the CFDA/ Vogue Fashion Fund Award. Jovovich-Hawk was nominated as a finalist, although Doo-Ri Chung (/wiki/Doo-Ri_Chung) took the top prize. [108] (#cite_note-CFDA-110) In 2007, Jovovich and Hawk designed the costume for Jovovich's character Alice in Resident Evil: Extinction . Alice's shorts are a variation on the "Alice Star" Shorts from the Spring 2007 collection. [109] (#cite_note-Wizard-111) Later, Jovovich-Hawk signed a deal to design a diffusion collection for Target's (/wiki/Target_Corporation) Go International campaign, following in the footsteps of Luella, Paul & Joe, and Proenza Schouler (/wiki/Proenza_Schouler) . [110] (#cite_note-SBcom-112) In late 2008, Jovovich and Hawk mutually agreed to end the business due to increased demands on their time. Jovovich explained, "I'm an artist. I'm not someone who can deal with shipping rates and taxes". [111] (#cite_note-113) Public image [ edit ] Milla Jovovich and Ali Larter (/wiki/Ali_Larter) promoted Resident Evil: Afterlife (/wiki/Resident_Evil:_Afterlife) at the 2010 San Diego Comic-Con (/wiki/San_Diego_Comic-Con) International. Jovovich has been noted for her careers as a model, singer, and actress. Music channel VH1 (/wiki/VH1) has referred to her as the "reigning queen of kick-butt" for her roles in various sci-fi and action films [3] (#cite_note-VH1-5) and Rebecca Flint Marx of Allmovie (/wiki/Allmovie) said that despite the negative critical response for the Resident Evil films, the franchise has turned Jovovich into an "A-list action star". [112] (#cite_note-114) Her action roles have given her a geek (/wiki/Geek) [113] (#cite_note-cinematical.com-115) following for which MTV (/wiki/MTV) said she was "Every Geek's Dream Girl". [113] (#cite_note-cinematical.com-115) [114] (#cite_note-116) In 2004, Jovovich was ranked No. 69 on Maxim (/wiki/Maxim_(magazine)) magazine's "Top 100 Hot List", [115] (#cite_note-117) ranked No. 82 in 2005 and ranked No. 21 in 2010. [116] (#cite_note-118) Maxim also named her No. 11 on their list of "Hottest Nerd Crushes". [117] (#cite_note-119) In 2008, she was ranked No. 90 on Ask Men (/wiki/Ask_Men) 's Top 99 Women of 2008 List. [118] (#cite_note-120) In 2011, Jovovich attended and sang at the birthday celebration of Mikhail Gorbachev (/wiki/Mikhail_Gorbachev) . She gave a speech thanking Gorbachev, saying that when she and her family left the Soviet Union (/wiki/Soviet_Union) in 1980, they were sure that they would never see their relatives again but they have been reunited. [119] (#cite_note-121) Personal life [ edit ] Relationships [ edit ] Jovovich married on-screen boyfriend Shawn Andrews (/wiki/Shawn_Andrews_(actor)) in 1992 while filming Dazed and Confused (/wiki/Dazed_and_Confused_(film)) . Andrews was 21 and Jovovich was 16; the marriage was annulled (/wiki/Annulment) by her mother two months later. [120] (#cite_note-122) Shortly after the annulment, Jovovich moved to Europe with her friend and musician Chris Brenner where she met and lived with her new boyfriend, ex- Jamiroquai (/wiki/Jamiroquai) bassist Stuart Zender (/wiki/Stuart_Zender) , in London from May 1994 to October 1995. [23] (#cite_note-prison-25) [89] (#cite_note-Oxymoron-91) [121] (#cite_note-123) She married The Fifth Element (/wiki/The_Fifth_Element) director Luc Besson (/wiki/Luc_Besson) in 1997 in Las Vegas (/wiki/Las_Vegas,_Nevada) where they went skydiving directly after the ceremony. They divorced in 1999. [84] (#cite_note-H&Q-86) In 2000, she briefly dated then Red Hot Chili Peppers (/wiki/Red_Hot_Chili_Peppers) guitarist John Frusciante (/wiki/John_Frusciante) saying she fell in love with him after hearing his album Niandra LaDes and Usually Just a T-Shirt (/wiki/Niandra_LaDes_and_Usually_Just_a_T-Shirt) six years earlier. [122] (#cite_note-124) Between 1998 and 2001, she befriended the young poet and musician, Anno Birkin (/wiki/Anno_Birkin) , as mutual inspiration behind many of their compositions. Jovovich became romantically involved with Birkin just before his death in a car accident on November 8, 2001. [33] (#cite_note-yahoo-35) Jovovich met film writer and director Paul W. S. Anderson (/wiki/Paul_W._S._Anderson) while working on the 2002 film Resident Evil (/wiki/Resident_Evil_(film)) , which Anderson wrote and directed, and in which Jovovich starred. Anderson proposed to Jovovich in 2003, and the two were "engaged on-and-off for four years" before becoming a couple again early in 2007. [123] (#cite_note-125) [124] (#cite_note-126) They married on August 22, 2009. [125] (#cite_note-127) On November 3, 2007, Jovovich gave birth to their first child, daughter Ever Anderson (/wiki/Ever_Anderson) , [126] (#cite_note-Ever_name-128) at Cedars-Sinai Medical Center (/wiki/Cedars-Sinai_Medical_Center) in Los Angeles, California. [127] (#cite_note-129) Their second child, daughter Dashiel Edan, was born on April 1, 2015, also at Cedars-Sinai Medical Center (/wiki/Cedars-Sinai_Medical_Center) . [128] (#cite_note-130) In 2019, Jovovich revealed she was pregnant with her third daughter after miscarrying two years prior. [129] (#cite_note-131) She gave birth to their third daughter, Osian Lark Elliot, on February 2, 2020. [130] (#cite_note-132) Jovovich resides in Los Angeles (/wiki/Los_Angeles) and New York City (/wiki/New_York_City) . [131] (#cite_note-133) Lifestyle [ edit ] She speaks Russian (/wiki/Russian_language) , [12] (#cite_note-boomsbeat.com-14) [89] (#cite_note-Oxymoron-91) [18] (#cite_note-SSSlang-20) English (/wiki/English_language) , French (/wiki/French_language) , and Serbian (/wiki/Serbian_language) . [132] (#cite_note-134) She was brought up in a Russian household [133] (#cite_note-135) and referred to the role of Russian culture (/wiki/Russian_culture) in her life when she stated in 2005: "I have a Russian (/wiki/Russians) mother, she was a famous actress in the USSR ( Galina Loginova (/wiki/Galina_Loginova) ). And the first books, which I read, were in Russian. I was raised in the atmosphere of the Russian classical theatre school. The art, built on the system of Stanislavsky (/wiki/Stanislavski%27s_system) – that's the most realistic art. And the modern cinema stands on the same principle. A Russian person wants to find the truth. This is the base of the Russian culture. I never forget it, especially since I have Russian roots". [134] (#cite_note-russiannightsfest.com-136) When asked if she still feels Russian after having left Russia at a young age, Jovovich replied, "Definitely. I still speak Russian. I speak it with my daughter. I read her Russian stories and poems. My roots are very important—they make me who I am". [15] (#cite_note-Purple2009-17) Speaking about her early years, Milla noted the importance of education in her life, "...my mom raised me in the traditions of her country. For example, I never spent hours sitting before a TV and always read a lot. And I believe that education, intellect and intelligence are a huge part of the beauty of Russian women." [135] (#cite_note-137) Jovovich has advocated the legalization of cannabis (/wiki/Cannabis_(drug)) , and appeared in a spread and on the cover for High Times (/wiki/High_Times) . [101] (#cite_note-arena-103) In an article published in 1994, she said that her only vices were cigarettes and cannabis. [89] (#cite_note-Oxymoron-91) She practices yoga (/wiki/Yoga) and meditates (/wiki/Meditate) often to live a healthy lifestyle. Unaffiliated with any specific religion, she prays and considers herself a "spiritual person". [47] (#cite_note-punk-49) Jovovich enjoys playing the guitar, and writing poems and lyrics for songs. [136] (#cite_note-138) Political views [ edit ] During the Russian invasion of Ukraine (/wiki/Russian_invasion_of_Ukraine) , which is part of the Russo-Ukrainian War (/wiki/Russo-Ukrainian_War) , Jovovich expressed support for Ukraine (/wiki/Ukraine) on her Instagram (/wiki/Instagram) page: "I am heartbroken and dumbstruck trying to process the events of this week in my birthplace of Ukraine. My country and people being bombed. Friends and family in hiding". [137] (#cite_note-139) In October 2023, Jovovich was a signatory to the Artists4Ceasefire (/wiki/Artists4Ceasefire) open letter (/wiki/Open_letter) to President Joe Biden (/wiki/Joe_Biden) , calling for a ceasefire (/wiki/Ceasefire) in the Israel–Hamas war (/wiki/Israel%E2%80%93Hamas_war) . [138] (#cite_note-140) Filmography [ edit ] Key † Denotes films that have not yet been released Film Year Title Role Director Notes 1988 Two Moon Junction (/wiki/Two_Moon_Junction) Samantha Delongpre Zalman King (/wiki/Zalman_King) 1991 Return to the Blue Lagoon (/wiki/Return_to_the_Blue_Lagoon) Lilli Hargrave William Graham (/wiki/William_Graham_(director)) [139] (#cite_note-141) 1992 Kuffs (/wiki/Kuffs) Maya Carlton Bruce A. Evans (/wiki/Bruce_A._Evans) Chaplin (/wiki/Chaplin_(film)) Mildred Harris (/wiki/Mildred_Harris) Richard Attenborough (/wiki/Richard_Attenborough) 1993 Dazed and Confused (/wiki/Dazed_and_Confused_(film)) Michelle Burroughs Richard Linklater (/wiki/Richard_Linklater) 1996 The Mirror Has Two Faces (/wiki/The_Mirror_Has_Two_Faces) Girl in Commercial Barbra Streisand (/wiki/Barbra_Streisand) Uncredited cameo 1997 The Fifth Element (/wiki/The_Fifth_Element) Leeloo de Sabat Luc Besson (/wiki/Luc_Besson) [140] (#cite_note-142) 1998 He Got Game (/wiki/He_Got_Game) Dakota Burns Spike Lee (/wiki/Spike_Lee) [141] (#cite_note-143) 1999 The Messenger: The Story of Joan of Arc (/wiki/The_Messenger:_The_Story_of_Joan_of_Arc) Joan of Arc (/wiki/Joan_of_Arc) Luc Besson 2000 The Claim (/wiki/The_Claim_(2000_film)) Lucia Michael Winterbottom (/wiki/Michael_Winterbottom) The Million Dollar Hotel (/wiki/The_Million_Dollar_Hotel) Eloise Wim Wenders (/wiki/Wim_Wenders) 2001 Zoolander (/wiki/Zoolander) Katinka Ingaborgovinanana Ben Stiller (/wiki/Ben_Stiller) [142] (#cite_note-144) 2002 Dummy (/wiki/Dummy_(2002_film)) Fangora "Fanny" Gurkel Greg Pritikin (/wiki/Greg_Pritikin) Resident Evil (/wiki/Resident_Evil_(film)) Alice (/wiki/Resident_Evil_(film_series)#Characters) Paul W. S. Anderson (/wiki/Paul_W._S._Anderson) No Good Deed (/wiki/No_Good_Deed_(2002_film)) Erin Bob Rafelson (/wiki/Bob_Rafelson) You Stupid Man (/wiki/You_Stupid_Man) Nadine Brian Burns 2004 Resident Evil: Apocalypse (/wiki/Resident_Evil:_Apocalypse) Alice Alexander Witt (/wiki/Alexander_Witt) 2005 Needlework Pictures Presents Francesco Vezzoli in Gore Vidal's 'Caligula' Julia Drusilla (/wiki/Julia_Drusilla) Francesco Vezzoli (/wiki/Francesco_Vezzoli) Short film 2006 Ultraviolet (/wiki/Ultraviolet_(film)) Violet Song jat Shariff Kurt Wimmer (/wiki/Kurt_Wimmer) [143] (#cite_note-145) .45 (/wiki/.45_(film)) Kat Gary Lennon (/wiki/Gary_Lennon) 2007 Resident Evil: Extinction (/wiki/Resident_Evil:_Extinction) Alice Russell Mulcahy (/wiki/Russell_Mulcahy) [144] (#cite_note-146) 2008 Palermo Shooting (/wiki/Palermo_Shooting) Herself Wim Wenders Uncredited 2009 A Perfect Getaway (/wiki/A_Perfect_Getaway) Cydney Anderson David Twohy (/wiki/David_Twohy) [145] (#cite_note-147) The Fourth Kind (/wiki/The_Fourth_Kind) Dr. Abigail "Abbey" Tyler Olatunde Osunsanmi (/wiki/Olatunde_Osunsanmi) [146] (#cite_note-148) 2010 Stone (/wiki/Stone_(2010_film)) Lucetta Creeson John Curran (/wiki/John_Curran_(director)) Resident Evil: Afterlife (/wiki/Resident_Evil:_Afterlife) Alice Paul W. S. Anderson [147] (#cite_note-149) Dirty Girl (/wiki/Dirty_Girl_(2010_film)) Sue-Ann Edmondston Abe Sylvia [148] (#cite_note-150) 2011 Lucky Trouble (/wiki/Lucky_Trouble) Nadya Levan Gabriadze (/wiki/Levan_Gabriadze) Bringing Up Bobby (/wiki/Bringing_Up_Bobby_(2011_film)) Olive Famke Janssen (/wiki/Famke_Janssen) [149] (#cite_note-151) The Three Musketeers (/wiki/The_Three_Musketeers_(2011_film)) Milady de Winter (/wiki/Milady_de_Winter) Paul W. S. Anderson [150] (#cite_note-152) Faces in the Crowd (/wiki/Faces_in_the_Crowd_(2011_film)) Anna Marchant Julien Magnat (/wiki/Julien_Magnat) Also executive producer [151] (#cite_note-153) 2012 Resident Evil: Retribution (/wiki/Resident_Evil:_Retribution) Alice Paul W. S. Anderson [152] (#cite_note-154) 2014 Cymbeline (/wiki/Cymbeline_(film)) The Queen Michael Almereyda (/wiki/Michael_Almereyda) [153] (#cite_note-155) 2015 Survivor (/wiki/Survivor_(film)) Kate Abbott James McTeigue (/wiki/James_McTeigue) [154] (#cite_note-156) A Warrior's Tail (/wiki/A_Warrior%27s_Tail) Savva Maxim Fadeev (/wiki/Maxim_Fadeev) Voice; English dub 2016 Zoolander 2 (/wiki/Zoolander_2) Katinka Ingaborgovinanana Ben Stiller [155] (#cite_note-157) Resident Evil: The Final Chapter (/wiki/Resident_Evil:_The_Final_Chapter) Alice / Alicia Marcus Paul W. S. Anderson [156] (#cite_note-158) [157] (#cite_note-159) 2017 Shock and Awe (/wiki/Shock_and_Awe_(film)) Vlatka Rob Reiner (/wiki/Rob_Reiner) [158] (#cite_note-160) 2018 Future World (/wiki/Future_World_(film)) The Drug Lord James Franco (/wiki/James_Franco) & Bruce Thierry Chung [159] (#cite_note-161) 2019 Paradise Hills (/wiki/Paradise_Hills_(film)) The Duchess Alice Waddington (/wiki/Alice_Waddington) [160] (#cite_note-162) Hellboy (/wiki/Hellboy_(2019_film)) Vivienne Nimue, the Blood Queen (/wiki/Lady_of_the_Lake) Neil Marshall (/wiki/Neil_Marshall) [161] (#cite_note-163) [162] (#cite_note-164) The Rookies (/wiki/The_Rookies_(2019_film)) Senior Agent Bruce Alan Yuen 2020 Monster Hunter (/wiki/Monster_Hunter_(film)) Captain Natalie Artemis Paul W. S. Anderson [163] (#cite_note-165) 2024 Breathe (/wiki/Breathe_(2024_film)) Tess Stefon Bristol (/wiki/Stefon_Bristol) [164] (#cite_note-166) TBA In the Lost Lands † Gray Alys Paul W. S. Anderson Post-production World Breaker (/wiki/World_Breaker) † TBA Brad Anderson (/wiki/Brad_Anderson_(director)) Television Year Title Role Notes 1988 The Night Train to Kathmandu (/wiki/The_Night_Train_to_Kathmandu) Lily McLeod Television film Paradise (/wiki/Paradise_(American_TV_series)) Katie Episode: "Childhood's End" 1989 Married... with Children (/wiki/Married..._with_Children) Yvette Episode: "Fair Exchange" 1990 Parker Lewis Can't Lose (/wiki/Parker_Lewis_Can%27t_Lose) Robin Fecknowitz Episode: "Pilot" 2002 King of the Hill (/wiki/King_of_the_Hill) Serena Shaw Voice; episode: "Get Your Freak Off" 2009 Project Runway (/wiki/Project_Runway) Herself Episode: "Around the World in Two Days" 2016 Lip Sync Battle (/wiki/Lip_Sync_Battle) Episode: "Milla Jovovich vs. Ruby Rose (/wiki/Ruby_Rose) " 2018 Robot Chicken (/wiki/Robot_Chicken) Nanny McPhee / Megan Hipwell / Mintie Voice; episode: "We Don't See Much of That in 1940s America" Video games Year Title Voice 1998 The Fifth Element: The Video Game (/wiki/The_Fifth_Element_(video_game)) Leeloo de Sebat 2019 Contract Killer: Sniper Milla [165] (#cite_note-167) 2020 Monster Hunter World: Iceborne (/wiki/Monster_Hunter_World:_Iceborne) Captain Natalie Artemis [166] (#cite_note-168) Music videos Year Song Artist 1998 " If You Can't Say No (/wiki/If_You_Can%27t_Say_No) " Lenny Kravitz (/wiki/Lenny_Kravitz) 2013 " I Wanna Be a Warhol (/wiki/I_Wanna_Be_a_Warhol) " Alkaline Trio (/wiki/Alkaline_Trio) 2016 "Signal" Sohn (/wiki/Sohn_(musician)) 2018 "Withorwithout" Parcels (/wiki/Parcels_(band)) Discography [ edit ] Milla Jovovich studio albums Title Details The Divine Comedy (/wiki/The_Divine_Comedy_(Milla_Jovovich_album)) [13] (#cite_note-SC3532-15) Released: April 5, 1994 Label: SBK (/wiki/SBK_Records) , EMI (/wiki/EMI) Format: Digital download, CD The People Tree Sessions (/wiki/The_People_Tree_Sessions) [167] (#cite_note-169) Released: 1998 Label: SBK (/wiki/SBK_Records) , Capitol (/wiki/Capitol_Records) , EMI (/wiki/EMI) Format: Digital download, CD Milla Jovovich singles Title Year Album " Gentleman Who Fell (/wiki/Gentleman_Who_Fell) " [168] (#cite_note-170) 1994 The Divine Comedy "Bang Your Head" "It's Your Life" "Electric Sky" 2012 Non-album single Milla Jovovich soundtrack appearances Title Year Soundtrack " Satellite of Love (/wiki/Satellite_of_Love) " (with the MDH Band) 2000 The Million Dollar Hotel: Music from the Motion Picture (/wiki/The_Million_Dollar_Hotel_(soundtrack)) " Gentleman Who Fell (/wiki/Gentleman_Who_Fell) " 2002 The Rules of Attraction – Soundtrack (/wiki/The_Rules_of_Attraction_(film)) "Shein VI Di l'Vone" (with Botanica Bulgar Ensemble) Dummy – Soundtrack (/wiki/Dummy_(2002_film)) "Mezinka" (with Botanica Bulgar Ensemble) "Rocket Collecting" (with Danny Lohner (/wiki/Danny_Lohner) ) 2003 Underworld – Soundtrack (/wiki/Underworld_(2003_film)) "Underneath the Stars" ( Renholdër (/wiki/Danny_Lohner) Mix) (ft. Maynard James Keenan (/wiki/Maynard_James_Keenan) , cover of The Cure (/wiki/The_Cure) ) 2009 Underworld: Rise of the Lycans – Soundtrack (/wiki/Underworld:_Rise_of_the_Lycans) "The Mission" ("M" Is for Milla Mix) (ft. Puscifer (/wiki/Puscifer) & Renholdër (/wiki/Renhold%C3%ABr) ) 2010 Sound into Blood into Wine (/wiki/Sound_into_Blood_into_Wine) " Proud Mary (/wiki/Proud_Mary) " (Ukrainian language version) 2011 Bringing Up Bobby – Soundtrack (/wiki/Bringing_Up_Bobby_(2011_film)#Soundtrack) Milla Jovovich compilation appearances Title Year Soundtrack "On the Hill" (with Plastic Has Memory) 2001 Hollywood Goes Wild! "Former Lover" (with Deepak Chopra (/wiki/Deepak_Chopra) ) 2002 A Gift of Love II: Oceans of Ecstasy "I Know It's You" (with The Crystal Method (/wiki/The_Crystal_Method) ) 2004 Legion of Boom (/wiki/Legion_of_Boom_(album)) "The Mission" (ft. Puscifer (/wiki/Puscifer) & Renholdër (/wiki/Danny_Lohner) ) 2008 "C" Is for (Please Insert Sophomoric Genitalia Reference Here) (/wiki/%22C%22_Is_for_(Please_Insert_Sophomoric_Genitalia_Reference_Here)) "Introduction" (ft. Scroobius Pip (/wiki/Scroobius_Pip) ) 2011 Distraction Pieces (/wiki/Distraction_Pieces) Notes [ edit ] ^ (#cite_ref-2) Jovovich has no second name; however, one journalist, by mistake used the pseudonym Nataša, which is her cousin's name. [1] (#cite_note-1) ^ (#cite_ref-3) Serbian (/wiki/Serbian_language) : Милица Богдановна Јововић / Milica Bogdanovna Jovović ; Russian (/wiki/Russian_language) : Милица Богдановна Йовович ; Ukrainian (/wiki/Ukrainian_language) : Милиця Богданівна Йовович References [ edit ] ^ (#cite_ref-1) Milla Jovovich's mother (August 23, 2005). "Галина Логінова: Сьогодні Київ, наче весела дiвчина, гарно вбрана i нафарбована" (https://www.umoloda.kyiv.ua/number/495/164/17925/) . www.umoloda.kyiv.ua (Interview) (in Ukrainian). Україна Молода. Archived (https://web.archive.org/web/20210122050234/https://www.umoloda.kyiv.ua/number/495/164/17925) from the original on January 22, 2021 . Retrieved May 15, 2013 . ^ (#cite_ref-4) "Milla Jovovich Official Site" (http://millaj.com/faq.shtml) . millaj.com . Archived (https://web.archive.org/web/20170707003739/http://www.millaj.com/faq.shtml) from the original on July 7, 2017 . Retrieved July 11, 2017 . ^ Jump up to: a b Bottomley, C. (March 2, 2006). "Milla Jovovich: Building a Perfect Action Star" (https://archive.today/20130209121011/http://www.vh1.com/news/articles/1525247/20060302/index.jhtml) . VH1 (/wiki/VH1) . Archived from the original (http://www.vh1.com/news/articles/1525247/20060302/index.jhtml) on February 9, 2013. ^ Jump up to: a b "Milla: The world's richest model" (http://inhome.rediff.com/money/2004/jul/28look.htm) . Forbes (/wiki/Forbes) . July 28, 2004. Archived (https://web.archive.org/web/20071207213450/http://inhome.rediff.com/money/2004/jul/28look.htm) from the original on December 7, 2007 . Retrieved May 15, 2013 . ^ (#cite_ref-PurpleLove_7-0) "Millaj: Purple Love" (http://www.millaj.com/archive/archive09.shtml) . Purple magazine . MillaJ.com. 1990. Archived (https://web.archive.org/web/20130807133606/http://www.millaj.com/archive/archive09.shtml) from the original on August 7, 2013 . Retrieved May 15, 2013 . ^ (#cite_ref-8) Leon, Sarah (October 19, 2011). "Milla Jovovich Magazine Cover, 1987: A Look Back" (https://www.huffpost.com/entry/milla-jovovich-magazine-cover_n_1018495) . The Huffington Post (/wiki/The_Huffington_Post) . Archived (https://web.archive.org/web/20190407203340/https://www.huffpost.com/entry/milla-jovovich-magazine-cover_n_1018495) from the original on April 7, 2019 . Retrieved May 15, 2013 . ^ (#cite_ref-9) Dolan, Maggie (December 17, 2013). "Milla Jovovich's Paper Covers, a Retrospective" (https://web.archive.org/web/20190708125354/https://www.papermag.com/milla-jovovichs-paper-covers-a-retrospective-1427178466.html) . Paper (/wiki/Paper_(magazine)) . Archived from the original (https://www.papermag.com/milla-jovovichs-paper-covers-a-retrospective-1427178466.html) on July 8, 2019 . Retrieved May 9, 2015 . ^ (#cite_ref-10) "Milla Jovovich Filmography" (http://www.millaj.com/film/) . MillaJ.com . Archived (https://web.archive.org/web/20131204073319/http://www.millaj.com/film/) from the original on December 4, 2013 . Retrieved November 28, 2013 . ^ (#cite_ref-new_release_date_11-0) "Resident Evil: Afterlife Back to 2010" (https://web.archive.org/web/20100612140229/http://www.shocktillyoudrop.com/news/topnews.php?id=13587) . ShockTilYouDrop.com . CraveOnline (/wiki/CraveOnline) . January 11, 2010. Archived from the original (http://www.shocktillyoudrop.com/news/topnews.php?id=13587) on June 12, 2010 . Retrieved May 15, 2013 . ^ (#cite_ref-12) Hopewell, John (May 21, 2017). " (https://variety.com/2017/film/global/resident-evil-reboot-cannes-film-festival-1202439086/amp/) 'Resident Evil' Franchise Set for a Reboot (EXCLUSIVE)" (https://variety.com/2017/film/global/resident-evil-reboot-cannes-film-festival-1202439086/amp/) . Variety (/wiki/Variety_(magazine)) . Archived (https://web.archive.org/web/20180320043928/http://variety.com/2017/film/global/resident-evil-reboot-cannes-film-festival-1202439086/amp/) from the original on March 20, 2018 . Retrieved March 19, 2018 . ^ (#cite_ref-history_13-0) "Mila Jovović peva zanimljive pesme" (http://arhiva.glas-javnosti.rs/arhiva/2000/07/18/srpski/F00071702.shtm) . Glas Javnosti (/wiki/Glas_Javnosti) (in Serbian). July 7, 2000. Archived (https://web.archive.org/web/20110727022223/http://arhiva.glas-javnosti.rs/arhiva/2000/07/18/srpski/F00071702.shtm) from the original on July 27, 2011 . Retrieved May 15, 2013 . ^ Jump up to: a b "50 facts about Milla Jovovich: speaks fluent Russian, Serbian, and French" (http://www.boomsbeat.com/articles/21554/20150626/50-things-milla-jovovich-speaks-fluent-russian-serbian-french.htm) . boomsbeat.com . June 26, 2015. Archived (https://web.archive.org/web/20160216082513/http://www.boomsbeat.com/articles/21554/20150626/50-things-milla-jovovich-speaks-fluent-russian-serbian-french.htm) from the original on February 16, 2016 . Retrieved February 12, 2016 . ^ Jump up to: a b The Newsroom (August 7, 2009). "Interview: Milla Jovovich – Milla's crossing" (https://www.scotsman.com/news/interview-milla-jovovich-millas-crossing-2443532) . www.scotsman.com . Archived (https://web.archive.org/web/20211006025720/https://www.scotsman.com/news/interview-milla-jovovich-millas-crossing-2443532) from the original on October 6, 2021 . Retrieved October 6, 2021 . ^ (#cite_ref-EG_16-0) Galina Loginova (/wiki/Galina_Loginova) (December 2006). Милла Йовович вернулась к режиссеру Андерсену (Interview) (in Russian). Interviewed by Nadezhda Repina. Экспресс газета Online. Archived (https://web.archive.org/web/20170303045807/http://www.eg.ru/daily/cadr/8574/) from the original on March 3, 2017 . Retrieved February 24, 2017 . Expressing her disagreement with several newspapers that presented Jovovich as a "Ukrainian actress", her mother Galina says, "They may call us whatever they want. My parents are Russian, from Tula. Milla is half Russian, half Montenegrin. But, I think, she considers herself of Russian descent". ^ Jump up to: a b c Milla Jovovich (2009). "Milla Jovovich" (http://purple.fr/magazine/fw-2009-issue-12/milla-jovovich) (Interview). Interviewed by Olivier Zahm. Purple. Archived (https://web.archive.org/web/20220407213119/https://purple.fr/magazine/fw-2009-issue-12/milla-jovovich/) from the original on April 7, 2022 . 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Retrieved February 24, 2017 . ^ Jump up to: a b c Lopusina, Marko (/wiki/Marko_Lopu%C5%A1ina) (1998). "Holivud je srpsko selo" (https://web.archive.org/web/20060709123050/http://www.suc.org/culture/library/svi_srbi_sveta/) . Svi Srbi sveta (in Serbian). Belgrade: Princip. ISBN (/wiki/ISBN_(identifier)) 86-82273-07-1 . Archived from the original (http://www.suc.org/culture/library/svi_srbi_sveta/tekstovi/sad_holivud_je_srpsko_selo.htm) on July 9, 2006 . Retrieved May 15, 2013 . Srpski nikada nije dobro naucila, ruski joj je ostao maternji jezik ^ (#cite_ref-21) Milla Jovovich (July 2002). "Milla Jovovich" (http://www.millaj.com/art/gallery0702.shtml) . Gallery (Interview). Interviewed by J. Rentilly. Archived (https://web.archive.org/web/20131002122456/http://www.millaj.com/art/gallery0702.shtml) from the original on October 2, 2013 . Retrieved May 15, 2013 . ^ (#cite_ref-22) "Frequently Asked Questions" (http://www.millaj.com/faq.shtml) . millaj.com. Archived (https://web.archive.org/web/20210425131846/http://www.millaj.com/faq.shtml) from the original on April 25, 2021 . Retrieved May 15, 2013 . ^ (#cite_ref-23) "Milla Jovovich" (https://web.archive.org/web/20071215004747/http://www.eonline.com/celebrities/profile/?uuid=c0c3a631-15a9-4901-b728-13cbb74e660f) . E! (/wiki/E!) . Archived from the original (http://www.eonline.com/celebrities/profile/?uuid=c0c3a631-15a9-4901-b728-13cbb74e660f) on December 15, 2007 . Retrieved December 28, 2007 . ^ Jump up to: a b Wang, Jen. "Thoroughly Modern Milla" (http://millaj.com/art/c0506.shtml) . California Style . Archived (https://web.archive.org/web/20110714094536/http://millaj.com/art/c0506.shtml) from the original on July 14, 2011 . Retrieved May 15, 2013 . ^ Jump up to: a b Morton, Roger (June 1999). "The Real Life of Angels" (http://www.millaj.com/art/dazed699.shtml) . Dazed & Confused (/wiki/Dazed_%26_Confused_(magazine)) . Archived (https://web.archive.org/web/20090427015740/http://www.millaj.com/art/dazed699.shtml) from the original on April 27, 2009 . Retrieved May 15, 2013 . ^ (#cite_ref-NYT_26-0) "2 Are Ordered to Pay $185 Million in Health Insurance Fraud" (https://timesmachine.nytimes.com/timesmachine/1994/09/25/344524.html?pageNumber=31) . The New York Times . No. September 29, 1994. The Associated Press. September 29, 1994. p. 31. ^ (#cite_ref-V_Russia_27-0) Paperny, Vladimir (May 2000). "Honest Milla" (http://www.millaj.com/art/voguerus500.shtml) . Vogue (Russia) . Archived (https://web.archive.org/web/20090401163356/http://www.millaj.com/art/voguerus500.shtml) from the original on April 1, 2009 . Retrieved November 19, 2007 . ^ Jump up to: a b c Rumbold, Judy (August 4, 2007). "A Slav to love" (http://fashion.telegraph.co.uk/news-features/TMG3359871/A-Slav-to-love.html) . The Daily Telegraph . London. 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Interviewed by Dominick A. Miserandino. Archived from the original (http://thecelebritycafe.com/interviews/milla.html) on July 20, 2013 . Retrieved May 15, 2013 . ^ (#cite_ref-houstonpress_32-0) Tyer, Brad (December 15, 1994). "Milla in 3-D" (https://web.archive.org/web/20150402112911/http://www.houstonpress.com/1994-12-15/music/milla-in-3-d/) . Houston Press (/wiki/Houston_Press) . Archived from the original (http://www.houstonpress.com/1994-12-15/music/milla-in-3-d/) on April 2, 2015 . Retrieved May 15, 2013 . ^ (#cite_ref-33) "Lookout" (http://www.millaj.com/pics/people6688.jpg) . People (/wiki/People_(magazine)) . June 1988. Archived (https://web.archive.org/web/20120304062435/http://www.millaj.com/pics/people6688.jpg) from the original on March 4, 2012 . Retrieved May 15, 2013 . ^ (#cite_ref-34) Lebowitz, Lisa (September 1988). "Milla" (http://www.millaj.com/art/model88.shtml) . Model . 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Archived (https://web.archive.org/web/20190401062546/https://ew.com/article/2016/05/25/contract-killer-sniper-milla-jovovich-video-game/) from the original on April 1, 2019 . Retrieved April 1, 2019 . ^ (#cite_ref-168) Summers, Nick (November 25, 2020). "Milla Jovovich is coming to 'Monster Hunter World: Iceborne' (https://www.engadget.com/monster-hunter-world-iceborne-milla-jovovich-movie-collaboration-105524668.html) " (https://www.engadget.com/monster-hunter-world-iceborne-milla-jovovich-movie-collaboration-105524668.html) . Engadget . Archived (https://web.archive.org/web/20201125105729/https://www.engadget.com/monster-hunter-world-iceborne-milla-jovovich-movie-collaboration-105524668.html) from the original on November 25, 2020 . Retrieved November 25, 2020 . ^ (#cite_ref-169) "Milla Jovovich is a playable video game character in 'Contract Killer: Sniper' (https://ew.com/article/2016/05/25/contract-killer-sniper-milla-jovovich-video-game/) " (https://ew.com/article/2016/05/25/contract-killer-sniper-milla-jovovich-video-game/) . Entertainment Weekly . Archived (https://web.archive.org/web/20190401062546/https://ew.com/article/2016/05/25/contract-killer-sniper-milla-jovovich-video-game/) from the original on April 1, 2019 . Retrieved April 1, 2019 . ^ (#cite_ref-170) "One Night Only! Linda Perry Talks 4 Non Blondes Reunion, Special Guests" (https://www.usmagazine.com/entertainment/news/linda-perry-on-4-non-blondes-reunion-milla-jovovich-evan-rachel-wood-2014294/) . Us Weekly (/wiki/Us_Weekly) . April 29, 2014. Archived (https://web.archive.org/web/20190401063242/https://www.usmagazine.com/entertainment/news/linda-perry-on-4-non-blondes-reunion-milla-jovovich-evan-rachel-wood-2014294/) from the original on April 1, 2019 . Retrieved April 1, 2019 . External links [ edit ] Wikiquote has quotations related to Milla Jovovich (https://en.wikiquote.org/wiki/Special:Search/Milla_Jovovich) . Wikimedia Commons has media related to Milla Jovovich (https://commons.wikimedia.org/wiki/Category:Milla_Jovovich) . Official website (http://www.millaj.com/) Milla Jovovich (https://www.imdb.com/name/nm0000170/) at IMDb (/wiki/IMDb_(identifier)) Milla Jovovich (https://www.allmovie.com/artist/p36397) at AllMovie (/wiki/AllMovie) Milla Jovovich (https://www.discogs.com/artist/111615) discography at Discogs (/wiki/Discogs) Milla Jovovich (https://www.fashionmodeldirectory.com/models/Milla_Jovovich/) at Fashion Model Directory (/wiki/Fashion_Model_Directory) Portals (/wiki/Wikipedia:Contents/Portals) : Biography (/wiki/Portal:Biography) Russia (/wiki/Portal:Russia) Ukraine (/wiki/Portal:Ukraine) Serbia (/wiki/Portal:Serbia) Fashion (/wiki/Portal:Fashion) Speculative fiction (/wiki/Portal:Speculative_fiction) v t e Paul W. S. Anderson (/wiki/Paul_W._S._Anderson) Films directed Shopping (/wiki/Shopping_(1994_film)) (1994) Mortal Kombat (/wiki/Mortal_Kombat_(1995_film)) (1995) Event Horizon (/wiki/Event_Horizon_(film)) (1997) Soldier (/wiki/Soldier_(1998_American_film)) (1998) The Sight (/wiki/The_Sight_(film)) (2000, TV film) Resident Evil (/wiki/Resident_Evil_(film)) (2002) Alien vs. Predator (/wiki/Alien_vs._Predator_(film)) (2004) Death Race (/wiki/Death_Race_(2008_film)) (2008) Resident Evil: Afterlife (/wiki/Resident_Evil:_Afterlife) (2010) The Three Musketeers (/wiki/The_Three_Musketeers_(2011_film)) (2011) Resident Evil: Retribution (/wiki/Resident_Evil:_Retribution) (2012) Pompeii (/wiki/Pompeii_(film)) (2014) Resident Evil: The Final Chapter (/wiki/Resident_Evil:_The_Final_Chapter) (2016) Monster Hunter (/wiki/Monster_Hunter_(film)) (2020) Written only Resident Evil: Apocalypse (/wiki/Resident_Evil:_Apocalypse) (2004) Resident Evil: Extinction (/wiki/Resident_Evil:_Extinction) (2007) Death Race 2 (/wiki/Death_Race_2) (2010) Death Race 3: Inferno (/wiki/Death_Race_3:_Inferno) (2013) Death Race: Beyond Anarchy (/wiki/Death_Race:_Beyond_Anarchy) (2018) Related Milla Jovovich Impact Pictures (/wiki/Impact_Pictures) v t e Puscifer (/wiki/Puscifer) Maynard James Keenan (/wiki/Maynard_James_Keenan) Mat Mitchell Carina Round (/wiki/Carina_Round) Studio albums "V" Is for Vagina (/wiki/%22V%22_Is_for_Vagina) Conditions of My Parole (/wiki/Conditions_of_My_Parole) Money $hot (/wiki/Money_Shot_(album)) Existential Reckoning (/wiki/Existential_Reckoning) Remix albums "V" Is for Viagra. The Remixes (/wiki/%22V%22_Is_for_Viagra._The_Remixes) Sound into Blood into Wine (/wiki/Sound_into_Blood_into_Wine) All Re-Mixed Up (/wiki/All_Re-Mixed_Up) Money Shot Your Re-Load (/wiki/Money_Shot_Your_Re-Load) Extended plays Don't Shoot the Messenger (/wiki/Don%27t_Shoot_the_Messenger) "C" Is for (Please Insert Sophomoric Genitalia Reference Here) (/wiki/%22C%22_Is_for_(Please_Insert_Sophomoric_Genitalia_Reference_Here)) Donkey Punch the Night (/wiki/Donkey_Punch_the_Night) Singles " Cuntry Boner (/wiki/Cuntry_Boner) " " Queen B. (/wiki/Queen_B.) " Related articles Tool (/wiki/Tool_(band)) A Perfect Circle (/wiki/A_Perfect_Circle) Danny Lohner (/wiki/Danny_Lohner) Milla Jovovich Authority control databases (/wiki/Help:Authority_control) International FAST (http://id.worldcat.org/fast/1546754/) ISNI (https://isni.org/isni/0000000114766152) VIAF (https://viaf.org/viaf/85546108) WorldCat (https://id.oclc.org/worldcat/entity/E39PBJmTrMmFJV7jm4pmyjBwYP) National Norway (https://authority.bibsys.no/authority/rest/authorities/html/98047335) Spain (http://catalogo.bne.es/uhtbin/authoritybrowse.cgi?action=display&authority_id=XX1398518) France (https://catalogue.bnf.fr/ark:/12148/cb14026673f) BnF data (https://data.bnf.fr/ark:/12148/cb14026673f) Catalonia (https://cantic.bnc.cat/registre/981058510208306706) Germany (https://d-nb.info/gnd/130895326) Israel (http://olduli.nli.org.il/F/?func=find-b&local_base=NLX10&find_code=UID&request=987007460154705171) United States (https://id.loc.gov/authorities/no98129196) Latvia (https://kopkatalogs.lv/F?func=direct&local_base=lnc10&doc_number=000272741&P_CON_LNG=ENG) Czech Republic (https://aleph.nkp.cz/F/?func=find-c&local_base=aut&ccl_term=ica=xx0039299&CON_LNG=ENG) Korea (https://lod.nl.go.kr/resource/KAC2020K4924) Netherlands (http://data.bibliotheken.nl/id/thes/p090597001) Poland (https://dbn.bn.org.pl/descriptor-details/9810667980005606) Academics CiNii (https://ci.nii.ac.jp/author/DA14044296?l=en) Artists MusicBrainz (https://musicbrainz.org/artist/39f96cb8-fe7e-499f-820c-676267b617e6) People Deutsche Synchronkartei (https://www.synchronkartei.de/person/oU--yFufZ) Deutsche Biographie (https://www.deutsche-biographie.de/pnd130895326.html?language=en) Other Encyclopedia of Modern Ukraine (http://esu.com.ua/search_articles.php?id=12969) IdRef (https://www.idref.fr/059298294) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐cng5w Cached time: 20240720162939 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 1.702 seconds Real time usage: 1.988 seconds Preprocessor visited node count: 12761/1000000 Post‐expand include size: 368763/2097152 bytes Template argument size: 13589/2097152 bytes Highest expansion depth: 24/100 Expensive parser function count: 34/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 663143/5000000 bytes Lua time usage: 1.093/10.000 seconds Lua memory usage: 27393142/52428800 bytes Lua Profile: ? 260 ms 22.8% MediaWiki\Extension\Scribunto\Engines\LuaSandbox\LuaSandboxCallback::callParserFunction 260 ms 22.8% dataWrapper <mw.lua:672> 160 ms 14.0% MediaWiki\Extension\Scribunto\Engines\LuaSandbox\LuaSandboxCallback::match 60 ms 5.3% (for generator) 40 ms 3.5% MediaWiki\Extension\Scribunto\Engines\LuaSandbox\LuaSandboxCallback::interwikiMap 40 ms 3.5% makeMessage <mw.message.lua:76> 40 ms 3.5% concat 40 ms 3.5% <Module:Citation/CS1:813> 40 ms 3.5% gsub 20 ms 1.8% [others] 180 ms 15.8% Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 1752.920 1 -total 49.02% 859.194 2 Template:Reflist 24.27% 425.477 113 Template:Cite_web 18.14% 317.951 1 Template:Infobox_person 8.73% 152.971 20 Template:Pluralize_from_text 7.30% 127.876 9 Template:Cite_interview 6.84% 119.964 32 Template:Cite_news 6.16% 107.951 2 Template:Efn 5.70% 99.855 1 Template:Lang-sr-Cyrl-Latn 4.59% 80.382 2 Template:Ubl Saved in parser cache with key enwiki:pcache:idhash:159547-0!canonical and timestamp 20240720162939 and revision id 1232410086. 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American photographer This article needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/Herb_Ritts) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed. Find sources: "Herb Ritts" (https://www.google.com/search?as_eq=wikipedia&q=%22Herb+Ritts%22) – news (https://www.google.com/search?tbm=nws&q=%22Herb+Ritts%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Herb+Ritts%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Herb+Ritts%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Herb+Ritts%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Herb+Ritts%22&acc=on&wc=on) ( July 2019 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Herb Ritts Born Herbert Ritts Jr. ( 1952-08-13 ) August 13, 1952 Los Angeles (/wiki/Los_Angeles) , California, U.S. Died December 26, 2002 (2002-12-26) (aged 50) Los Angeles, California, U.S. Alma mater Bard College (/wiki/Bard_College) Occupation Photographer Awards GLAAD Media Awards (/wiki/GLAAD_Media_Awards) Pioneer Award 2008 Herbert Ritts Jr. (August 13, 1952 – December 26, 2002) was an American fashion photographer (/wiki/Fashion_photography) and director known for his photographs of celebrities, models, and other cultural figures throughout the 1980s and 1990s. His work concentrated on black and white photography and portraits, often in the style of classical Greek sculpture (/wiki/Greek_art) , which emphasized the human shape. [1] (#cite_note-nyt-1) Early life and education [ edit ] Ritts was born on August 13, 1952, in Brentwood, Los Angeles (/wiki/Brentwood,_Los_Angeles) . His father, Herb Ritts Sr. (née Rittigstein), was a furniture designer and his mother, Shirley Ritts (/wiki/Shirley_Ritts) (née Roos), was an interior designer. [2] (#cite_note-:0-2) Together, their furniture business helped to popularize rattan (/wiki/Rattan) furniture in the 1950s (/wiki/1950s_in_the_United_States) and 1960s (/wiki/1960s_in_the_United_States) . Raised in an affluent Jewish (/wiki/Jews) family, he and his three younger siblings lived next door to actor Steve McQueen (/wiki/Steve_McQueen) , whom he considered to be "like a second father". [3] (#cite_note-:1-3) At his bar mitzvah (/wiki/Bar_and_bat_mitzvah) , his father gifted him with a Kodak Brownie (/wiki/Kodak_Brownie) camera. [2] (#cite_note-:0-2) He attended Palisades High School (/wiki/Palisades_Charter_High_School) and moved to upstate New York in 1972 to study at Bard College (/wiki/Bard_College) , where he received a degree in economics with a minor in art history. [4] (#cite_note-4) Upon graduation in 1975, he moved back to California to work as a sales representative in the family business. [1] (#cite_note-nyt-1) "I’m glad I didn’t go to school for photography. Other photographers I know, Helmut Newton (/wiki/Helmut_Newton) and Bruce Weber (/wiki/Bruce_Weber_(photographer)) didn’t either. Even Steven Meisel (/wiki/Steven_Meisel) didn’t, really—he went to fashion school. For me, the most important thing I learned was just honing my eye. [...] I was tutoring myself, I suppose. Many people who excel are self-taught". [3] (#cite_note-:1-3) Ritts bought his first camera in 1976, a 35mm Miranda (/wiki/Miranda_Camera_Company) DX-3. [5] (#cite_note-5) Career [ edit ] Later, while living in Los Angeles, he became interested in photography when he and friend Richard Gere (/wiki/Richard_Gere) , then an aspiring actor, decided to shoot some photographs in front of an old Buick. [1] (#cite_note-nyt-1) The picture gained Ritts some coverage and he began to be more serious about photography. He photographed Brooke Shields (/wiki/Brooke_Shields) for the cover of the October 12, 1981 edition of Elle (/wiki/Elle_(magazine)) and he photographed Olivia Newton-John (/wiki/Olivia_Newton-John) for her Physical (/wiki/Physical_(Olivia_Newton-John_album)) album in 1981. Five years later he replicated that cover pose with Madonna (/wiki/Madonna_(entertainer)) for her 1986 release True Blue (/wiki/True_Blue_(Madonna_album)) . That year he photographed Tina Turner (/wiki/Tina_Turner) for the album Break Every Rule (/wiki/Break_Every_Rule) . During the 1980s and 1990s, Ritts photographed celebrities in various locales throughout California. [6] (#cite_note-RS87-6) Some of his subjects during this time included musical artists. He also took fashion and nude photographs of models Naomi Campbell (/wiki/Naomi_Campbell) , Stephanie Seymour (/wiki/Stephanie_Seymour) , Tatjana Patitz (/wiki/Tatjana_Patitz) , Christy Turlington (/wiki/Christy_Turlington) , and Cindy Crawford (/wiki/Cindy_Crawford) , including " Tatjana, Veiled Head, Tight View, Joshua Tree, 1988 (/wiki/Tatjana_Veiled_Head_(Tight_View),_Joshua_Tree_1988) ." [7] (#cite_note-7) Ritts' work with them ushered in the 1990s era of the supermodel and was consecrated by one of his most celebrated images, "Stephanie, Cindy, Christy, Tatjana, Naomi, Hollywood, 1989" taken for Rolling Stone (/wiki/Rolling_Stone) . [ citation needed ] He also worked for Interview (/wiki/Interview_(magazine)) , Esquire (/wiki/Esquire_(magazine)) , Mademoiselle (/wiki/Mademoiselle_(magazine)) , Glamour (/wiki/Glamour_(magazine)) , GQ (/wiki/GQ_(magazine)) , Newsweek (/wiki/Newsweek) , Harper's Bazaar (/wiki/Harper%27s_Bazaar) , Rolling Stone , [6] (#cite_note-RS87-6) Time (/wiki/Time_(magazine)) , Vogue (/wiki/Vogue_(magazine)) , Allure (/wiki/Allure_(magazine)) , Vanity Fair (/wiki/Vanity_Fair_(magazine)) , Details (/wiki/Details_(magazine)) , and Elle (/wiki/Elle_(magazine)) . Ritts took publicity portraits for Batman , Batman Forever (/wiki/Batman_Forever) , and Batman & Robin which appeared on magazine covers and merchandise throughout the 1990s. He published books on photography for various fashion designers. From 1996 to 1997 Ritts' work was displayed at the Boston Museum of Fine Arts (/wiki/Boston_Museum_of_Fine_Arts) in Boston, attracting more than 250,000 people to the exhibit, [8] (#cite_note-8) and in 2003 a solo exhibition was held at the Daimaru Museum, in Kyoto (/wiki/Kyoto) , Japan. [ citation needed ] Personal life [ edit ] Ritts was openly gay. He was in a relationship with entertainment lawyer Erik Hyman from 1996 until his death in 2002. [9] (#cite_note-9) His parents were accepting and supportive of his sexuality. [10] (#cite_note-10) Ritts was HIV-positive (/wiki/HIV-positive) . He was first diagnosed in 1989, and used alternative herbal treatments to fight his condition. He never publicly disclosed his diagnosis. [11] (#cite_note-11) Death [ edit ] On December 26, 2002, Ritts died in Los Angeles from pneumonia (/wiki/Pneumonia) at the age of 50. [12] (#cite_note-12) According to Ritts' publicist, "Herb was HIV-positive, but this particular pneumonia was not PCP ( pneumocystis pneumonia (/wiki/Pneumocystis_pneumonia) ), a common opportunistic infection (/wiki/Opportunistic_infection) of AIDS. But at the end of the day, his immune system was compromised." [13] (#cite_note-13) Music videos [ edit ] Year Title Artist Notes 1989 " Cherish (/wiki/Cherish_(Madonna_song)) " Madonna (/wiki/Madonna_(entertainer)) 1990 " Love Will Never Do (Without You) (/wiki/Love_Will_Never_Do_(Without_You)) " Janet Jackson (/wiki/Janet_Jackson) with Antonio Sabàto, Jr. (/wiki/Antonio_Sab%C3%A0to,_Jr.) and Djimon Hounsou (/wiki/Djimon_Hounsou) 1991 " Wicked Game (/wiki/Wicked_Game) " Chris Isaak (/wiki/Chris_Isaak) second version of music video; with Helena Christensen " Way of the World (/wiki/Way_of_the_World_(Tina_Turner_song)) " Tina Turner (/wiki/Tina_Turner) two slightly different versions, one for the American market and the other European 1992 " In the Closet (/wiki/In_the_Closet) " Michael Jackson (/wiki/Michael_Jackson) with Naomi Campbell 1994 " Please Come Home for Christmas (/wiki/Please_Come_Home_for_Christmas#Jon_Bon_Jovi/Bon_Jovi_version) " Jon Bon Jovi (/wiki/Jon_Bon_Jovi) with Cindy Crawford 1996 " Let It Flow (/wiki/Let_It_Flow_(song)) " Toni Braxton (/wiki/Toni_Braxton) 1998 " My All (/wiki/My_All) " Mariah Carey (/wiki/Mariah_Carey) 1999 " Baby Did a Bad Bad Thing (/wiki/Baby_Did_a_Bad_Bad_Thing) " Chris Isaak Remix version, with Laetitia Casta (/wiki/Laetitia_Casta) 2000 " Telling Stories (/wiki/Telling_Stories_(song)) " Tracy Chapman (/wiki/Tracy_Chapman) 2001 " Don't Let Me Be the Last to Know (/wiki/Don%27t_Let_Me_Be_the_Last_to_Know) " Britney Spears (/wiki/Britney_Spears) " Ain't It Funny (/wiki/Ain%27t_It_Funny) " Jennifer Lopez (/wiki/Jennifer_Lopez) " Gone (/wiki/Gone_(NSYNC_song)) " NSYNC (/wiki/NSYNC) 2002 " Underneath Your Clothes (/wiki/Underneath_Your_Clothes) " Shakira (/wiki/Shakira) Publications [ edit ] Pictures , Twin Palms, 1988 Men/Women , Twin Palms, 1989 Duo , Twin Palms, 1991 Notorious , Little, Brown and Company/Bulfinch, 1992 Africa , Little, Brown and Company/Bulfinch, 1994 Work , Little, Brown and Company/Bulfinch, 1996 Herb Ritts , Fondation Cartier pour l'Art Contemporain, 1999 Herb Ritts L.A. Style , Getty, 2012 Exhibitions [ edit ] Herb Ritts: The Rock Portraits , Chrysler Museum of Art (/wiki/Chrysler_Museum_of_Art) , Norfolk, VA, 2016. [14] (#cite_note-14) Herb Ritts: The Rock Portraits , Rock and Roll Hall of Fame (/wiki/Rock_and_Roll_Hall_of_Fame) , Cleveland, OH, 2015/16 [15] (#cite_note-15) [16] (#cite_note-auto-16) Herb Ritts , Museum of Fine Arts, Boston (/wiki/Museum_of_Fine_Arts,_Boston) , MA, 2015 [16] (#cite_note-auto-16) [17] (#cite_note-17) Herb Ritts: Super , Hamilton's Gallery, London, 2016/17 [18] (#cite_note-18) Herb Ritts: Super II , Hamilton's Gallery, London, 2017 [19] (#cite_note-19) References [ edit ] ^ Jump up to: a b c Bellafante, Ginia (December 27, 2002). "Herb Ritts, Photographer of Celebrities, Is Dead at 50" (https://www.nytimes.com/2002/12/27/us/herb-ritts-photographer-of-celebrities-is-dead-at-50.html) . The New York Times . Retrieved December 23, 2017 . ^ Jump up to: a b Abrams, Melanie. "Life and Culture: Lens That Defined a Generation." (https://www.thejc.com/life-and-culture/all/lens-that-dened-a-generation-1.24087) Thejc.com (/wiki/Thejc.com) Retrieved May 23, 2022. ^ Jump up to: a b Quinton, François. "Herb Ritts Interview" (http://www.herbritts.com/wp-content/uploads/2015/03/HerbRitts_Interview_Francois-Quintin.pdf) (PDF) . Herb Ritts Foundation . Retrieved March 11, 2024 . ^ (#cite_ref-4) Sharpsteen, Bill (October 29, 2000). "EYE OF THE BEHOLDER" (https://www.latimes.com/archives/la-xpm-2000-oct-29-tm-43664-story.html) . Los Angeles Times . Retrieved March 11, 2024 . ^ (#cite_ref-5) Ritts, Herb; Martineau, Paul; Crump, James (2012). Herb Ritts: L.A. style . J. Paul Getty Museum, Cincinnati Art Museum, John and Mable Ringling Museum of Art. Los Angeles: J. Paul Getty Museum. ISBN (/wiki/ISBN_(identifier)) 978-1-60606-100-8 . OCLC (/wiki/OCLC_(identifier)) 733755695 (https://www.worldcat.org/oclc/733755695) . ^ Jump up to: a b Loder, Kurt (April 23, 1987), "Stardust Memories", Rolling Stone (/wiki/Rolling_Stone) , no. 498, pp. 74–77, 80, 82, 168, 171 ^ (#cite_ref-7) "Herb Ritts" (https://www.herbritts.com/) . Retrieved September 3, 2022 . ^ (#cite_ref-8) Edgers, Geoff (April 5, 2007). "Breaking: Herb Ritts Money, Art to MFA50" (https://www.boston.com/ae/theater_arts/exhibitionist/2007/04/breaking_herb_r.html) . The Boston Globe . Retrieved November 7, 2010 . ^ (#cite_ref-9) "Putting on the Ritts" (https://www.poz.com/article/Putting-On-The-Ritts-542-3918) . April 2003. ^ (#cite_ref-10) Rutledge, Stephen (August 13, 2017). "#BornThisDay: Photographer, Herb Ritts" (https://worldofwonder.net/bornthisday-photographer-herb-ritts-3/) . ^ (#cite_ref-11) "Herb Ritts: Puttin' on the Ritts" (https://www.out.com/entertainment/books/2010/09/23/herb-ritts-puttin-ritts) . September 10, 2010. ^ (#cite_ref-12) Bellafante, Ginia (December 27, 2002). "Herb Ritts, Photographer of Celebrities, Is Dead at 50" (https://www.nytimes.com/2002/12/27/us/herb-ritts-photographer-of-celebrities-is-dead-at-50.html?pagewanted=1) . The New York Times . Retrieved May 25, 2010 . ^ (#cite_ref-13) Signorile, Michelangelo (January 22, 2001). "Ritts Coverage: Don't Hide the AIDS Truths" (http://www.windycitymediagroup.com/ARTICLE.php?AID=1990) . windycitymediagroup.com . Retrieved September 13, 2010 . ^ (#cite_ref-14) "Chrysler Museum of Art" (http://www.chrysler.org/exhibitions/herb-ritts/) . chrysler.org . Retrieved March 7, 2017 . ^ (#cite_ref-15) "Exhibits" (https://rockhall.com/exhibits/herb-ritts--the-rock-portraits/) . rockhall.com . Retrieved March 7, 2017 . ^ Jump up to: a b Christian, Scott (March 13, 2015). "Herb Ritts: old-school glamour's last stand" (https://www.theguardian.com/artanddesign/2015/mar/13/herb-ritts-old-school-glamours-last-stand) . The Guardian . Retrieved March 7, 2017 . ^ (#cite_ref-17) "Herb Ritts" (http://www.mfa.org/exhibitions/herb-ritts) . mfa.org . February 12, 2015 . Retrieved March 7, 2017 . ^ (#cite_ref-18) "Exhibition HERB RITTS: SUPER – artist, news & exhibitions" (http://www.photography-now.com/exhibition/120173) . photography-now.com . Retrieved March 7, 2017 . ^ (#cite_ref-19) "Herb Ritts' Iconic Photographs of the '90s "Supers" Are Back" (http://en.vogue.me/culture/herb-ritts-super-exhibition-hamiltons-gallery/) . Vogue . January 29, 2017 . Retrieved March 7, 2017 . 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Garment worn by some Muslim women This article is about the Muslim cultural garment. For other uses, see Burka (/wiki/Burka_(disambiguation)) . For the mask covering the eyebrows and upper lip used in Gulf countries, see Battoulah (/wiki/Battoulah) . A painting of Burqa clad Afghan women in Kabul, 1840 Part of a series (/wiki/Category:Islamic_female_clothing) on Islamic (/wiki/Islam) female (/wiki/Women_in_Islam) dress (/wiki/Islamic_clothing) Types (/wiki/Types_of_hijab) Abaya (/wiki/Abaya) Al-amira (/wiki/Al-amira) Battoulah (/wiki/Battoulah) Boshiya (/wiki/Boshiya) Burkini (/wiki/Burkini) Burqa Çarşaf (/wiki/%C3%87ar%C5%9Faf) Chador (/wiki/Chador) Haik (/wiki/Haik_(garment)) Hijab (/wiki/Hijab) Jilbaab (/wiki/Jilb%C4%81b) Kerudung (/wiki/Kerudung) Kimeshek (/wiki/Kimeshek) Khimar (/wiki/Khimar) Kurhars (/wiki/Kurhars) Mukena (/wiki/Mukena) Niqaab (/wiki/Niq%C4%81b) Paranja (/wiki/Paranja) Safseri (/wiki/Safseri) Selendang (/wiki/Selendang) Shayla (/wiki/Shayla) Tudong (/wiki/Tudong) Yashmak (/wiki/Yashmak) Practice and law by country (/wiki/Hijab_by_country) Australia (/wiki/Burka_ban_in_Australia) Britain (/wiki/British_debate_over_veils) Canada (/wiki/Islamic_veiling_practices_by_country#Canada) Egypt (/wiki/Niq%C4%81b_in_Egypt) France (/wiki/Islamic_scarf_controversy_in_France) Indonesia (/wiki/Women_in_Indonesia#National_law_and_sharia) Iran (/wiki/Hijab_in_Iran) Pakistan (/wiki/Women_in_Pakistan#Culture) Saudi Arabia (/wiki/Women%27s_rights_in_Saudi_Arabia#Hijab_and_dress_code) Taliban Afghanistan (/wiki/Taliban_treatment_of_women#Gender_policies) Turkey (/wiki/Headscarf_controversy_in_Turkey) Concepts Andaruni (/wiki/Andaruni) Awrah (/wiki/Intimate_parts_in_Islam) Fahisha (/wiki/Fahisha) Gender segregation (/wiki/Islam_and_gender_segregation) Haya (/wiki/Haya_(Islam)) Purdah (/wiki/Purdah) Zenana (/wiki/Zenana) Other Hijabophobia (/wiki/Hijabophobia) Hujum (/wiki/Hujum) Kashf-e hijab (/wiki/Kashf-e_hijab) My Stealthy Freedom (/wiki/My_Stealthy_Freedom) Wimple (/wiki/Wimple) World Hijab Day (/wiki/World_Hijab_Day) v t e Part of a series (/wiki/Category:Islam) on Islamic culture (/wiki/Islamic_culture) Architecture (/wiki/Islamic_architecture) Azerbaijani 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(/wiki/Uyghur_literature) Uzbek (/wiki/Uzbek_literature) Music (/wiki/Islamic_music) Ashik (/wiki/Ashik) Daf (/wiki/Daf) Dastgah (/wiki/Dastgah) Gamelan (/wiki/Gamelan) Gendang beleq (/wiki/Gendang_beleq) Ghazal (/wiki/Ghazal) Haḍra (/wiki/Ha%E1%B8%8Dra) Hamd (/wiki/Hamd) Jari (/wiki/Jarigan) Madih nabawi (/wiki/Madih_nabawi) Mappilappattu (/wiki/Mappila_songs) Maqam (/wiki/Arabic_maqam) Mugam (/wiki/Mugham) Naʽat (/wiki/Na%CA%BDat) Nasheed (/wiki/Nasheed) Noha (/wiki/Noha) Qawwali (/wiki/Qawwali) Sufi (/wiki/Sufi_music) Talempong (/wiki/Talempong) Tambourine (/wiki/Tambourine) Theatre (/wiki/Islamic_theatre) Bangsawan (/wiki/Bangsawan) Cem (/wiki/Cem_(Alevism)) Karagöz and Hacivat (/wiki/Karag%C3%B6z_and_Hacivat) Sama (/wiki/Sama_(Sufism)) Ta'zieh (/wiki/Ta%27zieh) Wayang (/wiki/Wayang) Islam portal (/wiki/Portal:Islam) v t e A burqa or a burka [a] (#cite_note-1) ( / (/wiki/Help:IPA/English) ˈ b ɜːr k ə / (/wiki/Help:IPA/English) ; Arabic (/wiki/Arabic_language) : برقع ) is an enveloping outer garment worn by some Muslim women which fully covers the body and the face. Also known as a chadaree [b] (#cite_note-2) ( / (/wiki/Help:IPA/English) ˈ tʃ æ d ( (/wiki/Help:IPA/English) ə ) (/wiki/Help:IPA/English) r iː / (/wiki/Help:IPA/English) ; Pashto (/wiki/Pashto_language) : چادري ) or chaadar ( Dari (/wiki/Dari) : چادر) in Afghanistan (/wiki/Afghanistan) , or a paranja (/wiki/Paranja) ( / (/wiki/Help:IPA/English) ˈ p æ r ə n ˌ dʒ ɑː / (/wiki/Help:IPA/English) ; Russian (/wiki/Russian_language) : паранджа́ ; Tatar (/wiki/Tatar_language) : пәрәнҗә ) in Central Asia (/wiki/Central_Asia) , the Arab (/wiki/Arab) version of the burqa is called the boshiya (/wiki/Boshiya) and is usually black. The term burqa is sometimes conflated with the niqāb (/wiki/Niq%C4%81b) even though, in more precise usage, the niqab is a face veil that leaves the eyes uncovered, while a burqa covers the entire body from the top of the head to the ground, with a mesh screen which only allows the wearer to see in front of her. The wearing of the burqa and other types of face veils have been attested to since pre-Islamic times. Face veiling has not been regarded as a religious requirement by most Islamic scholars, either in the past or the present. A minority of scholars in the Islamic jurisprudence ( fiqh (/wiki/Fiqh) ) consider it to be obligatory for Muslim women when they are in the presence of non-related (i.e., non- mahram (/wiki/Mahram) ) males. This is in order to prevent men from looking (perversely) at women. Additionally, this does not oblige men to wear eye-covering, [ clarification needed ] but instead to lower their gaze. Women may wear the burqa for a number of reasons, including compulsion, as was the case during the Taliban's first rule of Afghanistan (/wiki/Islamic_Emirate_of_Afghanistan_(1996-2001)) . [1] (#cite_note-3) The following nations have fully or partially banned burqas: Austria, France, Belgium, Denmark, Bulgaria, the Netherlands (in public schools, hospitals and on public transport), Germany (partial bans in some states), Italy (in some localities), Spain (in some localities of Catalonia (/wiki/Catalonia) ), Russia (in the Stavropol Krai (/wiki/Stavropol_Krai) ), [2] (#cite_note-4) [3] (#cite_note-5) [4] (#cite_note-6) Luxembourg (/wiki/Luxembourg) , [5] (#cite_note-7) Switzerland, [6] (#cite_note-8) Norway (/wiki/Norway) (in nurseries, public schools and universities), [7] (#cite_note-9) Canada (in the public workplace in Quebec (/wiki/Quebec) ), [8] (#cite_note-10) Gabon (/wiki/Gabon) , Chad (/wiki/Chad) , Senegal (/wiki/Senegal) , the Republic of the Congo (/wiki/Republic_of_the_Congo) , Cameroon (/wiki/Cameroon) (in some localities), Niger (/wiki/Niger) (in some localities), [9] (#cite_note-:1-11) [10] (#cite_note-12) Sri Lanka (/wiki/Sri_Lanka) , [11] (#cite_note-13) Tajikistan (/wiki/Tajikistan) , [12] (#cite_note-14) Azerbaijan (/wiki/Azerbaijan) (in public schools), [13] (#cite_note-15) Turkey (in the judiciary, military and police), [14] (#cite_note-Sanghani-16) Kosovo (/wiki/Kosovo) (in public schools), [15] (#cite_note-17) Bosnia and Herzegovina (/wiki/Bosnia_and_Herzegovina) (in courts and other legal institutions), [16] (#cite_note-18) Morocco (/wiki/Morocco) (ban on manufacturing, marketing and sale), [17] (#cite_note-19) Tunisia (/wiki/Tunisia) (in public institutions), [18] (#cite_note-20) Egypt (/wiki/Egypt) (in universities), Algeria (/wiki/Algeria) (in the public workplace), [19] (#cite_note-21) and China (#China) (in Xinjiang (/wiki/Xinjiang) ). [20] (#cite_note-22) [21] (#cite_note-23) Pre-Islamic use of the face veil [ edit ] Pre-Islamic relief showing veiled Middle Eastern women, Temple of Baal (/wiki/Temple_of_Bel) , Palmyra, Syria, 1st century AD( In Iran ) Coptic Orthodox Christian (/wiki/Copts) woman wearing a garment with a Christian head covering (/wiki/Christian_head_covering) (1918) The face veil was originally part of women's dress among certain classes in the Byzantine Empire (/wiki/Byzantine_Empire) and was adopted into Muslim culture (/wiki/Muslim_culture) during the Arab conquest of the Middle East. [22] (#cite_note-24) However, although Byzantine art before Islam commonly depicts women with veiled heads or covered hair, it does not depict women with veiled faces. In addition, the Greek geographer Strabo (/wiki/Strabo) , writing in the 1st century AD, refers to some Persian (/wiki/Persians) women veiling their faces; [23] (#cite_note-25) and the early third-century Christian writer Tertullian (/wiki/Tertullian) clearly refers in his treatise The Veiling of Virgins to some "pagan" women of "Arabia" wearing a veil that covers not only their head but also the entire face. [24] (#cite_note-26) [c] (#cite_note-27) Clement of Alexandria (/wiki/Clement_of_Alexandria) commends the contemporary use of face coverings. [25] (#cite_note-28) [26] (#cite_note-29) There are also two Biblical (/wiki/Bible) references to the employment of covering face veils in Genesis 38:14 and Genesis 24:65, [27] (#cite_note-30) by Tamar and by Rebeccah, Judah and Abraham's daughters-in-law respectively. [28] (#cite_note-31) [29] (#cite_note-32) [30] (#cite_note-33) These primary sources show that some women in Persia veiled their faces long before Islam, Egypt, Arabia, ancient Israel veiled their faces long before Islam. In the case of Tamar, the Biblical text, 'When Judah saw her, he thought her to be a harlot; because she had covered her face' indicates customary, if not sacral, use of the face veil to accentuate rather than disguise sexuality. [31] (#cite_note-34) [32] (#cite_note-35) Coptic Orthodox Christian (/wiki/Coptic_Orthodox_Christian) women historically have worn dark-coloured full garments, along with a Christian head covering (/wiki/Christian_head_covering) that included a veil to wear in public. [33] (#cite_note-Budge1902-36) Women who are unmarried wear white-coloured veils and married women wear black-coloured veils. [33] (#cite_note-Budge1902-36) Face veiling in Islam [ edit ] Despite legal requirements and prevalence in certain regions, most Islamic scholars [34] (#cite_note-campo-37) [35] (#cite_note-qaradawi-38) and most contemporary Islamic jurists [36] (#cite_note-mubarak-39) have agreed that Islam does not require women to cover their faces. Scriptural sources [ edit ] Although the Quran commands both men and women to behave modestly and contains no precise prescription for how women should dress, certain Quranic verses have been used in exegetical discussions of face veiling. Coming after a verse which instructs men to lower their gaze and guard their modesty, verse 24:31 instructs women to do the same, providing additional detail: [36] (#cite_note-mubarak-39) [37] (#cite_note-siddiqui-40) Tell the believing women to lower their eyes, guard their private parts ( furuj ), and not display their charms ( zina ) except what is apparent outwardly, and cover their bosoms with their veils ( khumur , sing. khimar ) and not to show their finery except to their husbands or their fathers or fathers-in-law [...] The verse goes on to list a number of other types of exempted males. Classical Quranic commentators differed in their interpretation of the phrase "except what is apparent outwardly". Some argued that it referred to face and hands, implying that these body parts need not be covered, while others disagreed. [36] (#cite_note-mubarak-39) [37] (#cite_note-siddiqui-40) Another passage, known as the "mantle verse" (33:59), has been interpreted as establishing women's security as a rationale for veiling: [37] (#cite_note-siddiqui-40) O Prophet, tell your wives and daughters, and the women of the faithful, to draw their wraps ( jalabib , sing. jilbab ) over them. They will thus be recognized and no harm will come to them. God is forgiving and kind. Based on the context of the verse and early Islamic literature, this verse has been generally understood as establishing a way to protect the Muslim women from a hostile faction who had molested them on the streets of Medina, claiming that they confused them with slave girls. [37] (#cite_note-siddiqui-40) [38] (#cite_note-amer26-28-41) Interestingly, a sahih hadith (authentic tradition) elaborates the circumstances under which the verse was revealed and attributes it to Umar ibn al-Khattab for taunting one of Muhammad's wives while she was on her way to address nature's call. [39] (#cite_note-42) The exact nature of garments referred to in these verses, khimar and jilbab , has been debated by traditional and modern scholars. [37] (#cite_note-siddiqui-40) [38] (#cite_note-amer26-28-41) Islamic scholars who hold that face veiling is not obligatory also base this on a narration from one of the canonical hadith (/wiki/Hadith) collections (sayings attributed to Muhammad (/wiki/Muhammad) ), in which he tells Asma', the daughter of Abu Bakr (/wiki/Abu_Bakr) : "O Asmaʿ, when a woman reaches the age of menstruation, it does not suit her that she displays her parts of body except this and this", pointing to her face and hands (Abū Dawūd, Book 32, Number 4092). [36] (#cite_note-mubarak-39) According to Yusuf al-Qaradawi (/wiki/Yusuf_al-Qaradawi) , traditional hadith scholars have not viewed this narration as providing proof on its own, because its recorded chain of transmission made them uncertain about its authenticity, but those who argued that face veiling is not required have used it as supporting evidence strengthened by other textual sources, such as those recording customary practice at the time of Muhammad and his companions. [35] (#cite_note-qaradawi-38) Classical jurisprudence [ edit ] When veiling was discussed in early Islamic jurisprudence (/wiki/Fiqh) beyond the context of prayer (/wiki/Salah) , it was generally considered an "issue of social status and physical safety". Later, during the medieval era, Islamic jurists began to devote more attention to the notion of awra (/wiki/Intimate_parts_in_Islam) (intimate parts) and the question of whether women should cover their faces. [40] (#cite_note-bucar54-43) The majority opinion which emerged during that time, predominant among Maliki (/wiki/Maliki) and Hanafi (/wiki/Hanafi) jurists, held that women should cover everything except their faces in public. In contrast, most medieval Hanbali (/wiki/Hanbali) and Shafi'i (/wiki/Shafi%27i) jurists counted a woman's face among the awra , concluding that it should be veiled, except for the eyes. [37] (#cite_note-siddiqui-40) [40] (#cite_note-bucar54-43) The Hanbali jurist Ibn Taymiyyah (/wiki/Ibn_Taymiyyah) (d. 1328 CE) was an influential proponent of the latter view, while the Hanafi scholar Burhan al-Din al-Marghinani (/wiki/Burhan_al-Din_al-Marghinani) (d. 1197 CE) stressed that it was particularly important for a woman to leave her face and hands uncovered during everyday business dealing with men. There was a difference of opinion on this question within the legal schools. [40] (#cite_note-bucar54-43) Thus, Yusuf al-Qaradawi (/wiki/Yusuf_al-Qaradawi) quotes classical Shafi'i and Hanbali jurists stating that covering the face is not obligatory. [35] (#cite_note-qaradawi-38) In the Shi'a Ja'fari (/wiki/Ja%27fari) school of fiqh , covering the face is not obligatory. [41] (#cite_note-44) Salafi views [ edit ] Chadaree in Afghanistan According to the Salafi point of view, it is obligatory ( fard ) for a woman to cover her entire body when in public or in presence of non-mahram men. [ citation needed ] Some interpretations say that a veil is not compulsory in front of blind men. [42] (#cite_note-45) The Salafi scholar Muhammad Nasiruddin al-Albani (/wiki/Muhammad_Nasiruddin_al-Albani) wrote a book expounding his view that the face veil is not a binding obligation upon Muslim women, while he was a teacher at Islamic University of Madinah (/wiki/Islamic_University_of_Madinah) . His opponents within the Saudi establishment ensured that his contract with the university was allowed to lapse without renewal. [43] (#cite_note-glo66-46) Reasons for wearing [ edit ] Reasons for wearing a burqa vary. A woman may choose to wear it to express her piety, modesty, political views, and cultural views among other reasons. A woman may also wear a burqa on being forced to do so by law, as was in the case of Afghanistan during the first period of Taliban rule (/wiki/Islamic_Emirate_of_Afghanistan) . [44] (#cite_note-:3-47) Around the world [ edit ] See also: Hijab by country (/wiki/Hijab_by_country) A map of countries with a burqa ban. Map current as of 2023 [update] (https://en.wikipedia.org/w/index.php?title=Burqa&action=edit) Africa [ edit ] Cameroon [ edit ] Main article: Islam in Cameroon (/wiki/Islam_in_Cameroon) In July 2015, Cameroon's Far North Region (/wiki/Far_North_Region,_Cameroon) banned Islamic face veils, including the burqa, after two female suicide bombers (/wiki/Suicide_bomber) dressed in Islamic garments detonated themselves in Fotokol (/wiki/Fotokol) , killing 13. [45] (#cite_note-48) [46] (#cite_note-WashPostAnother-49) The ban is now active in five of the country's ten regions (/wiki/Regions_of_Cameroon) . [9] (#cite_note-:1-11) [14] (#cite_note-Sanghani-16) Chad [ edit ] Main article: Islam in Chad (/wiki/Islam_in_Chad) In June 2015, the full face veil was banned in Chad after veiled Boko Haram (/wiki/Boko_Haram) members disguised as women committed multiple suicide bombings (/wiki/2015_N%27Djamena_bombings) in N'Djamena (/wiki/N%27Djamena) . [46] (#cite_note-WashPostAnother-49) [47] (#cite_note-50) [48] (#cite_note-51) Republic of the Congo [ edit ] Main article: Islam in the Republic of the Congo (/wiki/Islam_in_the_Republic_of_the_Congo) In May 2015, the Republic of the Congo (/wiki/Republic_of_the_Congo) banned the face veil in order to counter Islamic extremism (/wiki/Islamic_extremism) . [49] (#cite_note-52) [50] (#cite_note-53) The decision was announced by El Hadji Djibril Bopaka, the president of the country's Islamic High Council. [51] (#cite_note-54) Gabon [ edit ] Main article: Islam in Gabon (/wiki/Islam_in_Gabon) In 2015, Gabon (/wiki/Government_of_Gabon) banned the face veil in order to counter Islamic extremism in public and places of work. [52] (#cite_note-55) [53] (#cite_note-56) Morocco [ edit ] Main article: Islam in Morocco (/wiki/Islam_in_Morocco) The government (/wiki/Government_of_Morocco) distributed letters to businesses on 9 January 2017 declaring a ban on the sale, production and importation of burqas. The letters indicated that businesses were expected to clear their stock within 48 hours. [54] (#cite_note-57) Asia [ edit ] Afghanistan [ edit ] Local Afghan women wearing burqas on a street in 2009 Women wearing burqas of different colors in Afghanistan in 1975 The full Afghan chadaree covers the wearer's entire face except for a small region about the eyes, which is covered by a concealing net or grille. [55] (#cite_note-58) They are usually light blue in the Kabul (/wiki/Kabul) area, white in the north in Mazar-i-Sharif (/wiki/Mazar-i-Sharif) and brown and green in Kandahar (/wiki/Kandahar) in the south. [56] (#cite_note-59) Before the Taliban (/wiki/Taliban) took power in Afghanistan, the chadaree was rarely worn in cities, especially Kabul. While they were in power, the Taliban required the wearing of a chadaree in public. Chadaree use in the remainder of Afghanistan is variable and was observed to be gradually declining in Kabul, until the city fell to the Taliban on 15 August 2021. Due to political instability in these areas, women who might not otherwise be inclined to wear the chadaree must do so as a matter of personal safety, according to Khalid Hanafi. [57] (#cite_note-TalibanAP2022-60) The Taliban (/wiki/Taliban) , immediately after re-taking Afghanistan (/wiki/Afghanistan) , declared that while women may return to work, they must always wear the hijab (/wiki/Hijab) while outside the house, while the chadaree was not mandatory. In May 2022 the Taliban issued a decree that all women in public must wear a chadaree. [44] (#cite_note-:3-47) China [ edit ] In 2017, China banned the burqa in the Islamic area of Xinjiang (/wiki/Xinjiang) . [58] (#cite_note-61) India [ edit ] Muslim and Hindu women stand in a queue to cast their votes in Muzaffarnagar. Among the Muslim population in India (/wiki/Muslim_population_growth#India) (about 14.2% as of the 2011 census (/wiki/2011_Census_of_India) ), the burqa ( Hindi (/wiki/Hindi_language) : बुरक़ा , Urdu (/wiki/Urdu_language) : بُرقع ) was formerly common in many areas, [59] (#cite_note-Popular-62) such as Old Delhi (/wiki/Old_Delhi) , for example. [60] (#cite_note-India-63) In Nizamuddin Basti (/wiki/Nizamuddin_West) , the obligation of a woman to wear a burqa is dependent on her age, according to a local informant: [61] (#cite_note-Nizamuddin-64) young, unmarried women or young, married women in their first years of marriage are required to wear the burqa. [61] (#cite_note-Nizamuddin-64) However, after this the husband usually decides if his wife should continue to wear a burqa. [61] (#cite_note-Nizamuddin-64) In addition, the Indian burqa is a slim black cloak different from the style worn in Afghanistan. [62] (#cite_note-65) Israel [ edit ] See also: Haredi burqa sect (/wiki/Haredi_burqa_sect) A member of the Haredi burqa sect (/wiki/Haredi_burqa_sect) in Meah Shearim, Israel (/wiki/Meah_Shearim) A group of Haredi (/wiki/Haredi_Judaism) (ultra- Orthodox (/wiki/Orthodox_Judaism) ) Jewish women in Israel (/wiki/Israel) began to don the Burqa as a symbol of piety. [63] (#cite_note-npr-66) Following its adoption by Bruria Keren, an Israeli religious leader who taught a strict interpretation of Jewish scripture (/wiki/Hebrew_Bible) to female adherents, an estimated 600 Jewish women started to wear the veil. [64] (#cite_note-67) Keren claimed to have adopted wearing the burqa to "save men from themselves. A man who sees a woman's body parts is sexually aroused, and this might cause him to commit sin. Even if he doesn't actually sin physically, his impure thoughts are sin in themselves." [65] (#cite_note-68) However, a rabbinical authority said "There is a real danger that by exaggerating, you are doing the opposite of what is intended [resulting in] severe transgressions in sexual matters," and issued an edict declaring burqa-wearing a sexual fetish, and as promiscuous as wearing too little. [66] (#cite_note-69) According to The Jerusalem Post (/wiki/The_Jerusalem_Post) , in 2010, a Member of the Knesset (/wiki/Knesset) intended to put forward a bill to "prohibit the wearing of a full-body and face covering for women. [The] bill would not differentiate between Muslims and Jews". [67] (#cite_note-70) Sri Lanka [ edit ] See also: 2019 Sri Lanka Easter bombings (/wiki/2019_Sri_Lanka_Easter_bombings) In April 2019, face-covering clothing was banned in Sri Lanka in the aftermath of the 2019 Easter Sunday bombings by jihadists. [68] (#cite_note-71) Syria [ edit ] Syria (/wiki/Syria) is a Baathist (/wiki/Baathist) state and discourages the wearing of hijab (/wiki/Hijab) . Ghiyath Barakat, Syria's minister of higher education, announced that the government would ban students, teachers or staff from covering faces at universities, stating that the veils ran counter to "secular and academic principles of the country". [69] (#cite_note-72) Tajikistan [ edit ] In 2017 the government of Tajikistan (/wiki/Tajikistan) passed a law requiring people to "stick to traditional national clothes and culture", which has been widely seen as an attempt to prevent women from wearing Islamic clothing, in particular the style of headscarf wrapped under the chin, in contrast to the traditional Tajik headscarf tied behind the head. [70] (#cite_note-73) Europe [ edit ] Further information: Islamic dress in Europe (/wiki/Islamic_dress_in_Europe) Burqa bans in Europe. Map current as of 2023 [update] (https://en.wikipedia.org/w/index.php?title=Burqa&action=edit) . National ban – country bans women from wearing full-face veils in public Local ban – cities or regions ban full-face veils Partial ban – government bans full-face veils in some locations Austria [ edit ] In 2017, a legal ban on face-covering clothing in public spaces was adopted by the Austrian parliament including Islamic face-covering garments. [71] (#cite_note-74) The government stated that accepting and respecting Austrian values is essential to the peaceful co-existence between the Austrian majority population and immigrants. The ban came into force on 1 October 2017 and carried a fine of 150 euros. [72] (#cite_note-75) It is reported that there are 150 Austrian women who wear the burqa. [73] (#cite_note-76) Belgium [ edit ] On 29 April 2010, the lower house of parliament in Belgium passed a bill (/wiki/Bill_(proposed_law)) banning any clothing that would obscure the identity of the wearer in places like parks and in the street. The proposal was passed without dissent, and was then also passed by the Senate. BBC News (/wiki/BBC_News) estimated that only "around 30 women wear this kind of veil in Belgium, out of a Muslim population of around half a million." [74] (#cite_note-77) The ban came into effect in Belgium in July 2011. [75] (#cite_note-78) On 11 July 2017, the ban was upheld by the European Court of Human Rights (/wiki/European_Court_of_Human_Rights) (ECHR) after having been challenged by two Muslim women who claimed their rights had been infringed. [76] (#cite_note-79) Bulgaria [ edit ] The Parliament of Bulgaria (/wiki/Parliament_of_Bulgaria) outlawed the wearing of any clothing "that partially or completely covers the face" in public places such as government offices, educational and cultural institutions, and places of public recreation, except for health or professional reasons from 30 September 2016. Anyone who violates the law is liable to a fine of up to 1,500 levs (/wiki/Bulgarian_lev) (US$860). The Muslim community makes up 15% of the Bulgarian population of 7.1 million. [77] (#cite_note-80) Denmark [ edit ] Main article: Islam in Denmark (/wiki/Islam_in_Denmark) In Denmark, the burqa is often described as "oppressing women", and incompatible with Danish values. [78] (#cite_note-81) In autumn 2017, the Danish government agreed to adopt a law prohibiting people to wear "attire and clothing masking the face in such a way that it impairs recognizability". [79] (#cite_note-82) A full ban on both niqabs and burqas was announced on 31 May 2018. [80] (#cite_note-83) The ban came into force on 1 August 2018 and carries a fine of 1000 DKK (/wiki/Danish_krone) , then about 134 euro; repeat offenses are punishable with fines up to 10,000 DKK. [81] (#cite_note-84) The law targets all garments that cover the face, such as fake beards or balaclavas. [82] (#cite_note-:0-85) Supporters of the ban claim that the ban facilitates integration of Muslims into Danish society, while Amnesty International (/wiki/Amnesty_International) claimed the ban violated women's rights. [82] (#cite_note-:0-85) On the date the law came into force, a protest numbering 300-400 people was held in Copenhagen's Nørrebro (/wiki/N%C3%B8rrebro) district organised by Socialist Youth Front (/wiki/Socialist_Youth_Front) , Kvinder i Dialog and Party Rebels, with protesters wearing various head coverings including party masks. [83] (#cite_note-86) France [ edit ] Main article: French ban on face covering (/wiki/French_ban_on_face_covering) Wearing the burqa has not been allowed in French public schools since 2004, when it was judged to be a religious symbol, similar to the Christian cross, and was outlawed for wear within schools as an application of an established 1905 law that prohibits students and staff from wearing any clearly visible religious symbols. The law relates to the time where the secular French state (/wiki/Secularism_in_France) took over control of most schools from the Catholic Church (/wiki/Catholic_Church) ; it does not apply to private or religious schools. This was followed on 22 June 2009, when the then-President of France, Nicolas Sarkozy (/wiki/Nicolas_Sarkozy) , said that burqas were "not welcome" in France, commenting that "In our country, we cannot accept that women be prisoners behind a screen, cut off from all social life, deprived of all identity". [84] (#cite_note-87) The French National Assembly (/wiki/French_National_Assembly) appointed 32 lawmakers from right- and left-wing parties to a six-month fact-finding mission to look at ways of restricting its use. [85] (#cite_note-88) On 26 January 2010, the commission reported that access to public services and public transport should be barred to those wearing the burqa. On 13 July 2010, the Assembly overwhelmingly approved a bill banning burqas and niqabs. [86] (#cite_note-89) On 14 September 2010, the French Senate (/wiki/French_Senate) overwhelmingly approved a ban (/wiki/French_ban_on_face_covering) on burqas in public, with the law becoming effective beginning on 11 April 2011. When the measure was sent in May to the parliament, it was stated that "Given the damage it produces on those rules which allow the life in community, ensure the dignity of the person and equality between sexes, this practice, even if it is voluntary, cannot be tolerated in any public place". [87] (#cite_note-90) [88] (#cite_note-91) The ban is officially called "The bill to forbid concealing one's face in public". "It refers neither to Islam nor to veils. Officials insist the law against face-covering is not discriminatory because it would apply to everyone, not just Muslims. They cite a host of exceptions, including motorcycle helmets, or masks for health reasons, fencing, skiing or carnivals". [89] (#cite_note-92) In 2014, the European Court of Human Rights (/wiki/European_Court_of_Human_Rights) upheld the French ban on burqa, accepting the argument of the French government that the law was based on "a certain idea of living together". [90] (#cite_note-93) [91] (#cite_note-94) In 2022, France's top administrative court ruled against allowing body-covering "burkini" swimwear in public pools for religious reasons, arguing that it violates the principle of government neutrality toward religion. [92] (#cite_note-95) Germany [ edit ] In a 2016 speech, accepting her nomination for reelection, the German chancellor Angela Merkel (/wiki/Angela_Merkel) called for banning the burqa in Germany "wherever legally possible", which was interpreted as support for the earlier proposal by Interior Minister Thomas de Maizière (/wiki/Thomas_de_Maizi%C3%A8re) to outlaw full-face veils in public buildings. The announcement was seen as an attempt to counter public anger at Merkel's handling of the migrant crisis (/wiki/European_migrant_crisis) and electoral gains by the anti-immigration AfD (/wiki/Alternative_for_Germany) party. [93] (#cite_note-96) [94] (#cite_note-97) [95] (#cite_note-98) In 2017, a legal ban on face-covering clothing for soldiers and state workers during work was approved by the German (/wiki/Germany) parliament. [96] (#cite_note-99) Also in 2017, a legal ban on face-covering clothing for car and truck drivers was approved by the German Ministry of Traffic. [97] (#cite_note-100) In July 2017 the state of Bavaria (/wiki/Bavaria) approved a ban on face-covering clothing for teachers, state workers and students at university and schools. [98] (#cite_note-101) In August 2017, the state of Lower Saxony (/wiki/Lower_Saxony) banned the burqa along with the niqab in public schools. This change in the law was prompted by a Muslim pupil in Osnabrück (/wiki/Osnabr%C3%BCck) who wore the garment to school for years and refused to take it off. The law was instituted to prevent similar cases in the future following the completion of her schooling. [99] (#cite_note-102) In July 2020, the state of Baden-Württemberg (/wiki/Baden-W%C3%BCrttemberg) banned face-covering veils for pupils, an extension of the ban already in force for school staff. [100] (#cite_note-103) Italy [ edit ] In Italy, by an anti-terrorism law passed in 1975, it is forbidden to wear any dress that hides the face of a person. At that time, Italy was facing domestic (not Islam-related) terrorism. In May 2010, it was reported that a Tunisian woman was fined €500 for this offence. [101] (#cite_note-104) Latvia [ edit ] In 2016, it was wrongly claimed in foreign media that a legal ban of face-covering Islamic clothing was adopted by the Latvian (/wiki/Latvia) parliament. [102] (#cite_note-105) After long public discussions draft legislation was approved by Latvian government on 22 August 2017; however, it was never adopted by the parliament as a law. [103] (#cite_note-106) Malta [ edit ] Malta has no restrictions on Islamic dressing such as the veil (hijab) nor the full face veil (burqa and/or niqab) [104] (#cite_note-107) but strictly speaking face covering is illegal. [105] (#cite_note-maltatoday.com.mt-108) An official ban on face covering for religious reasons is ambiguous. [106] (#cite_note-109) It is guaranteed that individuals are allowed to wear as they wish at their private homes and at the Mosque (/wiki/Mariam_Al-Batool_Mosque) . [105] (#cite_note-maltatoday.com.mt-108) Imam El Sadi stated his belief that banning of the niqab and the burka "offends Muslim women". [107] (#cite_note-110) Elsadi said that the Malteses' attitude towards Muslim women is positive and, despite cultural clashes, they tolerate the dressing. [108] (#cite_note-111) Some Muslim women share the belief that it is sinful to be seen in public without veiling themselves; [109] (#cite_note-euroinfo.ee-112) [110] (#cite_note-113) however, they are legally required to remove it when needed. [111] (#cite_note-Jørgen_Nielsen_2014_p.411-114) Netherlands [ edit ] On 27 January 2012, a bill was agreed upon by the Dutch cabinet, banning any clothing that would hide the wearer's identity, with potential fines for wearing a burqa in public going up to 380 euros. [112] (#cite_note-115) However, it did not pass in Parliament. In October 2012, this law was mitigated by the succeeding cabinet to pertain only to public transport, health care, education and government buildings, rather than all public spaces. [113] (#cite_note-116) On 22 May 2015, a bill was agreed upon by the Dutch cabinet, banning wearing a burqa in public places. Public places would have included public transportation, educational institutes, public health institutes, and government buildings. In the courtroom, a burqa or a niqab could not be worn, with both allowed in public spaces. Police officers could have requested one to remove face-covering clothing for identification purposes. There were exceptions, such as during carnival or other festivities, and when face-covering clothing was necessary as a sports or job requirement. Opposition party D66 commented on the burqa abolishment as tokenism, while PVV labelled the ban unsatisfactory. Minister of Internal Affairs, Plasterk, has stated that setting a norm is important. [114] (#cite_note-117) [115] (#cite_note-118) The May 2015 bill did not pass either, but a new bill was proposed in November 2015, which was eventually made into law. On 26 June 2018, a partial ban on face covering (including burqas) on public transport and in buildings and associated yards of educational institutions, governmental institutions and healthcare institutions was enacted, with a number of exceptions. [116] (#cite_note-edition.cnn.com-119) [117] (#cite_note-120) [118] (#cite_note-121) From 1 August 2019 a national burka ban was introduced in the Netherlands. As of August 2019 [update] (https://en.wikipedia.org/w/index.php?title=Burqa&action=edit) , 200-400 Dutch women were believed to wear a burqa or niqab. [119] (#cite_note-122) Norway [ edit ] In June 2018, the parliament of Norway passed a bill banning clothing covering the face at educational institutions as well as daycare centres, which included face-covering Islamic veils. The prohibition applies to pupils and staff alike. [120] (#cite_note-123) [121] (#cite_note-124) Sweden [ edit ] In December 2019, the municipality of Skurup (/wiki/Skurup) banned Islamic veils in educational institutions. Earlier, the municipality of Staffanstorp (/wiki/Staffanstorp) approved a similar ban. [122] (#cite_note-125) The ban was overturned by the Supreme Administrative Court (/wiki/Supreme_Administrative_Court_of_Sweden) in December 2022 since it was deemed to be a violation religious freedoms as defined in the Fundamental Law on Freedom of Expression (/wiki/Basic_Laws_of_Sweden) . [123] (#cite_note-126) In 2012, a poll by Uppsala University (/wiki/Uppsala_University) found that Swedes responded that face-covering Islamic veils are either completely unacceptable or fairly unacceptable, 85% for the burqa and 81% for the niqab. The researchers noted these figures represented a compact resistance to the face-covering veil by the population of Sweden. [124] (#cite_note-127) Switzerland [ edit ] The burqa was outlawed in the canton of Ticino (/wiki/Ticino) after a citizen initiative to hold a referendum. With 65% in favour of a ban, it was ruled that the ban was constitutional, and took effect in July 2016. Those who violate the law face a fine of up to CHF 10,000. [125] (#cite_note-independent_8July2016-128) In September 2018, a ban on face-covering veils was approved with a 67% vote in favour in the canton of St. Gallen (/wiki/St._Gallen) . The largest Islamic community organisation in Switzerland, the Islamic Central Council, recommended that Muslim women continue to cover their faces. [126] (#cite_note-129) During the federal votation of the 7 March 2021 regarding the prohibition of face-covering, the Swiss people voted for the prohibition. The question submitted for the referendum was initiated from a right-wing political group affiliated with the Swiss People's Party (/wiki/Swiss_People%27s_Party) . Although very few women in Switzerland actually wear a burqa or niqab, the proposition has been made with the intention to forbid these outfits in public spaces. 51.4% of the population participated in the vote, 51.2% of them agreed with the initiative. [127] (#cite_note-130) United Kingdom [ edit ] Main article: United Kingdom debate over veils (/wiki/United_Kingdom_debate_over_veils) Face veils have caused debate in the United Kingdom. Former Labour party (/wiki/Labour_Party_(UK)) MP (/wiki/Member_of_Parliament) for Blackburn (/wiki/Blackburn_(UK_Parliament_constituency)) Jack Straw (/wiki/Jack_Straw) attracted controversy in 2006 (/wiki/Jack_Straw#2006_debate_over_veils) after asking Muslim women from his constituency to remove any veils covering their faces during face-to-face constituency surgeries (/wiki/Surgery_(politics)) . Despite explaining to the media that a female staffer would remain in the room during any potential meeting, reaction was varied, with some Muslim groups saying that they understood his concerns, and others rejecting his request as prejudicial. [128] (#cite_note-131) A poll in 2011 indicated that 66 per cent of British people supported banning the burqa in all public places. [129] (#cite_note-132) However, a ban on burqas was ruled out by the Conservative government, and in 2018 Theresa May (/wiki/Theresa_May) stated "we do not support a ban on the wearing of the veil in public". [130] (#cite_note-133) Oceania [ edit ] Australia [ edit ] Main article: Burqa ban in Australia (/wiki/Burqa_ban_in_Australia) In 2010, Australian Liberal Senator Cory Bernardi (/wiki/Cory_Bernardi) called for the burqa to be banned in Australia, branding it "un-Australian". The ban did not go ahead, but the debate about the burqa continues. [131] (#cite_note-134) [132] (#cite_note-135) In 2011, Carnita Matthews of Sydney was sentenced to six months jail for making a statement accusing a police officer of attempting to forcibly lift her niqab, which news sources initially referred to incorrectly as a burqa. [133] (#cite_note-costs-136) The officer had pulled her over for a random breath test and then ticketed her for a licence infringement. Matthews allegedly then submitted a signed complaint to a police station while wearing a niqab. Judge Clive Jeffreys overturned the conviction in June 2011, citing what he thought were differences between the signature on her license and that on the complaint. [134] (#cite_note-137) She then proceeded to seek legal costs. [133] (#cite_note-costs-136) Matthews was subsequently revealed to have a considerable record of unpaid fines and licence revocations that cast doubt on her character. [135] (#cite_note-138) "Say no to burqas" mural in Newtown, New South Wales (/wiki/Newtown,_New_South_Wales) , before (left), modification (middle) and vandalism (right) On 4 July 2011, New South Wales (/wiki/New_South_Wales) became the first Australian state to pass laws allowing police to demand that burqas (and other headgear such as motorcycle helmets) be removed when asking for identification. In October 2014, the Speaker of the House and President of the Senate at Parliament House in Canberra decreed that female visitors wearing a face covering would have to sit in the separated glassed-in areas of the public gallery normally reserved for schoolchildren. This was in response to a planned disruptive action by a political activist group. Prime Minister Tony Abbott stated that he opposed this restriction. [136] (#cite_note-139) The decision was subsequently reversed. [137] (#cite_note-140) In August 2017, Senator Pauline Hanson (/wiki/Pauline_Hanson) arrived at the Senate wearing a burqa in protest, calling for the garment to be banned. Following the incident, ReachTEL (/wiki/ReachTEL) polled 2,832 Australians and found that 56.3% supported banning the wearing of the burqa in public places. [138] (#cite_note-141) Canada [ edit ] Quebec [ edit ] On June 16, 2019, Bill 21 was passed which banned all religious symbols in the public sector for those in a position of authority i.e teachers, police officers, judges and lawyers amongst others. It also banned the face veil (niqab, burqa) when receiving public services. It has so far been upheld by the courts due to the passing of the notwithstanding clause. [ citation needed ] See also [ edit ] Islam portal (/wiki/Portal:Islam) Fashion portal (/wiki/Portal:Fashion) Afghanistan portal (/wiki/Portal:Afghanistan) Abaya (/wiki/Abaya) Anti-mask laws (/wiki/Anti-mask_laws) Bagism (/wiki/Bagism) Burqa ban (/wiki/Burqa_ban) Burqini (/wiki/Burqini) Chador (/wiki/Chador) Christian clothing (/wiki/Christian_clothing) Cowl (/wiki/Cowl) Ghoonghat (/wiki/Ghoonghat) Hijab (/wiki/Hijab) Islam and clothing (/wiki/Islam_and_clothing) Jewish religious clothing (/wiki/Jewish_religious_clothing) List of religious headgear (/wiki/List_of_hats_and_headgear#Religious) List of types of sartorial hijab (/wiki/List_of_types_of_sartorial_hijab) Niqāb (/wiki/Niq%C4%81b) Paranja (/wiki/Paranja) Religious clothing (/wiki/Religious_clothing) Women and religion (/wiki/Women_and_religion) Women in Christianity (/wiki/Women_in_Christianity) Women in Islam (/wiki/Women_in_Islam) Women in Judaism (/wiki/Women_in_Judaism) Yashmak (/wiki/Yashmak) References [ edit ] Notes [ edit ] ^ (#cite_ref-1) Originating from Arabic (/wiki/Arabic_language) : برقع , burquʿ or burqaʿ , and Urdu (/wiki/Urdu_language) : بُرقع , it is also transliterated as burkha , bourkha , burqua or burqu' or borgha' and is pronounced natively [ˈbʊrqʊʕ, (/wiki/Help:IPA/Arabic) ˈbʊrqɑʕ] (/wiki/Help:IPA/Arabic) . It is generally pronounced in the local variety of Arabic (/wiki/Variety_of_Arabic) or Persian (/wiki/Persian_language) , which varies. Examples: Egyptian Arabic: [ˈboɾʔoʕ] (/wiki/Help:IPA/Egyptian_Arabic) , plural: Egyptian Arabic pronunciation: [bæˈɾæːʔeʕ] (/wiki/Help:IPA/Egyptian_Arabic) , in Literary Arabic (/wiki/Modern_Standard_Arabic) by Egyptians: Egyptian Arabic pronunciation: [ˈborqoʕ] (/wiki/Help:IPA/Egyptian_Arabic) , plural: Egyptian Arabic pronunciation: [bɑˈɾɑːqeʕ] (/wiki/Help:IPA/Egyptian_Arabic) . ^ (#cite_ref-2) Also transliterated chadri , chadari , or chadori ^ (#cite_ref-27) Latin (/wiki/Latin_language) : Judicabunt vos Arabiae feminae ethnicae quae non-caput, sed faciem totam tegunt, ut uno oculo liberato contentae sint dimidiam frui lucem quam totam faciem prostituere Citations [ edit ] ^ (#cite_ref-3) Sullivan, Rory (16 August 2021). "What rules will the Taliban impose on women in Afghanistan?" (https://www.independent.co.uk/asia/south-asia/taliban-afghan-women-children-rules-b1903373.html) . The Independent . Archived (https://web.archive.org/web/20210816183713/https://www.independent.co.uk/asia/south-asia/taliban-afghan-women-children-rules-b1903373.html) from the original on 16 August 2021 . Retrieved 17 August 2021 . During the repressive Taliban regime of the 1990s and early 2000s ... girls were prevented from going to school, and women were forced to wear the burqa and were not allowed out in public without a male guardian. ^ (#cite_ref-4) "The Islamic veil across Europe" (https://www.bbc.com/news/world-europe-13038095) . BBC News . 31 May 2018. Archived (https://web.archive.org/web/20180209161441/http://www.bbc.com/news/world-europe-13038095) from the original on 9 February 2018 . Retrieved 21 July 2018 . ^ (#cite_ref-5) "Where are 'burqa bans' in Europe?" (https://www.dw.com/en/where-are-burqa-bans-in-europe/a-49843292) . Deutsche Welle . 1 August 2019. Archived (https://web.archive.org/web/20210317120136/https://www.dw.com/en/where-are-burqa-bans-in-europe/a-49843292) from the original on 17 March 2021 . Retrieved 14 March 2021 . ^ (#cite_ref-6) Tan, Rebecca (16 August 2018). "From France to Denmark, bans on full-face Muslim veils are spreading across Europe" (https://www.washingtonpost.com/world/2018/08/16/france-denmark-bans-full-face-muslim-veils-are-spreading-across-europe/) . Washington Post . ISSN (/wiki/ISSN_(identifier)) 0190-8286 (https://www.worldcat.org/issn/0190-8286) . Archived (https://web.archive.org/web/20201029084940/https://www.washingtonpost.com/world/2018/08/16/france-denmark-bans-full-face-muslim-veils-are-spreading-across-europe/) from the original on 29 October 2020 . Retrieved 14 March 2021 . ^ (#cite_ref-7) Alexandra Parachini. "Le Luxembourg a désormais sa loi burqa | Le Quotidien" (https://lequotidien.lu/politique-societe/le-luxembourg-a-desormais-sa-loi-burqa/) (in French). Archived (https://web.archive.org/web/20210817230512/https://lequotidien.lu/politique-societe/le-luxembourg-a-desormais-sa-loi-burqa/) from the original on 17 August 2021 . Retrieved 14 March 2021 . ^ (#cite_ref-8) "Switzerland referendum: Voters support ban on face coverings in public" (https://www.bbc.com/news/world-europe-56314173) . BBC News . 7 March 2021. Archived (https://web.archive.org/web/20210313074331/https://www.bbc.com/news/world-europe-56314173) from the original on 13 March 2021 . Retrieved 14 March 2021 . ^ (#cite_ref-9) "Norway votes in favour of banning burqa in schools and universities" (https://www.independent.co.uk/news/world/europe/norway-burqa-ban-schools-universities-parliament-vote-niqab-latest-a8387826.html) . The Independent . 7 June 2018. Archived (https://web.archive.org/web/20210312230232/https://www.independent.co.uk/news/world/europe/norway-burqa-ban-schools-universities-parliament-vote-niqab-latest-a8387826.html) from the original on 12 March 2021 . Retrieved 14 March 2021 . ^ (#cite_ref-10) Levin, Dan (18 October 2017). "Quebec Bars People in Face Coverings From Receiving Public Services (Published 2017)" (https://www.nytimes.com/2017/10/18/world/canada/quebec-face-coverings-ban.html) . The New York Times . ISSN (/wiki/ISSN_(identifier)) 0362-4331 (https://www.worldcat.org/issn/0362-4331) . Archived (https://web.archive.org/web/20210312231523/https://www.nytimes.com/2017/10/18/world/canada/quebec-face-coverings-ban.html) from the original on 12 March 2021 . Retrieved 14 March 2021 . ^ Jump up to: a b "The veil in west Africa - Banning the burqa" (https://www.economist.com/middle-east-and-africa/2016/02/11/banning-the-burqa) . The Economist . 11 February 2016. ISSN (/wiki/ISSN_(identifier)) 0013-0613 (https://www.worldcat.org/issn/0013-0613) . Archived (https://web.archive.org/web/20210315010057/https://www.economist.com/middle-east-and-africa/2016/02/11/banning-the-burqa) from the original on 15 March 2021 . Retrieved 14 March 2021 . ^ (#cite_ref-12) "Après le Tchad et le Cameroun, le Sénégal renonce à la burqa et à ses suppôts" (https://www.francetvinfo.fr/monde/afrique/senegal/apres-le-tchad-et-le-cameroun-le-senegal-renonce-a-la-burqa-et-a-ses-suppots_3064737.html) . Franceinfo (in French). 20 November 2015. Archived (https://web.archive.org/web/20210318004725/https://www.francetvinfo.fr/monde/afrique/senegal/apres-le-tchad-et-le-cameroun-le-senegal-renonce-a-la-burqa-et-a-ses-suppots_3064737.html) from the original on 18 March 2021 . Retrieved 14 March 2021 . ^ (#cite_ref-13) Colombo, Associated Press in (13 March 2021). "Sri Lanka to ban burqa and close 1,000 Islamic schools" (https://www.theguardian.com/world/2021/mar/13/sri-lanka-to-ban-burka-and-close-1000-islamic-schools) . The Guardian . Archived (https://web.archive.org/web/20210314214528/https://www.theguardian.com/world/2021/mar/13/sri-lanka-to-ban-burka-and-close-1000-islamic-schools) from the original on 14 March 2021 . Retrieved 14 March 2021 . ^ (#cite_ref-14) "Tajikstan passes law 'to stop Muslim women wearing hijabs' (https://www.independent.co.uk/news/world/asia/tajikstan-muslim-hijabs-stop-women-law-headscarfs-central-asia-islam-a7923886.html) " (https://www.independent.co.uk/news/world/asia/tajikstan-muslim-hijabs-stop-women-law-headscarfs-central-asia-islam-a7923886.html) . The Independent . 1 September 2017. Archived (https://web.archive.org/web/20170906141934/http://www.independent.co.uk/news/world/asia/tajikstan-muslim-hijabs-stop-women-law-headscarfs-central-asia-islam-a7923886.html) from the original on 6 September 2017 . Retrieved 14 March 2021 . ^ (#cite_ref-15) Yevgrashina, Lada (10 December 2010). "Muslims in Azerbaijan protest over headscarves" (https://www.reuters.com/article/idINIndia-53485920101210) . Reuters . Archived (https://web.archive.org/web/20210817230515/https://www.reuters.com/article/idINIndia-53485920101210) from the original on 17 August 2021 . Retrieved 14 March 2021 . ^ Jump up to: a b Sanghani, Radhika (8 July 2016). "Burka bans: The countries where Muslim women can't wear veils" (https://www.telegraph.co.uk/women/life/burka-bans-the-countries-where-muslim-women-cant-wear-veils/) . The Telegraph . ISSN (/wiki/ISSN_(identifier)) 0307-1235 (https://www.worldcat.org/issn/0307-1235) . Archived (https://web.archive.org/web/20210311004844/https://www.telegraph.co.uk/women/life/burka-bans-the-countries-where-muslim-women-cant-wear-veils/) from the original on 11 March 2021 . Retrieved 14 March 2021 . ^ (#cite_ref-17) "Headscarf ban sparks debate over Kosovo's identity" (https://www.bbc.com/news/world-europe-11065911) . BBC News . 24 August 2010. Archived (https://web.archive.org/web/20210318002440/https://www.bbc.com/news/world-europe-11065911) from the original on 18 March 2021 . Retrieved 14 March 2021 . ^ (#cite_ref-18) "Bosnia women protest at ban on headscarf" (https://www.bbc.com/news/world-europe-35518768) . BBC News . 7 February 2016. Archived (https://web.archive.org/web/20180316232112/http://www.bbc.com/news/world-europe-35518768) from the original on 16 March 2018 . Retrieved 14 March 2021 . ^ (#cite_ref-19) Ennaji, Moha (31 January 2017). "Why Morocco's burqa ban is more than just a security measure" (https://theconversation.com/why-moroccos-burqa-ban-is-more-than-just-a-security-measure-72120) . The Conversation . Archived (https://web.archive.org/web/20210217214220/https://theconversation.com/why-moroccos-burqa-ban-is-more-than-just-a-security-measure-72120) from the original on 17 February 2021 . Retrieved 14 March 2021 . ^ (#cite_ref-20) "Tunisia bans niqab in government buildings" (https://www.bbc.com/news/world-africa-48888144) . BBC News . 5 July 2019. Archived (https://web.archive.org/web/20210314004601/https://www.bbc.com/news/world-africa-48888144) from the original on 14 March 2021 . Retrieved 14 March 2021 . ^ (#cite_ref-21) "Algeria bans woman working in public sector from wearing full-face veils" (https://www.independent.co.uk/news/world/africa/algeria-niqab-ban-hijab-full-face-veil-salafi-public-sector-civil-servants-a8592196.html) . The Independent . 19 October 2018. Archived (https://web.archive.org/web/20210416001720/https://www.independent.co.uk/news/world/africa/algeria-niqab-ban-hijab-full-face-veil-salafi-public-sector-civil-servants-a8592196.html) from the original on 16 April 2021 . Retrieved 14 March 2021 . ^ (#cite_ref-22) Phillips, Tom (13 January 2015). "China bans burqa in capital of Muslim region of Xinjiang" (https://www.telegraph.co.uk/news/worldnews/asia/china/11342070/China-bans-burqa-in-capital-of-Muslim-region-of-Xinjiang.html) . The Telegraph . No. 13 January 2015. The Telegraph. Archived (https://web.archive.org/web/20210411123148/https://www.telegraph.co.uk/news/worldnews/asia/china/11342070/China-bans-burqa-in-capital-of-Muslim-region-of-Xinjiang.html) from the original on 11 April 2021 . Retrieved 9 August 2018 . ^ (#cite_ref-23) "China Uighurs: Xinjiang ban on long beards and veils" (https://www.bbc.com/news/world-asia-china-39460538) . BBC News . 31 March 2017. Archived (https://web.archive.org/web/20191210030712/https://www.bbc.com/news/world-asia-china-39460538) from the original on 10 December 2019 . Retrieved 20 March 2021 . ^ (#cite_ref-24) See for instance F. R. C. Bagley, "Introduction", in B. Spuler, A History of the Muslim World. The Age of the Caliphs , 1995, X; for a different view T. Dawson, "Propriety, practicality and pleasure : the parameters of women's dress in Byzantium, A.D. 1000-1200", in L. Garland (ed.), Byzantine women: varieties of experience 800-1200 , 2006, 41-76. ^ (#cite_ref-25) Geography 11.13.9-10.:" Some say that Medeia introduced this kind of dress when she, along with Jason, held dominion in this region, even concealing her face whenever she went out in public in place of the king (https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0198%3Abook%3D11%3Achapter%3D13%3Asection%3D10) Archived (https://web.archive.org/web/20161221063028/http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0198%3Abook%3D11%3Achapter%3D13%3Asection%3D10) 21 December 2016 at the Wayback Machine (/wiki/Wayback_Machine) " ^ (#cite_ref-26) The Veiling of Virgins Ch. 17. Tertullian writes, "The pagan women of Arabia, who not only cover their head but their whole face, so that they would rather enjoy half the light with one eye free than prostitute the face, will judge you." ^ (#cite_ref-28) "Clement of Alexandria, 'Going to Church' Chapter XI, Book 3, Paedagogus" (http://www.newadvent.org/fathers/02093.htm) . New Advent Fathers. Archived (https://web.archive.org/web/20131116065852/http://www.newadvent.org/fathers/02093.htm) from the original on 16 November 2013 . Retrieved 25 October 2013 . Woman and man are to go to church decently attired, with natural step, embracing silence, possessing unfeigned love, pure in body, pure in heart, fit to pray to God. Let the woman observe this, further. Let her be entirely covered, unless she happen to be at home. For that style of dress is grave, and protects from being gazed at. And she will never fall, who puts before her eyes modesty, and her shawl; nor will she invite another to fall into sin by uncovering her face. ^ (#cite_ref-29) "Clement of Alexandria, "On Clothe"' Chapter XI, Book 2, (http://www.newadvent.org/fathers/02092.htm) Paedagogus " (http://www.newadvent.org/fathers/02092.htm) . New Advent Fathers. Archived (https://web.archive.org/web/20140309054834/http://www.newadvent.org/fathers/02092.htm) from the original on 9 March 2014 . Retrieved 25 October 2013 . ^ (#cite_ref-30) Genesis 38:14 (https://bible.oremus.org/?passage=Genesis%2038:14&version=nrsv) , Genesis 24:65 (https://bible.oremus.org/?passage=Genesis%2024:65&version=nrsv) ^ (#cite_ref-31) Astour, Michael (June 1966). "Tamar the Hieronodule". Journal of Biblical Literature . 85 (2): 185–196. doi (/wiki/Doi_(identifier)) : 10.2307/3265124 (https://doi.org/10.2307%2F3265124) . JSTOR (/wiki/JSTOR_(identifier)) 3265124 (https://www.jstor.org/stable/3265124) . ^ (#cite_ref-32) 'Prostitution' in Baker's Evangelical Dictionary of Biblical Theology . Baker Academic. May 2001. ISBN (/wiki/ISBN_(identifier)) 9780801020759 . Archived (https://web.archive.org/web/20140407085319/http://www.studylight.org/dic/bed/view.cgi?number=T579) from the original on 7 April 2014 . Retrieved 5 April 2014 . ^ (#cite_ref-33) Westenholtz, Joan (July 1989). "Tamar, Qědēšā, Qadištu, and Sacred Prostitution in Mesopotamia". Harvard Theological Review . 82 (3): 245–68. doi (/wiki/Doi_(identifier)) : 10.1017/S0017816000016199 (https://doi.org/10.1017%2FS0017816000016199) . JSTOR (/wiki/JSTOR_(identifier)) 1510077 (https://www.jstor.org/stable/1510077) . S2CID (/wiki/S2CID_(identifier)) 162848021 (https://api.semanticscholar.org/CorpusID:162848021) . ^ (#cite_ref-34) Lipinski, Edward (January–February 2014). "Cult Prostitution in Ancient Israel?" (http://members.bib-arch.org/publication.asp?PubID=BSBA&Volume=40&Issue=1&ArticleID=10) . Biblical Archaeology Review . 40 (1). Biblical Archaeology Society. Archived (https://web.archive.org/web/20140705123647/http://members.bib-arch.org/publication.asp?PubID=BSBA&Volume=40&Issue=1&ArticleID=10) from the original on 5 July 2014 . Retrieved 6 April 2014 . ^ (#cite_ref-35) "Bible Gateway passage: Genesis 38:15 - King James Version" (https://www.biblegateway.com/passage/?search=Genesis+38%3A15&version=KJV) . Bible Gateway . Archived (https://web.archive.org/web/20200727064731/https://www.biblegateway.com/passage/?search=Genesis+38%3A15&version=KJV) from the original on 27 July 2020 . Retrieved 15 June 2019 . ^ Jump up to: a b Budge, Sir Ernest Alfred Wallis (1902). The Nile: Notes for Travellers in Egypt . Thos. Cook & Son. p. 207. ^ (#cite_ref-campo_37-0) Juan Eduardo Campo, ed. (2009). "Burqa" (https://books.google.com/books?id=OZbyz_Hr-eIC&pg=PA119) . Encyclopedia of Islam . Infobase Publishing. ISBN (/wiki/ISBN_(identifier)) 9781438126968 . Archived (https://web.archive.org/web/20190207071712/https://books.google.com/books?id=OZbyz_Hr-eIC&pg=PA119) from the original on 7 February 2019 . Retrieved 27 December 2018 . ^ Jump up to: a b c al-Qaraḍāwī, Yūsuf. "Is Wearing the Niqāb Obligatory for Women?" (https://web.archive.org/web/20140709012848/http://www.suhaibwebb.com/ummah/women/hijab-niqab/is-wearing-the-niqab-obligatory-for-women-part-1-of-2-by-yusuf-al-qara%E1%B8%8Dawi-translated-by-u-%CA%BFabdullah) . SuhaibWebb.com . Archived from the original (http://suhaibwebb.com/ummah/women/hijab-niqab/is-wearing-the-niqab-obligatory-for-women-part-1-of-2-by-yusuf-al-qara%E1%B8%8Dawi-translated-by-u-%CA%BFabdullah) on 9 July 2014 . Retrieved 16 November 2015 . ^ Jump up to: a b c d Hadia Mubarak (2009). "Burqa". In John L. Esposito (ed.). The Oxford Encyclopedia of the Islamic World . 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Retrieved 25 August 2016 . ^ (#cite_ref-141) ReachTEL survey (23 August 2017) https://powr.s3.amazonaws.com/app_images%2Fresizable%2F8fb90f02-cdc2-4dcd-9d81-7d87d3a9487c%2FSkyNewsReachel24August2017.pdf (https://powr.s3.amazonaws.com/app_images%2Fresizable%2F8fb90f02-cdc2-4dcd-9d81-7d87d3a9487c%2FSkyNewsReachel24August2017.pdf) Archived (https://web.archive.org/web/20170824065527/https://powr.s3.amazonaws.com/app_images/resizable/8fb90f02-cdc2-4dcd-9d81-7d87d3a9487c/SkyNewsReachel24August2017.pdf) 24 August 2017 at the Wayback Machine (/wiki/Wayback_Machine) External links [ edit ] Wikimedia Commons has media related to Burqa (https://commons.wikimedia.org/wiki/Category:Burqa) . Wikiquote has quotations related to Burqa (https://en.wikiquote.org/wiki/Special:Search/Burqa) . Burqa ban: What it means for the West (http://twocircles.net/2010aug17/burqa_ban_what_it_means_west.html) – TCN News France's burqa ban (http://www.english.rfi.fr/france/20100526-sarkozy-and-burka) – background by Radio France Internationale in English The absence of evidence for banning burqas (https://www.theguardian.com/science/the-lay-scientist/2011/apr/12/2) – The Guardian (/wiki/The_Guardian) The Islamic veil across Europe (https://www.bbc.co.uk/news/world-europe-13038095) – BBC (/wiki/BBC) Beautiful Burqas (http://www.life.com/gallery/48711/beautiful-burqas) Archived (https://web.archive.org/web/20111229203759/http://www.life.com/gallery/48711/beautiful-burqas) 29 December 2011 at the Wayback Machine (/wiki/Wayback_Machine) – slideshow by Life magazine (/wiki/Life_magazine) "influence of Persian language in Arabic" (https://web.archive.org/web/20120317155939/http://hamshahrionline.ir/news-8213.aspx) v t e Clothing in South Asia History (/wiki/History_of_clothing_in_the_Indian_subcontinent) Clothes Achkan (/wiki/Achkan) Ajrak (/wiki/Ajrak) Angarkha (/wiki/Angarkha) Antriya (/wiki/Antriya) Argon (/wiki/Argon_(clothing)) Bakhu/Kho (/wiki/Kho_(costume)) Blouse (/wiki/Blouse) Choli (/wiki/Choli) Churidar (/wiki/Churidar) Daura-Suruwal (/wiki/Daura-Suruwal) Dhakai shari (/wiki/Dhakai) Dhoti (/wiki/Dhoti) Dumdyam (/wiki/Dumdyam) Dumpra (/wiki/Dumpra) Dupatta (/wiki/Dupatta) Farshi Pajama (/wiki/Farshi_Pajama) Ghagra choli (/wiki/Ghagra_choli) Ghoonghat (/wiki/Ghoonghat) Gamucha (/wiki/Gamucha) Gamosa (/wiki/Gamosa) Gharara (/wiki/Gharara) Gho (/wiki/Gho) Jama (/wiki/Jama_(coat)) Jamawar (/wiki/Jamawar) Jodhpuri (/wiki/Jodhpuri) Kabney (/wiki/Kabney) Kasta sari (/wiki/Kasta_sari) Kaupina(m) (/wiki/Kaupinam) Khalat (/wiki/Khalat) Kira (/wiki/Kira_(Bhutan)) Kota Doria (/wiki/Kota_Doria) Krama (/wiki/Krama) Kurta (/wiki/Kurta) Lehenga (/wiki/Lehenga) Lehenga-style sari (/wiki/Lehenga-style_sari) Langa voni (/wiki/Langa_voni) Langota (/wiki/Langota) Lungi (/wiki/Lungi) Madisar (/wiki/Madisar) Mekhela chador (/wiki/Mekhela_chador) Mufti (/wiki/Mufti_(dress)) Mujib coat (/wiki/Mujib_coat) Mundu (/wiki/Mundu) Mundum neriyatum (/wiki/Mundum_neriyatum) Naga shawl (/wiki/Naga_shawl) Nehru jacket (/wiki/Nehru_jacket) Onnara (/wiki/Onnara) Pathin (/wiki/Pathin) Patiala salwar (/wiki/Patiala_salwar) Pheran (/wiki/Pheran) Pinon hadi (/wiki/Pinon_hadi) Riha (/wiki/Riha_(garment)) Sari (/wiki/Sari) Shalwar kameez (/wiki/Shalwar_kameez) Sambalpuri sari (/wiki/Sambalpuri_sari) Sarong (/wiki/Sarong) Kerala sari (/wiki/Kerala_sari) Tant shari (/wiki/Tant_sari) Toego (/wiki/Toego) Uttariya (/wiki/Uttariya) Wonju (/wiki/Wonju_(Bhutan)) Headgear Bhaad-gaaule topi (/wiki/Bhaad-gaaule_topi) Birke topi (/wiki/Birke_topi) Dhaka topi (/wiki/Dhaka_topi) Gandhi cap (/wiki/Gandhi_cap) Jaapi (/wiki/Jaapi) Karakul (/wiki/Karakul_(hat)) Pheta (/wiki/Pheta) Mysore peta (/wiki/Mysore_peta) Paag (/wiki/Paag) Pagri (/wiki/Pagri_(turban)) Pakol (/wiki/Pakol) Puneri Pagadi (/wiki/Puneri_Pagadi) Rumāl (/wiki/Rum%C4%81l) Rumi topi/Fez (/wiki/Rumi_topi) Sehra (/wiki/Sehra_(headdress)) Shyade (/wiki/Shyade) Sindhi cap (/wiki/Sindhi_cap) Taqiyah (/wiki/Taqiyah_(cap)) Topor (/wiki/Topor_(headgear)) Turban (/wiki/Turban) Stitching and design Embroidery of India (/wiki/Embroidery_of_India) Bandhani (/wiki/Bandhani) Chikankari (/wiki/Chikan_(embroidery)) Dhaka (/wiki/Dhaka_fabric) Gota (/wiki/Gota_(embroidery)) Jamdani (/wiki/Jamdani) Kantha (/wiki/Kantha) Kasuti (/wiki/Kasuti) Khadi (/wiki/Khadi) Muslin (/wiki/Muslin) Nakshi (/wiki/Nakshi_kantha) Phulkari (/wiki/Phulkari) Rajshahi silk (/wiki/Rajshahi_silk) Sarong (/wiki/Sarong) Shisha (/wiki/Shisha_(embroidery)) Zardozi (/wiki/Zardozi) Zari (/wiki/Zari) Footwear Jutti (/wiki/Jutti) Kholapuri (/wiki/Kolhapuri_chappal) Mojari (/wiki/Sindhi_Mojari) Paduka (/wiki/Paduka) Authority control databases (/wiki/Help:Authority_control) : National Germany (https://d-nb.info/gnd/7730863-3) Israel (http://olduli.nli.org.il/F/?func=find-b&local_base=NLX10&find_code=UID&request=987007549674605171) United States (https://id.loc.gov/authorities/sh2006002622) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐4lfjs Cached time: 20240720163215 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 1.556 seconds Real time usage: 1.831 seconds Preprocessor visited node count: 8981/1000000 Post‐expand include size: 318314/2097152 bytes Template argument size: 9084/2097152 bytes Highest expansion depth: 15/100 Expensive parser function count: 31/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 519456/5000000 bytes Lua time usage: 1.011/10.000 seconds Lua memory usage: 19586597/52428800 bytes Lua Profile: ? 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Art created outside the boundaries of official culture by those untrained in the arts "Art brut" redirects here. For the band, see Art Brut (band) (/wiki/Art_Brut_(band)) . Adolf Wölfli (/wiki/Adolf_W%C3%B6lfli) 's Irren-Anstalt Band-Hain , 1910 Anna Zemánková (/wiki/Anna_Zem%C3%A1nkov%C3%A1) , No title, 1960s Outsider art is art (/wiki/Fine_art) made by self-taught (/wiki/Autodidacticism) individuals who are untrained and untutored in the traditional arts with typically little or no contact with the conventions (/wiki/Convention_(norm)) of the art worlds (/wiki/Art_world) . The term outsider art was coined in 1972 as the title of a book by art critic (/wiki/Art_critic) Roger Cardinal (/wiki/Roger_Cardinal_(art_historian)) . [1] (#cite_note-1) It is an English (/wiki/English_language) equivalent for art brut ( French: [aʁ (/wiki/Help:IPA/French) bʁyt] (/wiki/Help:IPA/French) , "raw art" or "rough art"), a label created in the 1940s by French (/wiki/France) artist Jean Dubuffet (/wiki/Jean_Dubuffet) to describe art (/wiki/Art) created outside the boundaries of official culture. Dubuffet focused particularly on art by those on the outside of the established art scene, using as examples psychiatric hospital (/wiki/Psychiatric_hospital) patients, hermits, and spiritualists. [2] (#cite_note-:0-2) [3] (#cite_note-:1-3) Outsider art has emerged as a successful art marketing category; an annual Outsider Art Fair (/wiki/Outsider_Art_Fair) [4] (#cite_note-Outsider_Art_Fair-4) has taken place in New York (/wiki/New_York_City) since 1993, and there are at least two regularly published journals dedicated to the subject. The term is sometimes applied as a marketing label for art created by people who are outside the mainstream "art world" or "art gallery system", regardless of their circumstances or the content of their work. [5] (#cite_note-5) A more specific term, " outsider music (/wiki/Outsider_music) ", was later adapted for musicians. Art of the mentally ill [ edit ] See also: Creativity and mental illness (/wiki/Creativity_and_mental_illness) Interest in the art of the mentally ill, along with that of children (/wiki/Children%27s_art) and the makers of " peasant art (/wiki/Folk_art) ", was first demonstrated by " Der Blaue Reiter (/wiki/Der_Blaue_Reiter) " group: Wassily Kandinsky (/wiki/Wassily_Kandinsky) , August Macke (/wiki/August_Macke) , Franz Marc (/wiki/Franz_Marc) , Alexej von Jawlensky (/wiki/Alexej_von_Jawlensky) , and others. What the artists perceived in the work of these groups was an expressive power born of their perceived lack of sophistication. Examples of this were reproduced in 1912 in the first and only issue of their publication, Der Blaue Reiter Almanac . During World War I (/wiki/World_War_I) , Macke was killed at Champagne (/wiki/First_Battle_of_Champagne) in 1914 and Marc was killed at Verdun (/wiki/Battle_of_Verdun) in 1916; the gap left by these deaths was to some extent filled by Paul Klee (/wiki/Paul_Klee) , who continued to draw inspiration from these 'primitives'. Interest in the art of insane asylum (/wiki/Psychiatric_hospital) inmates continued to grow in the 1920s. In 1921, Dr. Walter Morgenthaler (/w/index.php?title=Walter_Morgenthaler&action=edit&redlink=1) published his book Ein Geisteskranker als Künstler ( A Psychiatric Patient as Artist ) about Adolf Wölfli (/wiki/Adolf_W%C3%B6lfli) , a psychotic (/wiki/Psychotic) mental patient in his care. Wölfli had spontaneously taken up drawing, and this activity seemed to calm him. His most outstanding work was an illustrated epic of 45 volumes in which he narrated his own imaginary life story. With 25,000 pages, 1,600 illustrations, and 1,500 collages, it is a monumental work. Wölfli also produced a large number of smaller works, some of which were sold or given as gifts. His work is on display at the Adolf Wölfli Foundation (/w/index.php?title=Adolf_W%C3%B6lfli_Foundation&action=edit&redlink=1) in the Museum of Fine Art (/wiki/Museum_of_Fine_Arts_Bern) , Bern (/wiki/Bern) . A defining moment was the publication of Bildnerei der Geisteskranken ( Artistry of the Mentally Ill (/wiki/Artistry_of_the_Mentally_Ill) ) in 1922, by Hans Prinzhorn (/wiki/Hans_Prinzhorn) . This was the first formal study of psychiatric works, based upon a compilation of thousands of examples from European institutions. The book and the art collection gained much attention from avant-garde artists of the time, including Paul Klee, Max Ernst (/wiki/Max_Ernst) , and Jean Dubuffet (/wiki/Jean_Dubuffet) . [6] (#cite_note-6) People with some formal artistic training as well as well-established artists are not immune from mental illness, and may also be institutionalized. For example, William Kurelek (/wiki/William_Kurelek) , later awarded the Order of Canada (/wiki/Order_of_Canada) for his artistic life work, as a young man was admitted to the Maudsley Psychiatric Hospital (/wiki/Maudsley_Hospital) where he was treated for schizophrenia (/wiki/Schizophrenia) . [7] (#cite_note-7) In the hospital he painted, producing The Maze , a dark depiction of his tortured youth (/wiki/Tortured_artist) . [8] (#cite_note-8) He was transferred from the Maudsley to Netherne Hospital (/wiki/Netherne_Hospital) from November 1953 to January 1955, to work with Edward Adamson (/wiki/Edward_Adamson) (1911–1996), a pioneer of art therapy (/wiki/Art_therapy) , and creator of the Adamson Collection. Jean Dubuffet and art brut [ edit ] View inside the Collection de l'art brut (/wiki/Collection_de_l%27art_brut) museum, Lausanne (/wiki/Lausanne) French (/wiki/France) artist Jean Dubuffet (/wiki/Jean_Dubuffet) was particularly struck by Bildnerei der Geisteskranken and began his own collection of such art, which he called art brut or raw art . In 1948 he formed the Compagnie de l'Art Brut (/w/index.php?title=Compagnie_de_l%27Art_Brut&action=edit&redlink=1) along with other artists, including André Breton (/wiki/Andr%C3%A9_Breton) and Claude Lévi-Strauss (/wiki/Claude_L%C3%A9vi-Strauss) . [9] (#cite_note-:2-9) The collection he established became known as the Collection de l'art brut (/wiki/Collection_de_l%27art_brut) and the curator was Slavko Kopač (/wiki/Slavko_Kopa%C4%8D) for almost three decades. [10] (#cite_note-10) It contains thousands of works and is now permanently housed in Lausanne (/wiki/Lausanne) , Switzerland. Dubuffet characterized art brut as: Those works created from solitude (/wiki/Solitude) and from pure and authentic creative impulses – where the worries of competition, acclaim and social promotion do not interfere – are, because of these very facts, more precious than the productions of professionals. After a certain familiarity with these flourishings of an exalted feverishness, lived so fully and so intensely by their authors, we cannot avoid the feeling that in relation to these works, cultural art in its entirety appears to be the game of a futile society, a fallacious parade. — Jean Dubuffet, "Place à l'incivisme" (December 1987 – February 1988). [11] (#cite_note-11) Dubuffet argued that 'culture', that is mainstream culture, managed to assimilate every new development in art, and by doing so took away whatever power it might have had. The result was to asphyxiate genuine expression. Art brut was his solution to this problem – only art brut was immune to the influences of culture, immune to being absorbed and assimilated, because the artists themselves were not willing or able to be assimilated. Dubuffet's championing of Art Brut would not last long. Scholars argue Dubuffet's distaste for the mainstream art world helped ensure that art brut and the Compagnie de l'Art Brut would not survive on a commercial basis. Dubuffet would kill art brut as he defined it in his quest for its authenticity. [9] (#cite_note-:2-9) Three years after the Compagnie de l'Art Brut was formed, Dubuffet dissolved it, caving in to form the more conventional Collection de l'art brut afterward. [9] (#cite_note-:2-9) Cultural context [ edit ] The interest in "outsider" practices among twentieth-century artists and critics can be seen as part of a larger emphasis on the rejection of established values within the modernist (/wiki/Modernist) art milieu. The early part of the 20th century gave rise to Cubism (/wiki/Cubism) and the Dada (/wiki/Dada) , Constructivist (/wiki/Constructivism_(art)) , and Futurist (/wiki/Futurism_(art)) movements in art, all of which involved a dramatic movement away from cultural forms of the past. Dadaist Marcel Duchamp (/wiki/Marcel_Duchamp) , for example, abandoned "painterly" technique to allow chance operations a role in determining the form of his works, or simply to recontextualize existing "ready-made" objects as art. Mid-century artists, including Pablo Picasso (/wiki/Pablo_Picasso) , looked outside the traditions of high culture for inspiration, drawing from the artifacts of "primitive" societies, the unschooled art made by children, and vulgar advertising graphics. Dubuffet's championing of the art brut – of the insane and others at the margins of society – is yet another example of avant-garde art challenging established cultural values. As with analysis of these other art movements, current discourse indicates art brut is innately tied to primitivism (/wiki/Primitivism) [9] (#cite_note-:2-9) [12] (#cite_note-12) due to its similarity in its borrowing of personal "de-patriation" and exoticization of familiar yet alien forms. Terminology [ edit ] Two images of Joe Minter (/wiki/Joe_Minter) 's African Village in America , a half-acre visionary art environment (/wiki/Visionary_environments) in Birmingham, Alabama (/wiki/Birmingham,_Alabama) . Scenes include African warriors watching their descendants’ struggles in Alabama, tributes to black scientists and military leaders, recreations of the epic civil rights confrontations in Alabama, and biblical scenes. A number of terms are used to describe art that is loosely understood as "outside" of official culture (/wiki/Official_culture) . Definitions of these terms vary and overlap. [13] (#cite_note-13) The editors of Raw Vision (/wiki/Raw_Vision) , a leading journal in the field, suggest that "Whatever views we have about the value of controversy itself, it is important to sustain creative discussion by way of an agreed vocabulary". Consequently, they lament the use of "outsider artist" to refer to almost any untrained artist. "It is not enough to be untrained, clumsy or naïve. Outsider Art is virtually synonymous with Art Brut in both spirit and meaning, to that rarity of art produced by those who do not know its name." Art Brut: Coined by Jean Dubuffet, the term translated literally from French means "raw art". [2] (#cite_note-:0-2) [3] (#cite_note-:1-3) 'Raw' is analogous in that it has not been through the academic 'cooking' process: i.e. the world of art schools, galleries, and museums. Dubuffet's original definition pertains strictly to the ‘raw art’ created by the autodidactic and shunned fringes of society. [9] (#cite_note-:2-9) Folk art (/wiki/Folk_art) : Folk art originally suggested crafts and decorative skills associated with peasant communities in Europe – though presumably it could equally apply to any indigenous culture. It has broadened to include any product of practical craftsmanship and decorative skill – everything from chain-saw animals to hub-cap buildings. A key distinction between folk and outsider art is that folk art typically embodies traditional forms and social values, where outsider art stands in some marginal relationship to society's mainstream. Intuitive art (/wiki/Intuitive_art) / Visionary art (/wiki/Visionary_art) : Raw Vision Magazine ' s preferred general terms for outsider art. It describes them as deliberate umbrella terms. However, visionary art, unlike other definitions here can often refer to the subject matter of the works, which includes images of a spiritual or religious nature. Intuitive art is probably the most general term available. Intuit: The Center for Intuitive and Outsider Art (/wiki/Intuit:_The_Center_for_Intuitive_and_Outsider_Art) based in Chicago operates a museum dedicated to the study and exhibition of intuitive and outsider art. The American Visionary Art Museum (/wiki/American_Visionary_Art_Museum) in Baltimore, Maryland (/wiki/Baltimore,_Maryland) is dedicated to the collection and display of visionary art. Marginal art/Art singulier: Essentially the same as Neuve Invention ; refers to artists on the margins of the art world. Naïve art (/wiki/Na%C3%AFve_art) : Another term commonly applied to untrained artists who aspire to "normal" artistic status, i.e. they have a much more conscious interaction with the mainstream art world than do outsider artists. Neuve invention (/w/index.php?title=Neuve_invention&action=edit&redlink=1) : Used to describe artists who, although marginal, have some interaction with mainstream culture. They may be doing art part-time for instance. The expression was coined by Dubuffet too; strictly speaking, it refers only to a special part of the Collection de l'art brut (/wiki/Collection_de_l%27art_brut) . Visionary environments (/wiki/Visionary_environments) : Buildings and sculpture parks built by visionary artists – ranging from decorated houses to large areas incorporating a large number of individual sculptures with a tightly associated theme. Examples include Watts Towers (/wiki/Watts_Towers) by Simon Rodia (/wiki/Simon_Rodia) , Buddha Park (/wiki/Buddha_Park) and Sala Keoku (/wiki/Sala_Keoku) by Bunleua Sulilat (/wiki/Luang_Pu_Bunleua_Sulilat) , and The Palais idéal (/wiki/Palais_Ideal) by Ferdinand Cheval (/wiki/Ferdinand_Cheval) . Notable outsider artists [ edit ] Main article: List of outsider artists (/wiki/List_of_outsider_artists) See also [ edit ] Philosophy portal (/wiki/Portal:Philosophy) Society portal (/wiki/Portal:Society) Fashion portal (/wiki/Portal:Fashion) LGBT portal (/wiki/Portal:LGBT) Avant-garde (/wiki/Avant-garde) – Works that are experimental or innovative Asemic writing (/wiki/Asemic_writing) – Wordless open semantic form of writing Automatic writing (/wiki/Automatic_writing) – In modern Spiritualism: writing produced involuntarily Category: Outsider artists (/wiki/Category:Outsider_artists) Collection de l'art brut (/wiki/Collection_de_l%27art_brut) – Outsider art museum in Lausanne, Switzerland David Bowie's art collection (/wiki/David_Bowie%27s_art_collection) – Private collection of artworks Outside (David Bowie album) (/wiki/Outside_(David_Bowie_album)) – 1995 studio album by David Bowie Exoticism (/wiki/Exoticism) – Trend in art and design Horror vacui (/wiki/Horror_vacui_(art)) – Latin phrase which means "fear of empty space" Kitsch (/wiki/Kitsch) – Art or other objects that appeal to popular rather than high art tastes Lille Métropole Museum of Modern, Contemporary and Outsider Art (/wiki/Lille_M%C3%A9tropole_Museum_of_Modern,_Contemporary_and_Outsider_Art) – Art Museum in Villeneuve d'Ascq, France Lowbrow (art movement) (/wiki/Lowbrow_(art_movement)) – Underground visual art movement Outsider music (/wiki/Outsider_music) – Music genre Psychedelic art (/wiki/Psychedelic_art) – Visual art inspired by psychedelic experiences Saving and Preserving Arts and Cultural Environments (/wiki/Saving_and_Preserving_Arts_and_Cultural_Environments) – Non-profit public benefit organization with an international focus Surrealism (/wiki/Surrealism) – International cultural movement active from the 1920s to the 1950s Syncretism (/wiki/Syncretism) – Combination of beliefs and traditions Vernacular architecture (/wiki/Vernacular_architecture) – Architecture based on local needs, materials, traditions World music (/wiki/World_music) – Umbrella term for traditional or indigenous music not originating in Europe or North America References [ edit ] ^ (#cite_ref-1) Conley, Katharine (2006). "Surrealism and Outsider Art: From the ‘Automatic Message’ to André Breton’s Collection". Yale French Studies , no. 109 (2006): 129–43. ^ Jump up to: a b Cardinal, Roger (1972). Outsider Art . New York: Praeger. pp. 24–30. ^ Jump up to: a b Bibliography The 20th Century Art Book. New York, NY: Phaidon Press, 1996. ^ (#cite_ref-Outsider_Art_Fair_4-0) "Outsider Art Fair" (http://www.outsiderartfair.com/) . Outsider Art Fair . Retrieved 19 July 2014 . ^ (#cite_ref-5) "What the Dickens is Outsider Art?" The Pantograph Punch, December 2016, retrieved 2024-04-13 (https://pantograph-punch.com/posts/outsider-art) ^ (#cite_ref-6) " (https://web.archive.org/web/20140627195045/http://www.rawvision.com/what-outsider-art) "Outsider Art Sourcebook" (Raw Vision, Watford, 2009, p.4)" (https://web.archive.org/web/20140627195045/http://www.rawvision.com/what-outsider-art) . Archived from the original (http://www.rawvision.com/what-outsider-art) on 2014-06-27 . Retrieved 2013-01-22 . ^ (#cite_ref-7) Cornell case study: Early Onset Schizophrenia – William Kurelek (http://courses.cit.cornell.edu/psych431_nbb421/student2003/epl8/) ^ (#cite_ref-8) "Psychiatry in Pictures" (https://web.archive.org/web/20070927210641/http://bjp.rcpsych.org/cgi/reprint/179/5/0.pdf) , British Journal of Psychiatry (/wiki/British_Journal_of_Psychiatry) (2001) ^ Jump up to: a b c d e Sherman, Daniel J. (2011). French Primitivism and the Ends of Empire, 1945-1975 . University of Chicago Press. pp. 12, 14, 111, 114. ISBN (/wiki/ISBN_(identifier)) 9780226752693 . ^ (#cite_ref-10) Fabrice Flahutez (https://fr.wikipedia.org/wiki/Fabrice_Flahutez) , Pauline Goutain et Roberta Trapani, Slavko Kopač. Ombres et matières, Shadows and Materials , Paris : Gallimard, Hors série Connaissance, 2022 352 p. (ISBN 978-2-07-295610-2) ^ (#cite_ref-11) Jean Dubuffet (December 1987 – February 1988). "Place à l'incivisme" ["Make Way for Incivism"]. Art and Text no. 27. p. 36. ^ (#cite_ref-12) Koenig, Raphael (2018), "Art Beyond the Norms: Art of the Insane, Art Brut, and the Avant-Garde from Prinzhorn to Dubuffet" (https://dash.harvard.edu/bitstream/handle/1/41121236/KOENIG-DISSERTATION-2018.pdf?sequence=1&isAllowed=y) (PDF) , Doctoral dissertation , Harvard University, Graduate School of Arts & Sciences., p. 99 , retrieved 2022-12-08 ^ (#cite_ref-13) Brut Force. "The Many Terms in Our Continuum" (http://brutforce.com/many-terms-continuum-outsider-art/) . Brut Force . Retrieved 8 February 2017 . [ permanent dead link ] Further reading [ edit ] Bandyopadhyay, S. and I. Jackson, The Collection, the Ruin and the Theatre: architecture, sculpture and landscape in Nek Chand's Rock Garden, Chandigarh Liverpool, Liverpool University Press (/wiki/Liverpool_University_Press) , 2007. Greg Bottoms, I Colori dell'Apocalisse – Viaggi nell'outsider art , Odoya, Bologna 2009 ISBN (/wiki/ISBN_(identifier)) 978-88-6288-026-8 (/wiki/Special:BookSources/978-88-6288-026-8) Greg Bottoms, The Colorful Apocalypse: Journeys in Outsider Art , Chicago: University of Chicago Press (/wiki/University_of_Chicago_Press) , 2007 ISBN (/wiki/ISBN_(identifier)) 978-0-226-06685-1 (/wiki/Special:BookSources/978-0-226-06685-1) Roger Cardinal, Art Brut. In: Dictionary of Art, Vol. 2, London, 1996, p. 515–516. Marion Scherr, The Invention of 'Outsider Art' – Experiencing Practices of Othering in Contemporary Art Worlds in the UK , Transcript Verlag, 2022. ISBN (/wiki/ISBN_(identifier)) 9783837662504 (/wiki/Special:BookSources/9783837662504) Marc Decimo, Les Jardins de l'art brut , Les presses du réel, Dijon (France), 2007. Turhan Demirel, "Outsider Bilderwelten", Bettina Peters Verlag, 2006, ISBN (/wiki/ISBN_(identifier)) 3-939691-44-5 (/wiki/Special:BookSources/3-939691-44-5) Jean Dubuffet (/wiki/Jean_Dubuffet) : L’Art brut préféré aux arts culturels [1949](=engl in: Art brut. Madness and Marginalia , special issue of Art & Text , No. 27, 1987, p. 31–33). Hal Foster, Blinded Insight: On the Modernist Reception of the Art of The Mentally Ill. In: October , No. 97, Summer 2001, pp. 3–30. Michael D. Hall and Eugene W. Metcalf, eds., The Artist Outsider: Creativity and the Boundaries of Culture Washington D.C.: Smithsonian Institution Scholarly Press, 1993. ISBN (/wiki/ISBN_(identifier)) 978-1560983354 (/wiki/Special:BookSources/978-1560983354) Deborah Klochko and John Turner, eds., Create and Be Recognized: Photography on the Edge , San Francisco: Chronicle Books, 2004. John M. MacGregor, The Discovery of the Art of the Insane. Princeton, Oxford, 1989. David Maclagan, Outsider Art: From the margins to the marketplace , London: Reaktion books, 2009. John Maizels, Raw Creation art and beyond, Phaidon Press Limited, London, 1996. John Maizels (ed.), Outsider Art Sourcebook . Raw Vision, Watford, 2009. ISBN (/wiki/ISBN_(identifier)) 978-0-9543393-2-6 (/wiki/Special:BookSources/978-0-9543393-2-6) Lucienne Peiry, Art brut: The Origins of Outsider Art , Paris: Flammarion, 2001. Lucienne Peiry (ed.), "Collection de l'Art Brut, Lausanne", Skira Flammarion, 2012. Lyle Rexer, How to Look at Outsider Art, New York:Abrams, 2005. Colin Rhodes, Outsider Art: Spontaneous Alternatives , London: Thames and Hudson, 2000. Rubin, Susan Goldman. (March 9, 2004). Art Against the Odds: From Slave Quilts to Prison Paintings. Publisher: Crown Books for Young Readers. ISBN (/wiki/ISBN_(identifier)) 0-375-82406-5 (/wiki/Special:BookSources/0-375-82406-5) Michel Thévoz, Art brut, New York, 1975. Maurice Tuchman and Carol Eliel, eds. Parallel Visions. Modern Artists and Outsider Art. Exhb. cat. Los Angeles County Museum of Art, Los Angeles, 1992. Bianca Tosatti, Arte e psichiatria. Uno sguardo sottile , (in collaboration with Giorgio Bedoni), Mazzotta, Milano, 2000. Bianca Tosatti, Les Fascicules de l'Art brut', un saggio sull'artista Antonio dalla Valle ,2007. Allen S. Weiss, Shattered Forms, Art Brut, Phantasms, Modernism, State University of New York, Albany, 1992. Self Taught Artists of the 20th Century: An American Anthology San Francisco: Chronicle Books, 1998 Daniel Wojcik, Outsider Art: Visionary Worlds and Trauma. University Press of Mississippi (/wiki/University_Press_of_Mississippi) , 2016. External links [ edit ] Wikimedia Commons has media related to Outsider art (https://commons.wikimedia.org/wiki/Category:Outsider_art) . Raw Vision Magazine (http://rawvision.com) – International art magazine devoted to outsider art Gricha-rosov.com (http://www.gricha-rosov.com/) ( Archived (http://arquivo.pt/wayback/20160523181209/http://www.gricha-rosov.com/) 2016-05-23 at the Portuguese Web Archive) – Rich database and presentation of international outsider artists (in French language, but has extensive illustrations) Outsider Artists in the Collection of Museum of Naive and Marginal Art (MNMA) Jagodina Serbia (http://marginalart.rs/) ( Archived (https://web.archive.org/web/20221112125341/http://marginalart.rs/) 2022-11-12 at the Wayback Machine (/wiki/Wayback_Machine) ) Russian outsider art from the Bogemskaja-Turchin collection (http://russian-outsider-art.com/) Outsider Art news (http://www.outsiderartnews.com) , wire, and announcements Collection: "Folk, Self-Taught, Amateur, and Visionary Art" (https://exchange.umma.umich.edu/resources/23716) at the University of Michigan Museum of Art 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American fashion designer and filmmaker This article is about the fashion designer. For his eponymous brand, see Tom Ford (brand) (/wiki/Tom_Ford_(brand)) . Tom Ford Ford in 2009 Born Thomas Carlyle Ford ( 1961-08-27 ) August 27, 1961 (age 62) Austin, Texas (/wiki/Austin,_Texas) , U.S. Alma mater Parsons School of Design (/wiki/Parsons_School_of_Design) Occupations Fashion designer filmmaker Labels Gucci (/wiki/Gucci) (1990–2005) YSL (/wiki/Yves_Saint_Laurent_(brand)) (1999–2004) Tom Ford (/wiki/Tom_Ford_(brand)) (2004–2023) Spouse Richard Buckley (/wiki/Richard_Buckley_(journalist)) ( m. 2014; died 2021) Children 1 Website www.tomford.com (https://www.tomford.com/) Thomas Carlyle Ford (born August 27, 1961) is an American fashion designer (/wiki/Fashion_designer) and filmmaker (/wiki/Filmmaker) . He launched his eponymous brand (/wiki/Tom_Ford_(brand)) in 2005, having previously been the creative director (/wiki/Creative_director) at Gucci (/wiki/Gucci) and Yves Saint Laurent (/wiki/Yves_Saint_Laurent_(brand)) . Ford wrote and directed the films A Single Man (/wiki/A_Single_Man) (2009) and Nocturnal Animals (/wiki/Nocturnal_Animals) (2016). From 2019 to 2022 he was chairman of the Council of Fashion Designers of America (/wiki/Council_of_Fashion_Designers_of_America) . Early life [ edit ] Thomas Carlyle Ford was born on August 27, 1961, in Austin, Texas (/wiki/Austin,_Texas) , the son of realtors (/wiki/Realtor) Shirley Burton (née Shirley Ann Thrasher) and Thomas David Ford (1932–2020). [1] (#cite_note-1) [2] (#cite_note-2) [3] (#cite_note-dingus-3) [4] (#cite_note-4) [5] (#cite_note-5) He spent his early life in the suburbs (/wiki/Suburb) of Houston, Texas (/wiki/Houston,_Texas) , and in San Marcos (/wiki/San_Marcos,_Texas) , outside Austin. He rearranged furniture in the house at 6, and gave his mother advice on her hair and shoes. His family moved to Santa Fe, New Mexico (/wiki/Santa_Fe,_New_Mexico) , when he was 11. [6] (#cite_note-6) In Santa Fe, he entered St. Michael's High School (/wiki/St._Michael%27s_High_School) and later moved to Santa Fe Preparatory School (/wiki/Santa_Fe_Preparatory_School) , from which he graduated in 1979. [7] (#cite_note-7) At age 16, he enrolled at Bard College at Simon's Rock (/wiki/Bard_College_at_Simon%27s_Rock) , but quickly dropped out. [8] (#cite_note-8) He moved to New York City (/wiki/New_York_City) to study art history at New York University (/wiki/New_York_University) . [9] (#cite_note-styleicon-9) [10] (#cite_note-10) There he met Ian Falconer, who took him to Studio 54 (/wiki/Studio_54) for the first time. [11] (#cite_note-:0-11) Ford dropped out after a year, focusing on acting in television commercials. [3] (#cite_note-dingus-3) [9] (#cite_note-styleicon-9) [12] (#cite_note-12) Ford began studying interior architecture at The New School (/wiki/The_New_School) 's art and design college, Parsons The New School for Design (/wiki/Parsons_The_New_School_for_Design) , in New York City. [13] (#cite_note-13) He continued to frequent Studio 54, where he realized he was gay. [14] (#cite_note-14) [15] (#cite_note-15) The club's disco (/wiki/Disco) -era glamor would be a major influence on his later designs. [16] (#cite_note-16) [17] (#cite_note-17) Before his last year at New School, Ford spent a year and a half in Paris (/wiki/Paris) , where he worked as an intern (/wiki/Internship) in Chloé (/wiki/Chlo%C3%A9) 's press office, inspiring his interest in fashion. [18] (#cite_note-18) [19] (#cite_note-gucci-19) He spent his final year at The New School studying fashion, but graduated with a degree in architecture (/wiki/Architecture) . [19] (#cite_note-gucci-19) [20] (#cite_note-20) Fashion career [ edit ] Early career [ edit ] When interviewing for jobs after graduation, Ford said that he had attended The New School (/wiki/The_New_School) 's Parsons division, but concealed that he graduated in architecture, [21] (#cite_note-gale-21) and that his work at Chloé was a low-level public relations position. Despite his lack of experience in fashion, Ford called American designer Cathy Hardwick every day for a month in hopes of securing a job at her sportswear company. Hardwick eventually agreed to interview him. She later recalled the incident: "I had every intention of giving him no hope. I asked him who his favorite European designers were. He said, ' Armani (/wiki/Armani) and Chanel (/wiki/Chanel) .' Months later I asked him why he said that, and he said, 'Because you were wearing something Armani.' Is it any wonder he got the job?" Ford worked as a design assistant for Hardwick for two years. [21] (#cite_note-gale-21) In 1988, Ford moved to Perry Ellis (/wiki/Perry_Ellis_(brand)) , [21] (#cite_note-gale-21) where he knew both Robert McDonald, the company's president, and Marc Jacobs (/wiki/Marc_Jacobs) , its designer, socially. He worked at the company for two years, but grew tired of working in American fashion. In a later interview with The New York Times (/wiki/The_New_York_Times) , he commented, "If I was ever going to become a good designer, I had to leave America. My own culture was inhibiting me. Too much style in America is tacky. It's looked down upon to be too stylish. Europeans, however, appreciate style." [22] (#cite_note-22) [23] (#cite_note-23) At the time, Italian fashion house Gucci (/wiki/Gucci) was struggling financially and was seeking to strengthen its women's ready-to-wear presence as a part of a brand overhaul. The company's creative director, Dawn Mello (/wiki/Dawn_Mello) said, "no one would dream of wearing Gucci". In 1990, Mello hired Ford as the brand's chief women's ready-to-wear designer and Ford moved to Milan (/wiki/Milan) . [21] (#cite_note-gale-21) "I was talking to a lot of people, and most didn't want the job," Mello said. "For an American designer to move to Italy to join a company that was far from being a brand would have been pretty risky." Ford and his longtime partner, fashion journalist Richard Buckley, relocated to Milan that September. [21] (#cite_note-gale-21) Ford's role at Gucci rapidly expanded; he was designing menswear (/wiki/Suit_(clothing)) within six months, and shoes soon after that. When Richard Lambertson left as design director in 1992, Ford took over his position, [21] (#cite_note-gale-21) heading the brand's ready-to-wear, fragrances (/wiki/Aroma_compound) , image, advertising (/wiki/Advertising) , and store design. In 1993, when he was in charge of designing eleven product lines, Ford worked eighteen-hour days. During these years, there were creative tensions between Ford and Maurizio Gucci, the company's chairman and 50% owner. According to Mello, "Maurizio always wanted everything to be round and brown, and Tom wanted to make it square and black." Though Maurizio Gucci wanted to fire Ford, Domenico De Sole (/wiki/Domenico_De_Sole) insisted that he remain. [21] (#cite_note-gale-21) Nonetheless, Ford's work during the early 1990s was primarily behind the scenes; his contributions to Gucci were overshadowed by those of Mello, who was the company's public face. Creative Director of Gucci and Saint Laurent [ edit ] Evening dress by Tom Ford for Yves Saint Laurent Rive Gauche. Selected as Dress of the Year (/wiki/Dress_of_the_Year) for 2004 In 1994, Ford was promoted to Creative Director of Gucci (/wiki/Gucci) . In his first year at the helm, he introduced Halston (/wiki/Halston) -style velvet hipsters (/wiki/Low-rise_(fashion)) , skinny satin (/wiki/Satin) shirts and car-finish metallic patent boots. [24] (#cite_note-24) In 1995, he brought in French stylist (/wiki/Wardrobe_stylist) Carine Roitfeld (/wiki/Carine_Roitfeld) and photographer Mario Testino (/wiki/Mario_Testino) to create a series of new ad campaigns for the company. [25] (#cite_note-25) Between 1995 and 1996, sales at Gucci (/wiki/Gucci) increased by 90%. At one point, Ford was the largest individual shareholder (/wiki/Shareholder) of Gucci stock and options. By 1999, the house, which had been almost insolvent when Ford joined, was valued at more than $4 billion. [26] (#cite_note-bof-26) When Gucci acquired the house of Yves Saint Laurent (/wiki/Yves_Saint_Laurent_(brand)) (YSL) in 1999, Ford was named Creative Director of that label as well. [27] (#cite_note-time-27) Saint Laurent (/wiki/Yves_Saint_Laurent_(designer)) did not hide his displeasure with Ford's designs, stating "The poor man does what he can." [28] (#cite_note-28) During his time as creative director for YSL, Ford nonetheless won numerous Council of Fashion Designers of America (/wiki/Council_of_Fashion_Designers_of_America) Awards. Ford was able to pull the classic fashion house back into the mainstream. [29] (#cite_note-29) His advertising campaigns for the YSL fragrances Opium (/wiki/Opium_(perfume)) (with a red-haired Sophie Dahl (/wiki/Sophie_Dahl) naked wearing only a necklace and stiletto (/wiki/Stiletto_heel) heels in a sexually suggestive pose) [30] (#cite_note-30) and YSL M7 (/wiki/M7_(perfume)) (with martial arts (/wiki/Martial_arts) champion Samuel de Cubber (/w/index.php?title=Samuel_de_Cubber&action=edit&redlink=1) in complete full-frontal nudity) [31] (#cite_note-31) were controversial (/wiki/Controversy) and provocative. [32] (#cite_note-32) In April 2004, Ford parted ways with the Gucci group after he and CEO (/wiki/CEO) Domenico de Sole, who is credited as Ford's partner in Gucci's success, failed to agree with Pinault Printemps Redoute's boss over control of the Group. [26] (#cite_note-bof-26) [33] (#cite_note-racked-33) He has since referred to this experience as "devastating" and as a "midlife crisis" because he had "put everything into that for fifteen years". [34] (#cite_note-34) When Ford left in 2004, Gucci Group (/wiki/Gucci_Group) was valued at $10 billion. [33] (#cite_note-racked-33) Four people were hired to split the work Ford had done. [35] (#cite_note-35) Tom Ford label [ edit ] A dress Ford designed in 2018 in the Metropolitan Museum of Art (/wiki/Metropolitan_Museum_of_Art) exhibition In America: A Lexicon of Fashion A Tom Ford boutique in Toronto After leaving Gucci (/wiki/Gucci) , Ford launched a line of menswear, beauty, eyewear, and accessories in 2006, named after himself. De Sole became chairman of the label. [36] (#cite_note-36) Ford has described "the Tom Ford (/wiki/Tom_Ford_(brand)) customer" as international, cultured, well-traveled, and possessing disposable income (/wiki/Disposable_income) . For women, he added "strong women, … intelligent women who know their own style". [37] (#cite_note-37) First Lady Michelle Obama (/wiki/Michelle_Obama) wore an ivory floor-length evening gown designed by Ford to Buckingham Palace (/wiki/Buckingham_Palace) in 2011. [38] (#cite_note-fashionista-38) [39] (#cite_note-39) [40] (#cite_note-40) He has also dressed Beyoncé (/wiki/Beyonc%C3%A9) , Jennifer Lopez (/wiki/Jennifer_Lopez) , Gwyneth Paltrow (/wiki/Gwyneth_Paltrow) , Anne Hathaway (/wiki/Anne_Hathaway) , Daniel Craig (/wiki/Daniel_Craig) , Tom Hanks (/wiki/Tom_Hanks) , Johnny Depp (/wiki/Johnny_Depp) , Ryan Gosling (/wiki/Ryan_Gosling) , Will Smith (/wiki/Will_Smith) , Julianne Moore (/wiki/Julianne_Moore) , Hugh Jackman (/wiki/Hugh_Jackman) , Jon Hamm (/wiki/Jon_Hamm) , and Henry Cavill (/wiki/Henry_Cavill) . [41] (#cite_note-vogue-41) [42] (#cite_note-latimes-42) Ford designed Daniel Craig (/wiki/Daniel_Craig) 's suits for his final four James Bond (/wiki/James_Bond) films: Quantum of Solace (/wiki/Quantum_of_Solace) (2008), Skyfall (/wiki/Skyfall) (2012), Spectre (/wiki/Spectre_(2015_film)) (2015), and No Time to Die (/wiki/No_Time_to_Die) (2021). [41] (#cite_note-vogue-41) [43] (#cite_note-43) [44] (#cite_note-44) In 2013, Ford was mentioned in Justin Timberlake (/wiki/Justin_Timberlake) 's song " Suit & Tie (/wiki/Suit_%26_Tie) ", which was a collaboration with Jay-Z (/wiki/Jay-Z) . [45] (#cite_note-45) [46] (#cite_note-46) Ford created the suits, shirts, and accessories for the Grammy winning (/wiki/56th_Annual_Grammy_Awards) "Suit & Tie" music video. [42] (#cite_note-latimes-42) He went on to dress Timberlake's 20/20 Experience World Tour (/wiki/The_20/20_Experience_World_Tour) , designing over 600 pieces for the tour. [47] (#cite_note-47) [48] (#cite_note-48) The same year, Jay-Z released a song titled " Tom Ford (/wiki/Tom_Ford_(song)) " with "Tom Ford" rapped numerous times within the song. [49] (#cite_note-49) [50] (#cite_note-50) Ford responded that he was flattered and "it means that one has really penetrated and made an impact on popular culture." [51] (#cite_note-51) Following the song's release, Ford received a huge spike in online search engine queries. [42] (#cite_note-latimes-42) [52] (#cite_note-52) The song would go on to sell over a million copies and become certified platinum (/wiki/Music_recording_sales_certification) . [53] (#cite_note-53) In November 2022, the Tom Ford brand was purchased by Estée Lauder (/wiki/The_Est%C3%A9e_Lauder_Companies) for $2.8 billion. [54] (#cite_note-54) Forbes (/wiki/Forbes) estimated that Ford would earn $1.1 billion from the deal. [55] (#cite_note-55) The following April, Ford stepped down as the brand's creative director and was succeeded by designer Peter Hawkings. [56] (#cite_note-56) Controversies [ edit ] Ford has been criticized for using naked women in various ad campaigns. Various journalists asserted that the ads were vulgar, sexist, or objectified women. One ad featured a nude woman holding a bottle of the perfume between her legs. Another featured a naked woman ironing a man's pants while he read a newspaper. A separate ad was banned in Italy. [57] (#cite_note-57) [58] (#cite_note-58) [59] (#cite_note-59) [60] (#cite_note-60) Responding to criticism that he objectified women, Ford stated he is an "equal opportunity objectifier" and is "just as happy to objectify men". He argued "you can't show male nudity in our culture in the way you can show female nudity" and pointed out that he did a male nude ad while at Yves Saint Laurent which got pulled. [61] (#cite_note-hughes-61) [62] (#cite_note-cnbc-62) In 2014, Ford released a new product, called the "Penis Pendant Necklace". The product caused some controversy, with Christians calling it offensive due to the pendant being shaped similar to a Christian cross (/wiki/Christian_cross) or crucifix (/wiki/Crucifix) . [63] (#cite_note-63) [64] (#cite_note-64) Ford replied that "it was not meant to be a cross, it was a phallus" and "people read into things what they want to". [62] (#cite_note-cnbc-62) In 2022, Ford criticized the Met Gala (/wiki/Met_Gala) , stating the event had "turned into a costume party." [65] (#cite_note-65) Film career [ edit ] A Single Man [ edit ] Ford at the 66th Venice Film Festival, with A Single Man (/wiki/A_Single_Man) 's Julianne Moore (/wiki/Julianne_Moore) and Colin Firth (/wiki/Colin_Firth) , 2009 In March 2005, Ford announced the launch of his film production company, Fade to Black. In 2009 he made his directorial debut with A Single Man (/wiki/A_Single_Man) , [21] (#cite_note-gale-21) based on the novel of the same name by Christopher Isherwood (/wiki/Christopher_Isherwood) . The drama stars Colin Firth (/wiki/Colin_Firth) as an LA-based college professor who is gay, alongside Julianne Moore (/wiki/Julianne_Moore) , Nicholas Hoult (/wiki/Nicholas_Hoult) and Matthew Goode (/wiki/Matthew_Goode) . The novel was adapted by David Scearce (/wiki/David_Scearce) and Ford; Ford was also one of the producers. A Single Man premiered on September 11, 2009, at the 66th Venice International Film Festival (/wiki/66th_Venice_International_Film_Festival) , where it was nominated for top award the Golden Lion (/wiki/Golden_Lion) . Colin Firth was awarded the Volpi Cup (/wiki/Volpi_Cup) as Best Actor for his performance. He won a BAFTA Award for Best Actor in a Leading Role (/wiki/BAFTA_Award_for_Best_Actor_in_a_Leading_Role) , and was nominated for an Academy Award (/wiki/Academy_Award_for_Best_Actor) , [66] (#cite_note-66) Golden Globe (/wiki/Golden_Globe_Award_for_Best_Actor_%E2%80%93_Motion_Picture_Drama) , [67] (#cite_note-67) Independent Spirit Award (/wiki/Independent_Spirit_Award_for_Best_Male_Lead) and Screen Actors Guild Award (/wiki/Screen_Actors_Guild_Awards) . The film won AFI Film of the Year and the GLAAD Media Award for Outstanding Film – Wide Release. [1] (https://www.imdb.com/title/tt1315981/awards) Other nominations for the film included two further Golden Globe categories: Julianne Moore for Best Supporting Actress, and Abel Korzeniowski (/wiki/Abel_Korzeniowski) for Best Original Score. At the Independent Spirit Awards (/wiki/Independent_Spirit_Awards) , the film was nominated for Best First Feature and Best First Screenplay. [68] (#cite_note-68) Ford and Scearce also received a nomination for Best Adapted Screenplay at the Broadcast Film Critics Association Awards. Nocturnal Animals [ edit ] In 2015, Ford became attached to direct Nocturnal Animals (/wiki/Nocturnal_Animals) , an adaptation of the Austin Wright (/wiki/Austin_Wright) novel Tony and Susan (/wiki/Tony_and_Susan) . [69] (#cite_note-69) The film was released in 2016. Jake Gyllenhaal (/wiki/Jake_Gyllenhaal) and Amy Adams (/wiki/Amy_Adams) played the lead roles of Tony and Susan, [70] (#cite_note-70) and Michael Shannon (/wiki/Michael_Shannon) , Armie Hammer (/wiki/Armie_Hammer) , Aaron Taylor-Johnson (/wiki/Aaron_Taylor-Johnson) , and Isla Fisher (/wiki/Isla_Fisher) co-starred. [71] (#cite_note-71) [72] (#cite_note-72) [73] (#cite_note-73) The film received praise from critics, as well as winning the Grand Jury Prize (/wiki/Grand_Jury_Prize_(Venice_Film_Festival)) at the Venice Film Festival (/wiki/Venice_Film_Festival) . The film has an approval rating of 72% on Rotten Tomatoes, based on 143 reviews, with an average rating of 7.1/10, and the site's critical consensus reading: "Well-acted and lovely to look at, Nocturnal Animals further underscores writer-director Tom Ford's distinctive visual and narrative skill." [74] (#cite_note-74) Personal life [ edit ] Ford married Richard Buckley (/wiki/Richard_Buckley_(journalist)) in 2014, a journalist and former editor in chief of Vogue Hommes International (/wiki/Vogue_Hommes_International) ; they had been in a relationship since meeting in 1986. [75] (#cite_note-75) The couple have a son [27] (#cite_note-time-27) who was born in September 2012 via gestational surrogate (/wiki/Surrogate_pregnancy) . [76] (#cite_note-76) The family lived in Italy, where Ford moved from New York in 1990, [77] (#cite_note-77) and in London (/wiki/London) for 17 years. [11] (#cite_note-:0-11) They lived in his residences in New York, Los Angeles (/wiki/Los_Angeles) , Santa Fe (/wiki/Santa_Fe,_New_Mexico) , [11] (#cite_note-:0-11) and London (/wiki/London) . [78] (#cite_note-78) Ford and Buckley have owned smooth fox terriers (/wiki/Fox_Terrier_(Smooth)) , which have appeared on the runway (/wiki/Runway_(fashion)) and in his film A Single Man (/wiki/A_Single_Man) . [79] (#cite_note-79) Ford also has two nephews and a niece, the children of his sister Jennifer. [80] (#cite_note-80) Ford constructed a 24,000-acre private tract designed by Japanese architect Tadao Ando (/wiki/Tadao_Ando) , in Santa Fe. [81] (#cite_note-81) It is called Cerro Pelon Ranch and has additional structures that were designed by Marmol Radziner (/wiki/Marmol_Radziner) . The property also has a fictional town known as Silverado that is used as a filming location for Western movies. [82] (#cite_note-82) He told Vogue he had adopted a vegan (/wiki/Vegan) diet after viewing the Netflix documentary called What the Health (/wiki/What_the_Health) . [83] (#cite_note-83) As of 2019, he has been a teetotaler (/wiki/Teetotalism) and has been open about using fillers and Botox (/wiki/Botulinum_toxin) . [11] (#cite_note-:0-11) He has said in multiple interviews that his first lover was the late artist Ian Falconer (/wiki/Ian_Falconer) , [84] (#cite_note-84) [85] (#cite_note-85) who went on to write and illustrate the very popular Olivia the Pig (/wiki/Olivia_(fictional_pig)) children's book series. Ford maintains that he and Falconer remained good friends until Falconer's death in 2023; decades after their breakup, Ford lent Falconer's last name to the title character of his first movie, A Single Man (/wiki/A_Single_Man) [86] (#cite_note-86) (in the source novel the character originally only had a first name). Richard Buckley died on September 19, 2021, at the age of 72 after a long illness. [87] (#cite_note-87) Politics [ edit ] Ford is a Democrat (/wiki/Democratic_Party_(United_States)) . He opposed America's invasion of Iraq in 2003 (/wiki/2003_invasion_of_Iraq) , stating that it made him feel "ashamed to be an American". His comment drew public criticism within America. [61] (#cite_note-hughes-61) He hosted a fundraiser for Barack Obama (/wiki/Barack_Obama) . [88] (#cite_note-88) He voted for Hillary Clinton (/wiki/Hillary_Clinton) in the 2016 US general election (/wiki/2016_US_general_election) . [89] (#cite_note-89) Ford has advocated for federal recognition of same-sex marriage in the United States (/wiki/Same-sex_marriage_in_the_United_States) . In a 2009 interview, he said he preferred the term "civil partnership" for both opposite-sex and same-sex partnerships, and to leave "marriage" to religion to decide. [90] (#cite_note-90) Ford maintains a policy of not dressing politicians regardless of party. [ citation needed ] I think that whoever is the President, or the First Lady, should be wearing clothes at a price point that are accessible to most Americans, and wearing clothes made in America. My clothes are made in Italy, they're very, very expensive. I don't think most women or men in our country can relate to that, and I think the First Lady or the President should represent all people. [91] (#cite_note-91) Ford considers "obsession with political correctness" as something which negatively impacts modern fashion designers. He has stated that "Cancel culture inhibits design because rather than feeling free, the tendency is to start locked into a set of rules. Everything is now considered appropriation. We used to be able to celebrate other cultures. Now you can't do that." [92] (#cite_note-92) Public image and legacy [ edit ] Ford has been included in several best-dressed lists, such as International Best Dressed List (/wiki/International_Best_Dressed_List) , [93] (#cite_note-vanityfair-93) The Guardian (/wiki/The_Guardian) ' s "The 50 best-dressed over-50s", [94] (#cite_note-guardian-94) and British GQ (/wiki/British_GQ) ' s "50 Best Dressed Men in Britain 2015". [95] (#cite_note-britgq-95) He was featured on the cover of the 2011 spring/summer issue of Another Man (/wiki/Another_Man) , giving his opinion on what makes the modern day gentleman. [96] (#cite_note-96) He has been called a "fashion icon" [97] (#cite_note-97) [98] (#cite_note-98) and a "style icon", [99] (#cite_note-99) [100] (#cite_note-100) and he was included in "All- TIME (/wiki/TIME) 100 Fashion Icons" list. [101] (#cite_note-time2-101) He won many awards including several VH1/Vogue Fashion Awards and Council of Fashion Designers of America (/wiki/Council_of_Fashion_Designers_of_America) (CFDA) Awards. [102] (#cite_note-biography-102) In 2014, the CFDA awarded him the Geoffrey Beene Lifetime Achievement Award (/wiki/Geoffrey_Beene#Geoffrey_Beene_Lifetime_Achievement_Award) . [103] (#cite_note-103) While Ford was in a monogamous (/wiki/Monogamous) relationship for many years, he "continue[d] to promote himself with a youthful and sexually charged image". [102] (#cite_note-biography-102) He is known for sexy clothes, making provocative statements, and creating racy advertisements. [104] (#cite_note-guardian2-104) Ford's designs convey a "sophisticated sex appeal" [105] (#cite_note-105) and he has been credited for "bringing sexy back". [106] (#cite_note-cbsnews-106) [107] (#cite_note-107) [108] (#cite_note-108) [109] (#cite_note-109) His advertisement campaigns have drawn controversy for use of nudity and "provocative sexual imagery". [61] (#cite_note-hughes-61) [110] (#cite_note-110) Ford is also known to pose with celebrities and models in his ad campaigns. [106] (#cite_note-cbsnews-106) He has been called the "King of Sex" and "the straightest gay man in the world". [104] (#cite_note-guardian2-104) Ford saved Gucci (/wiki/Gucci) from near bankruptcy and transformed it into a fashion powerhouse. [33] (#cite_note-racked-33) [111] (#cite_note-encyclopedia.com-111) His decade as the creative director was hailed as a "golden era" for Gucci. [112] (#cite_note-112) He turned the brand around, replacing the "grunge look" with "sexy, yet sophisticated, clothes". [111] (#cite_note-encyclopedia.com-111) [113] (#cite_note-113) He is known for his bold designs. [114] (#cite_note-114) The New York Magazine (/wiki/New_York_Magazine) wrote "Every season, Ford created an 'It' piece, a must-have, a season-defining trend, photographed to death, knocked off ad nauseam (/wiki/Ad_nauseam) ." [115] (#cite_note-115) Ford says it is important for designers to be contemporary and current with the changing standard of beauty. [116] (#cite_note-116) [117] (#cite_note-117) In 2004, Ford published an eponymous monograph, detailing his early career and his design work for Gucci and Yves Saint Laurent from 1990 to 2004. In 2021, seventeen years later, Ford published a follow-up volume entitled Tom Ford 002 , which described his career from 2005 including the creation of his own fashion label (/wiki/Tom_Ford_(brand)) and the production of his two films. Both books are published by Rizzoli International Publications (/wiki/Rizzoli_International_Publications) and co-authored by fashion journalist Bridget Foley, with forewords by Anna Wintour (/wiki/Anna_Wintour) . In popular culture [ edit ] In September 2013, hip-hop artist Jay-Z (/wiki/Jay-Z) released the song " Tom Ford (/wiki/Tom_Ford_(song)) " as a single from his album Magna Carta Holy Grail (/wiki/Magna_Carta_Holy_Grail) . Ford responded favorably to the song saying, "Who would not be flattered to have an entire Jay-Z track named after them? I mean, [...] it's pretty rare that something like that happens. It's a kind of validation of one's work, as it means that one has really penetrated and made an impact on popular culture." [118] (#cite_note-118) The song was nominated for 56th Grammy Award for Best Rap Performance (/wiki/Best_Rap_Performance) in 2014. [119] (#cite_note-119) Tom Ford was referenced by Swedish rapper Bladee (/wiki/Bladee) on his 2018 mixtape Icedancer (/wiki/Icedancer) . In the 2021 film House of Gucci (/wiki/House_of_Gucci) directed by Ridley Scott (/wiki/Ridley_Scott) , Ford was portrayed by actor Reeve Carney (/wiki/Reeve_Carney) . Awards and nominations [ edit ] Ford has been recognized by important design and cultural councils worldwide, including the Cooper Hewitt Design Museum (/wiki/Cooper-Hewitt,_National_Design_Museum) and Time (/wiki/Time_(magazine)) . 1995: International Award – Council of Fashion Designers of America (/wiki/Council_of_Fashion_Designers_of_America) (CFDA) [21] (#cite_note-gale-21) [120] (#cite_note-cfda-120) 1997: People Magazine's 50 Most Beautiful People 1999: Style Icon Award – Elle Style Awards UK [21] (#cite_note-gale-21) 2000: Best International Designer – VH1/ Vogue Awards [21] (#cite_note-gale-21) 2000: Fashion Editors Club of Japan Award 2000: British GQ International Man of the Year Award 2000: Superstar Award – Fashion Group International (/wiki/Fashion_Group_International) 2001: Womenswear Designer of the Year – CFDA [21] (#cite_note-gale-21) [120] (#cite_note-cfda-120) 2001: Best Fashion Designer – Time Magazine 2001: Designer of the Year – GQ USA [21] (#cite_note-gale-21) 2002: Accessory Designer of the Year Award for Yves Saint-Laurent (/wiki/Yves_Saint-Laurent_(brand)) – CFDA [21] (#cite_note-gale-21) [120] (#cite_note-cfda-120) 2003: Fashion Design Achievement Award – Cooper-Hewitt Design Museum's National Design Awards [21] (#cite_note-gale-21) 2004: Board of Directors Special Tribute – CFDA [120] (#cite_note-cfda-120) 2004: Rodeo Drive Walk of Style Award [21] (#cite_note-gale-21) 2004: International Best Dressed List (/wiki/International_Best_Dressed_List) Hall of Fame [93] (#cite_note-vanityfair-93) 2005: André Leon Talley (/wiki/Andr%C3%A9_Leon_Talley) Lifetime Achievement Award – Savannah College of Art & Design (/wiki/Savannah_College_of_Art_%26_Design) [21] (#cite_note-gale-21) 2006: Accessory Brand Launch – Accessories Council Excellence Awards (/wiki/Accessories_Council_Excellence_Awards) [121] (#cite_note-121) 2007: GLAAD Media Awards (/wiki/GLAAD_Media_Awards) – Vito Russo Award 2007: DNR (/wiki/Daily_News_Record) 's Person of the Year 2008: Menswear Designer of the Year – CFDA [21] (#cite_note-gale-21) [120] (#cite_note-cfda-120) 2009: Venice Film Festival (/wiki/Venice_Film_Festival) – Golden Lion (/wiki/Golden_Lion) for A Single Man (/wiki/A_Single_Man) (nominee) 2009: Venice Film Festival (/wiki/Venice_Film_Festival) – Queer Lion (/wiki/Queer_Lion) for A Single Man (/wiki/A_Single_Man) 2009: Critics' Choice Awards – Best Adapted Screenplay for A Single Man (nominee) 2009: Independent Spirit Awards – Best First Screenplay for A Single Man (nominee) 2009: Independent Spirit Awards – Best First Feature for A Single Man (nominee) 2009: Honored as one of GQ USA's Men of the Year 2009: GQ Germany Man of the Year 2010: GLAAD Media Awards – Outstanding Film Wide Release for A Single Man 2010: Menswear Designer of the Year – CFDA (nominee) 2012: All-TIME 100 Fashion Icons – Member [101] (#cite_note-time2-101) 2013: Named one of the 50 best-dressed over 50s by The Guardian (/wiki/The_Guardian) . [94] (#cite_note-guardian-94) 2014: Geoffrey Beene Lifetime Achievement Award – CFDA [120] (#cite_note-cfda-120) 2015: Menswear Designer of the Year – CFDA [120] (#cite_note-cfda-120) 2015: Named in British GQ (/wiki/British_GQ) ' s 50 best-dressed men in Britain [95] (#cite_note-britgq-95) 2016: Venice Film Festival (/wiki/Venice_Film_Festival) – Grand Jury Prize (/wiki/Grand_Jury_Prize_(Venice_Film_Festival)) for Nocturnal Animals (/wiki/Nocturnal_Animals) [122] (#cite_note-122) 2016: Satellite Auteur Award (/wiki/Satellite_Auteur_Award) Filmography [ edit ] Year Title Director (/wiki/Film_director) Producer (/wiki/Film_producer) Writer (/wiki/Screenwriter) 2009 A Single Man (/wiki/A_Single_Man) Yes Yes Yes 2016 Nocturnal Animals (/wiki/Nocturnal_Animals) Yes Yes Yes Bibliography [ edit ] Ford, Tom (2004). Tom Ford . Foreword by Anna Wintour (/wiki/Anna_Wintour) , introduction by Graydon Carter (/wiki/Graydon_Carter) , and interview and text by Bridget Foley. London: Thames & Hudson. ISBN (/wiki/ISBN_(identifier)) 0-500-51197-7 . OCLC (/wiki/OCLC_(identifier)) 62795301 (https://www.worldcat.org/oclc/62795301) . Mentana, Umberto (2020). Tom Ford. Percorsi di Moda e Cinema, dal Fashion Universe a Nocturnal Animals . Introduction by Tony Di Corcia. Italy: NPE. ISBN (/wiki/ISBN_(identifier)) 9788836270026 . References [ edit ] ^ (#cite_ref-1) "Thomas David Ford Obituary (2020) Santa Fe New Mexican" (https://www.legacy.com/us/obituaries/santafenewmexican/name/thomas-ford-obituary?id=9023578) . Legacy.com (/wiki/Legacy.com) . ^ (#cite_ref-2) Sharpe, Tom. "Ford: Santa Fe Is Home". Santa Fe New Mexican (/wiki/Santa_Fe_New_Mexican) (November 10, 2005). ^ Jump up to: a b Dingus, Anne. "Tom Ford" (https://archive.today/20120914112520/http://www.texasmonthly.com/preview/1998-09-01/feature8) . Texas Monthly (/wiki/Texas_Monthly) (September 1998). ^ (#cite_ref-4) "10-Minute Facial Exercises That Will Take Years off Your Face" (http://www.bodyfxpros.com/10-minute-facial-exercises-that-will-take-years-off-your-face/) . Fashion and Beauty (/w/index.php?title=Fashion_and_Beauty&action=edit&redlink=1) . Retrieved May 13, 2019 . ^ (#cite_ref-5) "Thomas David Ford Obituary (2020) Santa Fe New Mexican" (https://www.legacy.com/us/obituaries/santafenewmexican/name/thomas-ford-obituary?id=9023578) . Legacy.com . Retrieved February 5, 2022 . ^ (#cite_ref-6) Bonnin, Julie. "Tom Ford Gucci: One-time Central Texan becomes Gucci god". Austin American-Statesman (/wiki/Austin_American-Statesman) (August 18, 1997). ^ (#cite_ref-7) Mayfield, Dan (October 24, 2004). "Designer's New Direction" (https://web.archive.org/web/20090112023934/http://www.accessmylibrary.com/coms2/summary_0286-4882784_ITM) . Albuquerque Journal (/wiki/Albuquerque_Journal) . Archived from the original (http://www.accessmylibrary.com/coms2/summary_0286-4882784_ITM) on January 12, 2009. Alt URL (http://www.bodyfxpros.com/10-minute-facial-exercises-that-will-take-years-off-your-face) ^ (#cite_ref-8) Bey, Sureme Laster (April 15, 2014). "Finding Fortune: Tom Ford" (http://www.out.com/out-exclusives/power-50/2014/04/15/finding-fortune-tom-ford) . Out (/wiki/Out_(magazine)) . Retrieved April 18, 2016 . ^ Jump up to: a b "Style icon has ties to Santa Fe" Albuquerque Journal (/wiki/Albuquerque_Journal) (January 11, 2002). ^ (#cite_ref-10) Porter, Charlie. "Paris Style". The Guardian (/wiki/The_Guardian) (March 16, 2001). ^ Jump up to: a b c d Dowd, Maureen (April 22, 2019). "This Vampire Is Vegan" (https://www.nytimes.com/2019/04/20/style/tom-ford-maureen-dowd.html) . The New York Times . ^ (#cite_ref-12) Shaeffer, Brittany. "Ford Is Bigger, Louder Than Ever". New York Daily News (/wiki/New_York_Daily_News) (April 13, 2005). ^ (#cite_ref-13) Manan, Dazman (December 11, 2003). "In Ford-ward drive" (https://web.archive.org/web/20190514233349/http://www.bodyfxpros.com/10-minute-facial-exercises-that-will-take-years-off-your-face/) . New Straits Times (/wiki/New_Straits_Times) . Archived from the original (http://www.bodyfxpros.com/10-minute-facial-exercises-that-will-take-years-off-your-face/) on May 14, 2019 . Retrieved March 19, 2016 . ^ (#cite_ref-14) "Tom Ford: the hard-driven Texan behind the rebirth of Gucci". Agence France-Presse (/wiki/Agence_France-Presse) (April 12, 2005). ^ (#cite_ref-15) Frankel, Susannah. "A Bigger Splash" (https://web.archive.org/web/20090419105009/http://findarticles.com/p/articles/mi_qn4158/is_19990116/ai_n9654111/) . The Independent (/wiki/The_Independent) (January 16, 1999). ^ (#cite_ref-16) Groskop, Viv. "Style King". Sunday Express (/wiki/Sunday_Express) (February 29, 2004). ^ (#cite_ref-17) Porter, Charlie. "End of designer era could see Ford and De Sole set up own label". The Guardian (/wiki/The_Guardian) (November 5, 2003). ^ (#cite_ref-18) Sharkey, Alix (January 20, 2000). "How the man in black conquered the world" (https://web.archive.org/web/20090901211350/http://www.independent.co.uk/news/people/profiles/how-the-man-in-black-conquered-the-world-728220.html) . The Independent (/wiki/The_Independent) . Archived from the original (https://www.independent.co.uk/news/people/how-the-man-in-black-conquered-the-world-728220.html) on September 1, 2009. Alt URL (http://www.bodyfxpros.com/10-minute-facial-exercises-that-will-take-years-off-your-face/) ^ Jump up to: a b "Gucci uses its loafer". South China Morning Post (/wiki/South_China_Morning_Post) (December 4, 1994). ^ (#cite_ref-20) Luther, Marylou. "Cynicism key to fashion today, Ford says". 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"50 Best Dressed Men in Britain 2015" (https://web.archive.org/web/20150107145128/http://www.gq-magazine.co.uk/style/articles/2015-01/05/best-dressed-men-2015) . GQ . Archived from the original (https://www.gq-magazine.co.uk/style/articles/2015-01/05/best-dressed-men-2015/) on January 7, 2015. ^ (#cite_ref-96) Hack, Jefferson (March 18, 2011). "Tom Ford" (http://www.anothermag.com/exclusives/tom-ford) . AnOther (/wiki/AnOther) . Retrieved December 24, 2011 . ^ (#cite_ref-97) "Fashion icon Tom Ford to make second movie this year" (https://news.yahoo.com/fashion-icon-tom-ford-second-movie-185711947.html) . Yahoo! News . Agence France-Presse (/wiki/Agence_France-Presse) . February 21, 2015 . Retrieved April 18, 2016 . ^ (#cite_ref-98) "Fashion Icons with Fern Mallis: Tom Ford – theFashionSpot" (http://www.thefashionspot.com/runway-news/173775-fashion-icons-with-fern-mallis-tom-ford/) . theFashionSpot . May 9, 2012 . Retrieved April 18, 2016 . ^ (#cite_ref-99) "Beyoncé and Jay-Z Rumors: Star Couple Pisses Style Icon Tom Ford Off by Arriving Fashionably Late" (http://www.newseveryday.com/articles/9596/20150224/beyonc%C3%A9-and-jay-z-rumors-tom-ford-pissed-at-couple.htm) . News Every Day . February 24, 2015 . Retrieved April 18, 2016 . ^ (#cite_ref-100) Averill, Farah. "Style Icon: Tom Ford" (http://www.askmen.com/fashion/style_icon/30_style-icon-tom-ford.html) . AskMen . Retrieved April 18, 2016 . ^ Jump up to: a b Gayomali, Chris (April 2, 2012). "Tom Ford" (http://content.time.com/time/specials/packages/article/0,28804,2110513_2110512_2110659,00.html) . Time (/wiki/Time_(magazine)) . Retrieved April 18, 2016 . ^ Jump up to: a b "Tom Ford Biography" (http://www.biography.com/people/tom-ford-5936) . Biography.com (/wiki/Biography.com) . A&E Television Networks (/wiki/A%26E_Television_Networks) . Retrieved April 18, 2016 . ^ (#cite_ref-103) "The Awe-inspiring, Mr. Tom Ford" (http://cfda.com/blog/tom-ford-cfda-awards) . CFDA . May 22, 2014 . Retrieved April 18, 2016 . ^ Jump up to: a b Freeman, Hadley (September 26, 2008). "The man with the golden touch" (https://www.theguardian.com/lifeandstyle/2008/sep/27/fashion) . The Guardian . Retrieved April 18, 2016 . ^ (#cite_ref-105) "Tom Ford" (http://www.britannica.com/biography/Tom-Ford) . Encyclopædia Britannica . Retrieved April 18, 2016 . ^ Jump up to: a b Dishman, Lydia (March 29, 2010). "Tom Ford's Bringing Sexy Back – to a New Women's Wear Collection" (https://www.cbsnews.com/news/tom-fords-bringing-sexy-back-to-a-new-womens-wear-collection/) . CBS News (/wiki/CBS_News) . Retrieved April 18, 2016 . ^ (#cite_ref-107) Klein, Alyssa Vingan (August 27, 2014). "Tom Ford's 20 Sexiest Ad Campaigns of All Time" (http://fashionista.com/2014/08/tom-ford-sexiest-ad-campaigns) . Fashionista . Breaking Media . Retrieved April 18, 2016 . Throughout his illustrious career, he's credited with bringing the sexy back to mega-brands like Gucci and Saint Laurent ^ (#cite_ref-108) Bourne, Leah (June 2, 2014). "The Tom Ford Guide To Sex" (http://stylecaster.com/tom-ford-guide-to-sex/) . StyleCaster (/wiki/StyleCaster) . Retrieved April 18, 2016 . Often heralded as the man who 'brought sexy back' ^ (#cite_ref-109) Conti, Samantha (December 17, 2015). "Tom Ford's Bringing Sexy Back to New York Fashion Week" (https://www.yahoo.com/news/tom-ford-to-show-womens-wear-mens-wear-in-ny-175257910.html) . Yahoo! News (/wiki/Yahoo!_News) . Retrieved April 18, 2016 . ^ (#cite_ref-110) Speer, Lawrence J. (October 28, 2002). "Naked Male Ads Stir Controversy in Europe" (http://adage.com/article/news/yves-saint-laurent-advertising-stirs-controversy-europe/36142/) . Advertising Age (/wiki/Advertising_Age) . Retrieved April 22, 2016 . ^ Jump up to: a b "Tom Ford" (http://www.encyclopedia.com/topic/Tom_Ford.aspx) . Encyclopedia.com (/wiki/Encyclopedia.com) . 2005 . Retrieved April 18, 2016 . ^ (#cite_ref-112) Pieri, Kerry (January 14, 2015). "Is Tom Ford Returning to Gucci?" (http://www.harpersbazaar.com/fashion/designers/news/a9592/tom-ford-gucci-return/) . Harper's Bazaar (/wiki/Harper%27s_Bazaar) . Retrieved April 18, 2016 . ^ (#cite_ref-113) Ahmed, Osman (February 9, 2016). "Tom Ford's Sexual Revolution at Gucci A/W96" (http://www.anothermag.com/fashion-beauty/8296/tom-fords-sexual-revolution-at-gucci-aw96) . AnOther (/wiki/AnOther) . Retrieved April 18, 2016 . ^ (#cite_ref-114) "Tom Ford: Understanding The Man Behind The Legacy" (http://visionplusmag.fourplusmedia.com/?p=15231) . VisionPlus Magazine . FourPlus Media . Retrieved April 18, 2016 . ^ (#cite_ref-115) Larocca, Amy (March 15, 2004). "Collectible Gucci" (https://nymag.com/nymetro/shopping/fashion/features/n_10025/) . New York (/wiki/New_York_(magazine)) . Retrieved April 18, 2016 . ^ (#cite_ref-116) "Tom Ford docu" (https://web.archive.org/web/20140124044725/http://www.youtube.com/watch?v=lMd-ZAL-2qY&gl=US&hl=en) . ELLE België (/wiki/Elle_(magazine)) . August 20, 2013. Archived from the original (https://www.youtube.com/watch?v=lMd-ZAL-2qY) on January 24, 2014 . Retrieved April 18, 2016 . ^ (#cite_ref-117) Archived at Ghostarchive (https://ghostarchive.org/varchive/youtube/20211211/QpTvfYC71d8) and the Wayback Machine (https://web.archive.org/web/20140112012043/http://www.youtube.com/watch?v=QpTvfYC71d8&gl=US&hl=en) : "Vogue Voices: Tom Ford" (https://www.youtube.com/watch?v=QpTvfYC71d8) . Vogue (/wiki/Vogue_(magazine)) . January 10, 2014 . Retrieved April 18, 2016 . ^ (#cite_ref-118) "Tom Ford Flattered by Jay-Z's New Track Named After Him – The Cut" (https://nymag.com/thecut/2013/07/tom-ford-flattered-by-jay-zs-new-track.html) . Nymag.com. July 11, 2013 . Retrieved October 16, 2013 . ^ (#cite_ref-119) December 06, EW Staff Updated; EST, 2013 at 12:00 PM. "Grammy nominations 2014: See the list of nominees" (https://ew.com/article/2013/12/06/grammy-nominations-2014/) . EW.com . {{ cite web (/wiki/Template:Cite_web) }} : CS1 maint: numeric names: authors list ( link (/wiki/Category:CS1_maint:_numeric_names:_authors_list) ) ^ Jump up to: a b c d e f g "CFDA Fashion Awards" (http://cfda.com/cfda-fashion-awards) . Retrieved April 22, 2016 . ^ (#cite_ref-121) The Accessories Council Excellence (ACE) Awards (http://www.accessoriescouncil.org/index.php?option=com_content&task=view&id=12&Itemid=29) Archived (https://web.archive.org/web/20120313031929/http://www.accessoriescouncil.org/index.php?option=com_content&task=view&id=12&Itemid=29) March 13, 2012, at the Wayback Machine (/wiki/Wayback_Machine) – Accessories Council ^ (#cite_ref-122) Vivarelli, Nick (September 10, 2016). " (https://variety.com/2016/film/festivals/the-woman-who-left-by-filipino-auteur-lav-diaz-wins-venice-film-festival-golden-lion-complete-list-of-winners-1201856697/) 'The Woman Who Left' Wins Venice Film Festival: Complete List of Winners" (https://variety.com/2016/film/festivals/the-woman-who-left-by-filipino-auteur-lav-diaz-wins-venice-film-festival-golden-lion-complete-list-of-winners-1201856697/) . Variety . Retrieved June 21, 2024 . External links [ edit ] Wikimedia Commons has media related to Tom Ford (https://commons.wikimedia.org/wiki/Category:Tom_Ford) . Wikiquote has quotations related to Tom Ford (https://en.wikiquote.org/wiki/Special:Search/Tom_Ford) . 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Former Chinese custom of binding the feet of young girls Foot binding A Chinese woman showing her foot, image by Lai Afong (/wiki/Lai_Afong) , c. 1870s Traditional Chinese (/wiki/Traditional_Chinese_characters) 纏足 Simplified Chinese (/wiki/Simplified_Chinese_characters) 缠足 Transcriptions Standard Mandarin (/wiki/Standard_Chinese) Hanyu Pinyin (/wiki/Hanyu_Pinyin) chánzú Wade–Giles (/wiki/Wade%E2%80%93Giles) ch'an 2 -tsu 2 IPA (/wiki/Help:IPA/Mandarin) [ʈʂʰǎn.tsǔ] (/wiki/Help:IPA/Mandarin) Yue: Cantonese (/wiki/Cantonese) Yale Romanization (/wiki/Yale_romanization_of_Cantonese) chìhn-jūk Jyutping (/wiki/Jyutping) cin4-zuk1 IPA (/wiki/Help:IPA/Cantonese) [tsʰin˩.tsʊk̚˥] (/wiki/Help:IPA/Cantonese) Alternative (Min) Chinese name Traditional Chinese (/wiki/Traditional_Chinese_characters) 裹腳 Simplified Chinese (/wiki/Simplified_Chinese_characters) 裹脚 Transcriptions Foot binding ( simplified Chinese (/wiki/Simplified_Chinese_characters) : 缠足 ; traditional Chinese (/wiki/Traditional_Chinese_characters) : 纏足 ; pinyin (/wiki/Pinyin) : chánzú ), or footbinding , was the Chinese custom of breaking and tightly binding the feet of young girls to change their shape and size. Feet altered by footbinding were known as lotus feet and the shoes made for them were known as lotus shoes (/wiki/Lotus_shoes) . In late imperial China, bound feet were considered a status symbol (/wiki/Status_symbol) and a mark of feminine beauty. However, footbinding was a painful practice that limited the mobility of women and resulted in lifelong disabilities. The prevalence and practice of footbinding varied over time and by region and social class. [1] (#cite_note-Shepherd_2018-1) The practice may have originated among court dancers during the Five Dynasties and Ten Kingdoms period (/wiki/Five_Dynasties_and_Ten_Kingdoms_period) in 10th-century China and gradually became popular among the elite during the Song dynasty (/wiki/Song_dynasty) . Footbinding eventually spread to lower social classes by the Qing dynasty (/wiki/Qing_dynasty) (1644–1912). Manchu (/wiki/Manchu) emperors attempted to ban the practice in the 17th century but failed. [2] (#cite_note-bbc-2) In some areas, footbinding raised marriage prospects. It has been estimated that by the 19th century 40–50% of all Chinese women may have had bound feet, rising to almost 100% among upper-class Han Chinese (/wiki/Han_Chinese) women. [3] (#cite_note-lim-3) In the late 19th century, Christian missionaries (/wiki/Christian_missionaries) and Chinese reformers challenged the practice but it was not until the early 20th century that the practice began to die out, following the efforts of anti-footbinding campaigns. Additionally, upper-class and urban women dropped the practice of footbinding sooner than poorer rural women. [4] (#cite_note-4) By 2007, only a small handful of elderly Chinese women whose feet had been bound were still alive. [3] (#cite_note-lim-3) History [ edit ] Origin [ edit ] 18th-century illustration showing Yao Niang binding her own feet There are a number of stories about the origin of footbinding before its establishment during the Song dynasty (/wiki/Song_dynasty) . One of these accounts is of Pan Yunu (/wiki/Pan_Yunu) , a favourite consort of the Southern Qi (/wiki/Southern_Qi) Emperor Xiao Baojuan (/wiki/Xiao_Baojuan) . In the story, Pan Yunu, renowned for having delicate feet, performed a dance barefoot on a floor decorated with the design of a golden lotus, after which the Emperor, expressing admiration, said that "lotus springs from her every step!" ( bù bù shēng lián 歩歩生蓮 ), a reference to the Buddhist (/wiki/Buddhism) legend of Padmavati, under whose feet lotus springs forth. This story may have given rise to the terms 'golden lotus' or 'lotus feet' used to describe bound feet; there is no evidence, however, that Consort Pan ever bound her feet. [5] (#cite_note-5) The general view is that the practice is likely to have originated during the reign of the 10th-century Emperor Li Yu (/wiki/Li_Yu_(Southern_Tang)) of the Southern Tang (/wiki/Southern_Tang) , just before the Song dynasty. [2] (#cite_note-bbc-2) Li Yu created a 1.8-meter-tall (6 ft) golden lotus decorated with precious stones and pearls and asked his concubine Yao Niang (窅娘) to bind her feet in white silk into the shape of the crescent moon and perform a dance on the points of her feet on the lotus. [2] (#cite_note-bbc-2) Yao Niang's dance was said to be so graceful that others sought to imitate her. [6] (#cite_note-6) The binding of feet was then replicated by other upper-class women and the practice spread. [7] (#cite_note-pitts-taylor-7) Some of the earliest possible references to footbinding appear around 1100, when a couple of poems seemed to allude to the practice. [8] (#cite_note-8) [9] (#cite_note-9) [10] (#cite_note-ebrey_1-10) [11] (#cite_note-Morris2011-11) Soon after 1148, [11] (#cite_note-Morris2011-11) in the earliest extant discourse on the practice of footbinding, scholar Zhang Bangji (/w/index.php?title=Zhang_Bangji&action=edit&redlink=1) [ zh (https://zh.wikipedia.org/wiki/%E5%BC%B5%E9%82%A6%E5%9F%BA) ] wrote that a bound foot should be arch shaped and small. [12] (#cite_note-12) [13] (#cite_note-13) He observed that "women's footbinding began in recent times; it was not mentioned in any books from previous eras." [11] (#cite_note-Morris2011-11) In the 13th century, scholar Che Ruoshui (/w/index.php?title=Che_Ruoshui&action=edit&redlink=1) [ zh (https://zh.wikipedia.org/wiki/%E8%BD%A6%E8%8B%A5%E6%B0%B4) ] wrote the first known criticism of the practice: "Little girls not yet four or five years old, who have done nothing wrong, nevertheless are made to suffer unlimited pain to bind [their feet] small. I do not know what use this is." [11] (#cite_note-Morris2011-11) [14] (#cite_note-china_chic-14) [15] (#cite_note-15) The earliest archeological evidence for foot binding dates to the tombs of Huang Sheng, who died in 1243 at the age of 17, and Madame Zhou, who died in 1274. Each woman's remains showed feet bound with gauze strips measuring 1.8 m (6 ft) in length. Zhou's skeleton, particularly well preserved, showed that her feet fit into the narrow, pointed slippers that were buried with her. [11] (#cite_note-Morris2011-11) The style of bound feet found in Song dynasty tombs, where the big toe was bent upwards, appears to be different from the norm of later eras, and the excessive smallness of the feet—an ideal known as the 'three-inch golden lotus'—may be a later development in the 16th century. [16] (#cite_note-16) [17] (#cite_note-17) Later eras [ edit ] Small bound feet were once considered beautiful while large unbound feet were judged as crude. At the end of the Song dynasty (/wiki/Song_dynasty) , men would drink from a special shoe the heel of which contained a small cup. During the Yuan dynasty (/wiki/Yuan_dynasty) some would also drink directly from the shoe itself. This practice was called 'toast to the golden lotus' and lasted until the late Qing dynasty (/wiki/Qing_dynasty) . [18] (#cite_note-shoe-18) The first European to mention footbinding was the Italian missionary Odoric of Pordenone (/wiki/Odoric_of_Pordenone) in the 14th century, during the Yuan dynasty. [19] (#cite_note-19) However no other foreign visitors to Yuan China mentioned the practice, including Ibn Battuta (/wiki/Ibn_Battuta) and Marco Polo (/wiki/Marco_Polo) (who nevertheless noted the dainty walk of Chinese women, who took very small steps), perhaps an indication that it was not a widespread or extreme practice at that time. [20] (#cite_note-20) The practice was encouraged by Mongol rulers for their Chinese subjects. [7] (#cite_note-pitts-taylor-7) The practice became increasingly common among the gentry families, later spreading to the general populace, as commoners and theatre actors alike adopted footbinding. By the Ming (/wiki/Ming_dynasty) period the practice was no longer the preserve of the gentry and had instead come to be considered a status symbol. [21] (#cite_note-Rosenlee2012-21) [22] (#cite_note-22) [23] (#cite_note-Wang2000-23) As footbinding restricted the movement of a woman, one side effect of its rising popularity was the corresponding decline of the art of women's dance in China (/wiki/History_of_Chinese_dance) , and it became increasingly rare to hear about beauties and courtesans who were also great dancers after the Song era. [24] (#cite_note-hansson-24) [25] (#cite_note-25) A lotus shoe for bound feet, Louise Weiss collection, Saverne (/wiki/Municipal_Museum_(Saverne)) The Manchus (/wiki/Manchu_people) issued a number of edicts to ban the practice, first in 1636 when the Manchu leader Hong Taiji (/wiki/Hong_Taiji) declared the founding of the new Qing dynasty, then in 1638, and another in 1664 by the Kangxi Emperor. [21] (#cite_note-Rosenlee2012-21) Few Han Chinese complied with the edicts, and Kangxi eventually abandoned the effort in 1668. By the 19th century, it was estimated that 40–50% of Chinese women had bound feet. Among upper class Han Chinese women, the figure was almost 100%. [3] (#cite_note-lim-3) Bound feet became a mark of beauty and were also a prerequisite for finding a husband. They also became an avenue for poorer women to marry up (/wiki/Hypergamy) in some areas, such as Sichuan. [26] (#cite_note-26) In late 19th century Guangdong it was customary to bind the feet of the eldest daughter of a lower-class family who was intended to be brought up as a lady. Her younger sisters would grow up to be bond-servants or domestic slaves and be able to work in the fields, but the eldest daughter would be assumed never to have the need to work. Women, their families and their husbands took great pride in tiny feet, with the ideal length, called the 'Golden Lotus', being about three Chinese inches (/wiki/Cun_(unit)) ( 寸 ) long—around 11 cm (4.3 in). [27] (#cite_note-27) [28] (#cite_note-28) This pride was reflected in the elegantly embroidered silk slippers and wrappings girls and women wore to cover their feet. Handmade shoes served to exhibit the embroidery skill of the wearer as well. [29] (#cite_note-bossen_brown_gates-29) These shoes also served as support, as some women with bound feet might not have been able to walk without the support of their shoes and would have been severely limited in their mobility. [30] (#cite_note-30) Contrary to missionary writings, [31] (#cite_note-31) many women with bound feet were able to walk and work in the fields, albeit with greater limitations than their non-bound counterparts. In the 19th and early 20th century there were dancers with bound feet as well as circus performers who stood on prancing or running horses. Women with bound feet in one village in Yunnan (/wiki/Yunnan) Province formed a regional dance troupe to perform for tourists in the late 20th century, though age has since forced the group to retire. [32] (#cite_note-wsj-32) In other areas, women in their 70s and 80s assisted in the rice fields (albeit in a limited capacity) even into the early 21st century. [3] (#cite_note-lim-3) Decline [ edit ] Opposition to footbinding had been raised by some Chinese writers in the 18th century. In the mid-19th century, many of the leaders of the Taiping Rebellion (/wiki/Taiping_Rebellion) were men of Hakka (/wiki/Hakka) background whose women did not bind their feet, and they outlawed footbinding in areas under their control. [33] (#cite_note-33) [34] (#cite_note-34) However the rebellion failed and Christian missionaries, who had provided education for girls and actively discouraged what they considered a barbaric practice that had deleterious social effect on women, [35] (#cite_note-35) then played a part in changing elite opinion on footbinding through education, pamphleteering (/wiki/Pamphleteering) and lobbying of the Qing court, [36] (#cite_note-blake_1-36) [37] (#cite_note-edwards-37) placing emphasis on the fact that no other culture in the world practised the custom of footbinding. [38] (#cite_note-mackie-38) The earliest-known Western anti-footbinding society was formed in Amoy ( Xiamen (/wiki/Xiamen) ) in 1874. 60–70 Christian women in Xiamen attended a meeting presided over by a missionary, John MacGowan, and formed the Natural Foot Society ( Tianzu Hui (天足会) , literally Heavenly Foot Society (/wiki/Heavenly_Foot_Society) ). [39] (#cite_note-39) [40] (#cite_note-:0-40) MacGowan held the view that footbinding was a serious problem that called into doubt the whole of Chinese civilization; he felt that "the nefarious civilization interferes with Divine Nature." [41] (#cite_note-41) Members of the Heavenly Foot Society vowed not to bind their daughters' feet. [38] (#cite_note-mackie-38) [42] (#cite_note-42) In 1895, Christian women in Shanghai (/wiki/Shanghai) led by Alicia Little (/wiki/Alicia_Little) , also formed a Natural Foot Society (/wiki/The_Tian_Zu_Hui) . [40] (#cite_note-:0-40) [43] (#cite_note-43) It was also championed by the Woman's Christian Temperance Movement founded in 1883 and advocated by missionaries (/wiki/Mission_(Christian)) including Timothy Richard (/wiki/Timothy_Richard) , who thought that Christianity could promote equality between the sexes (/wiki/Christian_feminism) . [44] (#cite_note-GoossaertPalmer2011-44) This missionary-led opposition had stronger impacts than earlier Han or Manchu opposition. [45] (#cite_note-drucker-45) Western missionaries established the first schools for girls, and encouraged women to end the practice of footbinding. [46] (#cite_note-46) Christian missionaries did not conceal their shock and disgust either when explaining the process of footbinding to Western peers and their descriptions shocked their audience back home. [45] (#cite_note-drucker-45) "Chinese Women's Feet" Scientific American 1880 Read by Availle for LibriVox Duration: 4 minutes and 29 seconds. 4:29 Audio 00:04:29 ( full text (https://www.gutenberg.org/files/21081/21081-h/21081-h.htm#article38) ) Problems playing this file? See media help (/wiki/Help:Media) . Reform-minded Chinese intellectuals began to consider footbinding to be an aspect of their culture that needed to be eliminated. [47] (#cite_note-Levy-47) In 1883, Kang Youwei (/wiki/Kang_Youwei) founded the Anti-Footbinding Society (/wiki/Foot_Emancipation_Society) near Canton (/wiki/Guangzhou) to combat the practice, and anti-footbinding societies appeared across the country, with membership for the movement claimed to reach 300,000. [48] (#cite_note-48) [49] (#cite_note-49) The anti-footbinding movement stressed pragmatic and patriotic reasons rather than feminist ones, arguing that abolition of footbinding would lead to better health and more efficient labour. Kang Youwei submitted a petition to the throne commenting on the fact that China had become a joke to foreigners and that "footbinding was the primary object of such ridicule." [50] (#cite_note-Keeling._2008-50) Reformers such as Liang Qichao (/wiki/Liang_Qichao) , influenced by Social Darwinism (/wiki/Social_Darwinism) , also argued that it weakened the nation, since enfeebled women supposedly produced weak sons. [51] (#cite_note-51) In his "On Women's Education", Liang Qichao asserts that the root cause of national weakness inevitably lies the lack of education for women. Qichao connected education for women and footbinding: "As long as foot binding remains in practice, women's education can never flourish." [52] (#cite_note-52) Qichao was also disappointed that foreigners had opened the first schools as he thought that the Chinese should be teaching Chinese women. [50] (#cite_note-Keeling._2008-50) At the turn of the 20th century, early feminists (/wiki/Feminist) , such as Qiu Jin (/wiki/Qiu_Jin) , called for the end of footbinding. [53] (#cite_note-53) [54] (#cite_note-qiu_jin-54) In 1906, Zhao Zhiqian wrote in Beijing Women's News to blame women with bound feet for being a national weakness in the eyes of other nations. [55] (#cite_note-55) Many members of anti-footbinding groups pledged to not bind their daughters' feet nor to allow their sons to marry women with bound feet. [40] (#cite_note-:0-40) [56] (#cite_note-56) In 1902, Empress Dowager Cixi (/wiki/Empress_Dowager_Cixi) issued an anti-footbinding edict, but it was soon rescinded. [ citation needed ] In 1912 the new Republic of China (/wiki/Republic_of_China_(1912%E2%80%931949)) government banned footbinding, though the ban was not actively implemented, [57] (#cite_note-ko2-57) and leading intellectuals of the May Fourth Movement (/wiki/May_Fourth_Movement) saw footbinding as a major symbol of China's backwardness. [58] (#cite_note-58) Provincial leaders, such as Yan Xishan (/wiki/Yan_Xishan) in Shanxi, engaged in their own sustained campaign against footbinding with foot inspectors and fines for those who continued the practice, [57] (#cite_note-ko2-57) while regional governments of the later Nanjing regime (/wiki/Nanjing_decade) also enforced the ban. [36] (#cite_note-blake_1-36) The campaign against footbinding was successful in some regions. In one province, a 1929 survey showed that, while only 2.3% of girls born before 1910 had unbound feet, 95% of those born after were not bound. [59] (#cite_note-end-59) In a region south of Beijing (/wiki/Beijing) , Dingxian (/wiki/Dingzhou) , where over 99% of women once had bound feet, no new cases were found among those born after 1919. [60] (#cite_note-60) [61] (#cite_note-61) In Taiwan, the practice was also discouraged by the ruling Japanese from the beginning of Japanese rule (/wiki/Taiwan_under_Japanese_rule) , and from 1911 to 1915 it was gradually made illegal. [62] (#cite_note-62) The practice lingered on in some regions in China. In 1928, a census in rural Shanxi (/wiki/Shanxi) found that 18% of women had bound feet, [32] (#cite_note-wsj-32) while in some remote rural areas, such as Yunnan Province, it continued to be practised until the 1950s. [63] (#cite_note-63) [64] (#cite_note-64) In most parts of China the practice had virtually disappeared by 1949. [59] (#cite_note-end-59) The practice was also stigmatized in Communist China, and the last vestiges of footbinding were stamped out, with the last new case of footbinding reported in 1957. [65] (#cite_note-65) [66] (#cite_note-66) By the 21st century, only a few elderly women in China still had bound feet. [67] (#cite_note-67) [68] (#cite_note-68) In 1999, the last shoe factory making lotus shoes, the Zhiqian Shoe Factory in Harbin (/wiki/Harbin) , closed. [69] (#cite_note-69) Practice [ edit ] Variations and prevalence [ edit ] A comparison between a woman with un-bound feet (left) and a woman with bound feet in 1902 Footbinding was practised in various forms and its prevalence varied in different regions. [70] (#cite_note-fujian-70) A less severe form in Sichuan, called "cucumber foot" ( huángguā jiǎo 黃瓜腳 ) due to its slender shape, folded the four toes under but did not distort the heel or taper the ankle. [32] (#cite_note-wsj-32) [71] (#cite_note-71) Some working women in Jiangsu (/wiki/Jiangsu) made a pretence of binding while keeping their feet natural. [36] (#cite_note-blake_1-36) Not all women were always bound—some women once bound remained bound throughout their lives, some were only briefly bound and some were bound only until marriage. [72] (#cite_note-72) Footbinding was most common among women whose work involved domestic crafts (/wiki/Craft) and those in urban areas; [36] (#cite_note-blake_1-36) it was also more common in northern China, where it was widely practised by women of all social classes, but less so in parts of southern China such as Guangdong (/wiki/Guangdong) and Guangxi (/wiki/Guangxi) , where it was largely a practice of women in the provincial capitals or among the gentry. [73] (#cite_note-73) [74] (#cite_note-74) Feet were bound to their smallest in the northern provinces of Hebei, Shandong, Shanxi and Shaanxi, but the binding was less extreme and less common in the southern provinces of Guangdong, Guangxi, Yunnan and Guizhou, where not all daughters of the wealthy had bound feet. [75] (#cite_note-75) Footbinding limited the mobility of girls, so they became engaged in handwork from childhood. [29] (#cite_note-bossen_brown_gates-29) It is thought that the necessity for female labour in the fields owing to a longer growing season in the South and the impracticability of bound feet working in wet rice fields limited the spread of the practice in the countryside of the South. [76] (#cite_note-76) However some farming women bound their daughter's feet, but "the process began later than in elite families, and feet were bound more loosely among the poor." [77] (#cite_note-77) The Manchu "flower bowl" shoes designed to imitate bound feet, mid-1880s Manchu (/wiki/Manchu_people) women, as well as Mongol and Chinese women in the Eight Banners (/wiki/Eight_Banners) , did not bind their feet. The most a Manchu woman might do was to wrap the feet tightly to give them a slender appearance. [78] (#cite_note-manchu-78) The Manchus, wanting to emulate the particular gait that bound feet necessitated, adapted their own form of platform shoes to cause them to walk in a similar swaying manner. These Manchu platform shoes (/wiki/Manchu_platform_shoes) were known as "flower bowl" shoes ( Chinese (/wiki/Chinese_language) : 花盆鞋 ; pinyin (/wiki/Pinyin) : Huāpénxié ) or "horse-hoof" shoes ( Chinese (/wiki/Chinese_language) : 馬蹄鞋 ; pinyin (/wiki/Pinyin) : Mǎtíxié ); they have a platform generally made of wood 5–20 cm (2–6 in) in height and fitted to the middle of the sole, or they have a small central tapered pedestal. Many Han Chinese (/wiki/Han_Chinese) in the Inner City of Beijing did not bind their feet either, and it was reported in the mid-1800s that around 50–60% of non-banner women had unbound feet. Han immigrant women to the Northeast came under Manchu influence and abandoned footbinding. [79] (#cite_note-79) Bound feet nevertheless became a significant differentiating marker between Han women and Manchu or other banner women. [78] (#cite_note-manchu-78) The Hakka people (/wiki/Hakka_people) were unusual among Han Chinese in not practising footbinding. [80] (#cite_note-80) [81] (#cite_note-81) Most non-Han Chinese people, such as the Manchus, Mongols and Tibetans, did not bind their feet. Some non-Han ethnic groups did. Footbinding was practised by the Hui Muslims (/wiki/Hui_people) in Gansu (/wiki/Gansu) Province. [82] (#cite_note-82) The Dungan Muslims (/wiki/Dungan_people) , descendants of Hui from northwestern China who fled to central Asia, were also practising footbinding up to 1948. [83] (#cite_note-83) In southern China, in Canton ( Guangzhou (/wiki/Guangzhou) ), 19th-century Scottish scholar James Legge (/wiki/James_Legge) noted a mosque that had a placard denouncing footbinding, saying Islam did not allow it since it constituted violating the creation of God. [84] (#cite_note-84) Process [ edit ] A bound foot A bandaged bound foot The process was started before the arch of the foot had a chance to develop fully, usually between the ages of four and nine. Binding usually started during the winter months since the feet were more likely to be numb and the pain would not be as extreme. [85] (#cite_note-slippers-85) First, each foot would be soaked in a warm mixture of herbs and animal blood. This was intended to soften the foot and aid the binding. Then the toenails were cut back as far as possible to prevent in-growth and subsequent infections, since the toes were to be pressed tightly into the sole of the foot. Cotton bandages, 3 m (10 ft) long and 5 cm (2 in) wide, were prepared by soaking them in the blood and herb mixture. To enable the size of the feet to be reduced, the toes on each foot were curled under, then pressed with great force downwards and squeezed into the sole of the foot until the toes broke. [38] (#cite_note-mackie-38) The broken toes were held tightly against the sole of the foot, while the foot was drawn down straight with the leg and the arch of the foot forcibly broken. The bandages were repeatedly wound in a figure-eight movement, starting at the inside of the foot at the instep, then carried over the toes, under the foot and around the heel, the broken toes being pressed tightly into the sole of the foot. At each pass around the foot, the binding cloth was tightened, pulling the ball of the foot and the heel together, causing the broken foot to fold at the arch, pressing the toes beneath the sole. The binding was pulled so tightly that the girl could not move her toes at all and the ends of the binding cloth were then sewn so that the girl could not loosen it. An X-ray of two bound feet Schema of an X-ray comparison between an unbound and bound foot The girl's broken feet required a great deal of care and attention and they would be unbound regularly. Each time the feet were unbound they were washed, the toes checked for injury, and the nails trimmed. When unbound, the broken feet were also kneaded to soften them and the soles of the girl's feet were often beaten to make the joints and broken bones more flexible. The feet were also soaked in a concoction that caused necrotic flesh to fall off. [47] (#cite_note-Levy-47) Immediately after this procedure, the girl's broken toes were folded back under and the feet were rebound. The bindings were pulled even tighter each time the girl's feet were rebound. This unbinding and rebinding ritual was repeated as often as possible (for the rich at least once daily, for poor peasants two or three times a week), with fresh bindings. It was generally an elder female member of the girl's family or a professional footbinder who carried out the initial breaking and ongoing binding of the feet. It was considered preferable to have someone other than the mother do it, as she might have been sympathetic to her daughter's pain and less willing to keep the bindings tight. [85] (#cite_note-slippers-85) Once a girl's foot had been crushed and bound, attempting to reverse the process by unbinding was painful, [86] (#cite_note-body-86) and the shape could not be reversed without a woman undergoing the same pain again. The timing and degree of footbinding varied among communities. [87] (#cite_note-87) Health problems [ edit ] Feet of a Chinese woman, showing the effect of foot-binding The most common problem with bound feet was infection (/wiki/Infection) . Despite the amount of care taken in regularly trimming the toenails, they would often in-grow, becoming infected and causing injuries to the toes. Sometimes, for this reason, the girl's toenails would be peeled back and removed altogether. The tightness of the binding meant that the circulation in the feet was faulty, and the circulation to the toes was almost cut off, so injuries to the toes were unlikely to heal and were likely to gradually worsen and lead to infected toes and rotting flesh. The necrosis of the flesh would initially give off a foul odour. Later the smell may have come from various microorganisms that colonized the folds. [88] (#cite_note-88) Most of the women receiving treatment did not go out often and were disabled. [38] (#cite_note-mackie-38) If the infection in the feet and toes entered the bones, it could cause them to soften, which could result in toes dropping off. This was seen as a benefit because the feet could then be bound even more tightly. Girls whose toes were more fleshy would sometimes have shards of glass or pieces of broken tiles inserted within the binding next to her feet and between her toes to cause injury and introduce infection deliberately. Disease inevitably followed infection, meaning that death from septic shock (/wiki/Septic_shock) could result from footbinding, and a surviving girl was more at risk of medical problems as she grew older. It is thought that as many as 10% of girls may have died from gangrene (/wiki/Gangrene) and other infections owing to footbinding. [89] (#cite_note-89) At the beginning of the binding, many of the foot bones would remain broken, often for years. However as the girl grew older the bones would begin to heal. Even after the foot bones had healed, they were prone to rebreaking repeatedly, especially when the girl was in her teenage years and her feet were still soft. Bones in the girls' feet would often be deliberately broken again to further change the size or shape of the feet. This was especially the case with the girl's toes, which were broken several times since small toes were especially desirable. [90] (#cite_note-90) Older women were more likely to break hips and other bones in falls, since they could not balance properly on their feet, and were less able to rise to their feet from a sitting position. [91] (#cite_note-91) Other issues that may have arisen from footbinding included paralysis and muscular atrophy (/wiki/Muscular_atrophy) . [86] (#cite_note-body-86) By the turn of the century footbinding had been exposed in photographs, X-rays and detailed textual descriptions. These scientific investigations detailed how footbinding deformed the leg, covered the skin with cracks and sores and altered the posture. [92] (#cite_note-Hershatter_2019-92) Views and interpretations [ edit ] There are many interpretations to the practice of footbinding. The interpretive models used include fashion (with the Chinese customs somewhat comparable to the more extreme examples of Western women's fashion such as corsetry (/wiki/Corset) ), seclusion (sometimes evaluated as morally superior to the gender mingling in the West), perversion (/wiki/Perversion) (the practice imposed by men with sexual perversions), inexplicable deformation, child abuse and extreme cultural traditionalism. In the late 20th century some feminists introduced positive overtones, reporting that it gave some women a sense of mastery over their bodies and pride in their beauty. [93] (#cite_note-Patricia_Buckley_Ebrey_1890,_pp_1-34-93) Beauty and erotic appeal [ edit ] Bound feet were considered beautiful and even erotic. Before footbinding was practised in China, admiration for small feet already existed as demonstrated by the Tang dynasty (/wiki/Tang_dynasty) tale of Ye Xian (/wiki/Ye_Xian) written around 850 by Duan Chengshi (/wiki/Duan_Chengshi) . This tale of a girl who lost her shoe and then married a king who sought the owner of the shoe as only her foot was small enough to fit the shoe contains elements of the European story of Cinderella (/wiki/Cinderella) and is thought to be one of its antecedents. [94] (#cite_note-94) [95] (#cite_note-95) For many, the bound feet were an enhancement to a woman's beauty and made her movement more dainty, [96] (#cite_note-96) and a woman with perfect lotus feet was likely to make a more prestigious marriage. [97] (#cite_note-97) [98] (#cite_note-98) Even while not much was written on the subject of footbinding prior to the latter half of the 19th century, the writings that were done on this topic, particularly by educated men, frequently alluded to the erotic nature and appeal of bound feet in their poetry. [99] (#cite_note-99) The desirability varies with the size of the feet—the perfect bound feet and the most desirable (called ' golden lotuses ' ) would be around 3 Chinese inches (around 10 cm or 4 in) or smaller, while those larger were called ' silver lotuses ' (4 Chinese inches—around 13 cm or 5.1 in) or ' iron lotuses ' (5 Chinese inches—around 17 cm or 6.7 in—or larger, and thus the least desirable for marriage). [100] (#cite_note-100) Therefore people had greater expectations for footbinding brides. [101] (#cite_note-101) The belief that footbinding made women more desirable to men is widely used as an explanation for the spread and persistence of footbinding. [102] (#cite_note-hill_1-102) Some also considered bound feet to be intensely erotic. Some men preferred never to see a woman's bound feet, so they were always concealed within tiny 'lotus shoes' and wrappings. According to Robert van Gulik (/wiki/Robert_van_Gulik) , the bound feet were also considered the most intimate part of a woman's body. In erotic art (/wiki/Erotic_art) of the Qing period where the genitalia may be shown, the bound feet were never depicted uncovered. [103] (#cite_note-103) Howard Levy, however, suggests that the barely revealed bound foot may also only function as an initial tease. [102] (#cite_note-hill_1-102) An effect of the bound feet was the lotus gait, the tiny steps and swaying walk of a woman whose feet had been bound. Women with such deformed feet avoided placing weight on the front of the foot and tended to walk predominantly on their heels. [85] (#cite_note-slippers-85) Walking on bound feet necessitated bending the knees slightly and swaying to maintain proper movement and balance, a dainty walk that was also considered to be erotically attractive to some men. [104] (#cite_note-104) Some men found the smell of the bound feet attractive and some also apparently believed that bound feet would cause layers of folds to develop in the vagina, and that the thighs would become sensuously heavier and the vagina tighter. [105] (#cite_note-105) The psychoanalyst Sigmund Freud (/wiki/Sigmund_Freud) considered footbinding to be a "perversion that corresponds to foot fetishism (/wiki/Foot_fetishism) ", [106] (#cite_note-106) and that it appeased male castration anxiety (/wiki/Castration_anxiety) . [38] (#cite_note-mackie-38) [107] (#cite_note-107) Role of Confucianism [ edit ] A woman with her feet unwrapped In the Song dynasty (/wiki/Song_dynasty) the status of women declined [38] (#cite_note-mackie-38) and a common argument is that the decline was the result of the revival of Confucianism (/wiki/Confucianism) as neo-Confucianism (/wiki/Neo-Confucianism) and that, in addition to promoting the seclusion of women and the cult of widow chastity (/wiki/Cult_of_widow_chastity) , it also contributed to the development of footbinding. [108] (#cite_note-ebrey_2-108) According to Robert van Gulik (/wiki/Robert_van_Gulik) , the prominent Song Confucian scholar Zhu Xi (/wiki/Zhu_Xi) stressed the inferiority of women as well as the need to keep men and women strictly separate. [109] (#cite_note-109) It was claimed by Lin Yutang (/wiki/Lin_Yutang) among others, probably based on an oral tradition, that Zhu Xi also promoted footbinding in Fujian (/wiki/Fujian) as a way of encouraging chastity among women; that by restricting their movement, it would help keep men and women separate. [108] (#cite_note-ebrey_2-108) However, historian Patricia Ebrey (/wiki/Patricia_Buckley_Ebrey) suggests that this story might be fictitious, [110] (#cite_note-110) and argued that the practice arose so as to emphasize the gender distinction during a period of societal change in the Song dynasty. [38] (#cite_note-mackie-38) [111] (#cite_note-111) Some Confucian moralists in fact disapproved of the erotic associations of footbinding, and unbound women were also praised. [112] (#cite_note-Smith2008-112) The Neo-Confucian Cheng Yi (/wiki/Cheng_Yi_(philosopher)) was said to be against footbinding and his family and descendants did not bind their feet. [113] (#cite_note-113) [114] (#cite_note-114) Modern Confucian scholars such as Tu Weiming (/wiki/Tu_Weiming) also dispute any causal link between neo-Confucianism and footbinding. [115] (#cite_note-115) It has been noted that Confucian doctrine in fact prohibits mutilation of the body as people should not "injure even the hair and skin of the body received from mother and father". It is argued that such injunction applies less to women, rather it is meant to emphasize the sacred link between sons and their parents. Furthermore, it is argued that Confucianism institutionalized the family system in which women are called upon to sacrifice themselves for the good of the family, a system that fostered such practice. [116] (#cite_note-blake-116) Historian Dorothy Ko (/wiki/Dorothy_Y._Ko) proposed that footbinding may be an expression of the Confucian ideals of civility and culture in the form of correct attire or bodily adornment, and that footbinding was seen as a necessary part of being feminine as well as being civilized. Footbinding was often classified in Chinese encyclopedia (/wiki/Chinese_encyclopedia) as clothing or a form of bodily embellishment rather than mutilation. One from 1591, for example, placed footbinding in a section on "Female Adornments" that included hairdos, powders, and ear piercings. According to Ko, the perception of footbinding as a civilized practice may be evinced from a Ming dynasty (/wiki/Ming_dynasty) account that mentioned a proposal to "entice [the barbarians] to civilize their customs" by encouraging footbinding among their womenfolk. [117] (#cite_note-117) The practice was carried out only by women on girls, and it served to emphasize the distinction between male and female, an emphasis that began from an early age. [118] (#cite_note-steele-118) [119] (#cite_note-Ko1994-119) Anthropologist Fred Blake argued that the practice of footbinding was a form of discipline undertaken by women themselves, and perpetuated by women on their daughters, so as to inform their daughters of their role and position in society, and to support and participate in the neo-Confucian way of being civilized. [116] (#cite_note-blake-116) Feminist perspective [ edit ] Part of a series (/wiki/Category:Violence_against_women) on Violence against women (/wiki/Violence_against_women) Killing Bride burning (/wiki/Bride_burning) Dowry death (/wiki/Dowry_death) Honour killing (/wiki/Honor_killing) Femicide (/wiki/Femicide) Infanticide (/wiki/Female_infanticide) Matricide (/wiki/Matricide) Pregnant women (/wiki/Murder_of_pregnant_women) Sati (/wiki/Sati_(practice)) Sororicide (/wiki/Sororicide) Uxoricide (/wiki/Uxoricide) Sexual assault and rape Causes of sexual violence (/wiki/Causes_of_sexual_violence) Child sexual initiation (/wiki/Sexual_cleansing#Sexual_cleansing_after_menarche) Estimates of sexual violence (/wiki/Estimates_of_sexual_violence) Forced prostitution (/wiki/Forced_prostitution) Cybersex trafficking (/wiki/Cybersex_trafficking) Human trafficking (/wiki/Human_trafficking) Fetish slaves (/wiki/Ritual_servitude) Sexual slavery (/wiki/Sexual_slavery) Violence against prostitutes (/wiki/Violence_against_prostitutes) Post-assault treatment of victims of sexual assault (/wiki/Post-assault_treatment_of_victims_of_sexual_assault) Rape (/wiki/Rape) Acquaintance (/wiki/Acquaintance_rape) By Deception (/wiki/Rape_by_deception) Corrective (/wiki/Corrective_rape) Date (/wiki/Date_rape) Effects (/wiki/Effects_and_aftermath_of_rape) Factors (/wiki/Factors_associated_with_being_a_victim_of_sexual_violence) Gang (/wiki/Gang_rape) Genocidal (/wiki/Genocidal_rape) History (/wiki/History_of_rape) Laws (/wiki/Laws_regarding_rape) Marital (/wiki/Marital_rape) Pregnancy (/wiki/Pregnancy_from_rape) Prevention (/wiki/Initiatives_to_prevent_sexual_violence) Prison (/wiki/Prison_rape) Statistics (/wiki/Rape_statistics) Statutory (/wiki/Statutory_rape) Threat (/wiki/Rape_threat) Unacknowledged (/wiki/Unacknowledged_rape) Wartime (/wiki/Wartime_sexual_violence) Sexual assault (/wiki/Sexual_assault) Campus (/wiki/Campus_sexual_assault) Child (/wiki/Child_sexual_abuse) In Service (/wiki/Sexual_harassment_in_the_military) Mass (/wiki/Mass_sexual_assault) Secondary victimisation (/wiki/Secondary_victimisation) Sexual violence (/wiki/Sexual_violence) Virgin cleansing myth (/wiki/Virgin_cleansing_myth) Widow cleansing (/wiki/Sexual_cleansing#Sexual_cleansing_of_widows) Disfigurement Acid attack (/wiki/Acid_attack) Breast ironing (/wiki/Breast_ironing) Female genital mutilation (/wiki/Female_genital_mutilation) Gishiri cutting (/wiki/Gishiri_cutting) Infibulation (/wiki/Infibulation) Foot binding Other issues Narcissistic abuse (/wiki/Narcissistic_abuse) Gaslighting (/wiki/Gaslighting) Dating abuse (/wiki/Dating_abuse) Domestic violence (/wiki/Domestic_violence) outline (/wiki/Outline_of_domestic_violence) management (/wiki/Management_of_domestic_violence) and pregnancy (/wiki/Domestic_violence_and_pregnancy) Droit du seigneur (/wiki/Droit_du_seigneur) Eve teasing (/wiki/Eve_teasing) Forced abortion (/wiki/Forced_abortion) Force-feeding (/wiki/Leblouh) Forced marriage (/wiki/Forced_marriage) Forced pregnancy (/wiki/Forced_pregnancy) Forced sterilisation (/wiki/Compulsory_sterilization) Intimate partner violence (/wiki/Intimate_partner_violence) Marriage by abduction (/wiki/Bride_kidnapping) Marry-your-rapist law (/wiki/Marry-your-rapist_law) Online gender-based violence (/wiki/Online_gender-based_violence) Raptio (/wiki/Raptio) Sexual bullying (/wiki/Sexual_bullying) Toxic masculinity (/wiki/Toxic_masculinity) Witch trials (/wiki/Witch_trials_in_the_early_modern_period) International legal framework (/wiki/International_framework_of_sexual_violence) DEDAW (/wiki/Declaration_on_the_Elimination_of_Discrimination_Against_Women) CEDAW (/wiki/Convention_on_the_Elimination_of_All_Forms_of_Discrimination_Against_Women) VDPA (/wiki/Vienna_Declaration_and_Programme_of_Action) DEVAW (/wiki/Declaration_on_the_Elimination_of_Violence_Against_Women) Belém do Pará (/wiki/Bel%C3%A9m_do_Par%C3%A1_Convention) Maputo (/wiki/Maputo_Protocol) Istanbul (/wiki/Convention_on_preventing_and_combating_violence_against_women_and_domestic_violence) Related topics Prosecution of gender-targeted crimes (/wiki/Prosecution_of_gender-targeted_crimes) Women's shelter (/wiki/Women%27s_shelter) 25 November (/wiki/International_Day_for_the_Elimination_of_Violence_against_Women) 6 February (/wiki/International_Day_of_Zero_Tolerance_for_Female_Genital_Mutilation) By country (/wiki/Category:Violence_against_women_by_country) Sex and the law (/wiki/Sex_and_the_law) Victimology (/wiki/Victimology) Violence against men (/wiki/Violence_against_men) Violence against LGBT people (/wiki/Violence_against_LGBT_people) v t e Footbinding is often seen by feminists as an oppressive practice against women who were victims of a sexist culture. [120] (#cite_note-120) [121] (#cite_note-121) It is also widely seen as a form of violence against women. [122] (#cite_note-122) [123] (#cite_note-123) [124] (#cite_note-124) Bound feet rendered women dependent on their families, particularly the men, as they became largely restricted to their homes. [125] (#cite_note-125) Thus, the practice ensured that women were much more reliant on their husbands. [126] (#cite_note-126) The early Chinese feminist Qiu Jin (/wiki/Qiu_Jin) , who underwent the painful process of unbinding her own bound feet, attacked footbinding and other traditional practices. She argued that women, by retaining their small bound feet, made themselves subservient as it would mean women imprisoning themselves indoors. She believed that women should emancipate themselves from oppression, that girls can ensure their independence through education, and that they should develop new mental and physical qualities fitting for the new era. [127] (#cite_note-127) [54] (#cite_note-qiu_jin-54) The ending of the practice is seen as a significant event in the process of female emancipation in China, [128] (#cite_note-128) and a major event in the history of Chinese feminism (/wiki/Feminism_in_China) . In the late 20th century, some feminists have pushed back against the prevailing Western critiques of footbinding, arguing that the presumption that footbinding was done solely for the sexual pleasure of men denies the agency and cultural influence of women. [129] (#cite_note-129) [130] (#cite_note-130) Other interpretations [ edit ] Some scholars such as Laurel Bossen and Hill Gates reject the notion that bound feet in China were considered more beautiful, or that it was a means of male control over women, a sign of class status, or a chance for women to marry well (in general, bound women did not improve their class position by marriage). Footbinding is believed to have spread from elite women to civilian women and there were large differences in each region. The body and labor of unmarried daughters belonged to their parents, thereby the boundaries between work and kinship for women were blurred. [70] (#cite_note-fujian-70) They argued that foot binding was an instrumental means to reserve women to handwork, and can be seen as a way by mothers to tie their daughters down, train them in handwork, and keep them close at hand. [131] (#cite_note-walsh-131) [132] (#cite_note-132) This argument has been challenged by Shepherd 2018, who shows there was no connection between handicraft industries and the proportion of women bound in Hebei. [133] (#cite_note-133) Footbinding was common when women could do light industry (/wiki/Light_industry) , but where women were required to do heavy farm work they often did not bind their feet because it hindered physical work. These scholars argued that the coming of the mechanized industry at the end of the 19th century and the beginning of the 20th century, such as the introduction of industrial textile processes, resulted in a loss of light handwork for women, removing a reason to maintain the practice. Mechanization resulted in women who worked at home facing a crisis. [29] (#cite_note-bossen_brown_gates-29) Coupled with changes in politics and people's consciousness, the practice of foot binding disappeared in China forever after two generations. [70] (#cite_note-fujian-70) [131] (#cite_note-walsh-131) More specifically, the 1842 Treaty of Nanjing (/wiki/Treaty_of_Nanking) (after the First Opium War (/wiki/First_Opium_War) ) opened five cities as treaty ports (/wiki/Treaty_ports) where foreigners could live and trade. This led to foreign citizens residing in the area, where many proselytized as Christian missionaries. These foreigners condemned many long-standing Chinese cultural practices like footbinding as "uncivilized" — marking the beginning of the end for the centuries-long practice. [92] (#cite_note-Hershatter_2019-92) It has been argued that while the practice started out as a fashion, it persisted because it became an expression of Han identity after the Mongols invaded China (/wiki/Mongol_conquest_of_China) in 1279, and later the Manchus' conquest (/wiki/Manchu_conquest) in 1644, as it was then practised only by Han women. [118] (#cite_note-steele-118) During the Qing dynasty, attempts were made by the Manchus to ban the practice but failed, and it has been argued the attempts at banning may have in fact led to a spread of the practice among Han Chinese in the 17th and 18th centuries. [134] (#cite_note-134) Shepherd 2018 provides a critical review of the evidence cited for the notion that footbinding was an expression of "Han identity" and rejects this interpretation. [135] (#cite_note-135) In literature, film, and television [ edit ] This section needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/Foot_binding) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) in this section. Unsourced material may be challenged and removed. ( April 2022 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) The bound foot has played a prominent part in many media works, both Chinese and non-Chinese, modern and traditional. [136] (#cite_note-136) These depictions are sometimes based on observation or research and sometimes on rumors or supposition. Sometimes, as in the case of Pearl Buck (/wiki/Pearl_Buck) 's The Good Earth (/wiki/The_Good_Earth) (1931), the accounts are relatively neutral or empirical, implying respect for Chinese culture. [a] (#cite_note-137) Sometimes, the accounts seem intended to rouse like-minded Chinese and foreign opinion to abolish the custom, and sometimes the accounts imply condescension or contempt for China. [137] (#cite_note-138) Quoted in the Jin Ping Mei (/wiki/Jin_Ping_Mei) ( c. 1610 ): "displaying her exquisite feet, three inches long and no wider than a thumb, very pointed and with high insteps." [138] (#cite_note-139) Anna Bunina (/wiki/Anna_Bunina) mentions the custom in her 1810 fable " Пекинское ристалище (https://en.wikisource.org/wiki/ru:%D0%9F%D0%B5%D0%BA%D0%B8%D0%BD%D1%81%D0%BA%D0%BE%D0%B5_%D1%80%D0%B8%D1%81%D1%82%D0%B0%D0%BB%D0%B8%D1%89%D0%B5_(%D0%91%D1%83%D0%BD%D0%B8%D0%BD%D0%B0)) " ( The Peking Stadium ), which describes a Chinese woman attempting to run a race and barely finishing the boys' course, yet still getting applause for the effort. Bunina used the custom as an allegory to her own difficulties in getting recognition as a poet. [139] (#cite_note-140) Flowers in the Mirror (/wiki/Flowers_in_the_Mirror) (1837) by Ju-Chen Li includes chapters set in the "Country of Women", where men bear children and have bound feet. [140] (#cite_note-141) The Three-Inch Golden Lotus (1994) by Feng Jicai (/wiki/Feng_Jicai) [141] (#cite_note-142) presents a satirical picture of the movement to abolish the practice, which is seen as part of Chinese culture. In the film The Inn of the Sixth Happiness (/wiki/The_Inn_of_the_Sixth_Happiness) (1958), Ingrid Bergman (/wiki/Ingrid_Bergman) portrays a British missionary to China Gladys Aylward (/wiki/Gladys_Aylward) , who is assigned as a foreigner the task by a local Mandarin to unbind the feet of young women, an unpopular order that the civil government had failed to fulfil. Later, the children are able to escape troops by walking miles to safety. Ruthanne Lum McCunn wrote a biographical novel (/wiki/Biographical_novel) , Thousand Pieces of Gold (/wiki/Thousand_Pieces_of_Gold) (1981, adapted into a 1991 film (/wiki/Thousand_Pieces_of_Gold_(film)) ), about Polly Bemis (/wiki/Polly_Bemis) , a Chinese American (/wiki/Chinese_American) pioneer (/wiki/American_pioneer) woman. It describes her feet being bound and later unbound when she needed to help her family with farm labor. Emily Prager (/wiki/Emily_Prager) 's short story "A Visit from the Footbinder", from her collection of short stories of the same name (1982), describes the last few hours of a young Chinese girl's childhood before the professional footbinder arrives to initiate her into the adult woman's life of beauty and pain. [142] (#cite_note-143) Jung Chang (/wiki/Jung_Chang) 's family autobiography Wild Swans (/wiki/Wild_Swans) presents the story of Yu-fang, the grandmother, who had bound feet from the age of two. Lisa Loomer (/wiki/Lisa_Loomer) 's play The Waiting Room (1994) deals with themes of body modification (/wiki/Body_modification) . One of the three main characters is an 18th-century Chinese woman who arrives in a modern hospital waiting room, seeking medical help for complications resulting from her bound feet. She describes the foot-binding process, as well as the physical and psychological harm her bound feet have caused. [143] (#cite_note-144) Lensey Namioka (/wiki/Lensey_Namioka) 's novel Ties that Bind, Ties that Break (/wiki/Ties_that_Bind,_Ties_that_Break) (1999) follows a girl named Ailin in China who refuses to have her feet bound, which comes to affect her future. [144] (#cite_note-145) Lisa See (/wiki/Lisa_See) 's novel Snow Flower and the Secret Fan (/wiki/Snow_Flower_and_the_Secret_Fan) (2005) is about two Chinese girls who are destined to be friends. The novel is based upon the sacrifices women make to be married and includes the two girls being forced into getting their feet bound. The book was adapted into a 2011 film (/wiki/Snow_Flower_and_the_Secret_Fan_(film)) directed by Wayne Wang (/wiki/Wayne_Wang) . The Filipino horror film Feng Shui (/wiki/Feng_Shui_(2004_film)) and its sequel Feng Shui 2 (/wiki/Feng_Shui_2) feature a ghost of a foot-bound woman inhabits a bagua (/wiki/Bagua) and cursed those who holds the item. Lisa See (/wiki/Lisa_See) 's novel China Dolls (/wiki/China_Dolls_(novel)) (2014) describes Chinese family traditions including footbinding. Xiran Jay Zhao (/wiki/Xiran_Jay_Zhao) 's novel Iron Widow (/wiki/Iron_Widow) (2021) is set in a futuristic medieval China that still practices footbinding. The main character, Wu Zetian, had her feet bound in childhood and suffers from chronic pain due to it. Edward Rutherfurd (/wiki/Edward_Rutherfurd) 's novel China (/w/index.php?title=China_(novel)&action=edit&redlink=1) : An Epic Novel, is set in late Qing Dynasty China (/wiki/Qing_dynasty) , when footbinding was still common practice among Han Chinese (/wiki/Han_Chinese) in the north. Bright Moon, the daughter of a main character Mei-Ling, has her feet bound to increase her chances of a good marriage, and the practice is described in detail. The character soon resents that she has her feet bound, as it causes her severe pain, and stops her from participating in many activities. In episode 9 of the anime series The Apothecary Diaries (/wiki/The_Apothecary_Diaries) , a servant girl was found dead in a moat. After an autopsy, it was found that she had her feet bound. See also [ edit ] Artificial cranial deformation (/wiki/Artificial_cranial_deformation) Body modification (/wiki/Body_modification) Foot Emancipation Society (/wiki/Foot_Emancipation_Society) Women in ancient and imperial China (/wiki/Women_in_ancient_and_imperial_China) Explanatory notes [ edit ] ^ (#cite_ref-137) Though The Good Earth features neutral or empirical accounts of foot binding, Buck's previous novel, East Wind: West Wind explored the unbinding of a woman's feet, experienced as frightening and painful yet finally empowering, as part of her transition into a new, more modern and more individualistic persona under her doctor husband's tutelage. Citations [ edit ] ^ (#cite_ref-Shepherd_2018_1-0) Shepherd, John R. (2018). Footbinding as Fashion . Seattle: University of Washington Press. ISBN (/wiki/ISBN_(identifier)) 9780295744407 . ^ Jump up to: a b c "Chinese Foot Binding" (https://web.archive.org/web/20131118153249/https://www.bbc.co.uk/dna/ptop/alabaster/A1155872) . BBC. Archived from the original (https://www.bbc.co.uk/dna/ptop/alabaster/A1155872) on 2013-11-18. ^ Jump up to: a b c d Lim, Louisa (19 March 2007). "Painful Memories for China's Footbinding Survivors" (https://www.npr.org/templates/story/story.php?storyId=8966942) . Morning Edition . National Public Radio. ^ (#cite_ref-4) Hershatter, Gail (2019). Women and China's Revolutions . Rowman and Littlefield. p. 68. ^ (#cite_ref-5) Dorothy Ko (2002). Every Step a Lotus: Shoes for Bound Feet . University of California Press. pp. 32–34. ISBN (/wiki/ISBN_(identifier)) 978-0-520-23284-6 . ^ (#cite_ref-6) Dorothy Ko (2002). Every Step a Lotus: Shoes for Bound Feet . University of California Press. p. 42. ISBN (/wiki/ISBN_(identifier)) 978-0-520-23284-6 . ^ Jump up to: a b Victoria Pitts-Taylor, ed. (2008). Cultural Encyclopedia of the Body . Greenwood. p. 203. ISBN (/wiki/ISBN_(identifier)) 978-0-313-34145-8 . ^ (#cite_ref-8) "Han Chinese Footbinding" (http://trc-leiden.nl/trc-needles/index.php/component/k2/item/10758-han-chinese-footbinding) . Textile Research Centre . ^ (#cite_ref-9) Xu Ji 徐積 《詠蔡家婦》: 「但知勒四支,不知裹两足。」(translation: "knowing about arranging the four limbs, but not about binding her two feet); Su Shi (/wiki/Su_Shi) 蘇軾 《菩薩蠻》:「塗香莫惜蓮承步,長愁羅襪凌波去;只見舞回風,都無行處踪。偷穿宮樣穩,並立雙趺困,纖妙說應難,須從掌上看。」 ^ (#cite_ref-ebrey_1_10-0) Patricia Buckley Ebrey (1 December 1993). The Inner Quarters: Marriage and the Lives of Chinese Women in the Sung Period . University of California Press. pp. 37–39. ISBN (/wiki/ISBN_(identifier)) 9780520913486 . ^ Jump up to: a b c d e Morris, Ian (/wiki/Ian_Morris_(historian)) (2011). Why the West Rules - For Now: The Patterns of History, and What They Reveal About the Future . McClelland & Stewart. p. 424. ISBN (/wiki/ISBN_(identifier)) 978-1-55199-581-6 . ^ (#cite_ref-12) Dorothy Ko (2008). Cinderella's Sisters: A Revisionist History of Footbinding . University of California Press. pp. 111–115. ISBN (/wiki/ISBN_(identifier)) 978-0-520-25390-2 . ^ (#cite_ref-13) "墨庄漫录-宋-张邦基 8-卷八" (https://web.archive.org/web/20150221045249/http://wenxian.fanren8.com/08/05/5/8.htm) . Archived from the original (http://wenxian.fanren8.com/08/05/5/8.htm) on 2015-02-21 . Retrieved 2015-02-21 . ^ (#cite_ref-china_chic_14-0) Valerie Steele; John S. Major (2000). China Chic: East Meets West . Yale University Press. pp. 38–40. ISBN (/wiki/ISBN_(identifier)) 978-0-300-07931-9 . ^ (#cite_ref-15) 车若水. "脚气集" (http://ctext.org/wiki.pl?if=gb&chapter=694711&remap=gb) . Original text: 妇人纒脚不知起于何时,小儿未四五岁,无罪无辜而使之受无限之苦,纒得小来不知何用。 ^ (#cite_ref-16) Dorothy Ko (2008). Cinderella's Sisters: A Revisionist History of Footbinding . University of California Press. pp. 187–191. ISBN (/wiki/ISBN_(identifier)) 978-0-520-25390-2 . ^ (#cite_ref-17) Dorothy Ko (2002). Every Step a Lotus: Shoes for Bound Feet . University of California Press. pp. 21–24. ISBN (/wiki/ISBN_(identifier)) 978-0-520-25390-2 . ^ (#cite_ref-shoe_18-0) Marie-Josèphe Bossan (2004). The Art of the Shoe . Parkstone Press Ltd. p. 164. ISBN (/wiki/ISBN_(identifier)) 978-1-85995-803-2 . ^ (#cite_ref-19) Ebrey, Patricia (2003-09-02). Women and the Family in Chinese History . Routledge. p. 196. ISBN (/wiki/ISBN_(identifier)) 9781134442935 . ^ (#cite_ref-20) Haw, Stephen G. (2006-11-22). Marco Polo's China: A Venetian in the Realm of Khubilai Khan . Routledge. pp. 55–56. ISBN (/wiki/ISBN_(identifier)) 9781134275427 . ^ Jump up to: a b Li-Hsiang Lisa Rosenlee (1 February 2012). Confucianism and Women: A Philosophical Interpretation . SUNY Press. pp. 141–. ISBN (/wiki/ISBN_(identifier)) 978-0-7914-8179-0 . ^ (#cite_ref-22) Valerie Steele; John S. Major (2000). China Chic: East Meets West . Yale University Press. p. 37. ISBN (/wiki/ISBN_(identifier)) 978-0-300-07931-9 . ^ (#cite_ref-Wang2000_23-0) Ping Wang (2000). Aching for Beauty: Footbinding in China . University of Minnesota Press. pp. 32–. ISBN (/wiki/ISBN_(identifier)) 978-0-8166-3605-1 . ^ (#cite_ref-hansson_24-0) Anders Hansson (1996). Chinese Outcasts: Discrimination and Emancipation in Late Imperial China . Brill. p. 46. ISBN (/wiki/ISBN_(identifier)) 978-9004105966 . ^ (#cite_ref-25) Robert Hans van Gulik (1961). Sexual life in ancient China: A Preliminary Survey of Chinese Sex and Society from ca. 1500 B.C. Till 1644 A.D. Brill. p. 222. ISBN (/wiki/ISBN_(identifier)) 9004039171 . ^ (#cite_ref-26) BROWN, MELISSA J. (/wiki/Melissa_J._Brown) ; BOSSEN, LAUREL; GATES, HILL; SATTERTHWAITE-PHILLIPS, DAMIAN (2012). "Marriage Mobility and Footbinding in Pre-1949 Rural China: A Reconsideration of Gender, Economics, and Meaning in Social Causation" (https://doi.org/10.1017%2FS0021911812001271) . The Journal of Asian Studies . 71 (4): 1035–1067. doi (/wiki/Doi_(identifier)) : 10.1017/S0021911812001271 (https://doi.org/10.1017%2FS0021911812001271) . ISSN (/wiki/ISSN_(identifier)) 0021-9118 (https://www.worldcat.org/issn/0021-9118) . JSTOR (/wiki/JSTOR_(identifier)) 23357433 (https://www.jstor.org/stable/23357433) . ^ (#cite_ref-27) Hill Gates (2014). Footbinding and Women's Labor in Sichuan . Routledge. p. 8. ISBN (/wiki/ISBN_(identifier)) 978-0-415-52592-3 . ^ (#cite_ref-28) Manning, Mary Ellen (10 May 2007). "China's "Golden Lotus Feet" - Foot-binding Practice" (https://web.archive.org/web/20130928031927/http://travel.gather.com/viewArticle.action?articleId=281474976997081) . Archived from the original (http://travel.gather.com/viewArticle.action?articleId=281474976997081) on 28 September 2013 . Retrieved 29 January 2012 . ^ Jump up to: a b c Bossen, Laurel; Xurui, Wang; Brown, Melissa J.; Gates, Hill (2011). "Feet and Fabrication: Footbinding and Early Twentieth-Century Rural Women's Labor in Shaanxi". Modern China . 37 (4): 347–383. doi (/wiki/Doi_(identifier)) : 10.1177/0097700411403265 (https://doi.org/10.1177%2F0097700411403265) . ISSN (/wiki/ISSN_(identifier)) 0097-7004 (https://www.worldcat.org/issn/0097-7004) . JSTOR (/wiki/JSTOR_(identifier)) 23053328 (https://www.jstor.org/stable/23053328) . PMID (/wiki/PMID_(identifier)) 21966702 (https://pubmed.ncbi.nlm.nih.gov/21966702) . S2CID (/wiki/S2CID_(identifier)) 44529240 (https://api.semanticscholar.org/CorpusID:44529240) . ^ (#cite_ref-30) Bossen, Laurel (2004). "Film Review — (https://books.google.com/books?id=NieEnuWegkoC&pg=PA302) Footbinding: Search for the Three Inch Golden Lotus " (https://books.google.com/books?id=NieEnuWegkoC&pg=PA302) . Anthropologica . 48 (2): 301–303. doi (/wiki/Doi_(identifier)) : 10.2307/25606208 (https://doi.org/10.2307%2F25606208) . JSTOR (/wiki/JSTOR_(identifier)) 25606208 (https://www.jstor.org/stable/25606208) . ^ (#cite_ref-31) Hershatter, Gail (/wiki/Gail_Hershatter) (2018). Women and China's Revolutions . Ebookcentral: Rowman & Littlefield Publishers. p. 66. ISBN (/wiki/ISBN_(identifier)) 9781442215702 . ^ Jump up to: a b c Simon Montlake (November 13, 2009). "Bound by History: The Last of China's 'Lotus-Feet' Ladies" (https://www.wsj.com/articles/SB125800116737444883) . Wall Street Journal . ^ (#cite_ref-33) Vincent Yu-Chung Shih; Yu-chung Shi (1968). The Taiping Ideology: Its Sources, Interpretations, and Influences . University of Washington Press. pp. 27–29. ISBN (/wiki/ISBN_(identifier)) 978-0-295-73957-1 . ^ (#cite_ref-34) Olivia Cox-Fill (1996). For Our Daughters: How Outstanding Women Worldwide Have Balanced Home and Career . Praeger Publishers. p. 57. ISBN (/wiki/ISBN_(identifier)) 978-0-275-95199-3 . ^ (#cite_ref-35) Hershatter, Gail (2018). Women and China's Revolution . 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706: Rowman & Littlefield. p. 46. ISBN (/wiki/ISBN_(identifier)) 9781442215689 . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location ( link (/wiki/Category:CS1_maint:_location) ) ^ Jump up to: a b c d Blake, C. Fred (2008). Bonnie G. Smith (ed.). The Oxford Encyclopedia of Women in World History . Oxford University Press USA. pp. 327–329. ISBN (/wiki/ISBN_(identifier)) 978-0-19-514890-9 . ^ (#cite_ref-edwards_37-0) Mary I. Edwards (1986). The Cross-cultural Study of Women: A Comprehensive Guide . Feminist Press at The City University of New York. pp. 255 (https://archive.org/details/crossculturalstu00dule/page/255) –256. ISBN (/wiki/ISBN_(identifier)) 978-0-935312-02-7 . ^ Jump up to: a b c d e f g Mackie, Gerry (1996). "Ending Footbinding and Infibulation: A Convention Account". American Sociological Review . 61 (6): 999–1017. doi (/wiki/Doi_(identifier)) : 10.2307/2096305 (https://doi.org/10.2307%2F2096305) . ISSN (/wiki/ISSN_(identifier)) 0003-1224 (https://www.worldcat.org/issn/0003-1224) . JSTOR (/wiki/JSTOR_(identifier)) 2096305 (https://www.jstor.org/stable/2096305) . ^ (#cite_ref-39) Ko, Dorothy (2007). Cinderella's Sisters: A Revisionist History of Footbinding . University of California Press. pp. 14–17. ISBN (/wiki/ISBN_(identifier)) 9780520253902 . ^ Jump up to: a b c Whitefield, Brent (2008). "The Tian Zu Hui (Natural Foot Society): Christian Women in China and the Fight against Footbinding" (https://web.archive.org/web/20160418235159/http://www.uky.edu/Centers/Asia/SECAAS/Seras/2008/25_Whitefield_2008.pdf) (PDF) . Southeast Review of Asian Studies . 30 : 203–12. Archived from the original (http://www.uky.edu/Centers/Asia/SECAAS/Seras/2008/25_Whitefield_2008.pdf) (PDF) on 18 April 2016. ^ (#cite_ref-41) Zito, Angela (March 2007). "Secularizing the Pain of Footbinding in China: Missionary and Medical Stagings of the Universal Body". Journal of the American Academy of Religion . 75 (1): 1–24. doi (/wiki/Doi_(identifier)) : 10.1093/jaarel/lfl062 (https://doi.org/10.1093%2Fjaarel%2Flfl062) . JSTOR (/wiki/JSTOR_(identifier)) 4139836 (https://www.jstor.org/stable/4139836) . PMID (/wiki/PMID_(identifier)) 20681094 (https://pubmed.ncbi.nlm.nih.gov/20681094) . ^ (#cite_ref-42) Hershatter, Gail (2019). Women and China's Revolutions . Maryland: Rowman & Littlefield. p. 46. ISBN (/wiki/ISBN_(identifier)) 978-1-4422-1569-6 . ^ (#cite_ref-43) Dorothy Ko (2008). Cinderella's Sisters: A Revisionist History of Footbinding . University of California Press. pp. 14–16. ISBN (/wiki/ISBN_(identifier)) 978-0-520-25390-2 . ^ (#cite_ref-GoossaertPalmer2011_44-0) Vincent Goossaert; David A. Palmer (15 April 2011). The Religious Question in Modern China . University of Chicago Press. pp. 70–. ISBN (/wiki/ISBN_(identifier)) 978-0-226-30416-8 . Retrieved 31 July 2012 . ^ Jump up to: a b Drucker, "The Influence of Western Women on the Anti-Footbinding Movement 1840-1911", in Historical Reflections (1981), 182. ^ (#cite_ref-46) Rachel Keeling. "The Anti-Footbinding Movement, 1872-1922: A Cause for China Rather Than Chinese Women", in Social and Political Movements 1 (2008), 12. ^ Jump up to: a b Levy, Howard S. (1991). The Lotus Lovers: The Complete History of the Curious Erotic Tradition of Foot Binding in China . New York: Prometheus Books. p. 322. ^ (#cite_ref-48) Guangqiu Xu (2011). American Doctors in Canton: Modernization in China, 1835–1935 . Transaction Publishers. p. 257. ISBN (/wiki/ISBN_(identifier)) 978-1-4128-1829-2 . ^ (#cite_ref-49) Hershatter, Gail (2019). Women and China's Revolutions . Lanham: Rowman & Littlefield. p. 67. ^ Jump up to: a b Keeling. "The Anti-Footbinding Movement, 1872-1922: A Cause for China Rather Than Chinese Women", in Social and Political Movements 1 (2008), 14. ^ (#cite_ref-51) Connie A. Shemo (2011). The Chinese Medical Ministries of Kang Cheng and Shi Meiyu, 1872–1937 . Lehigh University Press. p. 51. ISBN (/wiki/ISBN_(identifier)) 978-1-61146-086-5 . ^ (#cite_ref-52) Liang Qichao. "On Women's Education", in The Birth of Chinese Feminism: Essential Texts in Transnational Theory, by Lydia He Liu, Rebecca E. Karl and Dorothy Ko (Columbia University Press, 2013), 202. ^ (#cite_ref-53) Mary Keng Mun Chung (1 May 2005). Chinese Women in Christian Ministry . Peter Lang. ISBN (/wiki/ISBN_(identifier)) 978-0-8204-5198-5 . ^ Jump up to: a b "1907: Qiu Jin, Chinese feminist and revolutionary" (http://www.executedtoday.com/2011/07/15/1907-qiu-jin-chinese-feminist-and-revolutionary/) . ExecutedToday.com . July 15, 2011. ^ (#cite_ref-55) Hershatter, Gail (2019). Women and China's Revolution . Lanham, MD: Rowman & Littlefield. pp. 67–68. ISBN (/wiki/ISBN_(identifier)) 978-1-4422-1570-2 . ^ (#cite_ref-56) Appiah, Kwame Anthony (2010-10-22). "The Art of Social Change: Campaigns against foot-binding and genital mutilation" (https://www.nytimes.com/2010/10/24/magazine/24FOB-Footbinding-t.html) . The New York Times . ISSN (/wiki/ISSN_(identifier)) 0362-4331 (https://www.worldcat.org/issn/0362-4331) . Retrieved 2017-09-03 . ^ Jump up to: a b Ko, Dorothy (2008). Cinderella's Sisters: A Revisionist History of Footbinding . University of California Press. pp. 50–63. ISBN (/wiki/ISBN_(identifier)) 978-0-520-25390-2 . ^ (#cite_ref-58) Wang Ke-wen (1996). Reilly, Thomas; Bangsbo, Jens; Williams, A. Mark (eds.). Science and Football III . Taylor & Francis. p. 8. ISBN (/wiki/ISBN_(identifier)) 978-0-419-22160-9 . ^ Jump up to: a b Mary White Stewart (27 January 2014). Ordinary Violence: Everyday Assaults against Women Worldwide . Praeger. pp. 4237–428. ISBN (/wiki/ISBN_(identifier)) 978-1-4408-2937-6 . ^ (#cite_ref-60) Keck, Margaret E.; Sikkink, Kathryn (1998). Activists beyond Borders: Advocacy Networks in International Politics . Cornell University Press. pp. 64–65. ISBN (/wiki/ISBN_(identifier)) 978-0-8014-8456-8 . ^ (#cite_ref-61) Gamble, Sidney D. (September 1943). "The Disappearance of Foot-Binding in Tinghsien". American Journal of Sociology . 49 (2): 181–183. doi (/wiki/Doi_(identifier)) : 10.1086/219351 (https://doi.org/10.1086%2F219351) . JSTOR (/wiki/JSTOR_(identifier)) 2770363 (https://www.jstor.org/stable/2770363) . S2CID (/wiki/S2CID_(identifier)) 72732576 (https://api.semanticscholar.org/CorpusID:72732576) . ^ (#cite_ref-62) Hu, Alex. "The Influence of Western Women on the Anti-Footbinding Movement". Historical Reflections , Vol. 8, No. 3, Women in China: Current Directions in Historical Scholarship, Fall 1981, pp. 179–199. "Besides improvements in civil engineering, progress was made in social areas as well. The traditional Chinese practice of foot binding was widespread in Taiwan's early years. Traditional Chinese society perceived women with smaller feet as being more beautiful. Women would bind their feet with long bandages to stunt growth; housemaids were divided into those with bound feet and those without. The former served the daughters of the house, while the latter were assigned heavier work. This practice was later regarded as barbaric. In the early years of the Japanese colonial period, the Foot-binding Liberation Society was established to promote the idea of natural feet, but its influence was limited. The fact that women suffered higher casualties in the 1906 Meishan quake with 551 men and 700 women dead and 1,099 men and 1,334 women injured—very different from the situation in Japan—raised public concern. Foot binding was blamed and this gave impetus to the drive to stamp out the practice." ^ (#cite_ref-63) Favazza, Armando R. (2011), Bodies under Siege: Self-mutilation, Nonsuicidal Self-injury, and Body Modification in Culture and Psychiatry (https://books.google.com/books?id=xmdKklZM9-kC&q=foot+binding+1902) , p. 118. ^ (#cite_ref-64) Gillet, Kit (16 April 2012). "In China, foot binding slowly slips into history" (http://articles.latimes.com/2012/apr/16/world/la-fg-china-bound-feet-20120416) . The Los Angeles Times . ^ (#cite_ref-65) Li Xiu-ying. "Women with Bound Feet in China: Cessation of Bound Feet during the Communist Era" (http://exhibits.hsl.virginia.edu/clothes/lady_bound/) . University of Virginia. Archived (https://web.archive.org/web/20200731081735/http://exhibits.hsl.virginia.edu/clothes/lady_bound/) 2020-07-31 at the Wayback Machine (/wiki/Wayback_Machine) . Excerpts from When I was a girl in China , stories collected by Joseph Rupp. ^ (#cite_ref-66) Ko, Alice (2007). Cinderella's Sisters: A Revisionist History of Footbinding. University of California Press. ISBN (/wiki/ISBN_(identifier)) 978-0520253902 (/wiki/Special:BookSources/978-0520253902) . "The last case of girls binding ever occurred in 1957." ^ (#cite_ref-67) "Unbound: China's last 'lotus feet' – in pictures" (https://www.theguardian.com/artanddesign/gallery/2015/jun/15/unbound-chinas-last-lotus-feet-in-pictures) . The Guardian . 15 June 2015. ^ (#cite_ref-68) Rosenberg, David (May 21, 2015). "Traveling Across China to Tell the Story of a Generation of Women With Bound Feet" (http://www.slate.com/blogs/behold/2015/05/21/jo_farrell_the_photographer_travels_across_china_to_document_women_who_had.html) . Slate . ^ (#cite_ref-69) Ko, Dorothy (2008). Cinderella's Sisters: A Revisionist History of Footbinding . University of California Press. p. 9. ISBN (/wiki/ISBN_(identifier)) 978-0-520-25390-2 . ^ Jump up to: a b c Gates, Hill (2001). "Footloose in Fujian: Economic Correlates of Footbinding". Comparative Studies in Society and History (/wiki/Comparative_Studies_in_Society_and_History) . 43 (1): 130–148. doi (/wiki/Doi_(identifier)) : 10.1017/S0010417501003619 (https://doi.org/10.1017%2FS0010417501003619) . ISSN (/wiki/ISSN_(identifier)) 0010-4175 (https://www.worldcat.org/issn/0010-4175) . JSTOR (/wiki/JSTOR_(identifier)) 2696625 (https://www.jstor.org/stable/2696625) . PMID (/wiki/PMID_(identifier)) 18193574 (https://pubmed.ncbi.nlm.nih.gov/18193574) . S2CID (/wiki/S2CID_(identifier)) 11299781 (https://api.semanticscholar.org/CorpusID:11299781) . ^ (#cite_ref-71) Hill Gates (2014). Footbinding and Women's Labor in Sichuan . Routledge. p. 7. ISBN (/wiki/ISBN_(identifier)) 978-0-415-52592-3 . ^ (#cite_ref-72) Hill Gates (2014). Footbinding and Women's Labor in Sichuan . Routledge. p. 20. ISBN (/wiki/ISBN_(identifier)) 978-0-415-52592-3 . ^ (#cite_ref-73) William Duiker; Jackson Spielvoge, eds. (2012). World History (7th Revised ed.). Wadsworth. p. 282. ISBN (/wiki/ISBN_(identifier)) 978-1-111-83165-3 . ^ (#cite_ref-74) Dorothy Ko (2008). Cinderella's Sisters: A Revisionist History of Footbinding . University of California Press. pp. 111–115. ISBN (/wiki/ISBN_(identifier)) 978-0-520-21884-0 . ^ (#cite_ref-75) Ko, Dorothy (2008). Cinderella's Sisters: A Revisionist History of Footbinding . University of California Press. p. 139. ISBN (/wiki/ISBN_(identifier)) 978-0-520-21884-0 . ^ (#cite_ref-76) Shepherd, John Robert (2019). Footbinding as Fashion: Ethnicity, Labor, and Status in Traditional China . University of Washington Press. p. 100. ISBN (/wiki/ISBN_(identifier)) 978-0295744414 . ^ (#cite_ref-77) Hershatter, Gail (2019). Women and China's Revolutions . Maryland: Rowman & Littlefield. p. 15. ISBN (/wiki/ISBN_(identifier)) 978-1-4422-1568-9 . ^ Jump up to: a b Elliott, Mark C. (2001). The Manchu Way: the Eight Banners and Ethnic Identity in Late Imperial China . Stanford, California: Stanford University Press. pp. 246–249. ISBN (/wiki/ISBN_(identifier)) 978-0-8047-3606-0 . ^ (#cite_ref-79) Shepherd, John (2018). Footbinding as Fashion . Seattle: University of Washington Press. pp. 144–163. ^ (#cite_ref-80) Lawrence Davis, Edward (2005). Encyclopedia of Contemporary Chinese Culture , Routledge (/wiki/Routledge) , p. 333. ^ (#cite_ref-81) Shepherd, John R. (2018). Footbinding as Fashion . Seattle: University of Washington Press. pp. 43–44, 89–95. ^ (#cite_ref-82) Hastings, James; Selbie, John Alexander; Gray, Louis Herbert (1916). Encyclopædia of religion and ethics . Vol. 8. Edinburgh: T. & T. Clark. p. 893. ISBN (/wiki/ISBN_(identifier)) 9780567065094 . Retrieved January 1, 2011 . Original from Harvard University ^ (#cite_ref-83) Touraj Atabaki, Sanjyot Mehendale; Sanjyot Mehendale (2005). Central Asia and the Caucasus: transnationalism and diaspora . Psychology Press. p. 31. ISBN (/wiki/ISBN_(identifier)) 978-0-415-33260-6 . Retrieved January 1, 2011 . ^ (#cite_ref-84) James Legge (1880). The religions of China: Confucianism and Tâoism described and compared with Christianity . London: Hodder and Stoughton. p. 111 (https://archive.org/details/religionsofchina00legg/page/111) . Retrieved June 28, 2010 . mohammedan. (Original from Harvard University) ^ Jump up to: a b c Jackson, Beverley (1997). Splendid Slippers: A Thousand Years of an Erotic Tradition . Ten Speed Press. ISBN (/wiki/ISBN_(identifier)) 978-0-89815-957-8 . ^ Jump up to: a b Margo DeMello (2007). Encyclopedia of Body Adornment . Greenwood Press. pp. 116–117. ISBN (/wiki/ISBN_(identifier)) 978-0-313-33695-9 . ^ (#cite_ref-87) Shepherd, John R. (2018). Footbinding as Fashion . Seattle: University of Washington Press. pp. 78–83. ^ (#cite_ref-88) Newham, Fraser (21 March 2005). "The ties that bind" (https://www.theguardian.com/world/2005/mar/21/china.gender) . The Guardian . ^ (#cite_ref-89) Stewart, Mary White (27 January 2014). Ordinary Violence: Everyday Assaults against Women Worldwide . Praeger. p. 423. ISBN (/wiki/ISBN_(identifier)) 978-1-4408-2937-6 . ^ (#cite_ref-90) Cummings, S. R.; Ling, X.; Stone, K. (1997). "Consequences of foot binding among older women in Beijing, China" (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1381134) . American Journal of Public Health . 87 (10): 1677–1679. doi (/wiki/Doi_(identifier)) : 10.2105/AJPH.87.10.1677 (https://doi.org/10.2105%2FAJPH.87.10.1677) . PMC (/wiki/PMC_(identifier)) 1381134 (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1381134) . PMID (/wiki/PMID_(identifier)) 9357353 (https://pubmed.ncbi.nlm.nih.gov/9357353) . ^ (#cite_ref-91) Cummings, S. & Stone, K. (1997) "Consequences of Foot Binding Among Older Women in Beijing China", in: American Journal of Public Health EBSCO Host. October 1997 ^ Jump up to: a b Hershatter, Gail (2019). Women and China's revolutions . Lanham, Maryland: Rowman & Littlefield. ISBN (/wiki/ISBN_(identifier)) 978-1-4422-1569-6 . OCLC (/wiki/OCLC_(identifier)) 1047569427 (https://www.worldcat.org/oclc/1047569427) . ^ (#cite_ref-Patricia_Buckley_Ebrey_1890,_pp_1-34_93-0) Patricia Buckley Ebrey, "Gender and Sinology: Shifting Western Interpretations of Foot binding, 1300-1890", Late Imperial China (1999) 20#2 pp 1-34. ^ (#cite_ref-94) Shirley See Yan Ma (4 December 2009). Footbinding: A Jungian Engagement with Chinese Culture and Psychology . Taylor & Francis Ltd. pp. 75–78. ISBN (/wiki/ISBN_(identifier)) 9781135190071 . ^ (#cite_ref-95) Beauchamp, Fay. "Asian Origins of Cinderella: The Zhuang Storyteller of Guangxi" (https://web.archive.org/web/20171215135835/http://journal.oraltradition.org/files/articles/25ii/10_25.2.pdf) (PDF) . Oral Tradition . 25 (2): 447–496. Archived from the original (http://journal.oraltradition.org/files/articles/25ii/10_25.2.pdf) (PDF) on 2017-12-15 . Retrieved 2017-07-25 . ^ (#cite_ref-96) Ebrey, Patricia Buckley (2010). 'Cambridge Illustrated History of China (2nd ed.). New York: Cambridge University Press. pp. 160–161. ISBN (/wiki/ISBN_(identifier)) 9780521124331 . ^ (#cite_ref-97) Hershatter, Gail (2019). Women and China's Revolutions . The Rowman & Littlefield Publishing Group. p. 47. ISBN (/wiki/ISBN_(identifier)) 978-1-4422-1568-9 . ^ (#cite_ref-98) Hershatter, Gail (2019). Women and China's Revolutions . Lanham, MD: Rowman & Littlefield. p. 45. ISBN (/wiki/ISBN_(identifier)) 9781442215696 . ^ (#cite_ref-99) Hershatter, Gail (2019). Women and China's Revolutions . Rowman & Littlefield. p. 45. ISBN (/wiki/ISBN_(identifier)) 978-1-4422-1568-9 . ^ (#cite_ref-100) King, Ian (31 March 2017). The Aesthetics of Dress . Springer. p. 59. ISBN (/wiki/ISBN_(identifier)) 9783319543222 . ^ (#cite_ref-101) Brown, Melissa J.; Feldman, Marcus W.; Ehrlich, Paul R. (2009). "Sociocultural Epistasis and Cultural Exaptation in Footbinding, Marriage Form, and Religious Practices in Early 20th-Century Taiwan" (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2796906) . Proceedings of the National Academy of Sciences of the United States of America . 106 (52): 22139–22144. Bibcode (/wiki/Bibcode_(identifier)) : 2009PNAS..10622139B (https://ui.adsabs.harvard.edu/abs/2009PNAS..10622139B) . doi (/wiki/Doi_(identifier)) : 10.1073/pnas.0907520106 (https://doi.org/10.1073%2Fpnas.0907520106) . ISSN (/wiki/ISSN_(identifier)) 0027-8424 (https://www.worldcat.org/issn/0027-8424) . JSTOR (/wiki/JSTOR_(identifier)) 40536412 (https://www.jstor.org/stable/40536412) . PMC (/wiki/PMC_(identifier)) 2796906 (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2796906) . PMID (/wiki/PMID_(identifier)) 20080786 (https://pubmed.ncbi.nlm.nih.gov/20080786) . ^ Jump up to: a b Hill Gates (2014). Footbinding and Women's Labor in Sichuan . Routledge. p. 56. ISBN (/wiki/ISBN_(identifier)) 978-0-415-52592-3 . ^ (#cite_ref-103) Robert Hans van Gulik (1961). Sexual life in ancient China:A Preliminary Survey of Chinese Sex and Society from Ca. 1500 B.C. Till 1644 A.D . Brill. p. 218. ISBN (/wiki/ISBN_(identifier)) 9004039171 . ^ (#cite_ref-104) Janell L. Carroll (2009). Sexuality Now: Embracing Diversity . Cengage Learning. p. 8. ISBN (/wiki/ISBN_(identifier)) 978-0-495-60499-0 . ^ (#cite_ref-105) Armando R. Favazza (2 May 2011). Bodies under Siege: Self-mutilation, Nonsuicidal Self-injury, and Body Modification in Culture and Psychiatry (third ed.). Johns Hopkins University Press. p. 117. ISBN (/wiki/ISBN_(identifier)) 9781421401119 . ^ (#cite_ref-106) Hacker, Authur (2012). China Illustrated . Turtle Publishing. ISBN (/wiki/ISBN_(identifier)) 9781462906901 . ^ (#cite_ref-107) Hershatter, Gail (September 4, 2018). Women and China's Revolutions . Rowman & Littlefield Publishers. p. 10. ISBN (/wiki/ISBN_(identifier)) 9781442215689 . It was simply what a loving mother did to prepare her daughter to make a good marriage into a respectable family. Not to bind would be a failure of maternal duty." While the social implications of footbinding may have included a sexual element, mothers who were binding their daughter's feet were not considering these implications. They were performing this exceptionally painful act out of love for their child, in order to secure what they believed would be a better future for her. ^ Jump up to: a b Patricia Buckley Ebrey (19 September 2002). Women and the Family in Chinese History . Routledge. pp. 10–12. ISBN (/wiki/ISBN_(identifier)) 978-0415288224 . ^ (#cite_ref-109) Anders Hansson (1996). Chinese Outcasts: Discrimination and Emancipation in Late Imperial China . Brill. p. 46. ISBN (/wiki/ISBN_(identifier)) 978-9004105966 . ^ (#cite_ref-110) Li-Hsiang Lisa Rosenlee (April 2006). Confucianism and Women: A Philosophical Interpretation . p. 139. ISBN (/wiki/ISBN_(identifier)) 978-0-7914-6749-7 . ^ (#cite_ref-111) McMahan, Aubrey L. "Why Chinese Neo-Confucian Women Made a Fetish of Small Feet". Grand Valley Journal of History . 2 (1 Article 3). CiteSeerX (/wiki/CiteSeerX_(identifier)) 10.1.1.648.2278 (https://citeseerx.ist.psu.edu/viewdoc/summary?doi=10.1.1.648.2278) . ^ (#cite_ref-Smith2008_112-0) Bonnie G. Smith (2008). The Oxford Encyclopedia of Women in World History: 4 Volume Set . Oxford University Press, USA. pp. 358–. ISBN (/wiki/ISBN_(identifier)) 978-0-19-514890-9 . ^ (#cite_ref-113) 丁传靖 编 (1981). 《宋人轶事汇编》 . 北京: 中华书局. p. 卷9,第2册,页455. ^ (#cite_ref-114) Bin Song (16 March 2017). "Foot-binding and Ruism (Confucianism)" (http://www.huffingtonpost.com/entry/foot-binding-and-ruism-confucianism_us_58c86e8fe4b01d0d473bceed) . Huffington Post . ^ (#cite_ref-115) Tu Wei-ming (1985). Confucian thought: selfhood as creative transformation . State University of New York Press. ^ Jump up to: a b C. Fred Blake (1994). "Foot-Binding in Neo-Confucian China and the Appropriation of Female Labor" (https://web.archive.org/web/20181025003227/http://anthropology.hawaii.edu/People/Faculty/Blake/pdfs/1994%20%20Foot-binding%20in%20Neo-Confucian%20China.pdf) (PDF) . Signs . 19 (3): 676–712. doi (/wiki/Doi_(identifier)) : 10.1086/494917 (https://doi.org/10.1086%2F494917) . S2CID (/wiki/S2CID_(identifier)) 40841025 (https://api.semanticscholar.org/CorpusID:40841025) . Archived from the original (http://anthropology.hawaii.edu/People/Faculty/Blake/pdfs/1994%20%20Foot-binding%20in%20Neo-Confucian%20China.pdf) (PDF) on 2018-10-25 . Retrieved 2016-10-29 . ^ (#cite_ref-117) Ko, Dorothy (1997). "The Body as Attire: The Shifting Meanings of Footbinding in Seventeenth-Century China" (https://womenshistory.osu.edu/sites/womenshistory.osu.edu/files/The%20Body%20as%20Attire.pdf) (PDF) . 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Footbinding, Feminism and Freedom: The Liberation of Women's Bodies in Modern China . Routledge. ISBN (/wiki/ISBN_(identifier)) 9781136303142 . ^ (#cite_ref-122) Mary White Stewart (27 January 2014). Ordinary Violence: Everyday Assaults against Women Worldwide (2nd ed.). Praeger. pp. 423–437. ISBN (/wiki/ISBN_(identifier)) 9781440829383 . ^ (#cite_ref-123) Claire M. Renzetti; Jeffrey L. Edleson, eds. (6 August 2008). Encyclopedia of Interpersonal Violence . Vol. 1. SAGE Publications. p. 276–277. ISBN (/wiki/ISBN_(identifier)) 978-1412918008 . ^ (#cite_ref-124) Laura L. O'Toole; Jessica R. Schiffman, eds. (1 March 1997). Gender Violence: Interdisciplinary Perspectives . New York University Press. p. 6. ISBN (/wiki/ISBN_(identifier)) 978-0814780411 . ^ (#cite_ref-125) Fairbank, John King (1986). The Great Chinese Revolution, 1800–1985 . New York: Harper & Row. p. 70 (https://archive.org/details/greatchineserevo00fair/page/70) . 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Seattle: University of Washington Press (/wiki/University_of_Washington_Press) . pp. 23–31. ^ (#cite_ref-136) Mei Ching Liu, "Women and the Media in China: An Historical Perspective", Journalism Quarterly 62 (1985): 45-52. ^ (#cite_ref-138) Patricia Ebrey, "Gender and Sinology: Shifting Western Interpretations of Footbinding, 1300–1890", Late Imperial China 20.2 (1999): 1-34. ^ (#cite_ref-139) The Golden Lotus, Volume 1 . Singapore: Graham Brash (PTE) Ltd. 1979. p. 101. ^ (#cite_ref-140) Rosslyn, Wendy; Tosi, Alessandra, eds. (2012). Women in Nineteenth-Century Russia: Lives and Culture . doi (/wiki/Doi_(identifier)) : 10.11647/obp.0018 (https://doi.org/10.11647%2Fobp.0018) . ISBN (/wiki/ISBN_(identifier)) 978-1-906924-65-2 . ^ (#cite_ref-141) Ruzhen Li (1965). Flowers in the Mirror . translation by Lin Tai-yi (/wiki/Lin_Tai-yi) . University of California Press. ISBN (/wiki/ISBN_(identifier)) 978-0-520-00747-5 . ^ (#cite_ref-142) Jicai, Feng (1994). The Three Inch Lotus . Translated by Wakefield, David. Honolulu: University of Hawaii Press. ISBN (/wiki/ISBN_(identifier)) 9780585250052 . ^ (#cite_ref-143) Newman, Judie (2007-06-01). "The Readerly Politics of Western Domination : Emily Prager's "A Visit from the Footbinder" (https://journals.openedition.org/jsse/777) " (https://journals.openedition.org/jsse/777) . Journal of the Short Story in English. Les Cahiers de la nouvelle (48). eISSN (/wiki/EISSN_(identifier)) 1969-6108 (https://www.worldcat.org/issn/1969-6108) . ^ (#cite_ref-144) Gecgil, Emine (2018). Bhattacharjee, Subashish; Narayan Ray, Girindra (eds.). New Women's Writing: Contextualising Fiction, Poetry and Philosophy . Cambridge Scholars Publishing. pp. 191–205. ISBN (/wiki/ISBN_(identifier)) 978-1-5275-0814-9 . ^ (#cite_ref-145) "Children's Book Review: Ties That Bind, Ties That Break by Lensey Namioka" (https://www.publishersweekly.com/978-0-385-32666-7) . Publishers Weekly (/wiki/Publishers_Weekly) . May 1999 . Retrieved April 23, 2018 . References and further reading [ edit ] Berg, Eugene E., MD, "Chinese Footbinding". Radiology Review – Orthopaedic Nursing 24, no. 5 (September/October) 66–67 Berger, Elizabeth, Liping Yang, and Wa Ye. "Foot binding in a Ming dynasty cemetery near Xi'an, China" (https://www.academia.edu/78928942/Foot_binding_in_a_Ming_dynasty_cemetery_near_Xian_China?sm=b) . International journal of paleopathology 24 (2019): 79–88. Bossen, Laurel, and Hill Gates. Bound feet, young hands: tracking the demise of footbinding in village China (Stanford University Press, 2017). Brown, Melissa J., and Damian Satterthwaite-Phillips. "Economic correlates of footbinding: Implications for the importance of Chinese daughters' labor". PLOS ONE 13.9 (2018): e0201337. online (https://journals.plos.org/plosone/article?id=10.1371/journal.pone.0201337) Brown, Melissa J., et al., "Marriage Mobility and Footbinding in Pre-1949 Rural China: A Reconsideration of Gender, Economics, and Meaning in Social Causation". Journal of Asian Studies (2012), Vol. 71 Issue 4, pp 1035–1067 Brown, Melissa J. (2020). "Footbinding in Economic Context: Rethinking the Problems of Affect and the Prurient Gaze". Harvard Journal of Asiatic Studies . 80 (1): 179–214. doi (/wiki/Doi_(identifier)) : 10.1353/jas.2020.0007 (https://doi.org/10.1353%2Fjas.2020.0007) . S2CID (/wiki/S2CID_(identifier)) 235848627 (https://api.semanticscholar.org/CorpusID:235848627) . Review article. Cassel, Susie Lan (2007). " '...the Binding Altered Not only My Feet but My Whole Character': Footbinding and First-World Feminism in Chinese American Literature". Journal of Asian American Studies . Vol. 10 (1): 31–58. Project Muse and Ethnic Newswatch. Fan Hong (1997) Footbinding, Feminism and Freedom . London: Frank Cass Hughes, Roxane. Ambivalent Orientalism: Footbinding in Chinese American History, Culture and Literature . Diss. Université de Lausanne, Faculté des lettres, 2017. Ko, Dorothy (2005) Cinderella's Sisters: A Revisionist History of Footbinding . Los Angeles: University of California Press. Ko, Dorothy (2008). "Perspectives on Foot-binding" (https://web.archive.org/web/20111203205602/http://www.asianetwork.org/exchange/2008-spring/anex2008-spring-ko.pdf) (PDF) . ASIANetwork Exchange . XV (3). Archived from the original (http://www.asianetwork.org/exchange/2008-spring/anex2008-spring-ko.pdf) (PDF) on 3 December 2011. Levy, Howard S. (1991). The Lotus Lovers: The Complete History of the Curious Erotic Tradition of Foot Binding in China . New York: Prometheus Books. Ping, Wang (/wiki/Wang_Ping_(author)) . Aching for Beauty: Footbinding in China . New York: Anchor Books, 2002. Shepherd, John R. "The Qing, the Manchus, and Footbinding: Sources and Assumptions Under Scrutiny." Frontiers of History in China 11.2 (2016): 279–322. Shepherd, John R. Footbinding as Fashion: Ethnicity, Labor, and Status in Traditional China. Seattle: University of Washington Press, 2018. Robert Hans van Gulik (1961). Sexual life in ancient China:A Preliminary Survey of Chinese Sex and Society from Ca. 1500 B.C. Till 1644 A.D . Brill. ISBN (/wiki/ISBN_(identifier)) 9004039171 . The Virtual Museum of The City of San Francisco, " Chinese Foot Binding – Lotus Shoes (http://www.sfmuseum.org/chin/foot.html) " Attributution This article incorporates text from Encyclopædia of religion and ethics, Volume 8 , by James Hastings, John Alexander Selbie, Louis Herbert Gray, a publication from 1916, now in the public domain (/wiki/Public_domain) in the United States. This article incorporates text from The religions of China: Confucianism and Tâoism described and compared with Christianity , by James Legge, a publication from 1880, now in the public domain (/wiki/Public_domain) in the United States. 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Ancient Roman formal dress For other uses, see Toga (disambiguation) (/wiki/Toga_(disambiguation)) . Statue of the Emperor Tiberius (/wiki/Tiberius) showing a draped toga of the 1st century AD The toga ( / (/wiki/Help:IPA/English) ˈ t oʊ ɡ ə / (/wiki/Help:IPA/English) , Classical Latin (/wiki/Classical_Latin_language) : [ˈt̪ɔ.ɡa] (/wiki/Help:IPA/Latin) ), a distinctive garment of ancient Rome (/wiki/Ancient_Rome) , was a roughly semicircular cloth, between 12 and 20 feet (3.7 and 6.1 m) in length, draped over the shoulders and around the body. It was usually woven from white wool (/wiki/Wool) , and was worn over a tunic (/wiki/Tunic) . In Roman historical tradition (/wiki/Roman_historiography) , it is said to have been the favored dress of Romulus (/wiki/Romulus) , Rome's founder; it was also thought to have originally been worn by both sexes, and by the citizen-military. As Roman women (/wiki/Women_in_ancient_Rome) gradually adopted the stola (/wiki/Stola) , the toga was recognized as formal wear for male Roman citizens (/wiki/Roman_citizenship) . [1] (#cite_note-1) Women found guilty of adultery (/wiki/Adultery) and women engaged in prostitution (/wiki/Prostitution_in_ancient_Rome) might have provided the main exceptions to this rule. [2] (#cite_note-Edwards-2) The type of toga worn reflected a citizen's rank in the civil hierarchy. Various laws and customs (/wiki/Roman_law) restricted its use to citizens, who were required to wear it for public festivals and civic duties. From its probable beginnings as a simple, practical work-garment, the toga became more voluminous, complex, and costly, increasingly unsuited to anything but formal and ceremonial use. It was and is considered ancient Rome's "national costume"; as such, it had great symbolic value; however even among Romans, it was hard to put on, uncomfortable and challenging to wear correctly, and never truly popular. When circumstances allowed, those otherwise entitled or obliged to wear it opted for more comfortable, casual garments. It gradually fell out of use, firstly among citizens of the lower class, then those of the middle class. Eventually, it was worn only by the highest classes for ceremonial occasions. Varieties [ edit ] A toga praetexta The toga was an approximately semi-circular woollen cloth, usually white, worn draped over the left shoulder and around the body: the word "toga" probably derives from tegere , to cover. It was considered formal wear and was generally reserved for citizens. The Romans considered it unique to themselves, thus their poetic description by Virgil (/wiki/Virgil) and Martial (/wiki/Martial) as the gens togata ('toga-wearing race'). [3] (#cite_note-3) There were many kinds of toga, each reserved by custom to a particular usage or social class. Toga virilis ("toga of manhood") also known as toga alba or toga pura : A plain white toga, worn on formal occasions by adult male commoners, and by senators (/wiki/Roman_Senate) not having a curule magistracy (/wiki/Imperium) . It represented adult male citizenship and its attendant rights, freedoms and responsibilities; traditionally given at a father's discretion to his son during the feast of Liberalia (/wiki/Liberalia) , to mark the onset of puberty and legal "coming of age", at around 14 years of age or more. [4] (#cite_note-4) [5] (#cite_note-5) Toga praetexta : a white toga with a broad purple stripe on its border, worn over a tunic with two broad, vertical purple stripes. It was formal costume for: Curule magistrates (/wiki/Imperium) in their official functions, and traditionally, the Kings of Rome (/wiki/Kings_of_Rome) . [6] (#cite_note-6) Freeborn boys, and some freeborn girls, before they came of age. [7] (#cite_note-7) It marked their protection by law from sexual predation and immoral or immodest influence. A praetexta was thought effective against malignant magic, as were a boy's bulla (/wiki/Bulla_(amulet)) , and a girl's lunula (/wiki/Lunula_(amulet)) . [8] (#cite_note-8) [9] (#cite_note-Sebesta_2001_47-9) Some priesthoods, including the Pontifices (/wiki/Pontifices) , Tresviri Epulones (/wiki/Epulones) , the augurs (/wiki/Augur) , and the Arval brothers (/wiki/Arval_Brethren) . [10] (#cite_note-10) Toga candida : "Bright toga"; a toga rubbed with chalk to a dazzling white, worn by candidates (/wiki/Candidate) (from Latin candida , "pure white") for public office (/wiki/Roman_magistrate) . [11] (#cite_note-11) Thus Persius (/wiki/Persius) speaks of a cretata ambitio , "chalked ambition". Toga candida is the etymological source of the word candidate . Toga pulla : a "dark toga" was supposed to be worn by mourners (/wiki/Mourning) at elite funerals (/wiki/Roman_funerary_practices) . A toga praetexta was also acceptable as mourning wear, if turned inside out to conceal its stripe; so was a plain toga pura . [12] (#cite_note-12) Wearing a toga pulla at the feast that ended mourning was irreligious, ignorant, or plain bad manners. Cicero makes a distinction between the toga pulla and an ordinary toga deliberately "dirtied" by its wearer as a legitimate mark of protest or supplication. [13] (#cite_note-13) Toga picta ("painted toga"): Dyed solid purple, decorated with imagery in gold thread, and worn over a similarly decorated tunica palmata ; used by generals in their triumphs (/wiki/Roman_triumph) . During the Empire, it was worn by consuls (/wiki/Roman_consul) and emperors. Over time, it became increasingly elaborate, and was combined with elements of the consular trabea . [14] (#cite_note-14) Trabea , associated with citizens of equestrian rank (/wiki/Equites) ; thus their description as trabeati in some contemporary Roman literature. It may have been a shorter form of toga, or a cloak, wrap or sash worn over a toga. It was white with some form of decoration. In the later Imperial era, trabea refers to elaborate forms of consular dress. Some later Roman and post-Roman sources describe it as solid purple or red, either identifying or confusing it with the dress worn by the ancient Roman kings (also used to clothe images of the gods) or reflecting changes in the trabea itself. More certainly, equites wore an angusticlavia (/wiki/Angusticlavia) , a tunic with narrow, vertical purple stripes, at least one of which would have been visible when worn with a toga or trabea , whatever its form. [15] (#cite_note-15) Laena , a long, heavy cloak worn by Flamen (/wiki/Flamen) priesthoods, fastened at the shoulder with a brooch. A lost work by Suetonius (/wiki/Suetonius) describes it as a toga made "duplex" (doubled by folding over upon itself). [16] (#cite_note-16) [17] (#cite_note-17) As "national dress" [ edit ] The toga's most distinguishing feature was its semi-circular shape, which sets it apart from other cloaks of antiquity like the Greek himation (/wiki/Himation) or pallium . To Rothe, the rounded form suggests an origin in the very similar, semi-circular Etruscan (/wiki/Etruscan_society) tebenna . [18] (#cite_note-18) Norma Goldman believes that the earliest forms of all these garments would have been simple, rectangular lengths of cloth that served as both body-wrap and blanket for peasants, shepherds and itinerant herdsmen. [19] (#cite_note-19) Roman historians believed that Rome's legendary founder and first king, the erstwhile shepherd Romulus (/wiki/Romulus) , had worn a toga as his clothing of choice; the purple-bordered toga praetexta was supposedly used by Etruscan magistrates, and introduced to Rome by her third king, Tullus Hostilius (/wiki/Tullus_Hostilius) . [20] (#cite_note-20) In the wider context of classical Greco-Roman (/wiki/Greco-Roman_world) fashion, the Greek enkyklon (/wiki/Enkyklon) ( Greek (/wiki/Greek_language) : ἔγκυκλον , "circular [garment]") was perhaps similar in shape to the Roman toga, but never acquired the same significance as a distinctive mark of citizenship. [21] (#cite_note-21) The 2nd-century diviner (/wiki/Divination) Artemidorus Daldianus (/wiki/Artemidorus_Daldianus) in his Oneirocritica derived the toga's form and name from the Greek tebennos (τήβεννος), supposedly an Arcadian (/wiki/Arcadia_(region)) garment invented by and named after Temenus. [22] (#cite_note-22) [23] (#cite_note-23) Emilio Peruzzi claims that the toga was brought to Italy (/wiki/Italy) from Mycenaean Greece (/wiki/Mycenaean_Greece) , its name based on Mycenaean Greek (/wiki/Mycenaean_Greek) te-pa , referring to a heavy woollen garment or fabric. [24] (#cite_note-24) In civil life [ edit ] Roman society was strongly hierarchical, stratified and competitive. Landowning aristocrats occupied most seats in the senate (/wiki/Roman_senate) and held the most senior magistracies (/wiki/Roman_magistrate) . Magistrates were elected by their peers and "the people"; in Roman constitutional theory, they ruled by consent. In practice, they were a mutually competitive oligarchy, reserving the greatest power, wealth and prestige for their class. The commoners (/wiki/Plebeian) who made up the vast majority of the Roman electorate had limited influence on politics, unless barracking or voting en masse , or through representation by their tribunes (/wiki/Tribune_of_the_Plebs) . The Equites (/wiki/Equestrian_order) (sometimes loosely translated as "knights") occupied a broadly mobile, mid-position between the lower senatorial and upper commoner class. Despite often extreme disparities of wealth and rank between the citizen classes, the toga identified them as a singular and exclusive civic body. Book illustration of an Etruscan wall painting from the François Tomb (/wiki/Fran%C3%A7ois_Tomb) at Vulci (/wiki/Vulci) . Some scholars believe this shows a toga picta , largely based on its colour and decorative detail; others suggest that the straight edges make it a Greek-style cloak, and not a toga. [25] (#cite_note-25) Togas were relatively uniform in pattern and style but varied significantly in the quality and quantity of their fabric, and the marks of higher rank or office. The highest-status toga, the solidly purple, gold-embroidered toga picta could be worn only at particular ceremonies by the highest-ranking magistrates (/wiki/Roman_magistrate) . Tyrian purple (/wiki/Tyrian_purple) was supposedly reserved for the toga picta , the border of the toga praetexta , and elements of the priestly dress worn by the inviolate Vestal Virgins (/wiki/Vestal_Virgins) . It was colour-fast, extremely expensive and the "most talked-about colour in Greco-Roman antiquity". [26] (#cite_note-26) Romans categorised it as a blood-red hue, which sanctified its wearer. The purple-bordered praetexta worn by freeborn youths acknowledged their vulnerability and sanctity in law. Once a boy came of age (usually at puberty) he adopted the plain white toga virilis ; this meant that he was free to set up his own household, marry, and vote. [27] (#cite_note-27) [28] (#cite_note-28) Young girls who wore the praetexta on formal occasions put it aside at menarche (/wiki/Menarche) or marriage, and adopted the stola (/wiki/Stola) . [29] (#cite_note-29) Even the whiteness of the toga virilis was subject to class distinction. Senatorial versions were expensively laundered to an exceptional, snowy white; those of lower ranking citizens were a duller shade, more cheaply laundered. [30] (#cite_note-30) Citizenship carried specific privileges, rights and responsibilities. [31] (#cite_note-31) The formula togatorum (/wiki/Formula_togatorum) ("list of toga-wearers") listed the various military obligations that Rome's Italian allies (/wiki/Socii) were required to supply to Rome in times of war. Togati , "those who wear the toga", is not precisely equivalent to "Roman citizens", and may mean more broadly " Romanized (/wiki/Romanization_(cultural)) ". [32] (#cite_note-32) In Roman territories, the toga was explicitly forbidden to non-citizens; to foreigners, freedmen, and slaves; to Roman exiles; [33] (#cite_note-33) and to men of "infamous" career (/wiki/Infamia) or shameful reputation; an individual's status should be discernable at a glance. [34] (#cite_note-34) A freedman or foreigner might pose as a togate citizen, or a common citizen as an equestrian; such pretenders were sometimes ferreted out in the census (/wiki/Roman_census) . Formal seating arrangements in public theatres and circuses reflected the dominance of Rome's togate elect. Senators sat at the very front, equites behind them, common citizens behind equites ; and so on, through the non-togate mass of freedmen, foreigners, and slaves. [35] (#cite_note-35) Imposters were sometimes detected and evicted from the equestrian seats. [36] (#cite_note-36) Various anecdotes reflect the toga's symbolic value. In Livy (/wiki/Livy) 's history of Rome (/wiki/Ab_Urbe_Condita_Libri_(Livy)) , the patrician hero (/wiki/Patrician_(ancient_Rome)) Lucius Quinctius Cincinnatus (/wiki/Lucius_Quinctius_Cincinnatus) , retired from public life and clad (presumably) in tunic or loincloth, is ploughing his field when emissaries of the Senate (/wiki/Roman_Senate) arrive, and ask him to put on his toga. His wife fetches it and he puts it on. Then he is told that he has been appointed dictator (/wiki/Roman_dictator) . He promptly heads for Rome. [37] (#cite_note-37) Donning the toga transforms Cincinnatus from rustic, sweaty ploughman – though a gentleman nevertheless, of impeccable stock and reputation – into Rome's leading politician, eager to serve his country; a top-quality Roman. [38] (#cite_note-38) Rome's abundant public and private statuary reinforced the notion that all Rome's great men wore togas, and must always have done so. [39] (#cite_note-39) [40] (#cite_note-40) Work and leisure [ edit ] A fresco (/wiki/Fresco) from a building near Pompeii (/wiki/Pompeii) , a rare depiction of Roman men in togae praetextae with dark red borders. It dates from the early Imperial Era and probably shows an event during Compitalia (/wiki/Compitalia) , a popular street festival. Traditionalists idealised Rome's urban and rustic citizenry as descendants of a hardy, virtuous, toga-clad peasantry, but the toga's bulk and complex drapery made it entirely impractical for manual work or physically active leisure. The toga was heavy, "unwieldy, excessively hot, easily stained, and hard to launder". [41] (#cite_note-George99-41) It was best suited to stately processions, public debate and oratory, sitting in the theatre or circus, and displaying oneself before one's peers and inferiors while "ostentatiously doing nothing". [42] (#cite_note-42) Every male Roman citizen was entitled to wear some kind of toga – Martial (/wiki/Martial) refers to a lesser citizen's "small toga" and a poor man's "little toga" (both togula ), [43] (#cite_note-43) but the poorest probably had to make do with a shabby, patched-up toga, if he bothered at all. [44] (#cite_note-44) Conversely, the costly, full-length toga seems to have been a rather awkward mark of distinction when worn by "the wrong sort". The poet Horace writes "of a rich ex-slave 'parading from end to end of the Sacred Way (/wiki/Via_Sacra) in a toga three yards long' to show off his new status and wealth." [45] (#cite_note-45) In the early 2nd century AD, the satirist Juvenal (/wiki/Juvenal) claimed that "in a great part of Italy, no-one wears the toga, except in death"; in Martial's rural idyll there is "never a lawsuit, the toga is scarce, the mind at ease". [46] (#cite_note-46) [47] (#cite_note-47) Most citizens who owned a toga would have cherished it as a costly material object, and worn it when they must for special occasions. Family, friendships and alliances, and the gainful pursuit of wealth through business and trade would have been their major preoccupations, not the otium (/wiki/Otium) (cultured leisure) claimed as a right by the elite. [48] (#cite_note-48) [49] (#cite_note-George96-49) Rank, reputation and Romanitas (/wiki/Romanitas) were paramount, even in death, so almost invariably, a male citizen's memorial image showed him clad in his toga. He wore it at his funeral, and it probably served as his shroud. [50] (#cite_note-50) Despite the overwhelming quantity of Roman togate portraits at every social level, and in every imaginable circumstance, at most times Rome's thoroughfares would have been crowded with citizens and non-citizens in a variety of colourful garments, with few togas in evidence. Only a higher-class Roman, a magistrate, would have had lictors to clear his way, and even then, wearing a toga was a challenge. The toga's apparent natural simplicity and "elegant, flowing lines" were the result of diligent practice and cultivation; to avoid an embarrassing disarrangement of its folds, its wearer had to walk with measured, stately gait, [41] (#cite_note-George99-41) yet with virile purpose and energy. If he moved too slowly, he might seem aimless, "sluggish of mind" - or, worst of all, "womanly". [51] (#cite_note-51) Vout (1996) suggests that the toga's most challenging qualities as garment fitted the Romans' view of themselves and their civilization. Like the empire itself, the peace that the toga came to represent had been earned through the extraordinary and unremitting collective efforts of its citizens, who could therefore claim "the time and dignity to dress in such a way". [52] (#cite_note-52) Patronage and salutationes [ edit ] The so-called " Togatus Barberini (/wiki/Togatus_Barberini) " depicting a Roman senator (/wiki/Roman_senator) with portrait busts (/wiki/Bust_(sculpture)) of ancestors, one of which is supported by a herma (/wiki/Herma) : marble, late 1st century BC; head (not belonging): middle 1st century BC. [53] (#cite_note-53) Patronage (/wiki/Patronage_in_ancient_Rome) was a cornerstone of Roman politics, business and social relationships. A good patron offered advancement, security, honour, wealth, government contracts and other business opportunities to his client, who might be further down in the social or economic scale, or more rarely, his equal or superior. [54] (#cite_note-54) A good client canvassed political support for his patron, or his patron's nominee; he advanced his patron's interests using his own business, family and personal connections. Freedmen with an aptitude for business could become extremely wealthy; but to negotiate citizenship for themselves, or more likely their sons, they had to find a patron prepared to commend them. Clients seeking patronage had to attend the patron's early-morning formal salutatio ("greeting session"), held in the semi-public, grand reception room ( atrium (/wiki/Atrium_(architecture)) ) of his family house ( domus (/wiki/Domus) ). [55] (#cite_note-55) Citizen-clients were expected to wear the toga appropriate to their status, and to wear it correctly and smartly or risk affront to their host. [56] (#cite_note-56) Martial (/wiki/Martial) and his friend Juvenal (/wiki/Juvenal) suffered the system as clients for years, and found the whole business demeaning. A client had to be at his patron's beck and call, to perform whatever "togate works" were required; and the patron might even expect to be addressed as " domine " (lord, or master); a citizen-client of the equestrian class (/wiki/Equites) , superior to all lesser mortals by virtue of rank and costume, might thus approach the shameful condition of dependent servitude. For a client whose patron was another's client, the potential for shame was still worse. Even as a satirical analogy, the equation of togate client and slave would have shocked those who cherished the toga as a symbol of personal dignity and auctoritas – a meaning underlined during the Saturnalia (/wiki/Saturnalia) festival, when the toga was "very consciously put aside", in a ritualised, strictly limited inversion of the master-slave relationship. [57] (#cite_note-57) Patrons were few, and most had to compete with their peers to attract the best, most useful clients. Clients were many, and those of least interest to the patron had to scrabble for notice among the "togate horde" ( turbae togatae ). One in a dirty or patched toga would likely be subject to ridicule; or he might, if sufficiently dogged and persistent, secure a pittance of cash, or perhaps a dinner. When the patron left his house to conduct his business of the day at the law courts, forum or wherever else, escorted (if a magistrate) by his togate lictors (/wiki/Lictor) , his clients must form his retinue. Each togate client represented a potential vote: [58] (#cite_note-58) to impress his peers and inferiors, and stay ahead in the game, a patron should have as many high-quality clients as possible; or at least, he should seem to. Martial has one patron hire a herd ( grex ) of fake clients in togas, then pawn his ring to pay for his evening meal. [59] (#cite_note-59) [60] (#cite_note-60) The emperor Marcus Aurelius (/wiki/Marcus_Aurelius) , rather than wear the "dress to which his rank entitled him" at his own salutationes , chose to wear a plain white citizen's toga instead; an act of modesty for any patron, unlike Caligula (/wiki/Caligula) , who wore a triumphal toga picta or any other garment he chose, according to whim; or Nero (/wiki/Nero) , who caused considerable offence when he received visiting senators while dressed in a tunic embroidered with flowers, topped off with a muslin neckerchief. [61] (#cite_note-61) Oratory [ edit ] The Orator (/wiki/The_Orator) , c. 100 BC , an Etrusco (/wiki/Etruscan_art) - Roman (/wiki/Roman_sculpture) bronze sculpture (/wiki/Bronze_sculpture) depicting Aule Metele (Latin: Aulus Metellus), an Etruscan (/wiki/Etruscan_civilization) man of Roman senatorial rank, engaging in rhetoric (/wiki/Rhetoric) . He wears senatorial shoes, and a toga praetexta of "skimpy" ( exigua ) Republican type. [62] (#cite_note-62) The statue features an inscription in the Etruscan alphabet (/wiki/Etruscan_alphabet) . In oratory, the toga came into its own. Quintilian (/wiki/Quintilian) 's Institutio Oratoria (/wiki/Institutio_Oratoria) (circa 95 AD) offers advice on how best to plead cases at Rome's law-courts, before the watching multitude's informed and critical eye. Effective pleading was a calculated artistic performance, but must seem utterly natural. First impressions counted; the lawyer must present himself as a Roman should: "virile and splendid" in his toga, with statuesque posture and "natural good looks". He should be well groomed – but not too well; no primping of the hair, jewellery or any other "feminine" perversions of a Roman man's proper appearance. Quintilian gives precise instructions on the correct use of the toga – its cut, style, and the arrangements of its folds. Its fabric could be old-style rough wool, or new and smoother if preferred – but definitely not silk. The orator's movements should be dignified, and to the point; he should move only as he must, to address a particular person, a particular section of the audience. He should employ to good effect that subtle "language of the hands" for which Roman oratory was famed; no extravagant gestures, no wiggling of the shoulders, no moving "like a dancer". [63] (#cite_note-63) [64] (#cite_note-64) To a great extent, the toga itself determined the orator's style of delivery: "we should not cover the shoulder and the whole of the throat, otherwise our dress will be unduly narrowed and will lose the impressive effect produced by breadth at the chest. The left arm should only be raised so far as to form a right angle at the elbow, while the edge of the toga should fall in equal lengths on either side." If, on the other hand, the "toga falls down at the beginning of our speech, or when we have only proceeded but a little way, the failure to replace it is a sign of indifference, or sloth, or sheer ignorance of the way in which clothes should be worn". By the time he had presented his case, the orator was likely to be hot and sweaty; but even this could be employed to good effect. [65] (#cite_note-65) In public morals [ edit ] Roman moralists "placed an ideological premium on the simple and the frugal". [66] (#cite_note-Edmondson_2008_33-66) Aulus Gellius (/wiki/Aulus_Gellius) claimed that the earliest Romans, famously tough, virile and dignified, had worn togas with no undergarment; not even a skimpy tunic. [67] (#cite_note-67) Towards the end of the Republic, the arch-conservative Cato the Younger (/wiki/Cato_the_Younger) favoured the shorter, ancient Republican type of toga; it was dark and "scanty" ( exigua ), and Cato wore it without tunic or shoes; all this would have been recognised as an expression of his moral probity. [68] (#cite_note-68) Die-hard Roman traditionalists deplored an ever-increasing Roman appetite for ostentation, "un-Roman" comfort and luxuries, and sartorial offences such as Celtic trousers, brightly coloured Syrian robes and cloaks. The manly toga itself could signify corruption, if worn too loosely, or worn over a long-sleeved, "effeminate" tunic, or woven too fine and thin, near transparent. [69] (#cite_note-69) Appian (/wiki/Appian) 's history of Rome finds its strife-torn Late Republic tottering at the edge of chaos; most seem to dress as they like, not as they ought: "For now the Roman people are much mixed with foreigners, there is equal citizenship for freedmen, and slaves dress like their masters. With the exception of the Senators, free citizens and slaves wear the same costume." [70] (#cite_note-70) The Augustan Principate (/wiki/Principate) brought peace, and declared its intent as the restoration of true Republican order, morality and tradition. Augustus (/wiki/Augustus) wearing a toga capite velato ("with covered head"). A knee-length loop of fabric (left) forms the sinus ; a smaller loop at waist level forms the umbo , which functions as a pocket. Circa c. 12 BC ( Via Labicana Augustus (/wiki/Via_Labicana_Augustus) ) . Augustus (/wiki/Augustus) was determined to bring back "the traditional style" (the toga). He ordered that any theatre-goer in dark (or coloured or dirty) clothing be sent to the back seats, traditionally reserved for those who had no toga; ordinary or common women, freedmen, low-class foreigners and slaves. He reserved the most honourable seats, front of house, for senators and equites ; this was how it had always been, before the chaos of the civil wars; or rather, how it was supposed to have been. Infuriated by the sight of a darkly clad throng of men at a public meeting, he sarcastically quoted Virgil (/wiki/Virgil) at them, " Romanos, rerum dominos, gentemque togatam " ("Romans, lords of the world and the toga-wearing people"), then ordered that in future, the aediles (/wiki/Aedile) ban anyone not wearing the toga from the Forum and its environs – Rome's "civic heart". [71] (#cite_note-71) Augustus's reign saw the introduction of the toga rasa , an ordinary toga whose rough fibres were teased from the woven nap, then shaved back to a smoother, more comfortable finish. By Pliny (/wiki/Pliny_the_elder) 's day (circa 70 AD) this was probably standard among the elite. [72] (#cite_note-72) Pliny also describes a glossy, smooth, lightweight but dense fabric woven from poppy-stem fibres and flax, in use from at least the time of the Punic Wars. Though probably appropriate for a "summer toga", it was criticised for its improper luxuriance. [73] (#cite_note-73) Women [ edit ] Some Romans believed that in earlier times, both genders and all classes had worn the toga. Radicke (2002) claims that this belief goes back to a Late Antique scholiast misreading of earlier Roman writings. [74] (#cite_note-74) [75] (#cite_note-:2-75) Women could also be citizens, but by the mid-to-late Republican era, respectable women were stolatae ( stola (/wiki/Stola) -wearing), expected to embody and display an appropriate set of female virtues: Vout cites pudicitia (/wiki/Pudicitia) and fides (/wiki/Fides_(deity)) as examples. Women's adoption of the stola may have paralleled the increasing identification of the toga with citizen men, but this seems to have been a far from straightforward process. An equestrian statue (/wiki/Equestrian_statue) , described by Pliny the Elder as "ancient", showed the early Republican heroine Cloelia (/wiki/Cloelia) on horseback, wearing a toga. [76] (#cite_note-76) The unmarried daughters of respectable, reasonably well-off citizens sometimes wore the toga praetexta until puberty or marriage, when they adopted the stola (/wiki/Stola) , [77] (#cite_note-77) which they wore over a full-length, usually long-sleeved tunic. Higher-class female prostitutes ( meretrices (/wiki/Meretrix) ) and women divorced for adultery were denied the stola . Meretrices might have been expected or perhaps compelled, at least in public, to wear the "female toga" ( toga muliebris ). [78] (#cite_note-78) This use of the toga appears unique; all others categorised as "infamous and disreputable" (/wiki/Infamia) were explicitly forbidden to wear it. In this context, modern sources understand the toga – or perhaps merely the description of particular women as togata – as an instrument of inversion and realignment; a respectable (thus stola -clad) woman should be demure, sexually passive, modest and obedient, morally impeccable. The archetypical meretrix of Roman literature dresses gaudily and provocatively. Edwards (1997) describes her as "antithetical to the Roman male citizen". [2] (#cite_note-Edwards-2) An adulterous matron betrayed her family and reputation; and if found guilty, and divorced, the law forbade her remarriage to a Roman citizen. In the public gaze, she was aligned with the meretrix . [79] (#cite_note-79) [80] (#cite_note-80) When worn by a woman in this later era, the toga would have been a "blatant display" of her "exclusion from the respectable Roman hierarchy". [2] (#cite_note-Edwards-2) However, the view that a convicted adulteress ( moecha damnata ) actually wore a toga in public has been challenged; Radicke believes that the only prostitutes who could be made to wear particular items of clothing were unfree, compelled by their owners or pimps to wear the relatively shorter, "skimpy", less costly toga exigua , more revealing, easily opened and thus convenient to their profession. [75] (#cite_note-:2-75) Roman military [ edit ] Togate statue of an emperor in porphyry (/wiki/Porphyry_(geology)) , now in the Curia Julia (/wiki/Curia_Julia) . Until the so-called " Marian reforms (/wiki/Marian_reforms) " of the Late Republic, the lower ranks of Rome's military forces were "farmer-soldiers", a militia of citizen smallholders conscripted for the duration of hostilities, [81] (#cite_note-81) expected to provide their own arms and armour. Citizens of higher status served in senior military posts as a foundation for their progress to high civil office (see cursus honorum (/wiki/Cursus_honorum) ). The Romans believed that in Rome's earliest days, its military had gone to war in togas, hitching them up and back for action by using what became known as the " Gabine cinch (/wiki/Cinctus_Gabinus) ". [82] (#cite_note-82) In 206 BC, Scipio Africanus (/wiki/Scipio_Africanus) was sent 1,200 togas and 12,000 tunics for his operations in North Africa. As part of a peace settlement of 205 BC, two formerly rebellious Spanish tribes provided Roman troops with togas and heavy cloaks. In the Macedonian campaign of 169 BC, the army was sent 6,000 togas and 30,000 tunics. [83] (#cite_note-Olson-83) From at least the mid-Republic on, the military reserved their togas for formal leisure and religious festivals; the tunic and sagum (/wiki/Sagum) (heavy rectangular cloak held on the shoulder with a brooch) were used or preferred for active duty. Togate statue of Antoninus Pius (/wiki/Antoninus_Pius) ( r. 138–161 ) in the Ny Carlsberg Glyptotek (/wiki/Ny_Carlsberg_Glyptotek) . Late republican practice and legal reform allowed the creation of standing armies, and opened a military career to any Roman citizen or freedman of good reputation. [84] (#cite_note-Phang-84) A soldier who showed the requisite "disciplined ferocity" in battle and was held in esteem by his peers and superiors could be promoted to higher rank: a plebeian (/wiki/Plebeian) could achieve equestrian (/wiki/Equestrian_order) status. [85] (#cite_note-85) Non-citizens and foreign-born auxiliaries given honourable discharge (/wiki/Honesta_missio) were usually granted citizenship, land or stipend, the right to wear the toga, and an obligation to the patron who had granted these honours; usually their senior officer. A dishonourable discharge meant infamia (/wiki/Infamia) . [86] (#cite_note-86) Colonies of retired veterans were scattered throughout the Empire. In literary stereotype, civilians are routinely bullied by burly soldiers, inclined to throw their weight around. [87] (#cite_note-87) Though soldiers were citizens, Cicero typifies the former as " sagum wearing" and the latter as " togati ". He employs the phrase cedant arma togae ("let arms yield to the toga"), meaning "may peace replace war", or "may military power yield to civilian power", in the context of his own uneasy alliance with Pompey (/wiki/Pompey) . He intended it as metonym, linking his own "power to command" as consul ( imperator (/wiki/Imperium) togatus ) with Pompey's as general ( imperator armatus ); but it was interpreted as a request to step down. Cicero, having lost Pompey's ever-wavering support, was driven to exile. [88] (#cite_note-88) In reality, arms rarely yielded to civilian power. During the early Roman Imperial era, members of the Praetorian Guard (/wiki/Praetorian_Guard) (the emperor's personal guard as "First Citizen", and a military force under his personal command), concealed their weapons under white, civilian-style togas when on duty in the city, offering the reassuring illusion that they represented a traditional Republican, civilian authority, rather than the military arm of an Imperial autocracy. [84] (#cite_note-Phang-84) [89] (#cite_note-89) In religion [ edit ] Statuette of a genius of a 1st-century AD official of the senatorial class, wearing a toga praetexta and with covered head, in priestly attitude. Citizens attending Rome's frequent religious festivals (/wiki/Roman_festivals) and associated games (/wiki/Ludi) were expected to wear the toga. [83] (#cite_note-Olson-83) The toga praetexta was the normal garb for most Roman priesthoods, which tended to be the preserve of high status citizens. When offering sacrifice, libation (/wiki/Libation) and prayer, and when performing augury (/wiki/Augury) , the officiant priest covered his head with a fold of his toga, drawn up from the back: the ritual was thus performed capite velato (with covered head). This was believed a distinctively Roman form, [90] (#cite_note-90) in contrast to Etruscan, Greek and other foreign practices. The Etruscans seem to have sacrificed bareheaded ( capite aperto ). [91] (#cite_note-91) In Rome, the so-called ritus graecus (/wiki/Glossary_of_ancient_Roman_religion#ritus_graecus) ("Greek rite") was used for deities believed Greek in origin or character; the officiant, even if a Roman citizen, wore Greek-style robes with wreathed or bare head, not the toga. [92] (#cite_note-92) It has been argued that the Roman expression of piety capite velato influenced Paul (/wiki/St._Paul) 's prohibition against Christian men praying with covered heads: "Any man who prays or prophesies with his head covered dishonors his head." [93] (#cite_note-93) An officiant capite velato who needed free use of both hands to perform ritual—as while plowing the sulcus primigenius (/wiki/Sulcus_primigenius) undertaken at the founding of new colonies (/wiki/Roman_colonia) —could employ the "Gabine cinch" or "robe" (/wiki/Cinctus_Gabinus) ( cinctus Gabinus ) or "rite" ( ritus Gabinus ) which tied the toga back. [94] (#cite_note-94) [95] (#cite_note-95) This style, later said to have been part of Etruscan priestly dress (/wiki/Etruscan_religion) , [96] (#cite_note-96) was associated by the Romans with their early wars with nearby Gabii (/wiki/Gabii) [97] (#cite_note-97) and was thus used during Roman declarations of war (/wiki/Declarations_of_war) . [98] (#cite_note-98) Materials [ edit ] Togate statue in the Archaeological Museum of Olympia (/wiki/Archaeological_Museum_of_Olympia) The traditional toga was made of wool, which was thought to possess powers to avert misfortune (/wiki/Apotropaic_magic) and the evil eye (/wiki/Evil_eye) ; the toga praetexta (used by magistrates, priests and freeborn youths) was always woollen. [9] (#cite_note-Sebesta_2001_47-9) Wool-working was thought a highly respectable occupation for Roman women. A traditional, high-status mater familias (/wiki/Mater_familias) demonstrated her industry and frugality by placing wool-baskets, spindles and looms in the household's semi-public reception area, the atrium (/wiki/Atrium_(architecture)) . [99] (#cite_note-99) Augustus was particularly proud that his wife and daughter had set the best possible example to other Roman women by, allegedly, spinning and weaving his clothing. [100] (#cite_note-100) Hand-woven cloth was slow and costly to produce, and compared to simpler forms of clothing, the toga used an extravagant amount of it. To minimise waste, the smaller, old-style forms of toga may have been woven as a single, seamless, selvedged piece; the later, larger versions may have been made from several pieces sewn together; size seems to have counted for a lot. [101] (#cite_note-101) More cloth signified greater wealth and usually, though not invariably, higher rank. The purple-red border of the toga praetexta was woven onto the toga using a process known as " tablet weaving (/wiki/Tablet_weaving) "; such applied borders are a feature of Etruscan dress. [102] (#cite_note-102) Modern sources broadly agree that if made from a single piece of fabric, the toga of a high status Roman in the late Republic would have required a piece approximately 12 ft (3.7 m) in length; in the Imperial era, around 18 ft (5.5 m), a third more than its predecessor, and in the late Imperial era around 8 ft (2.4 m) wide and up to 18–20 ft (5.5–6.1 m) in length for the most complex, pleated forms. [103] (#cite_note-Stone_2001_13–30-103) Features and styles [ edit ] The toga was draped, rather than fastened, around the body, and was held in position by the weight and friction of its fabric. Supposedly, no pins or brooches were employed. The more voluminous and complex the style, the more assistance would have been required to achieve the desired effect. In classical statuary, draped togas consistently show certain features and folds, identified and named in contemporary literature. Portrait bust of the emperor Gordian III (/wiki/Gordian_III) wearing a toga contabulata ("banded toga"). The sinus (literally, a bay or inlet) appears in the Imperial era as a loose over-fold, slung from beneath the left arm, downwards across the chest, then upwards to the right shoulder. Early examples were slender, but later forms were much fuller; the loop hangs at knee-length, suspended there by draping over the crook of the right arm. [103] (#cite_note-Stone_2001_13–30-103) The umbo (literally "knob") was a pouch of the toga's fabric pulled out over the balteus (the diagonal section of the toga across the chest) in imperial-era forms of the toga. Its added weight and friction would have helped (though not very effectively) secure the toga's fabric onto the left shoulder. As the toga developed, the umbo grew in size. [104] (#cite_note-104) The most complex togas appear on high-quality portrait busts and imperial reliefs of the mid-to-late Empire, probably reserved for emperors and the highest civil officials. The so-called "banded" or "stacked" toga (Latinised as toga contabulata ) appeared in the late 2nd century AD and was distinguished by its broad, smooth, slab-like panels or swathes of pleated material, more or less correspondent with umbo , sinus and balteus , or applied over the same. On statuary, one swathe of fabric rises from low between the legs, and is laid over the left shoulder; another more or less follows the upper edge of the sinus ; yet another follows the lower edge of a more-or-less vestigial balteus then descends to the upper shin. As in other forms, the sinus itself is hung over the crook of the right arm. [105] (#cite_note-105) If its full-length representations are accurate, it would have severely constrained its wearer's movements. Dressing in a toga contabulata would have taken some time, and specialist assistance. When not in use, it required careful storage in some form of press or hanger to keep it in shape. Such inconvenient features of the later toga are confirmed by Tertullian (/wiki/Tertullian) , who preferred the pallium (/wiki/Pallium_(Roman_cloak)) . [106] (#cite_note-106) High-status (consular or senatorial) images from the late 4th century show a further ornate variation, known as the "Broad Eastern Toga"; it hung to the mid-calf, was heavily embroidered, and was worn over two pallium -style undergarments, one of which had full length sleeves. Its sinus was draped over the left arm. [107] (#cite_note-Fejfer-107) Decline [ edit ] 4th-century gold glass (/wiki/Gold_glass) image of a married couple with the husband wearing a banded toga. In the long term, the toga saw both a gradual transformation and decline, punctuated by attempts to retain it as an essential feature of true Romanitas . It was never a popular garment; in the late 1st century, Tacitus (/wiki/Tacitus) could disparage the urban plebs (/wiki/Pleb) as a vulgus tunicatus ("tunic-wearing crowd"). [49] (#cite_note-George96-49) Hadrian (/wiki/Hadrian) issued an edict compelling equites and senators to wear the toga in public; the edict did not mention commoners. The extension of citizenship, from around 6 million citizens under Augustus to between 40 and 60 million under the "universal citizenship" of Caracalla (/wiki/Caracalla) 's Constitutio Antoniniana (/wiki/Constitutio_Antoniniana) (212 AD), probably further reduced whatever distinctive value the toga still held for commoners, and accelerated its abandonment among their class. [66] (#cite_note-Edmondson_2008_33-66) Meanwhile, the office-holding aristocracy adopted ever more elaborate, complex, costly and impractical forms of toga. [107] (#cite_note-Fejfer-107) The toga nevertheless remained the formal costume of the Roman senatorial elite. A law issued by co-emperors Gratian (/wiki/Gratian) , Valentinian II (/wiki/Valentinian_II) and Theodosius I (/wiki/Theodosius_I) in 382 AD ( Codex Theodosianus (/wiki/Codex_Theodosianus) 14.10.1) states that while senators in the city of Rome may wear the paenula (/wiki/Paenula) in daily life, they must wear the toga when attending their official duties. [108] (#cite_note-108) Failure to do so would result in the senator being stripped of rank and authority, and of the right to enter the Curia Julia (/wiki/Curia_Julia) . [109] (#cite_note-109) Byzantine Greek art and portraiture (/wiki/Byzantine_art) show the highest functionaries of court, church and state in magnificently wrought, extravagantly exclusive court dress and priestly robes; some at least are thought to be versions of the Imperial toga. [110] (#cite_note-110) In the West, the kings and aristocrats of new European kingdoms styled their dress after that of late military generals rather than the senatorial order, and the toga thus did not survive the end of centralized Roman governance. [111] (#cite_note-111) See also [ edit ] Ancient Rome portal (/wiki/Portal:Ancient_Rome) Fashion portal (/wiki/Portal:Fashion) Clothing in ancient Rome (/wiki/Clothing_in_ancient_Rome) Tricivara (/wiki/Tricivara) Toga party (/wiki/Toga_party) References [ edit ] Citations [ edit ] ^ (#cite_ref-1) Vout 1996 (#CITEREFVout1996) , p. 215 (Vout cites Servius, In Aenidem , 1.281 and Nonius, 14.867L for the former wearing of togas by women other than prostitutes and adulteresses). ^ Jump up to: a b c Edwards 1997 (#CITEREFEdwards1997) , pp. 81‒82. ^ (#cite_ref-3) Virgil. Aeneid , I.282; Martial, XIV.124. ^ (#cite_ref-4) Edmondson 2008 (#CITEREFEdmondson2008) , p. 26; Dolansky 2008 (#CITEREFDolansky2008) , pp. 55–60. ^ (#cite_ref-5) Swan, Peter Michael (2004). The Augustan Succession . Oxford University Press. p. 89. ISBN (/wiki/ISBN_(identifier)) 978-0-19-534714-2 . ^ (#cite_ref-6) Edmondson 2008 (#CITEREFEdmondson2008) , p. 28 and note 32. ^ (#cite_ref-7) Radicke, Jan (2022). "5 praetexta – a dress of young Roman girls" (https://www.degruyter.com/document/doi/10.1515/9783110711554-021/html) . Roman Women's Dress . Berlin: De Gruyter. pp. 355–364. doi (/wiki/Doi_(identifier)) : 10.1515/9783110711554-021 (https://doi.org/10.1515%2F9783110711554-021) . ISBN (/wiki/ISBN_(identifier)) 978-3-11-071155-4 . ^ (#cite_ref-8) Edmondson 2008 (#CITEREFEdmondson2008) , p. 26. Not all modern scholarship agrees that girls wore the toga praetexta ; see McGinn 1998 (#CITEREFMcGinn1998) , p. 160, note 163). ^ Jump up to: a b Sebesta 2001 (#CITEREFSebesta2001) , p. 47. ^ (#cite_ref-10) Livy, XXVII.8,8 and XXXIII.42 (as cited by The Dictionary of Greek and Roman Antiquities (/wiki/The_Dictionary_of_Greek_and_Roman_Antiquities) ). ^ (#cite_ref-11) Edmondson 2008 (#CITEREFEdmondson2008) , pp. 26–27 (including footnote 24), citing Isidore of Seville (/wiki/Isidore_of_Seville) , Etymologiae (/wiki/Etymologiae) , XIX.24, 6 and Polybius (/wiki/Polybius) , Historiae , X.4, 8. ^ (#cite_ref-12) Flower 1996 (#CITEREFFlower1996) , p. 102. ^ (#cite_ref-13) Heskel 2001 (#CITEREFHeskel2001) , pp. 141‒142. ^ (#cite_ref-14) Edmondson 2008 (#CITEREFEdmondson2008) , pp. 26, 29; Koortbojian 2008 (#CITEREFKoortbojian2008) , pp. 80–83; Dewar 2008 (#CITEREFDewar2008) , pp. 225–227. ^ (#cite_ref-15) Edmondson 2008 (#CITEREFEdmondson2008) , pp. 26–27; Dewar 2008 (#CITEREFDewar2008) , pp. 219–234. ^ (#cite_ref-16) Edmondson 2008 (#CITEREFEdmondson2008) , p. 29; this lost work survives in fragmentary form through summary and citation by later Roman authors. ^ (#cite_ref-17) Goldman 2001 (#CITEREFGoldman2001) , pp. 229–230. ^ (#cite_ref-18) Rothe 2020 (#CITEREFRothe2020) , Chapter 2. ^ (#cite_ref-19) Goldman 2001a (#CITEREFGoldman2001a) , p. 217. ^ (#cite_ref-20) Sebesta 2001 (#CITEREFSebesta2001) , pp. 13, 222, 228, 47, note 5, citing Macrobius, 1.6.7‒13, 15‒16. ^ (#cite_ref-21) Cleland 2013 (#CITEREFCleland2013) , p. 1589. ^ (#cite_ref-22) Peruzzi 1980 (#CITEREFPeruzzi1980) , p. 87, citing Artemidorus, 2.3. The usual form of Rome's Arcadian-origins myth has Argos (/wiki/Argos,_Peloponnese) , not Arcadia, as Temenus's ancestral home. ^ (#cite_ref-23) Artemidorus 2020 (#CITEREFArtemidorus2020) , p. 254, commentary on Artemidorus's use of tēbennos in 2.3.6. ^ (#cite_ref-24) Peruzzi 1980 (#CITEREFPeruzzi1980) , pp. 89–90; Peruzzi 1975 (#CITEREFPeruzzi1975) , pp. 137–143. ^ (#cite_ref-25) This and other problems in identification are discussed in Beard 2007 (#CITEREFBeard2007) , pp. 306−308 and endnotes. ^ (#cite_ref-26) Flower 1996 (#CITEREFFlower1996) , p. 118: "The best model for understanding Roman sumptuary legislation is that of aristocratic self-preservation within a highly competitive society which valued overt display of prestige above all else." Sumptuary laws (/wiki/Sumptuary_law) were intended to limit competitive displays of personal wealth in the public sphere. ^ (#cite_ref-27) On coming of age, he also gave his protective bulla (/wiki/Bulla_(amulet)) into the care of the family Lares (/wiki/Lares) . ^ (#cite_ref-28) Bradley 2011 (#CITEREFBradley2011) , pp. 189, 194‒195; Dolansky 2008 (#CITEREFDolansky2008) , pp. 53‒54; Sebesta 2001 (#CITEREFSebesta2001) , p. 47. ^ (#cite_ref-29) Olson 2008 (#CITEREFOlson2008) , pp. 141‒146: A minority of young girls seem to have used the praetexta , perhaps because their parents embraced the self-conscious revivalism typified in Augustan legislation and mores . ^ (#cite_ref-30) Aubert 2014 (#CITEREFAubert2014) , pp. 175‒176, discussing the Lex Metilia Fullonibus Dicta of 220/217? BC, known only through its passing reference in Pliny's account of useful earths, including those employed in laundry. The best and most whitening compounds, which were also kind to coloured fabrics (such as those used in the praetextate stripe), probably cost more than ordinary Roman citizens could afford, so the togas of these status groups were laundered separately. The reasons for this law remain unclear: one scholar speculates that it was designed to protect "praetextate senators from the shame attached to the publicity of vastly unequal garb". ^ (#cite_ref-31) Respectable women, the sons of freeborn men, and provincials during the early empire could hold lesser forms of citizenship; they were protected by law but could not vote, or stand for public office. Citizenship could be inherited, granted, up or down-graded, and removed for specific offences. ^ (#cite_ref-32) Bispham 2007 (#CITEREFBispham2007) , p. 61. ^ (#cite_ref-33) Exiles were deprived of citizenship and the protection of Roman law. ^ (#cite_ref-34) Edmondson 2008 (#CITEREFEdmondson2008) , p. 25. ^ (#cite_ref-35) Women probably sat or stood at the very back – apart from the sacred Vestals, who had their own box at the front. ^ (#cite_ref-36) Edmondson 2008 (#CITEREFEdmondson2008) , pp. 31‒33. ^ (#cite_ref-37) Vout 1996 (#CITEREFVout1996) , p. 218ff. ^ (#cite_ref-38) Vout 1996 (#CITEREFVout1996) , p. 214. ^ (#cite_ref-39) Edmondson 2008 (#CITEREFEdmondson2008) , p. 38. ^ (#cite_ref-40) Koortbojian 2008 (#CITEREFKoortbojian2008) , pp. 77‒79. Pliny the Elder (/wiki/Pliny_the_Elder) (circa 70 AD) describes togate statuary as the older, traditional form of public honour, and cuirassed statuary of famous generals as a relatively later development. An individual might hold different offices in succession, or simultaneously, each represented by a different statuary type, cuirassed as a general, and togate as a holder of state office or priest of a state cult. ^ Jump up to: a b George 2008 (#CITEREFGeorge2008) , p. 99. ^ (#cite_ref-42) Armstrong 2012 (#CITEREFArmstrong2012) , p. 65, citing Thorstein Veblen. ^ (#cite_ref-43) Stone 2001 (#CITEREFStone2001) , pp. 43, note 59, citing Martial, 10.74.3, 11.24.11 and 4.66. ^ (#cite_ref-44) Vout 1996 (#CITEREFVout1996) , pp. 204‒220; throughout the empire, there is evidence that old clothing was recycled, repaired and handed down the social scale, from one owner to the next, until it fell to rags. Centonarii ("patch workers") made a living by sewing clothing and other items from recycled fabric patches. The cost of a new, simple hooded cloak, using far less material than a toga, might represent three fifths of an individual's annual minimum subsistence cost: see Vout 1996 (#CITEREFVout1996) , pp. 211‒212. ^ (#cite_ref-45) Croom 2010 (#CITEREFCroom2010) , p. 53, citing Horace (/wiki/Horace) , Epodes , 4.8. ^ (#cite_ref-46) Vout 1996 (#CITEREFVout1996) , p. 209. ^ (#cite_ref-47) Stone 2001 (#CITEREFStone2001) , p. 17, citing Juvenal, Satires , 3.171‒172, Martial, 10.47.5. ^ (#cite_ref-48) Vout 1996 (#CITEREFVout1996) , pp. 205‒208: Contra Goldman's description of Roman clothing, including the toga, as "simple and elegant, practical and comfortable" in Goldman 2001 (#CITEREFGoldman2001) , p. 217. ^ Jump up to: a b George 2008 (#CITEREFGeorge2008) , p. 96. ^ (#cite_ref-50) Toynbee 1996 (#CITEREFToynbee1996) , pp. 43–44. ^ (#cite_ref-51) O'Sullivan 2011 (#CITEREFO'Sullivan2011) , pp. 19, 51‒58. ^ (#cite_ref-52) Vout 1996 (#CITEREFVout1996) , pp. 205‒208. ^ (#cite_ref-53) The busts are presumed in some scholarship as marble representations of wax imagines (/wiki/Roman_funerals_and_burial#Funerary_art) : see Flower 1996 (#CITEREFFlower1996) particularly the discussion of the Togatus Barberini ancestor busts on pp. 5‒7. ^ (#cite_ref-54) Cash-strapped or debtor citizens with a respectable lineage might have to seek patronage from rich freedmen, who ranked as inferiors and non-citizens. ^ (#cite_ref-55) George 2008 (#CITEREFGeorge2008) , p. 101. ^ (#cite_ref-56) Vout 1996 (#CITEREFVout1996) , p. 216. ^ (#cite_ref-57) George 2008 (#CITEREFGeorge2008) , pp. 101, 103–106, slaves were considered as chattels, and owed their master absolute, unconditional submission. ^ (#cite_ref-58) A citizen's voting power was directly proportionate to his rank, status and wealth. ^ (#cite_ref-59) Edmondson 2008 (#CITEREFEdmondson2008) , p. 24; George 2008 (#CITEREFGeorge2008) , pp. 100–102. ^ (#cite_ref-60) Armstrong 2012 (#CITEREFArmstrong2012) , p. 64: At salutationes and during any other "business times", equites were expected to wear a gold ring. Along with their toga, striped tunic and formal shoes (or calcei ), this signified their status. ^ (#cite_ref-61) Edmondson 2008 (#CITEREFEdmondson2008) , pp. 24, 36‒37, citing Dio Cassius, 71.35.4 and Suetonius, Lives . ^ (#cite_ref-62) Ceccarelli 2016 (#CITEREFCeccarelli2016) , p. 33. ^ (#cite_ref-63) Bradley 2008 (#CITEREFBradley2008) , p. 249, citing Quintilian. ^ (#cite_ref-64) Dugan 2005 (#CITEREFDugan2005) , p. 156, note 35, citing Wyke (1994): "The Roman male citizen was defined through his body: the dignity and authority of a senator being constituted by his gait, his manner of wearing his toga, his oratorical delivery, his gestures." ^ (#cite_ref-65) Quintilian. Institutio Oratoria , 11.3.131‒149 (https://penelope.uchicago.edu/Thayer/E/Roman/Texts/Quintilian/Institutio_Oratoria/11C*.html#) . ^ Jump up to: a b Edmondson 2008 (#CITEREFEdmondson2008) , p. 33. ^ (#cite_ref-67) Vout 1996 (#CITEREFVout1996) , pp. 214‒215, citing Aulus Gellius, 6.123–4. ^ (#cite_ref-68) Stone 2001 (#CITEREFStone2001) , p. 16: Some modern sources consider exigua as a republican type, others interpret it as poetic. ^ (#cite_ref-69) Roller 2012 (#CITEREFRoller2012) , pp. 303, "transparent" toga, following Juvenal (/wiki/Juvenal) 's Satire , 2, 65‒78. Juvenal's invective associates transparency with prostitute's clothing. The aristocratic divorce-and-adultery lawyer Creticus wears a "transparent" toga, which far from decently covering him, shows him for "what he really is", a cinaedus (/wiki/Homosexuality_in_ancient_Rome#Cinaedus) is a derogatory term for a passive homosexual. ^ (#cite_ref-70) Rothfus 2010 (#CITEREFRothfus2010) , p. 1, citing Appian, B. Civ. , 2.17.120. ^ (#cite_ref-71) Edmondson 2008 (#CITEREFEdmondson2008) , pp. 33, citing Suetonius, Augustus , 40.5, 44.2, and Cassius Dio (/wiki/Cassius_Dio) , 49.16.1. ^ (#cite_ref-72) Sebesta 2001 (#CITEREFSebesta2001) , p. 68. ^ (#cite_ref-73) Stone 2001 (#CITEREFStone2001) , p. 39, noted 9, citing Pliny the Elder, Natural History , 8.74.195. ^ (#cite_ref-74) Radicke, Jan (2022). "2 Varro (VPR 306) – the toga: a Primeval Unisex Garment?" (https://www.degruyter.com/document/doi/10.1515/9783110711554-049/html) . Roman Women's Dress . Berlin: De Gruyter. pp. 578–581. doi (/wiki/Doi_(identifier)) : 10.1515/9783110711554-049 (https://doi.org/10.1515%2F9783110711554-049) . ISBN (/wiki/ISBN_(identifier)) 978-3-11-071155-4 . ^ Jump up to: a b Radicke, Jan (2022). "6 toga – an attire of unfree prostitutes" (https://www.degruyter.com/document/doi/10.1515/9783110711554-022/html) . Roman Women's Dress . Berlin: De Gruyter. pp. 365–374. doi (/wiki/Doi_(identifier)) : 10.1515/9783110711554-022 (https://doi.org/10.1515%2F9783110711554-022) . ISBN (/wiki/ISBN_(identifier)) 978-3-11-071155-4 . ^ (#cite_ref-76) Olson 2008 (#CITEREFOlson2008) , p. 151, note 18, citing Pliny (/wiki/Pliny_the_Elder) 's account of an equestrian statue to the legendary, early Republican heroine. ^ (#cite_ref-77) Radicke, Jan (2022). "5 praetexta – a dress of young Roman girls" (https://www.degruyter.com/document/doi/10.1515/9783110711554-021/html) . Roman Women's Dress . Berlin: De Gruyter. pp. 355–364. doi (/wiki/Doi_(identifier)) : 10.1515/9783110711554-021 (https://doi.org/10.1515%2F9783110711554-021) . ISBN (/wiki/ISBN_(identifier)) 978-3-11-071155-4 . ^ (#cite_ref-78) van den Berg 2012 (#CITEREFvan_den_Berg2012) , p. 267. ^ (#cite_ref-79) Vout 1996 (#CITEREFVout1996) , pp. 205‒208, 215, citing Servius, In Aenidem , 1.281 and Nonius, 14.867L; for the former wearing of togas by women other than prostitutes and adulteresses. Some modern scholars doubt the "togate adulteress" as more than literary and social invective: cf Dixon 2014 (#CITEREFDixon2014) , pp. 298‒304. ^ (#cite_ref-80) Keith 2008 (#CITEREFKeith2008) , pp. 197‒198; Sebesta 2001 (#CITEREFSebesta2001) , p. 53. ^ (#cite_ref-81) Phang 2008 (#CITEREFPhang2008) , p. 3. ^ (#cite_ref-82) Stone 2001 (#CITEREFStone2001) , p. 13. ^ Jump up to: a b Olson 2008 (#CITEREFOlson2008) , p. 151, note 18. ^ Jump up to: a b Phang 2008 (#CITEREFPhang2008) , pp. 77‒78. ^ (#cite_ref-85) Phang 2008 (#CITEREFPhang2008) , pp. 12‒17, 49‒50. ^ (#cite_ref-86) Phang 2008 (#CITEREFPhang2008) , p. 112. ^ (#cite_ref-87) Phang 2008 (#CITEREFPhang2008) , p. 266. ^ (#cite_ref-88) Dugan 2005 (#CITEREFDugan2005) , pp. 61‒65, citing Cicero's Ad Pisonem (Against Piso). ^ (#cite_ref-89) Rankov & Hook 1994 (#CITEREFRankovHook1994) , p. 31. ^ (#cite_ref-90) Palmer 1996 (#CITEREFPalmer1996) , p. 83. ^ (#cite_ref-91) Söderlind 2002 (#CITEREFSöderlind2002) , p. 370. ^ (#cite_ref-92) Schilling 1992 (#CITEREFSchilling1992) , p. 78. ^ (#cite_ref-93) 1 Corinthians 11:4 (https://bible.oremus.org/?passage=1%20Corinthians%2011:4&version=nrsv) ; Elliott 2006 (#CITEREFElliott2006) , p. 210; Winter 2001 (#CITEREFWinter2001) , pp. 121–123 citing as the standard source Gill 1990 (#CITEREFGill1990) , pp. 245‒260; Fantham 2008 (#CITEREFFantham2008) , p. 159, citing Richard Oster. ^ (#cite_ref-94) Scheid 2003 (#CITEREFScheid2003) , p. 80. ^ (#cite_ref-95) Scullard 1980 (#CITEREFScullard1980) , p. 455: "[...] the Gabine robe ( cinctus Gabinus ) was worn by Roman officials as a sacred vestment on certain occasions." ^ (#cite_ref-96) Servius, note to Aeneid 7.612; Larissa Bonfante (/wiki/Larissa_Bonfante) , "Ritual Dress," p. 185, and Fay Glinister, "Veiled and Unveiled: Uncovering Roman Influence in Hellenistic Italy," p. 197, both in Votives, Places, and Rituals in Etruscan Religion: Studies in Honor of Jean MacIntosh Turfa (/wiki/Jean_MacIntosh_Turfa) (Brill, 2009). ^ (#cite_ref-97) Anderson, W.C.F. (1890), "Toga" (https://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.04.0063:id=toga-cn) , Dictionary of Greek and Roman Antiquities , London: John Murray . ^ (#cite_ref-98) Servius, note to Aeneid 7.612; see also Bonfante 2009 (#CITEREFBonfante2009) , p. 185 and Glinister 2009 (#CITEREFGlinister2009) , p. 197. ^ (#cite_ref-99) In reality, she was the female equivalent of the romanticised citizen-farmer: see Hin 2014 (#CITEREFHin2014) , p. 153 and Shaw 2014 (#CITEREFShaw2014) , pp. 195‒197. ^ (#cite_ref-100) Culham 2014 (#CITEREFCulham2014) , pp. 153–154, citing Suetonius, Life of Augustus , 73. ^ (#cite_ref-101) Sebesta 2001 (#CITEREFSebesta2001) , pp. 43, note 59, citing Martial, 10.74.3, 11.24.11 and 4.66. ^ (#cite_ref-102) Meyers 2016 (#CITEREFMeyers2016) , p. 311. ^ Jump up to: a b Stone 2001 (#CITEREFStone2001) , pp. 13–30. ^ (#cite_ref-104) Métraux 2008 (#CITEREFMétraux2008) , pp. 282–286. ^ (#cite_ref-105) Modern reconstructions have employed applied panels of fabric, pins, and hidden stitches to achieve the effect; the underlying structure of the original remains unknown. ^ (#cite_ref-106) Stone 2001 (#CITEREFStone2001) , pp. 24–25, 38. ^ Jump up to: a b Fejfer 2008 (#CITEREFFejfer2008) , pp. 189–194. ^ (#cite_ref-108) Rothe 2020 (#CITEREFRothe2020) . ^ (#cite_ref-109) Pharr 2001 (#CITEREFPharr2001) , p. 415. ^ (#cite_ref-110) La Follette 2001 (#CITEREFLa_Follette2001) , p. 58 and footnote 90. ^ (#cite_ref-111) Wickham 2009 (#CITEREFWickham2009) , p. 106. 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Madison, WI: The University of Wisconsin Press. pp. 46–53. Schilling, Robert (1992) [1991]. "Roman Sacrifice". In Bonnefoy, Yves; Doniger, Wendy (eds.). Roman and European Mythologies . Chicago, IL: University of Chicago Press. pp. 77‒81. ISBN (/wiki/ISBN_(identifier)) 0-226-06455-7 . Scheid, John (2003). An Introduction to Roman Religion . Translated by Lloyd, Janet. Bloomington and Indianapolis: Indiana University Press. ISBN (/wiki/ISBN_(identifier)) 0-253-34377-1 . Scullard, Howard Hayes (1980) [1935]. A History of the Roman World: 753 to 146 BC (Fourth ed.). London and New York: Routledge. ISBN (/wiki/ISBN_(identifier)) 0-415-30504-7 . Shaw, Brent D. (2014) [2004]. "9: The Great Transformation: Slavery and the Free Republic". In Flower, Harriet I. (ed.). The Cambridge Companion to the Roman Republic (Second ed.). Cambridge: Cambridge University Press. pp. 187‒212. ISBN (/wiki/ISBN_(identifier)) 978-1-107-03224-8 . Söderlind, Martin (2002). Late Etruscan Votive Heads from Tessennano: Production, Distribution, Socio-Historical Context . Rome: "L'Erma" di Bretschneider. ISBN (/wiki/ISBN_(identifier)) 978-8-882-65186-2 . Stone, Shelley (2001). "1 The Toga: From National to Ceremonial Costume". In Sebesta, Judith Lynn; Bonfante, Larissa (eds.). The World of Roman Costume . Madison, WI: The University of Wisconsin Press. pp. 13–45. Toynbee, J. M. C. (1996) [1971]. Death and Burial in the Roman World . Baltimore and London: Johns Hopkins University Press (/wiki/Johns_Hopkins_University_Press) . ISBN (/wiki/ISBN_(identifier)) 978-0-801-85507-8 . van den Berg, Christopher S. (2012). "12 Imperial Satire and Rhetoric". In Braund, Susanna; Osgood, Josiah (eds.). A Companion to Persius and Juvenal . Oxford and Malden: Blackwell Publishing Ltd. pp. 262‒282. ISBN (/wiki/ISBN_(identifier)) 978-1-4051-9965-0 . Vout, Caroline (1996). "The Myth of the Toga: Understanding the History of Roman Dress" (https://doi.org/10.1093%2Fgr%2F43.2.204) . Greece & Rome . 43 (2): 204–220. doi (/wiki/Doi_(identifier)) : 10.1093/gr/43.2.204 (https://doi.org/10.1093%2Fgr%2F43.2.204) . JSTOR (/wiki/JSTOR_(identifier)) 643096 (https://www.jstor.org/stable/643096) . Wickham, Chris (2009). The Inheritance of Rome: A History of Europe from 400 to 1000 . London and New York: Penguin Books. ISBN (/wiki/ISBN_(identifier)) 978-0-670-02098-0 . Winter, Bruce W. (2001). After Paul Left Corinth: The Influence of Secular Ethics and Social Change . Grand Rapids, WI: Wm. B. Eerdmans. ISBN (/wiki/ISBN_(identifier)) 0-802-84898-2 . External links [ edit ] Wikimedia Commons has media related to Toga (https://commons.wikimedia.org/wiki/Category:Toga) . Doctor Toga (https://www.drtoga.org/) Toga (Nova Roma) – How to make a toga (http://www.novaroma.org/nr/Toga_(Nova_Roma)) William Smith's (https://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.04.0063:id=toga-cn) A Dictionary of Greek and Roman Antiquities on the toga (https://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.04.0063:id=toga-cn) 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) Justacorps (/wiki/Justacorps) Paenula (/wiki/Paenula) Peplos (/wiki/Peplos) Stola (/wiki/Stola) Toga Tunic (/wiki/Tunic) Xout lao (/wiki/Xout_lao) Tops (/wiki/Top_(clothing)) Basque 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Irish-born haute couture milliner Philip Treacy OBE (/wiki/Honorary_Officer_of_the_Order_of_the_British_Empire) Treacy at British Polo Day Morocco 2014 Born ( 1967-05-26 ) 26 May 1967 (age 57) [1] (#cite_note-clan-1) Ahascragh (/wiki/Ahascragh) , Galway (/wiki/Galway) , Ireland Education National College of Art and Design (/wiki/National_College_of_Art_and_Design) (NCAD) Dublin, (1987) Alma mater Royal College of Art (/wiki/Royal_College_of_Art) London, (MA, 1990) Occupation(s) Milliner (/wiki/Milliner) , hat designer, [a] (#cite_note-hat-3) designer Spouse Stefan Bartlett ( m. 2017) Awards British Accessory Designer of the Year (/wiki/The_Fashion_Awards) (1991, 1992, 1993, 1996, 1997) International Designer of the Year ( China Fashion Week (/wiki/China_Fashion_Week) , Shanghai, 2004) Doctorate of Fine Arts University College Dublin (/wiki/University_College_Dublin) (2006) Order of the British Empire (/wiki/Order_of_the_British_Empire) (OBE) ( 2007) Website Philip Treacy (http://www.philiptreacy.co.uk) Philip Anthony Treacy OBE (/wiki/Honorary_Officer_of_the_Order_of_the_British_Empire) (born 26 May 1967) is an Irish haute couture (/wiki/Haute_couture) milliner (/wiki/Hatmaking) , or hat designer, [a] (#cite_note-hat-3) who has been mostly based in London for his career, and who was described by Vogue (/wiki/Vogue_(magazine)) magazine as "perhaps the greatest living milliner". In 2000, Treacy became the first milliner in eighty years to be invited to exhibit at the Paris haute couture fashion shows (/wiki/Paris_Fashion_Week) . He has won British Accessory Designer of the Year at the British Fashion Awards (/wiki/British_Fashion_Awards) five times, and has received public honours in both Britain and Ireland. His designs have been displayed at the Victoria and Albert Museum (/wiki/Victoria_and_Albert_Museum) and the Metropolitan Museum of Art (/wiki/Metropolitan_Museum_of_Art) . In 1989, Treacy was discovered and then mentored by fashion editor Isabella Blow (/wiki/Isabella_Blow) , whom Treacy described as the "biggest inspiration" on his life. Blow would wear and promote Treacy's designs at important fashion events and helped Treacy to break into some of the main fashion houses, particularly Chanel (/wiki/Chanel) and Givenchy (/wiki/Givenchy) . Treacy is associated with celebrities such as Lady Gaga (/wiki/Lady_Gaga) , Madonna (/wiki/Madonna_(entertainer)) , and Sarah Jessica Parker (/wiki/Sarah_Jessica_Parker) . He has been associated with British royalty and has designed hats for royal occasions, including the fascinator (/wiki/Fascinator) (or "pretzel hat") worn by Princess Beatrice (/wiki/Princess_Beatrice) in 2011. Early life [ edit ] Philip Anthony Treacy was born on 26 May 1967 in the small village of Ahascragh (/wiki/Ahascragh) , near Ballinasloe (/wiki/Ballinasloe) , in County Galway (/wiki/County_Galway) in the Republic of Ireland (/wiki/Republic_of_Ireland) , whose population was circa 500. [1] (#cite_note-clan-1) [3] (#cite_note-4) Treacy says that his interest in sewing started at age five, [4] (#cite_note-kampen-5) and that his obsession with the weddings in the Catholic church across the road from his house inspired an early passion for fashion. [5] (#cite_note-egan-6) In 1985, at age 17, Treacy moved to Dublin (/wiki/Dublin) to study fashion at the National College of Art and Design (/wiki/National_College_of_Art_and_Design) , where he spent a six-week work experience with British milliner Stephen Jones (/wiki/Stephen_Jones_(milliner)) , and graduated in 1987. [6] (#cite_note-colm-7) In 1988, Treacy won an MA (/wiki/Master_of_Arts) scholarship for the Fashion Design course at the Royal College of Art (/wiki/Royal_College_of_Art) in London, and graduated in 1990 with first class honours. [6] (#cite_note-colm-7) [7] (#cite_note-irisharts-8) When I was interviewed [for the Royal College of Art] I didn’t know whether to play down the hats or play up the hats, but they were thinking of setting up a hat course so I became their guinea pig. After one day there I said to my tutor Sheilagh Brown (/wiki/Sheilagh_Brown) : “What should I do? Should I make hats or clothes?’ She said: ‘make hats.’ It was very practical, not a great revelation. — Philip Treacy, Irish Independent (/wiki/Irish_Independent) , February 2011 [4] (#cite_note-kampen-5) In 1989, he took one of his hats to Michael Roberts, fashion editor of Tatler (/wiki/Tatler) magazine, and his style editor Isabella Blow (/wiki/Isabella_Blow) . [8] (#cite_note-jayne-9) Blow asked Treacy to make a hat for her wedding, [5] (#cite_note-egan-6) and soon after in 1990, invited him to live with her and her new husband Detmar Blow, in their Belgravia (/wiki/Belgravia) home in London, where Treacy worked in their basement. [8] (#cite_note-jayne-9) Alexander McQueen (/wiki/Alexander_McQueen) , another Blow discovery, also shared her Belgravia home. [9] (#cite_note-bryony-10) [10] (#cite_note-11) In July 2002, the Design Museum (/wiki/Design_Museum) in London, hosted an exhibition of the 30 most iconic hats Treacy had designed for Blow, titled: When Philip met Isabella . [7] (#cite_note-irisharts-8) The exhibition was so well received that it went on a world tour for several years and drew an attendance of circa 43,000 when shown in Dublin in 2005. [7] (#cite_note-irisharts-8) In a 2011 interview, The Daily Telegraph (/wiki/The_Daily_Telegraph) said: "She made him famous. He made her look like an icon. When you think of the late, great Blow, you think of her in one of his creations, be it a giant disc or a replica sailing ship." [9] (#cite_note-bryony-10) My biggest inspiration has been Isabella Blow. ... In twenty years I have met all my heroes and for me nobody has surpassed her. She was incredible. I thought there must be others like her, but there wasn't. Everyone was boring in comparison to her. — Philip Treacy, Irish Independent (/wiki/Irish_Independent) , February 2011 [4] (#cite_note-kampen-5) Career [ edit ] Haute couture [ edit ] In 1991, aged 23, Treacy got his "big break" when asked by Karl Lagerfeld (/wiki/Karl_Lagerfeld) to come to the Chanel showrooms in Paris for what was to be the start of a long-term working relationship; [2] (#cite_note-examiner-2) the meeting was held on the prompting of Blow. [11] (#cite_note-flowerhats-12) The first hat that Treacy designed for Chanel appeared on the cover of British Vogue (/wiki/British_Vogue) worn by model Linda Evangelista (/wiki/Linda_Evangelista) ; the hat was called Twisted Birdcage and was photographed by French fashion photographer, Patrick Demarchelier (/wiki/Patrick_Demarchelier) . [b] (#cite_note-13) [12] (#cite_note-scmp-14) I was 23 and I'd just left [art] school, I didn't know whether to call him Mr. Lagerfeld or whatever. I was totally intimidated but Issie [Blow] was exactly herself. She just walked into the house of Chanel and said: "We'd like some tea please". I would design hats for Chanel for the next decade. — Philip Treacy, Irish Independent (/wiki/Irish_Independent) , February 2011 [4] (#cite_note-kampen-5) Philip Treacy's boutique, 69 Elizabeth Street, Belgravia, London. In 1991, Treacy opened his first showroom in London (pictured), and won the first of five British Accessory Designer of the Year awards. [5] (#cite_note-egan-6) Two years later, Treacy held his first fashion show during London Fashion Week (/wiki/London_Fashion_Week) in Harvey Nichols (/wiki/Harvey_Nichols) , with Naomi Campbell (/wiki/Naomi_Campbell) , Yasmin Le Bon (/wiki/Yasmin_Le_Bon) , Kate Moss (/wiki/Kate_Moss) , Christy Turlington (/wiki/Christy_Turlington) and Stella Tennant (/wiki/Stella_Tennant) modelling in return for keeping Treacy's hats, all of which were black. [5] (#cite_note-egan-6) [12] (#cite_note-scmp-14) In 1994, he opened up his boutique at 69 Elizabeth Street, in Belgravia, London, next door to Isabella Blow's residence at number 67. [11] (#cite_note-flowerhats-12) [12] (#cite_note-scmp-14) [13] (#cite_note-15) Treacy's first solo show in 1993 saw him debut on the fashion and celebrity radar when no fewer than five of the most famous supermodels of the era – Naomi Campbell, Yasmin Le Bon, Kate Moss, Stella Tennant, and Christy Turlington – appeared on his catwalk. Playing down his star appeal, Treacy is humble about his overnight success story. "London was in a lull then," he said. "The media went crazy when all those girls did my show, but it completely changed perceptions of the hat. — Philip Treacy, The Sydney Morning Herald (/wiki/The_Sydney_Morning_Herald) , 2007 [14] (#cite_note-smh-16) Treacy has designed hats for Alexander McQueen (another discovery of Isabella Blow), [c] (#cite_note-17) including his 1999 white collection for Givenchy (/wiki/Givenchy) in Paris, for Karl Lagerfeld at Chanel, and for Valentino (/wiki/Valentino_Garavani) , Ralph Lauren (/wiki/Ralph_Lauren) , Donna Karan (/wiki/Donna_Karan) , Versace (/wiki/Versace) and Rifat Ozbek (/wiki/Rifat_Ozbek) . In January 2000, he became the first milliner for eighty years to be invited to exhibit at the Paris shows. [d] (#cite_note-orch-18) [15] (#cite_note-guar-19) [16] (#cite_note-orchid2-20) In November 2015, Vogue magazine ran a feature of Treacy's 20 "most awe-inspiring chapeaux" from the runways. [17] (#cite_note-21) Wider fashion [ edit ] Treacy designed the Beauxbatons (/wiki/Beauxbatons) hats for Harry Potter and the Goblet of Fire (/wiki/Harry_Potter_and_the_Goblet_of_Fire_(film)) . Treacy has designed hats for films, including the Harry Potter (/wiki/Harry_Potter_(film_series)) film series, and most notably the Beauxbatons (/wiki/Beauxbatons) hat for Harry Potter and the Goblet of Fire (/wiki/Harry_Potter_and_the_Goblet_of_Fire_(film)) in 2005. [18] (#cite_note-22) Sarah Jessica Parker (/wiki/Sarah_Jessica_Parker) has worn his hats at Sex and the City premieres (2008, 2011), and Met Galas (/wiki/Met_Gala) (2013, 2015). [e] (#cite_note-24) Treacy designed Madonna (/wiki/Madonna_(entertainer)) 's gold headpiece for her 2012 Super Bowl XLVI halftime show (/wiki/Super_Bowl_XLVI_halftime_show) . [20] (#cite_note-25) Lady Gaga (/wiki/Lady_Gaga) described Treacy as "the greatest milliner of all time", while hosting his 2012 London Week fashion show. [21] (#cite_note-26) Notable designs for Lady Gaga include a telephone-shaped headpiece with a removable handset hat, worn for her appearance on Friday Night with Jonathan Ross (/wiki/Friday_Night_with_Jonathan_Ross) in 2010 (now in permanent display at Madame Tussauds (/wiki/Madame_Tussauds) ), [22] (#cite_note-27) and a lightning-bolt hat she wore for the 52nd Annual Grammy Awards (/wiki/52nd_Annual_Grammy_Awards) . [23] (#cite_note-28) [24] (#cite_note-29) As well as Isabella Blow, Sarah Jessica Parker, and Lady Gaga, notable muses for Treacy's hats are socialite Daphne Guinness (/wiki/Daphne_Guinness) , [25] (#cite_note-30) model Naomi Campbell, [2] (#cite_note-examiner-2) [26] (#cite_note-power-31) and singer, and model, Grace Jones (/wiki/Grace_Jones) , [27] (#cite_note-grace-32) who used Treacy as art director and designer for her 2009 The Hurricane Tour (/wiki/Hurricane_(Grace_Jones_album)#The_Hurricane_Tour) . [28] (#cite_note-33) In a July 2011 interview with The Guardian (/wiki/The_Guardian) , Treacy distilled what he felt a hat should do (a Treacy quote which is often reproduced): [29] (#cite_note-34) The Guardian : Does a person carry off a hat or a hat carry off a person? Philip Treacy : A person carries off the hat. Hats are about emotion. It is all about how it makes you feel. I like hats that make the heart beat faster. — Philip Treacy, The Guardian (/wiki/The_Guardian) , July 2011 [30] (#cite_note-guardian-35) Treacy had previously written a piece for The Guardian in May 2001 on what defines the "perfect hat". [31] (#cite_note-36) Royal occasions [ edit ] Princess Beatrice's fascinator (/wiki/Fascinator) "pretzel hat" by Philip Treacy in April 2011 An illustration of Philip Treacy's fascinator worn by Princess Beatrice Treacy's hats are also associated with English royalty, with thirty-seventh worn at the wedding of Prince William and Catherine Middleton (/wiki/Wedding_of_Prince_William_and_Catherine_Middleton) , [32] (#cite_note-37) including the controversial fascinator-style hat worn by Princess Beatrice of York (/wiki/Princess_Beatrice_of_York) (pictured). This so-called "pretzel hat" was auctioned for charity by Princess Beatrice on eBay for $130,000 (£80,100) on 22 May 2011. [33] (#cite_note-38) Treacy felt the criticism regarding the "pretzel hat" was extreme (the hat had its own Facebook page with over 140,000 connections), and in July 2011 said: "In the future, we'll look back and think she looked wild". [30] (#cite_note-guardian-35) In a July 2018 Desert Island Discs (/wiki/Desert_Island_Discs) interview on BBC Radio 4, Treacy said of the backlash to his design: "There was a moment where I thought I would find myself with my head on a spike outside the Tower of London". [34] (#cite_note-39) The hat is stored at the Metropolitan Museum of Art. [35] (#cite_note-40) Treacy designed over twenty hats that were worn at the 19 May 2018 wedding of Prince Harry and Meghan Markle (/wiki/Wedding_of_Prince_Harry_and_Meghan_Markle) , including by Camilla, Duchess of Cornwall (/wiki/Camilla,_Duchess_of_Cornwall) , by Catherine, Duchess of Cambridge (/wiki/Catherine,_Duchess_of_Cambridge) , and by Oprah Winfrey (/wiki/Oprah_Winfrey) . [36] (#cite_note-41) [37] (#cite_note-42) Meghan, Duchess of Sussex (/wiki/Meghan,_Duchess_of_Sussex) , chose a Treacy hat for her first official royal event in December 2017. [38] (#cite_note-43) [39] (#cite_note-44) In July 2018, Treacy credited the patronage of Elizabeth II (/wiki/Elizabeth_II) with "single-handedly saving the British hat industry". [40] (#cite_note-45) In 2023, Treacy created the caps of maintenance (/wiki/Cap_of_maintenance) for the three crowns used in the Coronation of Charles III and Camilla (/wiki/Coronation_of_Charles_III_and_Camilla) . [41] (#cite_note-46) Awards [ edit ] Camilla, Duchess of Cornwall (/wiki/Camilla,_Duchess_of_Cornwall) , wearing a Treacy hat in June 2012 Treacy won the title of British Accessory Designer of the Year at the British Fashion Awards (/wiki/British_Fashion_Awards) five times during the 1990s (1991, 1992, 1993, 1996 and 1997). [42] (#cite_note-47) In January 2000, Treacy was invited by the Chambre Syndicale de la Haute Couture (/wiki/F%C3%A9d%C3%A9ration_fran%C3%A7aise_de_la_couture) to participate in Paris fashion shows, the first milliner to be invited in 80 years. [d] (#cite_note-orch-18) [15] (#cite_note-guar-19) [16] (#cite_note-orchid2-20) In November 2004, Treacy was named the International Designer of the Year, at the China Fashion Awards (/wiki/China_Fashion_Week) in Shanghai. [12] (#cite_note-scmp-14) Treacy's hats have been exhibited, and are housed in the collections of design museums including the Victoria and Albert Museum (/wiki/Victoria_and_Albert_Museum) , [16] (#cite_note-orchid2-20) [44] (#cite_note-49) the Metropolitan Museum of Art, [16] (#cite_note-orchid2-20) [45] (#cite_note-50) and the Galleria del Costume of the Palazzo Pitti (/wiki/Palazzo_Pitti) in Florence. [46] (#cite_note-51) Vogue magazine has described Treacy, on several occasions, as being one of the greatest milliners in the world. [47] (#cite_note-vog2-52) [48] (#cite_note-vog1-53) Treacy has also been recognized outside of the world of fashion. In April 2006, he was awarded a Doctorate of Fine Arts, by the National University of Ireland (/wiki/National_University_of_Ireland) at University College Dublin (/wiki/University_College_Dublin) . [6] (#cite_note-colm-7) [49] (#cite_note-54) He was awarded an honorary OBE (/wiki/Order_of_the_British_Empire) (Order of the British Empire) for services to the British fashion industry by Prince Charles (/wiki/Prince_Charles) and Camilla, Duchess of Cornwall at a special ceremony in Clarence House (/wiki/Clarence_House) in November 2007. [f] (#cite_note-56) [50] (#cite_note-personal-55) Treacy designed the headdress worn by the Duchess of Cornwall for the couple's wedding (/wiki/Wedding_of_Charles,_Prince_of_Wales,_and_Camilla_Parker_Bowles) . [50] (#cite_note-personal-55) In July 2010, Treacy was one of six contemporary and internationally renowned Irish fashion designers honoured by a set of Irish postage stamps (/wiki/Postage_stamps_of_Ireland) issued by An Post (/wiki/An_Post) . The other designers were Paul Costelloe (/wiki/Paul_Costelloe) , Louise Kennedy (/wiki/Louise_Kennedy) , John Rocha (/wiki/John_Rocha) , Lainey Keogh (/wiki/Lainey_Keogh) and Orla Kiely (/wiki/Orla_Kiely) . [51] (#cite_note-57) [52] (#cite_note-58) Personal life [ edit ] Treacy and Stefan Bartlett at British Polo Day Morocco 2014 Treacy is gay and in May 2017 he married his long-term partner of over 21 years, Stefan Bartlett, in a ceremony in Las Vegas. [53] (#cite_note-59) Treacy is the second youngest of a large family and has one sister, [54] (#cite_note-ia-60) and seven brothers. [50] (#cite_note-personal-55) [55] (#cite_note-cul-61) He is particularly close to his sister, Marion Tubbing, [50] (#cite_note-personal-55) the eldest sibling, whom he credits with supplying him with editions of Harper's and Queen (/wiki/Harper%27s_and_Queen) and Vogue while living in Galway (Tubbing was working in London at the time), [54] (#cite_note-ia-60) and to whom, along with his partner Bartlett, Treacy dedicated his 2015 biography: Philip Treacy: Hat Designer . [26] (#cite_note-power-31) Treacy has also noted the support his parents gave him in pursuing his love of millinery, noting that his father would say: "whatever makes him happy". [56] (#cite_note-62) [57] (#cite_note-63) Treacy's father was a baker and his mother was a housewife, [55] (#cite_note-cul-61) however, his father had a weak heart which prevented him from working as a full-time baker, and he eventually died when Treacy was age 11 from a heart attack; Treacy's mother died in 1993, when he was 25. [5] (#cite_note-egan-6) Treacy called his friendship with his mentor, Isabella Blow, "an affair without sex". [9] (#cite_note-bryony-10) He has highlighted the importance of fashion model Grace Jones as a friend. [27] (#cite_note-grace-32) See also [ edit ] John Boyd (/wiki/John_Boyd_(milliner)) , milliner List of people on the postage stamps of Ireland (/wiki/List_of_people_on_the_postage_stamps_of_Ireland) Notes [ edit ] ^ Jump up to: a b Treacy prefers to use the term "hat designer". [2] (#cite_note-examiner-2) ^ (#cite_ref-13) Treacy chose another Linda Evangelista photograph as the cover of his 2015 biography. [2] (#cite_note-examiner-2) ^ (#cite_ref-17) For McQueen's first Givenchy exhibition in 1997, Blow had the horns cut from a ram in her flock of rare-breed sheep, which Treacy then sprayed with gold, and which Naomi Campbell then wore on the runway. [14] (#cite_note-smh-16) ^ Jump up to: a b Treacy exhibited his Orchid Collection at the Paris 2000 haute couture shows. [43] (#cite_note-orchid-48) ^ (#cite_ref-24) Sarah Jessica Parker's 2015 Met Gala Treacy hat was nominated by Vogue in May 2018, as one of the 16 Craziest Celebrity Moments in Met Gala History . [19] (#cite_note-23) ^ (#cite_ref-56) Because Treacy is Irish, and not sworn to allegiance to the Crown, the ceremony was not held with the Queen in Buckingham Palace. Normally, in such cases, a Government Minister would perform the ceremony, however, Prince Charles intervened to host the ceremony in Clarence House. [50] (#cite_note-personal-55) References [ edit ] ^ Jump up to: a b "The Tracey Clan: Arts: Crafts" (http://www.traceyclann.com/files/renowned%20Traceys%20arts.htm) . TreacyClann.com . Retrieved 15 April 2020 . Philip Anthony Treacy, b. 26 May 1967 Ballinasloe, Co. Galway, son of the late James Vincent Treacy and Katie Agnes Treacy. His parents owned a baker's shop in Ahascragh, Co. Galway. ^ Jump up to: a b c d Walsh, Rachel Marie (6 October 2015). "Philip Treacy's crowning glory" (https://www.irishexaminer.com/lifestyle/features/philip-treacys-crowning-glory-357687.html) . The Irish Examiner (/wiki/The_Irish_Examiner) . Retrieved 15 April 2020 . The hat designer (a description he prefers to milliner) pinpoints being summoned to Paris by Karl Lagerfeld in 1991 as his big break, comparable to an American Idol win ^ (#cite_ref-4) Reed, Paula; Etherington-Smith, Meredith (/wiki/Meredith_Etherington-Smith) (2002). Philip Treacy: unlikely sculpture . Milano: Charta. p. 53. ISBN (/wiki/ISBN_(identifier)) 9788881583553 . Retrieved 15 April 2020 . ^ Jump up to: a b c d Van Kampen, Sinead (16 February 2011). "Philip Treacy on his new collection" (https://www.independent.ie/style/fashion/philip-treacy-on-his-new-collection-26705462.html) . Irish Independent (/wiki/Irish_Independent) . Retrieved 15 April 2020 . ^ Jump up to: a b c d e Egan, Barry (20 November 2005). "An audience with Prince Philip" (https://www.independent.ie/woman/celeb-news/an-audience-with-prince-philip-26215107.html) . Irish Independent (/wiki/Irish_Independent) . Retrieved 15 April 2020 . ^ Jump up to: a b c Ó Briain, Colm (7 April 2006). "Text of the introductory address delivered by: Professor Colm Ó Briain, on the occasion of the conferring of the Degree of Doctor of Fine Arts, honoris causa, on Philip Treacy" (http://www.nui.ie/college/docs/citations/2006/treacy.pdf) (PDF) . National University of Ireland (/wiki/National_University_of_Ireland) . Retrieved 21 November 2014 . ^ Jump up to: a b c McQuillan, Deirdre (July 2014). "Crown Prince" (https://www.irishartsreview.com/crown-prince/) . Irish Arts Review . Retrieved 15 April 2015 . ^ Jump up to: a b Sheridan, Jayne (2010). Fashion, media, promotion: the new black magic . Hoboken: Wiley. p. 27. ISBN (/wiki/ISBN_(identifier)) 9781118815021 . Retrieved 15 April 2020 . ^ Jump up to: a b c Gordon, Bryony (18 April 2011). "Philip Treacy: 'I've been busy, what with the wedding' (https://web.archive.org/web/20110423111316/http://www.telegraph.co.uk/news/uknews/royal-wedding/8454151/Philip-Treacy-Ive-been-busy-what-with-the-wedding.html) " (https://web.archive.org/web/20110423111316/http://www.telegraph.co.uk/news/uknews/royal-wedding/8454151/Philip-Treacy-Ive-been-busy-what-with-the-wedding.html) . The Daily Telegraph (/wiki/The_Daily_Telegraph) . Archived from the original (https://www.telegraph.co.uk/news/uknews/royal-wedding/8454151/Philip-Treacy-Ive-been-busy-what-with-the-wedding.html) on 23 April 2011 . Retrieved 15 April 2020 . ^ (#cite_ref-11) Blow, Detmar (14 February 2010). "Alex McQueen and Isabella Blow" (http://fashion.telegraph.co.uk/news-features/TMG7231469/Alexander-McQueen-and-Isabella-Blow.html) . The Daily Telegraph (/wiki/The_Daily_Telegraph) . Retrieved 15 April 2020 . I first met Alexander when Isabella invited him to live with us at 67 Elizabeth Street in Belgravia. We were on the top floor, [the milliner] Philip Treacy on the first, and Alexander was on the ground. Issie was working at British Vogue at the time and had come across Alexander at his graduate fashion show in 1992 ^ Jump up to: a b Woodward, Christopher (5 April 2014). "Philip Treacy: how my flower hats blossomed" (https://www.telegraph.co.uk/gardening/10741693/Philip-Treacy-how-my-flower-hats-blossomed.html) . The Daily Telegraph (/wiki/The_Daily_Telegraph) . Retrieved 15 April 2020 . ^ Jump up to: a b c d Chan, Carrie (18 October 2006). "Philip Treacy" (https://www.scmp.com/node/568036) . South China Morning Post (/wiki/South_China_Morning_Post) . Retrieved 15 April 2020 . ^ (#cite_ref-15) "69 Elizabeth Street" (http://www.londontown.com/LondonInformation/Shopping/Philip_Tracey/5b5f/) . LondonTown Guide. Treacy opened this elegant shop in Elizabeth Street in 1994, next door to Blow's old house at 67 Elizabeth Street – where Treacy's business first began in the basement ^ Jump up to: a b "Most popular man in fashion" (https://www.smh.com.au/lifestyle/fashion/most-popular-man-in-fashion-20030526-gdgtnu.html) . The Sydney Morning Herald (/wiki/The_Sydney_Morning_Herald) . 26 May 2003 . Retrieved 15 April 2020 . ^ Jump up to: a b Cartner-Morley, Jess (16 April 2002). "Who wants to be a milliner" (https://www.theguardian.com/lifeandstyle/2002/apr/16/fashion) . The Guardian (/wiki/The_Guardian) . Retrieved 15 April 2020 . He has created hats to accompany the catwalk collections of Alexander McQueen and Valentino, has been named British Accessory Designer of the Year five times, and was the first milliner in 80 years to be invited by French fashion's governing body, the Chambre Syndicale, to take part in the Parisian haute couture shows ^ Jump up to: a b c d "Philip Treacy" (https://www.vogue.it/en/fashion/news/2010/03/09/philip-treacy/?refresh_ce=) . Vogue Italia (/wiki/Vogue_Italia) . 9 March 2010 . Retrieved 15 April 2020 . In 2000, he was the first milliner in 70 years to be invited by the Chambre Syndicale to show his collection during the Haute Couture fashion week in Paris ^ (#cite_ref-21) Anderson, Kristin (13 November 2015). "20 of Philip Treacy's Most Jaw-Dropping Couture Chapeaux" (https://www.vogue.com/article/philip-treacy-book-best-hats) . Vogue Magazine (/wiki/Vogue_(magazine)) . Retrieved 15 April 2020 . ^ (#cite_ref-22) Ruby, Jennifer (13 July 2017). "Harry Potter's wardrobe is brimful of secrets" (https://www.standard.co.uk/go/london/attractions/harry-potter-s-wardrobe-is-brimful-of-secrets-a3587376.html) . The Standard . Retrieved 15 April 2020 . ^ (#cite_ref-23) "The Craziest Celebrity Moments in Met Gala History" (https://www.vogue.com/article/best-met-gala-celebrity-moments-of-all-time) . Vogue (/wiki/Vogue_(magazine)) . 2 May 2018 . Retrieved 15 April 2020 . You gotta give it to SJP: She never phones it in. The Philip Treacy headpiece she wore for the 2015 Met Gala, "China: Through the Looking Glass," will always be remembered as the hat that launched a thousand memes ^ (#cite_ref-25) Luu, Phong (12 April 2012). "Exclusive: Philip Treacy on designing Madonna's Super Bowl hat" (http://fashion.telegraph.co.uk/news-features/TMG9200192/Exclusive-Philip-Treacy-on-designing-Madonnas-Super-Bowl-hat.html) . The Daily Telegraph (/wiki/The_Daily_Telegraph) . Retrieved 15 April 2020 . Treacy made Madonna's jewelled Egyptian-ish fanned headpiece for her Super Bowl performance. He shows off the mock-up he made of it, and, even as a dummy run, it's impressive. ^ (#cite_ref-26) Cartner-Morley, Jess (16 September 2012). "Lady Gaga pays tribute to milliner Philip Treacy at London fashion week" (https://www.theguardian.com/fashion/2012/sep/16/lady-gaga-philip-treacy-london-fashion-week) . The Guardian (/wiki/The_Guardian) . Retrieved 15 April 2020 . How extraordinary was Philip Treacy's London fashion week catwalk show? Put it this way: when Lady Gaga appeared wearing a floor-length neon pink veil and towering Alexander McQueen Armadillo shoes, she did not immediately attract much attention. It was that kind of night ^ (#cite_ref-27) Topping, Alexandra (9 December 2010). "Lady Gaga appears in eight different outfits at eight Madame Tussauds" (https://www.theguardian.com/music/2010/dec/09/lady-gaga-outfits-madame-tussauds) . The Guardian (/wiki/The_Guardian) . Retrieved 15 April 2020 . In the London Madame Tussauds, a waxwork figure of the singer wearing a show-stopping Philip Treacy telephone hat which she wore on Friday Night with Jonathan Ross in March 2010 was unveiled, teamed with a Giorgio Armani Privé outfit with pagoda-style shoulders and vertiginous heels ^ (#cite_ref-28) McCahill, Elaine (31 October 2014). "Lady Gaga shares a laugh with 'genius' Philip Treacy" (https://www.independent.ie/style/fashion/fashion-fix/lady-gaga-shares-a-laugh-with-genius-philip-treacy-30706941.html) . Irish Independent (/wiki/Irish_Independent) . Retrieved 15 April 2020 . Gaga was wearing Treacy's unique hats as far back as 2010 when she wore an eye-catching outfit to the Grammy Awards ^ (#cite_ref-29) "5 Crazy Lady Gaga Philip Treacy Hats" (http://hepburnette.com/blog/138_5-Crazy-Lady-Gaga-Philip-Treacy-Hats) . Hepburnette.com . 2014 . Retrieved 15 April 2020 . ^ (#cite_ref-30) Egan, Colleen (25 October 2015). "Philip Treacy's Trippiest, Most Dazzling Hats" (https://www.architecturaldigest.com/gallery/philip-treacy-hat-designer-book/all) . Architectural Digest . Retrieved 15 April 2020 . "Daphne is a rare bird. She's a fashion contradiction. No designer owns her. Whatever Daphne wears, she owns." Treacy says of Guinness ^ Jump up to: a b Power, Bairbre (18 October 2015). "Top Hat... Philip Treacy's two decades of creating masterpieces" (https://www.independent.ie/style/fashion/top-hat-philip-treacys-two-decades-of-creating-masterpieces-31609729.html) . Irish Independent (/wiki/Irish_Independent) . Retrieved 15 April 2020 . ^ Jump up to: a b "Irish milliner Philip Treacy" (https://www.irishtimes.com/life-and-style/fashion/irish-milliner-philip-treacy-feared-head-on-spike-over-beatrice-hat-1.3557971) . Irish Times (/wiki/Irish_Times) . 8 July 2018 . Retrieved 15 April 2020 . Treacy also spoke candidly to Young about how he has overcome some of the losses in his life with the help of close friend and eccentric collaborator Grace Jones. "If you told somebody you were getting advice from Grace Jones they would probably tell you you need your head examined," said Treacy. "But she actually gives really good advice". ^ (#cite_ref-33) Henry Bass, Patrik (10 November 2011). "Hats Off To Grace Jones' Favorite Head Topper" (https://www.essence.com/news/hats-off-to-grace-jones-favorite-head-topper/) . Essence (/wiki/Essence_(magazine)) . Retrieved 15 April 2020 . The style icon tapped the milliner as art director and designer for her 2009 sold-out "Hurricane" tour. Long before that collaboration, Grace was sporting the milliner's works of art in videos and special appearances. ^ (#cite_ref-34) Power, Bairbre (18 October 2015). "Top Hat... Philip Treacy's two decades of creating masterpieces" (https://www.independent.ie/style/fashion/top-hat-philip-treacys-two-decades-of-creating-masterpieces-31609729.html) . Irish Independent (/wiki/Irish_Independent) . Retrieved 15 April 2020 . Philip Treacy's mission as a hat designer is to be creative and, as he says himself, he likes "to make hats that make the heart beat faster". ^ Jump up to: a b Kellaway, Kate (10 July 2011). "Philip Treacy: 'I like hats that make the heart beat faster' (https://www.theguardian.com/lifeandstyle/2011/jul/10/philip-treacy-milliner-interview) " (https://www.theguardian.com/lifeandstyle/2011/jul/10/philip-treacy-milliner-interview) . The Guardian (/wiki/The_Guardian) . Retrieved 15 April 2020 . ^ (#cite_ref-36) Treacy, Philip (22 May 2001). "The perfect hat" (https://www.theguardian.com/theobserver/2001/may/27/life1.lifemagazine3) . The Guardian (/wiki/The_Guardian) . Retrieved 15 April 2020 . Everyone thinks you need confidence to wear a beautiful hat, but this perfect hat will instead give you the courage and the energy to carry it off. ^ (#cite_ref-37) "Philip Treacy: King of Royal wedding hats" (http://www.independent.ie/world-news/royal-wedding/philip-treacy-king-of-royal-wedding-hats-2633003.html) . Irish Independent (/wiki/Irish_Independent) . 29 April 2011 . Retrieved 15 April 2020 . ^ (#cite_ref-38) Christianson, Emily (22 May 2011). "Princess Beatrice's royal wedding hat sells for more than $130,000 on EBay" (http://latimesblogs.latimes.com/gossip/2011/05/princess-beatrices-royal-wedding-hat-sells-for-a-whopping-130000-on-ebay.html) . Los Angeles Times (/wiki/Los_Angeles_Times) . Retrieved 15 April 2020 . The princess plans to give the money (final bid: 81,100.01 pounds, which is around $131,134) from the 10-day auction to UNICEF UK and Children in Crisis via her Little Bee Initiative campaign. ^ (#cite_ref-39) "Royal hat-maker Philip Treacy 'feared head on spike' (https://www.bbc.com/news/uk-44755082) " (https://www.bbc.com/news/uk-44755082) . BBC News (/wiki/BBC_News) . 8 July 2018 . Retrieved 15 April 2020 . ^ (#cite_ref-40) "Philip Treacy Hat (c. 2011): Gift of Melinda B. Hildebrand, 2012" (https://www.metmuseum.org/art/collection/search/171324) . Metropolitan Museum of Art (/wiki/Metropolitan_Museum_of_Art) . Retrieved 15 April 2020 . Accession Number: 2012.519 (search item 171324) ^ (#cite_ref-41) Birney, Karen (19 May 2018). "Irish designer Philip Treacy created 20 hats for the British royal wedding – including Oprah's" (https://www.independent.ie/style/fashion/fashion-news/irish-designer-philip-treacy-created-20-hats-for-the-british-royal-wedding-including-oprahs-36923734.html) . Irish Independent (/wiki/Irish_Independent) . Retrieved 15 April 2020 . Treacy designed hats for Oprah Winfrey (/wiki/Oprah_Winfrey) , Priyanka Chopra, Camilla, the Duchess of Cornwall, and Kate Middleton for Meghan and Harry's big day ^ (#cite_ref-42) Abraham, Tamara (19 May 2018). "All the Hats at Meghan Markle and Prince Harry's Wedding" (https://www.harpersbazaar.com/celebrity/latest/g20106557/meghan-markle-prince-harry-royal-wedding-hats/?slide=1) . Harper's Bazaar (/wiki/Harper%27s_Bazaar) . Retrieved 15 April 2020 . There was a lot of Philip Treacy. ^ (#cite_ref-43) Power, Bairbre (27 December 2017). "Meghan Markle chose Irish designer Philip Treacy hat for first 'royal outing' (https://www.independent.ie/style/fashion/meghan-markle-chose-irish-designer-philip-treacy-hat-for-first-royal-outing-36438983.html) " (https://www.independent.ie/style/fashion/meghan-markle-chose-irish-designer-philip-treacy-hat-for-first-royal-outing-36438983.html) . Irish Independent (/wiki/Irish_Independent) . Retrieved 15 April 2020 . ^ (#cite_ref-44) O'Brien, Jennifer (24 May 2018). "Meghan's first official duty tops off hat-maker Philip Treacy's rise" (https://www.thetimes.co.uk/article/meghan-s-first-official-duty-tops-off-hat-maker-philip-treacy-s-rise-wtwpq6g77) . The Times (/wiki/The_Times) . Retrieved 15 April 2020 . Hats off to him. Philip Treacy, the Galway-born milliner, has cemented his position as the primary choice of hatmaker for the royal family. ^ (#cite_ref-45) Furness, Hannah (8 July 2018). "Queen's patronage has single-handedly saved the British hat industry, Philip Treacy says" (https://www.telegraph.co.uk/news/2018/07/07/queenspatronage-has-single-handedly-saved-british-hat-industry/) . The Daily Telegraph (/wiki/The_Daily_Telegraph) . Retrieved 15 April 2020 . ^ (#cite_ref-46) "King Charles coronation: Irish hat designer Philip Treacy says role in ceremony was 'greatest honour' of his career" (https://www.independent.ie/style/fashion/king-charles-coronation-irish-hat-designer-philip-treacy-says-role-in-ceremony-was-greatest-honour-of-his-career/a1842079623.html) . www.independent.ie . 8 May 2023 . Retrieved 28 December 2023 . ^ (#cite_ref-47) "Philip Treacy 'Hatforms' at IMMA Thursday" (https://www.rte.ie/ten/2001/0405/treacyp.html) . Raidió Teilifís Éireann (/wiki/Raidi%C3%B3_Teilif%C3%ADs_%C3%89ireann) . 5 April 2001 . Retrieved 15 April 2020 . ^ (#cite_ref-orchid_48-0) Alexander, Hillary (19 November 2007). "Madcap milliner receives OBE" (http://fashion.telegraph.co.uk/news-features/TMG3363781/Philip-Treacy-Madcap-milliner-receives-OBE.html) . The Daily Telegraph (/wiki/The_Daily_Telegraph) . Retrieved 15 April 2020 . In 2000, he made millinery history by staging his 'Orchid' collection of haute couture hats in Paris ^ (#cite_ref-49) "Victoria & Albert: Philip Treacy" (https://collections.vam.ac.uk/search/?listing_type=&offset=0&limit=15&narrow=&extrasearch=&q=Philip+Treacy&commit=Search&quality=0&objectnamesearch=&placesearch=&after=&before=&namesearch=&materialsearch=&mnsearch=&locationsearch=) . Victoria and Albert Museum . Retrieved 15 April 2020 . ^ (#cite_ref-50) "Search The Met Collection: Philip Treacy" (https://www.metmuseum.org/art/collection/search#!?q=Philip%20Treacy) . MetMuseum.com . Retrieved 15 April 2020 . ^ (#cite_ref-51) "Exhibition in Florence: The Hat Between Art and Extravaganza" (http://www.firenzemadeintuscany.com/en/arts/articles/hats-between-art-and-extravaganza-in-florence/) . FIRENZE . 28 November 2013 . Retrieved 15 April 2020 . Despite prevailing specimens of known names of the fashion house such as Christian Dior, Givenchy, Chanel, Yves Saint Laurent, Prada, Gianfranco Ferre and international famous milliners of the present and the past like Philip Treacy, Stephen Jones (/wiki/Stephen_Jones_(milliner)) , Caroline Reboux (/wiki/Caroline_Reboux) , Claude Saint-Cyr (/wiki/Claude_Saint-Cyr) , and [Madame] Paulette [..] ^ (#cite_ref-vog2_52-0) Yaeger, Lynn (24 June 2015). "7 Chic Hats We've Fallen Head Over Heels For This Summer" (https://www.vogue.com/article/best-summer-hats) . Vogue . Retrieved 15 April 2020 . As Philip Treacy, one of our greatest living milliners, once said, "Wearing a hat is fun! People have a good time when they're wearing a hat". ^ (#cite_ref-vog1_53-0) Yaeger, Lynn (17 September 2012). "Thriller Night: At Philip Treacy, the King of Pop's Wardrobe Meets Its Millinery Match" (https://www.vogue.com/article/thriller-night-at-philip-treacy-the-king-of-pops-wardrobe-meets-its-millinery-match) . Vogue . Retrieved 15 April 2020 . On one thing, at least, the ecstatic throng can agree—it is a London show like none other, and Gaga is right: Treacy is perhaps the greatest milliner in the world ^ (#cite_ref-54) "Irish hat designer Philip Treacy turns royal heads with OBE award" (https://www.irishexaminer.com/ireland/irish-hat-designer-philip-treacy-turns-royal-heads-with-obe-award-48391.html) . Irish Examiner (/wiki/Irish_Examiner) . 20 November 2007 . Retrieved 15 April 2020 . ^ Jump up to: a b c d e Power, Bairbre (20 November 2007). "Prince honours king of the hats" (https://www.independent.ie/style/fashion/prince-honours-king-of-the-hats-26333118.html) . Irish Independent (/wiki/Irish_Independent) . Retrieved 15 April 2020 . Irishman Philip Treacy (40) received an honorary OBE at a special ceremony hosted by Prince Charles and his wife, Camilla Parker Bowles, at their Clarence House home. The fashion designer was appointed an honorary Officer of the Most Excellent Order of the British Empire (OBE). The honour was conferred on Philip by Queen Elizabeth in recognition of his services to the British Fashion industry ^ (#cite_ref-57) McQuillan, Deirdre (10 July 2010). "Stamp Of Approval" (https://www.irishtimes.com/life-and-style/fashion/stamp-of-approval-1.620308) . Irish Times (/wiki/Irish_Times) . Retrieved 15 April 2020 . ^ (#cite_ref-58) "Magnificent Irish fashionista stamps" (https://web.archive.org/web/20140203001930/http://www.worldstampnews.com/2010/07/magnificent-irish-fashionista-stamps/) . World Stamp News . 18 July 2010. Archived from the original (http://www.worldstampnews.com/2010/07/magnificent-irish-fashionista-stamps/) on 3 February 2014 . Retrieved 23 January 2014 . ^ (#cite_ref-59) Murphy, Patricia (7 May 2017). "Irish designer Philip Treacy weds long-term love in Las Vegas – and celebrates with Cher" (https://www.independent.ie/style/celebrity/irish-designer-philip-treacy-weds-long-term-love-in-las-vegas-and-celebrates-with-cher-35688627.html) . Irish Independent (/wiki/Irish_Independent) . Retrieved 15 April 2020 . ^ Jump up to: a b Cole Lownes, Marilyn (March 2007). "The Master Hatter" (https://irishamerica.com/2007/02/the-master-hatter/) . Irish America (/wiki/Irish_America_(magazine)) . Retrieved 15 April 2020 . Being the second youngest of seven boys, and with one sister who was the eldest child, Philip recollects, "I thought my sister, Marion, was the most glamorous girl in the world. She was a huge inspiration to me. She was my introduction to fashion and magazines. She worked as a nurse in London and used to come home on holidays with all these great magazines like Harper's and Queen and Vogue, which I'd never seen." ^ Jump up to: a b Doyle, Darragh (3 June 2009). "Philip Treacy Interview" (http://www.culch.ie/2009/06/03/philip-treacy-the-culchie-interview/) . Culch.ie . Retrieved 15 April 2020 . ^ (#cite_ref-62) "Irish milliner Philip Treacy 'feared head on spike' over Beatrice hat" (https://www.irishtimes.com/life-and-style/fashion/irish-milliner-philip-treacy-feared-head-on-spike-over-beatrice-hat-1.3557971) . Irish Times (/wiki/Irish_Times) . 8 July 2018 . Retrieved 15 April 2020 . One of the strongest memories I have is being in somebody's house and my father's friend saying don't you think that's a little odd, don't you think it's a bit strange this child is doing this?' And I remember distinctly my father saying: 'Whatever makes him happy'. It moves me still. ^ (#cite_ref-63) O'Sullivan, Mary (15 April 2001). "Raise your hat to Philip" (https://www.independent.ie/lifestyle/raise-your-hat-to-philip-26248191.html) . Irish Independent (/wiki/Irish_Independent) . Retrieved 15 April 2020 . Bibliography [ edit ] Blow, Isabella (2011). Philip Treacy (Memoire) . Assouline. ISBN (/wiki/ISBN_(identifier)) 978-2843233937 . Davies, Kevin (2013). Philip Treacy . Phaidon Press. ISBN (/wiki/ISBN_(identifier)) 978-0714865270 . Hume, Marion (2015). Philip Treacy: Hat Designer . Rizzoli International Publications. ISBN (/wiki/ISBN_(identifier)) 978-0847846504 . Reed, Paula (2001). Philip Treacy . Charta. ISBN (/wiki/ISBN_(identifier)) 978-8881583553 . Treacy, Philip (2003). Philip Treacy: "When Philip Met Isabella" . Assouline. ISBN (/wiki/ISBN_(identifier)) 978-2843233722 . External links [ edit ] Wikimedia Commons has media related to Philip Treacy (https://commons.wikimedia.org/wiki/Category:Philip_Treacy) . Official website (https://www.philiptreacy.co.uk/en) Philip Treacy (http://www.fashionencyclopedia.com/To-Vi/Treacy-Philip.html) at Fashion Encyclopedia Philip Treacy (https://www.theguardian.com/fashion/philip-treacy) at The Guardian (/wiki/The_Guardian) Wizarding World of Harry Potter: Philip Treacy Hats (https://www.youtube.com/watch?reload=9&v=Z3WUWHDf_8g) Portals (/wiki/Wikipedia:Contents/Portals) : Ireland (/wiki/Portal:Ireland) Fashion (/wiki/Portal:Fashion) Authority control databases (/wiki/Help:Authority_control) International FAST (http://id.worldcat.org/fast/481774/) ISNI (https://isni.org/isni/0000000110595237) VIAF (https://viaf.org/viaf/42906173) WorldCat (https://id.oclc.org/worldcat/entity/E39PBJf48VWHQ7YbThxT6drDv3) National Norway (https://authority.bibsys.no/authority/rest/authorities/html/3055434) France (https://catalogue.bnf.fr/ark:/12148/cb14523887t) BnF data (https://data.bnf.fr/ark:/12148/cb14523887t) Germany (https://d-nb.info/gnd/129057037) Israel (http://olduli.nli.org.il/F/?func=find-b&local_base=NLX10&find_code=UID&request=987007409209905171) United States (https://id.loc.gov/authorities/no2002066616) Artists RKD Artists (https://rkd.nl/en/explore/artists/233420) Other SNAC (https://snaccooperative.org/ark:/99166/w6v42032) IdRef (https://www.idref.fr/078045045) NewPP limit report Parsed by mw‐web.eqiad.main‐57d74c944b‐v2fjx Cached time: 20240720163838 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 1.139 seconds Real time usage: 1.545 seconds Preprocessor visited node count: 7324/1000000 Post‐expand include size: 146022/2097152 bytes Template argument size: 10338/2097152 bytes Highest expansion depth: 22/100 Expensive parser function count: 20/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 248789/5000000 bytes Lua time usage: 0.686/10.000 seconds Lua memory usage: 8318740/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 1297.365 1 -total 32.89% 426.760 2 Template:Reflist 23.90% 310.113 1 Template:Infobox_person 12.69% 164.585 32 Template:Cite_news 12.29% 159.473 28 Template:Main_other 11.51% 149.378 14 Template:Cite_web 9.33% 121.075 1 Template:Authority_control 8.65% 112.225 1 Template:Short_description 8.50% 110.243 20 Template:Pluralize_from_text 6.19% 80.245 1 Template:Good_article Saved in parser cache with key enwiki:pcache:idhash:194097-0!canonical and timestamp 20240720163838 and revision id 1195979836. 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Swedish multinational clothing retail company This article is about the fashion chain. For other uses, see H&M (disambiguation) (/wiki/H%26M_(disambiguation)) . This article contains content that is written like an advertisement (/wiki/Wikipedia:What_Wikipedia_is_not#Wikipedia_is_not_a_soapbox_or_means_of_promotion) . Please help improve it (https://en.wikipedia.org/w/index.php?title=H%26M&action=edit) by removing promotional content (/wiki/Wikipedia:Spam) and inappropriate external links (/wiki/Wikipedia:External_links#Advertising_and_conflicts_of_interest) , and by adding encyclopedic content written from a neutral point of view (/wiki/Wikipedia:Neutral_point_of_view) . ( April 2021 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) H & M Hennes & Mauritz AB H&M store on Fifth Avenue (/wiki/Fifth_Avenue) in New York City Trade name (/wiki/Trade_name) H&M Group Company type Public (/wiki/Public_company) ( Aktiebolag (/wiki/Aktiebolag) ) Traded as (/wiki/Ticker_symbol) Nasdaq Stockholm (/wiki/Nasdaq_Nordic) : HM B (https://www.nasdaqomxnordic.com/shares/microsite?Instrument=SSE992) ISIN (/wiki/International_Securities_Identification_Number) SE0000106270 (https://isin.toolforge.org/?language=en&isin=SE0000106270) [1] (#cite_note-1) Industry Retail (/wiki/Retail) Founded 1947 ; 77 years ago ( 1947 ) (as Hennes) Västerås (/wiki/V%C3%A4ster%C3%A5s) , Sweden Founder Erling Persson (/wiki/Erling_Persson) Headquarters Stockholm (/wiki/Stockholm) , Sweden Number of locations 4,801 stores (2021) Area served Worldwide Key people Karl-Johan Persson (/wiki/Karl-Johan_Persson) (Chairman) Daniel Erver (/wiki/Daniel_Erver) (CEO and president) [2] (#cite_note-2) Products Clothing, accessories (/wiki/Fashion_accessory) Brands COS (/wiki/COS_(fashion_brand)) Weekday Monki Other Stories ARKET Revenue US$ (/wiki/US$) 24.8 billion (2019) [3] (#cite_note-k-3) [4] (#cite_note-H&M_Annual_Report_2016-4) Operating income (/wiki/Earnings_before_interest_and_taxes) US$1.8 billion (2019) [5] (#cite_note-Operating_profit_of_the_H&M_Group-5) Net income (/wiki/Net_income) US$1.5 billion (2019) [3] (#cite_note-k-3) Total assets (/wiki/Asset) US$19.3 billion (2019) [3] (#cite_note-k-3) Total equity (/wiki/Equity_(finance)) US$6.919 billion (2016) [4] (#cite_note-H&M_Annual_Report_2016-4) Owner Stefan Persson (/wiki/Stefan_Persson_(magnate)) (36%) Number of employees 107,375 [a] (#cite_note-6) (2021) Website hm.com (https://www.hm.com/) (retail) hmgroup.com (https://hmgroup.com/) (corporate) Footnotes / references [6] (#cite_note-7) [7] (#cite_note-8) [8] (#cite_note-9) [9] (#cite_note-10) H & M Hennes & Mauritz AB is a multinational (/wiki/Multinational_corporation) clothing company based in Sweden (/wiki/Sweden) that focuses on fast-fashion (/wiki/Fast_fashion) clothing. As of 23 June 2022, H&M Group operated in 75 geographical markets with 4,801 stores under the various company brands, with 107,375 [b] (#cite_note-11) full-time equivalent positions. [10] (#cite_note-12) H&M is the second-largest international clothing retailer after Inditex (/wiki/Inditex) . [11] (#cite_note-13) [12] (#cite_note-14) H&M was founded by Erling Persson (/wiki/Erling_Persson) in 1947 under the name Hennes. The company's current CEO is Daniel Erver who replaced former CEO Helena Helmersson (/wiki/Helena_Helmersson) in January 2024. [13] (#cite_note-15) [14] (#cite_note-16) History [ edit ] The business was established in 1947 by Erling Persson (/wiki/Erling_Persson) when he opened his first shop in Västerås (/wiki/V%C3%A4ster%C3%A5s) , Sweden. [15] (#cite_note-h&m-17) The shop was called Hennes (Swedish for 'hers') and only sold women's clothing. Another store opened in Norway in 1964. [16] (#cite_note-18) In 1968, Persson acquired the hunting apparel retailer Mauritz Widforss in Stockholm, which led to the inclusion of a menswear collection in the product range, and the name was changed to Hennes & Mauritz. [15] (#cite_note-h&m-17) The company was listed on the Stockholm Stock Exchange (/wiki/Nasdaq_Stockholm) in 1974. [15] (#cite_note-h&m-17) Shortly after, in 1976, the first store outside Scandinavia opened in London. [15] (#cite_note-h&m-17) [17] (#cite_note-The_World_of_H&M-19) H&M continued to expand in Europe and began to retail online in 1998 [18] (#cite_note-20) with the domain (/wiki/Domain_(Internet)) hm.com , which was registered in 1997 according to data available via WHOIS (/wiki/WHOIS) . The opening of its first U.S. store on 31 March 2000 on Fifth Avenue (/wiki/Fifth_Avenue) in New York City (/wiki/New_York_City) marked the start of its expansion outside of Europe. [15] (#cite_note-h&m-17) Home furnishings [ edit ] H&M Home section in an Antwerp (/wiki/Antwerp) store In 2008, the company announced in a press release (/wiki/Press_release) that it would begin selling home furnishings. [19] (#cite_note-21) While initially distributed online, the home furnishing items are now sold at H&M Home stores worldwide. [20] (#cite_note-22) Other brands [ edit ] Concept stores, including COS (/wiki/COS_(fashion_brand)) , Weekday, Monki and Cheap Monday (/wiki/Cheap_Monday) , were launched following H&M's expansion in Asia. In 2009 and 2010, brand consultancy Interbrand ranked H&M as the twenty-first most-valuable global brand. [21] (#cite_note-23) Its worth was estimated at $12 billion to $16 billion. [22] (#cite_note-24) [23] (#cite_note-25) Under the "H&M with Friends", H&M will partner with Good American, a brand founded by Khloe Kardashian (/wiki/Khlo%C3%A9_Kardashian) and Emme Grede (/wiki/Emma_Grede) , to feature their products in H&M's Swedish and German e-commerce shops. [24] (#cite_note-26) In 2017 H&M founded a new concept store Arket. Store openings worldwide [ edit ] H&M operated 2,325 stores at the end of 2011. At the end of August 2012, they were operating 304 more stores, bringing the total to 2,629. [25] (#cite_note-27) In September 2013, the retailer opened its 3000th store in Chengdu (/wiki/Chengdu) , China. [26] (#cite_note-AR2013-28) COVID-19 [ edit ] In October 2020, H&M announced that it was planning to close 5% of its worldwide stores in 2021 as a result of the COVID-19 pandemic (/wiki/COVID-19_pandemic) . [27] (#cite_note-29) The fashion retailer H&M closed 250 shops throughout the globe and moved the majority of its operations online. The H&M Group's sales growth remained at −34% year-over-year from 2020 week 12 to week 22. [28] (#cite_note-30) Countries H&M operates in (2023) H&M store at the Pavilions Shopping Centre, Birmingham (/wiki/Birmingham) , UK H&M Asia flagship store at Causeway Bay, Hong Kong (/wiki/Hong_Kong) H&M store at the Gandaria City (/wiki/Gandaria_City) , Jakarta (/wiki/Jakarta) , Indonesia (/wiki/Indonesia) H&M store at the Chydenia Shopping Centre (/wiki/Chydenia_Shopping_Centre) , Kokkola (/wiki/Kokkola) , Finland (/wiki/Finland) H&M Store at Costanera Center Shopping Center, Santiago (/wiki/Santiago) , Chile (/wiki/Chile) H&M Store at SM City Cebu (/wiki/SM_City_Cebu) , Cebu City (/wiki/Cebu_City) , Philippines (/wiki/Philippines) H&M store at the Ciputra World (/wiki/Ciputra_World_Surabaya) , Surabaya (/wiki/Surabaya) , Indonesia Map of H&M stores in the U.S. (/wiki/United_States) as of April 2023 H&M Melbourne (/wiki/Melbourne) Withdrawal from the Russian market (2022) [ edit ] Along with hundreds of other global companies (/wiki/Boycott_of_Russia_and_Belarus) , H&M announced on 2 March 2022, an end to retail operations of its more than 150 stores in Russia (/wiki/Russia) as a result of the Russian invasion of Ukraine (/wiki/Russian_invasion_of_Ukraine) . H&M cited that it stands "with all the people who are suffering" in Ukraine as well as for "the safety of customers and colleagues" in Russia. [29] (#cite_note-31) [30] (#cite_note-32) Having recently expanded via its Weekday and & Other Stories formats, Russia was H&M's sixth-biggest market at the time, representing 4% of group sales in the fourth quarter of 2021. The company also temporarily closed its Ukraine stores, which remain closed as of 2023. [31] (#cite_note-33) [32] (#cite_note-34) Supplies [ edit ] H&M supplies clothes from different areas around the world. The top three locations that ship its products are China, Bangladesh, and India. Its retail headquarter is located in Sweden, where 21 suppliers and factories manufacture H&M's clothing products and accessories. Corporate affairs [ edit ] The key trends for the H&M Group are (as of the financial year ending 30 November): [33] (#cite_note-35) 2015 2016 2017 2018 2019 2020 2021 2022 2023 Revenue [c] (#cite_note-36) (SEK b) 180 192 200 210 233 187 198 223 236 Net profit [d] (#cite_note-37) (SEK b) 20.8 18.6 16.1 12.6 13.4 1.2 11.0 3.5 8.7 Share of revenue online (%) 12.5 14.5 28 32 30 30 Number of employees ( FTE (/wiki/Full-time_equivalent) ) (k) 104 114 120 123 126 110 107 106 101 Number of stores (Group) 3,924 4,351 4,739 4,968 5,076 5,018 4,801 4,465 4,369 Number of stores (H&M) 3,610 3,962 4,288 4,433 4,492 4,429 4,242 3,947 3,872 Number of served countries [e] (#cite_note-markets-38) (Group) 61 64 69 71 74 74 75 79 Number of served countries [e] (#cite_note-markets-38) (H&M) 61 64 69 71 74 74 75 78 77 References [34] (#cite_note-39) Designers [ edit ] In November 2004, select stores offered an exclusive collection by fashion designer Karl Lagerfeld (/wiki/Karl_Lagerfeld) . The press reported there were large crowds and that the initial inventories in big cities were sold out within an hour. [35] (#cite_note-40) In November 2006, the company launched a collection by Stella McCartney (/wiki/Stella_McCartney) . Also in November 2006, the company launched a collection by avant-garde (/wiki/Avant-garde) Dutch designers Viktor & Rolf (/wiki/Viktor_%26_Rolf) . H&M launched a collaboration designed by pop star Madonna (/wiki/Madonna_(entertainer)) in March 2007. [36] (#cite_note-41) In November 2007, several months after collaborating with Madonna, the company launched a collection by Italian designer Roberto Cavalli (/wiki/Roberto_Cavalli) . Finnish company Marimekko (/wiki/Marimekko) was chosen as a guest designer in spring 2008. [ citation needed ] H&M partnered with Comme des Garçons (/wiki/Comme_des_Gar%C3%A7ons) , a Japanese fashion label, in the fall of 2008. Products in the collection included accessories, a unisex fragrance, and clothing for adults and children. [37] (#cite_note-42) For spring and summer of 2009, British designer Matthew Williamson (/wiki/Matthew_Williamson) created two exclusive ranges for the company – the first being a collection of women's clothes that were released in select stores. For the second collection, Williamson ventured into creating menswear for the first time. It featured swimwear for men and women and was available in all of H&M's stores worldwide. [38] (#cite_note-43) On 14 November 2009, the company released a limited-edition diffusion collection (/wiki/Diffusion_line) by Jimmy Choo (/wiki/Jimmy_Choo) featuring handbags and shoes for men and women, with prices ranging from £30 to £170. The collection also included clothing designed by Choo, such as garments made of suede (/wiki/Suede) and leather, and was available in 200 stores worldwide, including London's Oxford Circus (/wiki/Oxford_Circus) store. [39] (#cite_note-44) Sonia Rykiel (/wiki/Sonia_Rykiel) collaborated with the company by designing a ladies knitwear (/wiki/Knitwear) and lingerie range that was released in select company stores on 5 December 2009. French fashion house Lanvin (/wiki/Lanvin_(clothing)) collaborated with H&M to create a new collection, "Lanvin Hearts H&M," in fall 2010. [40] (#cite_note-45) The collection, designed to make Lanvin clothing more accessible to the average consumer, featured items that were around 100 euros. Usually Lanvin dresses would cost hundreds of euros more. [41] (#cite_note-46) For Spring and Summer 2011, the company worked with fashion blogger Elin Kling (/wiki/Elin_Kling) , whose collection was only available at select stores. H&M announced a collaboration with Versace (/wiki/Versace) in June 2011 that was later released on 19 November. Versace (/wiki/Versace) also planned a Spring collaboration with the company that would only be available in countries with online sales. Similar to past collaborations, Versace agreed to let H&M use its name for a previously agreed-upon sum, without actually having a role in the design process. [42] (#cite_note-47) H&M announced a collaboration with Marni (/wiki/Marni_(fashion_house)) in November 2011. The campaign launched a few months later in Mah 2012 and was led by director Sofia Coppola (/wiki/Sofia_Coppola) . [ citation needed ] Trompe-l'œil (/wiki/Trompe-l%27%C5%93il) -printed viscose jersey dress by Maison Martin Margiela for H&M, 2012 On 4 October 2012, Vogue (/wiki/Vogue_(magazine)) Japan editor Anna Dello Russo (/wiki/Anna_Dello_Russo) launched an accessories collection with H&M as Paris Fashion Week (/wiki/Paris_Fashion_Week) drew to an end. The collection was stocked in 140 H&M stores worldwide and was also available to purchase online. [43] (#cite_note-48) On 12 June 2012, H&M confirmed that it would launch a collaboration with avant-garde (/wiki/Avant-garde) label Maison Martin Margiela (/wiki/Maison_Martin_Margiela) for a fall rollout. The Maison Martin Margiela collection for H&M hit stores a few months later on 15 November 2012. [ citation needed ] Isabel Marant (/wiki/Isabel_Marant) was a collaboration designer for fall 2013 and, for the first time in her career, made a few men's pieces to accompany the women's collection. [44] (#cite_note-49) The collection sold out very quickly in cities across the globe and was heavily anchored in sales online. [45] (#cite_note-50) During the Coachella Valley Music and Arts Festival (/wiki/Coachella_Valley_Music_and_Arts_Festival) in California, H&M announced its first collaboration with an American designer. Alexander Wang (/wiki/Alexander_Wang_(designer)) was the designer chosen and the collection was released to a select 250 stores around the world on 6 November 2014. Balmain (/wiki/Balmain_(fashion_house)) was announced as the next collaboration with H&M through Balmain designer Olivier Rousteing (/wiki/Olivier_Rousteing) 's Instagram (/wiki/Instagram) page. The collection was released on 5 November 2015. [46] (#cite_note-51) That year's H&M Christmas campaign was made in collaboration with popstar Katy Perry (/wiki/Katy_Perry) , who also sang the commercial soundtrack "'Every Day Is A Holiday". [47] (#cite_note-52) In November 2016, H&M released a designer line in collaboration with Kenzo (/wiki/Kenzo_(brand)) . [48] (#cite_note-53) That year the company released an annual holiday movie directed by Wes Anderson (/wiki/Wes_Anderson) as part of the company's Christmas advertising campaign. [49] (#cite_note-:5-54) Titled "Come Together", the short film starred Adrien Brody (/wiki/Adrien_Brody) as a train conductor who saves Christmas after a blizzard delays the train's arrival and causes the few passengers to miss part of the holiday. [49] (#cite_note-:5-54) [50] (#cite_note-55) [51] (#cite_note-56) [52] (#cite_note-57) Swedish singer Zara Larsson (/wiki/Zara_Larsson) designed a "playful, young, empowering and little glamorous" collection with H&M in February 2017. [53] (#cite_note-58) After 20 years, Naomi Campbell (/wiki/Naomi_Campbell) came back to collaborate with the company for a global female empowerment commercial spot in fall 2017. She wore clothes that blurred the line between masculine and feminine in the campaign's Tokyo spot-video where she lip-synced (/wiki/Lip-synced) " Wham Rap (Enjoy What You Do) (/wiki/Wham_Rap!_(Enjoy_What_You_Do)) " by Wham! (/wiki/Wham!) . [54] (#cite_note-59) Designers Jeremy Scott and Moschino (/wiki/Moschino) collaborated with the brand in April 2018. With the idea of reviving the spirit of the swinging sixties, H&M collaborated with designer Richard Allan in July 2019. [55] (#cite_note-60) The Fleur du Soleil collection, part of H&M's collaboration with Lebanese designer Sandra Mansour (/wiki/Sandra_Mansour) , was released in August 2020 and marked the first time the company had partnered with an Arab designer. [56] (#cite_note-61) Irish designer Simone Rocha (/wiki/Simone_Rocha) , daughter of designer John Rocha (/wiki/John_Rocha) , was announced as a collaborative partner in March 2021. Rocha's designs launched with an H&M campaign film and images shot by Tyler Mitchell. [57] (#cite_note-62) Sustainability and environmental awareness [ edit ] The neutrality (/wiki/Wikipedia:Neutral_point_of_view) of this article is disputed (/wiki/Wikipedia:NPOV_dispute) . Relevant discussion may be found on the talk page (/wiki/Talk:H%26M##) . Please do not remove this message until conditions to do so are met (/wiki/Template:POV#When_to_remove) . ( September 2023 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Used garment vouchers [ edit ] Starting in February 2013, H&M began offering patrons a voucher (/wiki/Voucher) in exchange for used garments. Donated garments were to be processed by I:CO, a retailer that repurposes and recycles used clothing with the goal of creating a zero waste (/wiki/Zero_waste) economy. The initiative is similar to an April 2012 clothes-collection voucher program launched by Marks & Spencer (/wiki/Marks_%26_Spencer) in partnership with Oxfam (/wiki/Oxfam) . [58] (#cite_note-63) [59] (#cite_note-64) [60] (#cite_note-65) Endangered forests [ edit ] In April 2014, H&M joined Zara (/wiki/Zara_(retailer)) and other apparel companies in changing their supply chain (/wiki/Supply_chain) to avoid endangered forests. The company teamed with Canopy, a nonprofit, to remove endangered and ancient forests from their dissolvable pulp supply chain for their viscose and rayon fabrics. [61] (#cite_note-66) The H&M Foundation [ edit ] The H&M Foundation, a nonprofit, was established in 2014 to fund projects that improve humanitarian and environmental issues within the fashion industry. The Persson family (/wiki/Category:Persson_family) , the founders and owners of H&M, originally invested $180 million in the foundation. One of the foundation's projects includes the Green Machine, a recycling technology that would allow clothing to be recycled in a similar way to aluminum can recycling. [62] (#cite_note-67) Since 2013, the family has made contributions to the foundation, donating SEK1.1 billion (US$154 million) to it. [ citation needed ] According to the OECD (/wiki/OECD) , H&M Foundation's financing for 2019 development increased by 7% to US$17 million. [63] (#cite_note-68) In August 2015, the H&M Foundation announced that it will award the Global Change Award, [64] (#cite_note-69) a million-euro annual prize, to advance recycling technology and techniques within the fashion industry. [65] (#cite_note-70) In 2021, H&M Foundation launched a virtual clothing collection named "The Billion Dollar Collection" that featured ten sustainable fashion innovation startups. [66] (#cite_note-71) Brazilian leather halt [ edit ] In September 2019, H&M halted its leather purchases from Brazil in response to the 2019 Amazon rainforest wildfires (/wiki/2019_Amazon_rainforest_wildfires) . [67] (#cite_note-72) The company issued an email statement: "The ban will be active until there are credible assurance systems in place to verify that the leather does not contribute to environmental harm in the Amazon (/wiki/Amazon_rainforest) ." H&M imports only a small fraction of its leather needs from the country. [68] (#cite_note-73) Sustainability ambassador hiring [ edit ] Actress Maisie Williams (/wiki/Maisie_Williams) joined the brand as a global sustainability ambassador in April 2021. As a global sustainability ambassador, she helped front the company's campaign on using only recycled or sustainably sourced materials by 2030. [69] (#cite_note-74) The first initiative fronted by the actress has led to a collaboration with the video game Animal Crossing (/wiki/Animal_Crossing) , with Williams being transformed into a digital game character to teach the virtues of recycling. [70] (#cite_note-75) Rental clothing [ edit ] In May 2021, H&M announced a temporary rental clothing service that allows men to rent suits for up to 24 hours for job interviews. It began in the UK and was also being tested in the United States. [71] (#cite_note-76) Concept stores [ edit ] Six concept brands [ edit ] In addition to the H&M brand, the company consists of six individual brands with separate concepts. [72] (#cite_note-about.hm.com-77) Brands include Afound, Arket, COS, Monki, Weekday, and & Other Stories. [73] (#cite_note-78) COS [ edit ] COS launched its flagship store on London's Regent Street (/wiki/Regent_Street) in March 2007 with a catwalk show at the Royal Academy. [74] (#cite_note-:0-79) Its concept is encompassed by minimalist style inspired by architecture, graphics, and design. [75] (#cite_note-80) [74] (#cite_note-:0-79) It specializes in modern clothing pieces for men and women that are less trend-oriented than other similarly priced labels. [76] (#cite_note-81) COS makes clothing that can be worn beyond the season. [77] (#cite_note-82) COS has 197 stores in 34 countries [78] (#cite_note-83) in Europe, Asia, North America, Australia and the Middle East and currently retails online to 19 markets via cos.com . H&M Details [ edit ] 2016 saw the hoarding of a new H&M concept in The Dubai Mall come up, labelled now 'H&M Details'. Labor practices [ edit ] Working conditions [ edit ] Cambodia [ edit ] In August 2011, nearly 300 workers fainted in one week at a Cambodian factory supplying H&M. Fumes from chemicals, poor ventilation, malnutrition (/wiki/Malnutrition) , and even "mass hysteria" have all been blamed for making workers ill. The minimum wage (/wiki/Minimum_wage) in the country is the equivalent of $66 (£42) a month, an amount that is less than half of what is required to meet basic needs, according to human rights groups. [79] (#cite_note-84) Bangladesh [ edit ] The same year, Bangladeshi and international labor groups put forth a detailed safety proposal that entailed the establishment of independent inspections of garment factories. The plan called for inspectors to have the power to close unsafe factories. The proposal entailed a legally binding (/wiki/Legally_binding) contract between suppliers, customers, and unions. At a meeting in 2011 in Dhaka (/wiki/Dhaka) , major European and North American retailers, including H&M, rejected the proposal. Further efforts by unions to advance the proposal after numerous and deadly factory fires have been rejected. [80] (#cite_note-85) Myanmar [ edit ] This section does not cite (/wiki/Wikipedia:Citing_sources) any sources (/wiki/Wikipedia:Verifiability) . Please help improve this section (/wiki/Special:EditPage/H%26M) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed (/wiki/Wikipedia:Verifiability#Burden_of_evidence) . ( February 2024 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) After the 1 February 2021 military coup d'état (/wiki/Coup_d%27%C3%A9tat) , many labor groups demanded H&M and other clothing companies divest from Myanmar (Burma) because of the concern that there would be labor rights abuses. There have been multiple reports of labor abuses in factories making H&M clothes. A labor news outlet reported that a worker from Saung Oo Shwe Nay factory that makes H&M clothing was physically abused. Myanmar Labour News quoted FGWM, a labor union, with photos on how the worker was abused by her supervisors. There are multiple reports from other workers from the same factory complaining that they were also physically abused and the employers did not take responsibility, according to the union. There are increasing amount of labor abuses occurring in Burma under the military dictatorship. The largest labor group CTUM has been reporting to the International Labor Organization yearly on Burma labor abuses. Supply chain transparency [ edit ] The Guardian (/wiki/The_Guardian) wrote that in a conscious action sustainability report for 2012, H&M published a list of factories supplying 95% of its garments. [81] (#cite_note-86) This contributes to the trend of corporations leaning toward ethically transparent supply chains. [82] (#cite_note-87) Slave and child labour [ edit ] On 2 January 2013, The Ecologist (/wiki/The_Ecologist) reported [83] (#cite_note-88) allegations by Anti-Slavery International (/wiki/Anti-Slavery_International) that H&M was continuing its association with the Uzbek government (/wiki/Uzbek_government) in exploiting child and adult forced labor (/wiki/Forced_labour) as cotton harvesters in Uzbekistan (/wiki/Uzbekistan) . [84] (#cite_note-89) In September 2020, amid international allegations over the use of Uyghur forced labor in Xinjiang (/wiki/Xinjiang) , H&M published a statement saying that it had stopped buying cotton from growers in Xinjiang, stating that it was "deeply concerned by reports from civil society organizations and media that include accusations of forced labor and discrimination of ethno-religious minorities". [85] (#cite_note-90) In February 2017, The Guardian (/wiki/The_Guardian) reported children were employed to make H&M products in Myanmar (/wiki/Myanmar) and were paid 13p (about 15 cents US) an hour – half the full legal minimum wage. [86] (#cite_note-91) Since then, H&M has become a Fair Labour Association (FLA) member and has set a goal to achieve fair living wages throughout its supply chain by 2030. [87] (#cite_note-92) Factory building structural collapses [ edit ] Savar building, Bangladesh [ edit ] In April 2013, the Rana Plaza building collapsed (/wiki/2013_Savar_building_collapse) in Bangladesh killing over 1,100 people. Fatalities were mostly garment workers. The incident is considered the deadliest non-deliberate structural failure (/wiki/Structural_integrity_and_failure) accident and the deadliest garment factory (/wiki/Textile_manufacturing) disaster in modern history. The eight-story building complex that was not designed for factory production and had cracks in the structure that the owners ignored. Approximately 2,500 injured people were rescued from the rubble. The company and other retailers signed on to the Accord on Factory and Building Safety in Bangladesh (/wiki/Accord_on_Factory_and_Building_Safety_in_Bangladesh) . In June 2016, SumOfUs (/wiki/SumOfUs) launched a campaign to pressure H&M to honor the commitment they made and signed to protect Bangladesh's garment workers. SumOfUs alleged that "H&M is drastically behind schedule in fixing the safety hazards (/wiki/Safety_hazard) its workers have to face every day." [88] (#cite_note-93) Phnom Penh, Cambodia [ edit ] On 19 May 2013, a textile factory that produced apparel for H&M in Phnom Penh (/wiki/Phnom_Penh) , Cambodia collapsed, injuring several people. [89] (#cite_note-94) The incident has raised concerns regarding industrial safety regulations. Living wage [ edit ] This section needs to be updated . Please help update this article to reflect recent events or newly available information. ( February 2024 ) On 25 November 2013, H&M's global head of sustainability committed [90] (#cite_note-95) [91] (#cite_note-96) that H&M, as the world's second-largest clothing retailer, would aim to pay all textile workers "living wage" by 2018, stating that governments are responding too slowly to poor working conditions in Bangladesh among other Asian countries where many clothing retailers source a majority if not all of their garments. Wages were increased in Bangladesh from 3,000 takas ($40) to 5,300 takas ($70) a month in late 2013. [92] (#cite_note-97) Fire safety report [ edit ] In September 2015, CleanClothes.org, an NGO involved in garment labor working conditions, reported on a lack of specific fire safety renovations in H&M suppliers' factories. [93] (#cite_note-98) Xinjiang region [ edit ] In 2020, the Australian Strategic Policy Institute (/wiki/Australian_Strategic_Policy_Institute) accused 82 major brands, including H&M, of being connected to alleged forced Uyghur (/wiki/Uyghurs) labor in Xinjiang (/wiki/Xinjiang) . [94] (#cite_note-99) Specifically the report mentions H&M as a customer of Huafu Top Dyed Melange Yarn Co. Ltd. [95] (#cite_note-100) See also: §Boycotts by China (#Boycotts_by_China) . The evidence adduced was that between April 2017 and June 2018 2,048 Uyghur workers were taken "from Hotan Prefecture (/wiki/Hotan_Prefecture) in Xinjiang to 15 factories in Anhui Province (/wiki/Anhui_Province) , including [a] Huafu [factory]", [96] (#cite_note-101) and that H&M listed Huafu as a supplier. [97] (#cite_note-102) On 16 September 2020, H&M said it was ending its relationship with Huafu. [98] (#cite_note-ind-103) It further stated that it had "never had a business relationship with a mill owned by the yarn producer Huafu Fashion Co in Anhui province where workers from XUAR have been employed". [98] (#cite_note-ind-103) Controversy [ edit ] Boycotts by China [ edit ] In March 2021, after the EU, UK, US, and Canada's joint sanctions against China over reports of human rights abuses in Xinjiang (/wiki/Human_rights_in_China#Uyghurs) , [99] (#cite_note-104) H&M's stance on avoiding forced labor in Xinjiang (/wiki/Xinjiang_internment_camps) and claim of not going to use cotton produced there was found and criticized by the Communist Youth League of China (/wiki/Communist_Youth_League_of_China) on its official Weibo (/wiki/Sina_Weibo) page. Their post stated, "Spreading rumors to boycott Xinjiang cotton, while trying to make a profit in China? Wishful thinking!" The viral (/wiki/Viral_marketing) post spread across mainland Chinese social media, leading to H&M facing significant criticism among Chinese social media users. [100] (#cite_note-:3-105) On 24 March 2021, H&M became the first fashion brand to be targeted in China, with its products removed from Chinese e-commerce platforms such as Pinduoduo (/wiki/Pinduoduo) , JD.com (/wiki/JD.com) and Alibaba (/wiki/Alibaba_Group) , its mobile application removed from Chinese app stores, and rideshare platform DiDi (/wiki/DiDi) blocking customers from requesting H&M stores as their destinations. [101] (#cite_note-:32-106) Two of H&M's brand ambassadors in China, Huang Xuan (/wiki/Huang_Xuan) and Victoria Song (/wiki/Victoria_Song) , announced they were no longer collaborating with H&M. [102] (#cite_note-107) [103] (#cite_note-:4-108) In August 2022, H&M resumed sales in China. [104] (#cite_note-109) Response [ edit ] Chinese state media (/wiki/State_media) outlet China Global Television Network (/wiki/China_Global_Television_Network) countered the statements against Xinjiang cotton with a video showing automation in cotton-picking and local Uyghurs claiming that the industry brought high earnings. [103] (#cite_note-:4-108) On 26 March 2021, the United States condemned the China-backed boycotts, with its Department of Commerce (/wiki/United_States_Department_of_Commerce) stating that the United States "has taken strong actions to stop China from profiting off of its human-rights abuses in Xinjiang and to stop imports of products made with forced labor in China." [105] (#cite_note-110) On 31 March, H&M responded with a statement vowing to rebuild trust in China and serve its customers in a "respectful way". [106] (#cite_note-111) H&M reported sales in China had fallen by approximately 23% for the second quarter of 2021 (compared to the same period in the last fiscal year). [107] (#cite_note-112) According to a report, [108] (#cite_note-113) more than half a million are forced to pick cotton in Xinjiang. [109] (#cite_note-114) Greenwashing claims [ edit ] A proposed class action lawsuit in the US alleged that H&M was greenwashing via the sustainability claims made in its Conscious Choice range. These claims were dismissed. Earlier this year, The Norwegian Consumer Agency (Forbrukertilsynet) said it believed Norrøna is "breaking the law" in marketing clothes as environmentally friendly and issued a warning to H&M GROUP against using the same type of environmental claims. [110] (#cite_note-115) Leaving Russia [ edit ] In March 2022, the H&M Group communicated [111] (#cite_note-116) that they would pause their operations in Russia due to the Russian invasion of Ukraine (/wiki/Russian_invasion_of_Ukraine) . Israel [ edit ] H&M has operated stores in Israel (/wiki/Israel) since March 2010 with its first store in Tel Aviv (/wiki/Tel_Aviv) in partnership with local franchisee Match Retail, a division of Union Group. [112] (#cite_note-117) As of December 2023, H&M operates 24 stores in Israel, predominantly around the region of Gush Dan (/wiki/Gush_Dan) . H&M does not operate any stores in the controversial areas of East Jerusalem (/wiki/East_Jerusalem) or the West Bank (/wiki/West_Bank) . However since opening in Israel, the Palestinian branch of BDS (/wiki/Boycott,_Divestment_and_Sanctions) has campaigned for boycott of fashion chain, demanding that they pull out of the country. [113] (#cite_note-118) H&M's continuing presence in Israel has led to protests in various stores in Europe, [114] (#cite_note-119) especially since the invasion of the Gaza Strip (/wiki/Israeli_invasion_of_the_Gaza_Strip_(2023%E2%80%93present)) . [115] (#cite_note-120) The company initially closed its stores when the invasion started in October, however the company quietly reopened the stores. [116] (#cite_note-121) In January 2016, H&M initially put out and later pulled a tallit (/wiki/Tallit) -like beige and dark blue striped scarf in its Israeli stores, after it was accused of being offensive to Jews (/wiki/Antisemitism) . [117] (#cite_note-122) [ clarification needed ] Australia [ edit ] In January 2024, the company was heavily criticized after its Australian branch released a school uniform advertisement with the slogan "Make those heads turn in H&M’s Back to School fashion". [118] (#cite_note-123) Melinda Tankard Reist (/wiki/Melinda_Tankard_Reist) , an Australian writer, questioned the brand's motives, claiming that young girls just want to be left alone and don't want unwelcome attention. [119] (#cite_note-124) The company removed the advertisement and apologized. [120] (#cite_note-125) Other controversies [ edit ] Time Controversy 6 January 2010 Was reported that unsold or refunded clothing and other items in one New York City (/wiki/New_York_City) store were cut up before being discarded, presumably to prevent resale or use. [121] (#cite_note-126) 24 January 2012 Was reported to have stolen the work of a UK-based artist, Tori LaConsay, using it on multiple items without compensating her. [122] (#cite_note-127) August 2013 Withdrew faux-leather (/wiki/Faux_leather) headdresses (/wiki/Headdress) from its Canadian stores after consumers complained the items, part of the company's "summer music festival" collection, were insulting to Canada's Aboriginal peoples (/wiki/Canada%27s_Aboriginal_peoples) . [123] (#cite_note-128) 6 November 2015 H&M South Africa division was accused of racism for its lack of black models in their photoshoots, [124] (#cite_note-129) later stating that white models convey a more "positive Image." [125] (#cite_note-130) 8 January 2018 Showcased on their official United Kingdom (/wiki/United_Kingdom) website, [126] (#cite_note-ebony.com-131) a black child model (/wiki/Child_model) wearing a green hoodie (/wiki/Hoodie) reading, "Coolest Monkey in the Jungle", which sparked controversy (/wiki/Controversy) . [127] (#cite_note-132) [128] (#cite_note-133) [129] (#cite_note-134) [130] (#cite_note-135) [131] (#cite_note-136) [132] (#cite_note-137) This was especially so in the United States due to the use of the term "monkey" on a black person. [126] (#cite_note-ebony.com-131) In response, Canadian and American singers such as The Weeknd (/wiki/The_Weeknd) and G-Eazy (/wiki/G-Eazy) boycotted the company by ending their partnerships with it over the image. [133] (#cite_note-138) [134] (#cite_note-139) [135] (#cite_note-140) H&M later released an apology: "This image has now been removed from all H&M channels and we apologise to anyone this may have offended." [136] (#cite_note-141) [137] (#cite_note-142) [138] (#cite_note-143) [139] (#cite_note-144) The mother of the model urged people to "stop crying wolf (/wiki/The_Boy_Who_Cried_Wolf) ," deeming it "an unnecessary issue." [140] (#cite_note-145) After the allegations, H&M stores were vandalized and looted in South Africa. In response, H&M temporarily closed stores there. [141] (#cite_note-146) [142] (#cite_note-147) 13 July 2019 H&M docked the pay and suspended several unionized staff in three of its stores in New Zealand for wearing ' Living wage (/wiki/Living_wage) ' stickers, as part of a wider industrial dispute. [143] (#cite_note-148) [144] (#cite_note-149) 9 December 2020 Sweden's Equality Ombudsman (/wiki/Equality_Ombudsman) (DO) started an investigation into H&M following a media report accusing it of racism in Swedish stores. [145] (#cite_note-150) Philanthropy [ edit ] Since January 2012 H&M has offered its H&M Design Award (/wiki/H%26M_Design_Award) , an annual design prize for fashion graduates. The prize is established to support young designers with the beginning of their careers. [146] (#cite_note-151) See also [ edit ] Bonds (clothing) (/wiki/Bonds_(clothing)) Gap Inc. (/wiki/Gap_Inc.) List of companies of Sweden (/wiki/List_of_companies_of_Sweden) European Retail Round Table (/wiki/European_Retail_Round_Table) Zara (retailer) (/wiki/Zara_(retailer)) Portals (/wiki/Wikipedia:Contents/Portals) : Sweden (/wiki/Portal:Sweden) Companies (/wiki/Portal:Companies) Fashion (/wiki/Portal:Fashion) Notes [ edit ] ^ (#cite_ref-6) Total full-time equivalent positions; H&M reports do not publish total full-time, part-time and casual employment levels. ^ (#cite_ref-11) Total full-time equivalent positions; H&M reports do not publish total full-time, part-time and casual employment levels. ^ (#cite_ref-36) "Net sales" ^ (#cite_ref-37) "Profit after tax" ^ Jump up to: a b "markets" References [ edit ] ^ (#cite_ref-1) "HM B, HENNES & MAURITZ B, (SE0000106270)" (http://www.nasdaqomxnordic.com/aktier/microsite?Instrument=SSE992) . Nasdaqomxnordic.com . Retrieved 16 February 2022 . ^ (#cite_ref-2) "CEO of H&M Group" (https://web.archive.org/web/20201004121718/https://hmgroup.com/about-us/corporate-governance/ceo.html) . Hm.com . Archived from the original (https://hmgroup.com/about-us/corporate-governance/ceo.html) on 4 October 2020 . Retrieved 31 January 2024 . ^ Jump up to: a b c "H&M – Hennes & Mauritz" (https://www.forbes.com/companies/hm-hennes-mauritz/?list=global2000/&sh=75288b46727b.) . Forbes (/wiki/Forbes) . ^ Jump up to: a b "Annual Report 2016" (https://web.archive.org/web/20180127083837/http://about.hm.com/content/dam/hmgroup/groupsite/documents/masterlanguage/Annual%20Report/Annual%20Report%202016.pdf) (PDF) . Hennes & Mauritz. Archived from the original (https://about.hm.com/content/dam/hmgroup/groupsite/documents/masterlanguage/Annual%20Report/Annual%20Report%202016.pdf) (PDF) on 27 January 2018 . Retrieved 27 February 2018 . ^ (#cite_ref-Operating_profit_of_the_H&M_Group_5-0) "Operating profit of the H&M Group worldwide from 2009 to 2019" (https://www.statista.com/statistics/252191/profit-of-the-h-und-m-group-worldwide/) . Statista . Retrieved 2 April 2020 . ^ (#cite_ref-7) "Reports and presentations" (https://hmgroup.com/investors/reports/) . H&M Group . 1 February 2024 . Retrieved 26 February 2024 . ^ (#cite_ref-8) Værnéus, Anders (15 February 2023). "svenskt mode i över 70 år" (https://www.dagensps.se/foretag/historien-om-hm-svenskt-mode-i-over-70-ar/) . Dagens PS (in Swedish) . Retrieved 26 February 2024 . ^ (#cite_ref-9) BarkText, Susanne (13 April 2017). "H&M:s historia inifrån" (https://www.di.se/weekend/hms-historia-inifran/) . Dagens industri (in Swedish) . Retrieved 26 February 2024 . ^ (#cite_ref-10) "HM B, Hennes & Mauritz B, (SE0000106270)" (https://www.nasdaqomxnordic.com/shares/microsite?Instrument=SSE992) . Nasdaq . Retrieved 26 February 2024 . ^ (#cite_ref-12) "H&M Group Annual and Sustainability Report 2021" (https://hmgroup.com/wp-content/uploads/2022/03/HM-Group-Annual-and-Sustainability-Report-2021.pdf) (PDF) . H&M Group . Retrieved 5 July 2022 . ^ (#cite_ref-13) "Top Five Largest Fashion Retailers in the World" (https://www.tharawat-magazine.com/facts/top-5-largest-fashion-clothing-retailers-world/) . 15 December 2018. ^ (#cite_ref-14) "Sales of major apparel retailers worldwide 2022" (https://www.statista.com/statistics/242114/sales-of-the-leading-10-apparel-retailers-worldwide/) . Statista . Retrieved 2 June 2024 . ^ (#cite_ref-15) "H&M Names Company Veteran Erver CEO as Helmersson Steps Down" (https://www.bloomberg.com/news/articles/2024-01-31/h-m-names-company-veteran-erver-ceo-as-helmersson-steps-down) . Bloomberg.com . 31 January 2024 . Retrieved 31 January 2024 . ^ (#cite_ref-16) "Who is Helena Helmersson, the new CEO of H&M?" (https://www.themds.com/companies/who-is-helena-helmersson-the-new-ceo-of-hm.html) . www.themds.com . Retrieved 14 March 2023 . ^ Jump up to: a b c d e "H&M: Our-History" (https://web.archive.org/web/20130319073126/http://about.hm.com/AboutSection/en/About/Facts-About-HM/People-and-History/Our-History.html) . Archived from the original (http://about.hm.com/AboutSection/en/About/Facts-About-HM/People-and-History/Our-History.html) on 19 March 2013. ^ (#cite_ref-18) "Mote og kvalitet til beste pris – H& NO" (http://www.hm.com/no/abouthm/theworldofhm/europe/norway__worldofhm_countrycode_no.nhtml;jsessionid=C2725F05113C12482E28CB6626118089) . Hm.com . Retrieved 16 February 2022 . ^ (#cite_ref-The_World_of_H&M_19-0) "Fashion and quality clothing at the best price – H& GB" (http://www.hm.com/gb/abouthm/theworldofhm/europe/unitedkingdom__worldofhm_countrycode_gb.nhtml) . Hm.com . 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"Xinjiang Cotton: Li Ning, Anta Shares Surge While Nike, Adidas, Burberry Hit With Backlash" (https://wwd.com/business-news/retail/xinjiang-cotton-ban-china-nike-uniqlo-hm-1234787090/) . Wwd.com . Retrieved 28 March 2021 . ^ (#cite_ref-107) Tianwei Zhang; Tiffany Ap (24 March 2021). "H&M Removed From All Major Chinese Platforms Over Xinjiang Cotton Ban" (https://wwd.com/business-news/retail/hm-face-new-boycott-china-xinjiang-cotton-ban-1234786243/) . Women's Wear Daily . Retrieved 28 March 2021 . ^ Jump up to: a b "H&M faces boycott in China over Xinjiang cotton" (https://www.msn.com/en-us/news/world/handm-faces-boycott-in-china-over-xinjiang-cotton/ar-BB1eWmUS) . MSN (/wiki/MSN) . BBC News (/wiki/BBC_News) . 25 March 2021 . Retrieved 30 March 2021 . ^ (#cite_ref-109) Lin, Clarence Leong and Liza (16 August 2022). "H&M Returns to China's Internet After a 16-Month Disappearance" (https://www.wsj.com/articles/h-m-returns-to-chinas-internet-after-a-16-month-disappearance-11660653643) . The Wall Street Journal (/wiki/The_Wall_Street_Journal) . ISSN (/wiki/ISSN_(identifier)) 0099-9660 (https://www.worldcat.org/issn/0099-9660) . Retrieved 16 August 2022 . ^ (#cite_ref-110) Mauldin, Alex Leary and William (26 March 2021). "U.S. Condemns Chinese Boycotts of Companies Shunning Xinjiang Cotton" (https://www.wsj.com/articles/u-s-condemns-chinese-boycotts-of-companies-that-avoid-xinjiang-production-11616784162) . Wall Street Journal (/wiki/Wall_Street_Journal) . ISSN (/wiki/ISSN_(identifier)) 0099-9660 (https://www.worldcat.org/issn/0099-9660) . Retrieved 28 March 2021 . ^ (#cite_ref-111) Soderpalm, Helena; Ringstrom, Anna (31 March 2021). "H&M vows to rebuild trust in China after Xinjiang backlash" (https://www.reuters.com/article/us-h-m-results-idUSKBN2BN0LV) . Reuters . Retrieved 2 April 2021 . ^ (#cite_ref-112) "H&M: Fashion giant sees China sales slump after Xinjiang boycott" (https://www.bbc.com/news/business-57691415) . BBC News . 2 July 2021 . Retrieved 2 July 2021 . ^ (#cite_ref-113) "Coercive Labor in Xinjiang: Labor Transfer and the Mobilization of Ethnic Minorities to Pick Cotton" (https://web.archive.org/web/20210207224359/https://cgpolicy.org/briefs/coercive-labor-in-xinjiang-labor-transfer-and-the-mobilization-of-ethnic-minorities-to-pick-cotton/) . Archived from the original (https://cgpolicy.org/briefs/coercive-labor-in-xinjiang-labor-transfer-and-the-mobilization-of-ethnic-minorities-to-pick-cotton/) on 7 February 2021 . Retrieved 5 October 2021 . ^ (#cite_ref-114) "Xinjiang: more than half a million forced to pick cotton, report suggests" (https://www.theguardian.com/world/2020/dec/15/xinjiang-china-more-than-half-a-million-forced-to-pick-cotton-report-finds) . TheGuardian.com (/wiki/TheGuardian.com) . 15 December 2020. ^ (#cite_ref-115) "H&M under fire in US over sustainable material claims" (https://www.just-style.com/news/hm-under-fire-in-us-over-sustainable-material-claims/) . Just Style . 15 November 2022 . Retrieved 1 December 2022 . ^ (#cite_ref-116) "H&M Group temporarily pauses all sales in Russia" (https://hmgroup.com/news/hm-group-temporarily-pauses-all-sales-in-russia/) . H&M Group . 2 March 2022 . Retrieved 11 January 2023 . ^ (#cite_ref-117) "FIRST H&M STORE IN ISRAEL OPENS TODAY" (https://hmgroup.com/news/first-hm-store-in-israel-opens-today/) . H&M Group . 11 March 2010 . Retrieved 27 December 2023 . ^ (#cite_ref-118) "European groups: Boycott H&M over Israel stores" (https://bdsmovement.net/news/european-groups-boycott-hm-over-israel-stores) . BDS Movement . 11 March 2010 . Retrieved 27 December 2023 . ^ (#cite_ref-119) "H&M Whitewashing Israel's Colonization of Jerusalem, BDS National Committee calls for Boycotting H&M!" (http://www.inminds.co.uk/article.php?id=10310) . www.inminds.co.uk . Retrieved 27 December 2023 . ^ (#cite_ref-120) Mallikka, Miabell (5 December 2023). "H&M targeted in pro-Palestine boycott campaign" (https://scandasia.com/hm-targeted-in-pro-palestine-boycott-campaign/) . Scandasia . Retrieved 27 December 2023 . ^ (#cite_ref-121) FashionUnited (13 October 2023). "Zara, H&M and American Eagle: Fashion responds to Israel-Hamas situation" (https://fashionunited.uk/news/business/zara-h-m-and-american-eagle-fashion-responds-to-the-war-in-israel/2023101372098) . FashionUnited . Retrieved 27 December 2023 . ^ (#cite_ref-122) "H&M pulls tallit-like scarf from Israeli stores" (https://archive.today/20231226224044/https://www.timesofisrael.com/hm-pulls-tallit-like-scarf-from-israeli-stores/#selection-817.0-817.47) . The Times of Israel (/wiki/The_Times_of_Israel) . Archived from the original (https://www.timesofisrael.com/hm-pulls-tallit-like-scarf-from-israeli-stores/) on 26 December 2023 . Retrieved 9 January 2016 . ^ (#cite_ref-123) Ronald, Issy (22 January 2024). "H&M pulls school uniform ad in Australia after complaints it sexualized children | CNN Business" (https://edition.cnn.com/2024/01/22/business/h-and-m-school-uniform-ad-intl-scli/index.html) . CNN . ^ (#cite_ref-124) "Australia: H&M Faces Backlash and Drops Controversial Ad Accused of Sexualizing Children" (https://www.brutimes.com/news/world-news/australia-hm-faces-backlash-and-drops-controversial-ad-accused-of-sexualizing-children) . Bru Times News . ^ (#cite_ref-125) "H&M pulls ad accused of sexualizing young girls – DW – 01/23/2024" (https://www.dw.com/en/hm-pulls-ad-accused-of-sexualizing-young-girls/a-68059701) . dw.com . ^ (#cite_ref-126) ( registration required (/wiki/Wikipedia:Verifiability#Access_to_sources) ) Dwyer, Jim (6 January 2010). "A Clothing Clearance Where More Than Just the Prices Have Been Slashed" (https://www.nytimes.com/2010/01/06/nyregion/06about.html?ref=nyregion) . The New York Times . Retrieved 6 January 2010 . ^ (#cite_ref-127) "H&M Is Getting Slammed For Allegedly Copying An Artist's Design" (http://www.businessinsider.com/hm-is-getting-slammed-for-allegedly-copying-an-artists-design-for-a-bunch-of-its-own-products-2012-1) . 25 January 2012 . Retrieved 24 September 2015 . ^ (#cite_ref-128) "H&M withdraws 'offensive' headdresses" (https://www.theguardian.com/fashion/2013/aug/09/h-and-m-withdraws-offensive-headdresses-canada) . the Guardian . 9 August 2013. ^ (#cite_ref-129) "H&M in racist debacle over 'positive image' tweet for lack of black models" (https://www.timeslive.co.za/sunday-times/lifestyle/2015-11-06-hm-in-racist-debacle-over-positive-image-tweet-for-lack-of-black-models/) . TimesLive (/wiki/The_Times_(South_Africa)) . 6 November 2015 . Retrieved 8 January 2018 . ^ (#cite_ref-130) "H&M South Africa Racist Tweets – News One" (https://newsone.com/3247456/hm-apologizes-racist-tweets/) . News One (Pakistani TV channel) (/wiki/News_One_(Pakistani_TV_channel)) . 10 November 2015 . Retrieved 8 January 2018 . ^ Jump up to: a b "Terry Mango, Mom of Model Used to Sell Monkey Hoodie Defends H&M" (http://www.ebony.com/news-views/mother-of-hm-model-responds-terry-mango) . ebony.com . 10 January 2018. ^ (#cite_ref-132) "H&M monkey hoodie sparks outrage for "racist" image" (https://www.cbsnews.com/news/h-m-the-weeknd-coolest-monkey-in-the-jungle-racist-hoodie/) . CBS News (/wiki/CBS_News) . 8 January 2018 . Retrieved 8 January 2018 . ^ (#cite_ref-133) "H&M apologizes for using black child to sell 'coolest monkey' top" (https://money.cnn.com/2018/01/08/news/companies/hm-apologizes-monkey-hoodie/index.html) . CNN (/wiki/CNN) . 8 January 2018 . Retrieved 8 January 2018 . ^ (#cite_ref-134) "H&M slammed as racist for 'monkey in the jungle' hoodie" (https://www.cnbc.com/2018/01/08/hm-slammed-for-racist-monkey-in-the-jungle-hoodie.html) . CNBC (/wiki/CNBC) . 8 January 2018 . Retrieved 8 January 2018 . ^ (#cite_ref-135) "H&M is apologizing for a product image called out as racist" (https://qz.com/1174479/hm-is-apologizing-for-a-product-image-called-out-as-racist/) . Quartz (/wiki/Quartz_(publication)) . 8 January 2018 . Retrieved 8 January 2018 . ^ (#cite_ref-136) "H&M apologises following backlash over 'racist' image of child model on website" (https://www.independent.co.uk/news/uk/home-news/hm-apology-racist-image-website-child-model-backlash-twitter-monkey-jumper-black-a8147641.html) . The Independent (/wiki/The_Independent) . 8 January 2018 . Retrieved 8 January 2018 . ^ (#cite_ref-137) "H&M Faces Twitter Backlash for "Racist" Hoodie – Pret-a-Reporter" (https://www.hollywoodreporter.com/news/h-m-faces-twitter-backlash-racist-hoodie-1072791) . The Hollywood Reporter (/wiki/The_Hollywood_Reporter) . 8 January 2018 . Retrieved 8 January 2018 . ^ (#cite_ref-138) "The Weeknd tweets that he's cutting ties with H&M over hoodie ad" (http://www.businessinsider.com/the-weeknd-cuts-ties-with-hm-over-racist-sweatshirt-ad-2018-1) . Business Insider (/wiki/Business_Insider) . 8 January 2018 . Retrieved 8 January 2018 . ^ (#cite_ref-139) "The Weeknd Cuts Ties With H&M After Racist Ad: 'Shocked and..." (https://web.archive.org/web/20180109180954/https://www.click2houston.com/entertainment-tonight/the-weeknd-cuts-ties-with-hm-after-racist-ad-shocked-and-embarrassed) KPRC-TV (/wiki/KPRC-TV) . 8 January 2018. Archived from the original (https://www.click2houston.com/entertainment-tonight/the-weeknd-cuts-ties-with-hm-after-racist-ad-shocked-and-embarrassed) on 9 January 2018 . Retrieved 8 January 2018 . ^ (#cite_ref-140) "G-Eazy ends partnership with H&M over 'disturbing' viral 'monkey' sweatshirt – SFGate" (http://m.sfgate.com/music/article/G-Eazy-H-M-sweatshirt-controversy-12486023.php) . SFGate (/wiki/San_Francisco_Chronicle) . 9 January 2018 . Retrieved 10 January 2018 . ^ (#cite_ref-141) " (https://www.sbs.com.au/news/coolest-monkey-in-the-jungle-h-m-in-hot-water-after-distasteful-hoodie-ad) 'Coolest monkey in the jungle': H&M in hot water after 'distasteful' hoodie ad – SBS News" (https://www.sbs.com.au/news/coolest-monkey-in-the-jungle-h-m-in-hot-water-after-distasteful-hoodie-ad) . sbs.com.au . ^ (#cite_ref-142) "H&M issues unequivocal apology for poorly judged product and image" (https://web.archive.org/web/20180110052328/http://about.hm.com/en/media/news/general-2018/h-m-issues-unequivocal-apology-for-poorly-judged-product-and-ima.html) . HM.com . Archived from the original (http://about.hm.com/en/media/news/general-2018/h-m-issues-unequivocal-apology-for-poorly-judged-product-and-ima.html) on 10 January 2018 . Retrieved 10 January 2018 . ^ (#cite_ref-143) "H&M on Twitter" (https://www.twitter.com/hm/status/950680302715899904) . Twitter . 8 January 2018 . Retrieved 10 January 2018 . ^ (#cite_ref-144) "H&M on Twitter: "We'd like to put on record our position in relation to the controversial image of our hoodie. Our position is simple – we've got this wrong and we're deeply sorry" (https://www.twitter.com/hm/status/950816251475087360) . Twitter . 8 January 2018 . Retrieved 10 January 2018 . ^ (#cite_ref-145) "Terry Mango, Mom of Model Used to Sell Monkey Hoodie Defends H&M" (http://www.ebony.com/news-views/mother-of-hm-model-responds-terry-mango#axzz53njFCrSd) . ebony.com . 10 January 2018. ^ (#cite_ref-146) "H&M shops trashed in South Africa over "racist" hoodie" (http://www.harpersbazaar.com/uk/fashion/fashion-news/a15162012/handm-shops-trashed-in-africa-over-racist-hoodie/) . Harper's Bazaar . 15 January 2018. ^ (#cite_ref-147) "UPDATE: Police confirm rubber bullets fired in H&M protests as shop looted" (https://www.news24.com/SouthAfrica/News/update-police-confirm-rubber-bullets-fired-in-hm-protests-as-shop-looted-20180113-2) . News 24. ^ (#cite_ref-148) "H&M staff suspended for wearing stickers: Union" (https://www.stuff.co.nz/business/114216465/hm-workers-stickers-cause-angst-for-managers) . Stuff . 13 July 2019 . Retrieved 13 July 2019 . ^ (#cite_ref-149) "Auckland H&M workers suspended after sticker protest for living wage" (https://www.tvnz.co.nz/one-news/new-zealand/auckland-h-m-workers-suspended-after-sticker-protest-living-wage) . TVNZ . Retrieved 13 July 2019 . ^ (#cite_ref-150) "Swedish equality ombudsman launches discrimination probe into H&M after media report" (https://www.reuters.com/article/h-m-discrimination-idUSKBN28J2JF) . Reuters . 9 December 2020 . Retrieved 9 December 2020 . ^ (#cite_ref-151) "The H&M Design Award" (https://www.dexigner.com/news/24490) . dexigner.com . 13 January 2012. Further reading [ edit ] Myhr, Karin Jansson (2019). Historien om ett företag: H&M . Storytel (/wiki/Storytel) . Stannow, Lena (2021). Min sanning : ... efter alla år med H&M . Ultima Esperanza Books. 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American cable television network Television channel VH1 The VH1 Logo used since 2016, with the wordmark used since 2012 Country United States (/wiki/United_States) Broadcast area Nationwide Headquarters New York City, New York, U.S. (/wiki/New_York_City) Programming Language(s) English (/wiki/English_Language) Picture format 1080i (/wiki/1080i) HDTV (/wiki/HDTV) (downscaled to letterboxed (/wiki/Letterbox_(filming)) 480i (/wiki/480i) for the SDTV (/wiki/SDTV) feed) Ownership Owner Paramount Global (/wiki/Paramount_Global) Parent BET Media Group (/wiki/BET_Networks) ( CBS Entertainment Group (/wiki/CBS_Entertainment_Group) ) [1] (#cite_note-BET_move-1) Sister channels List Nickelodeon (/wiki/Nickelodeon) Nick Jr. Channel (/wiki/Nick_Jr._Channel) Nicktoons (/wiki/Nicktoons_(American_TV_channel)) TeenNick (/wiki/TeenNick) CBS (/wiki/CBS) CBS Sports Network (/wiki/CBS_Sports_Network) CBS Sports HQ (/wiki/CBS_Sports_HQ) CBS Sports Golazo Network (/wiki/CBS_Sports_Golazo_Network) MTV (/wiki/MTV) MTV2 (/wiki/MTV2) MTV Tres (/wiki/MTV_Tres) MTV Live (/wiki/MTV_Live_(TV_network)) MTV Classic (/wiki/MTV_Classic_(American_TV_channel)) BET (/wiki/BET) BET Her (/wiki/BET_Her) Comedy Central (/wiki/Comedy_Central) TV Land (/wiki/TV_Land) Logo (/wiki/Logo_TV) CMT (/wiki/CMT_(American_TV_channel)) Pop TV (/wiki/Pop_(American_TV_channel)) Showtime (/wiki/Showtime_(TV_network)) The Movie Channel (/wiki/The_Movie_Channel) Flix (/wiki/Flix_(TV_network)) Paramount Network (/wiki/Paramount_Network) Smithsonian Channel (/wiki/Smithsonian_Channel) History Launched January 1, 1985 ; 39 years ago ( 1985-01-01 ) Replaced Cable Music Channel (/wiki/Cable_Music_Channel) Former names VH-1/VH-1: Video Hits One 1985–1994 VH1: Music First 1994–2003 Links Website www (https://www.vh1.com/) .vh1 (https://www.vh1.com/) .com (https://www.vh1.com/) Availability Streaming media (/wiki/Streaming_media) Sling TV (/wiki/Sling_TV) , Philo (/wiki/Philo_(company)) , YouTube TV (/wiki/YouTube_TV) , Vidgo TV, FuboTV (/wiki/FuboTV) , Hulu (/wiki/Hulu) Internet Protocol television (/wiki/Internet_Protocol_television) VH1 (originally an initialism (/wiki/Initialism) for Video Hits One ) is an American Basic Cable (/wiki/Basic_cable) television network that launched on January 1, 1985, and is currently owned by the BET Media Group (/wiki/BET_Networks) subsidiary of Paramount Global (/wiki/Paramount_Global) 's CBS Entertainment Group (/wiki/CBS_Entertainment_Group) based in New York City (/wiki/New_York_City) . The network was originally owned by Warner-Amex Satellite Entertainment (/wiki/Warner-Amex_Satellite_Entertainment) ; a division of Warner Communications (/wiki/Warner_Communications) , and the original owner of then-sister channel MTV (/wiki/MTV) at the time. It was launched in the channel space of Turner Broadcasting System (/wiki/Turner_Broadcasting_System) short-lived Cable Music Channel (/wiki/Cable_Music_Channel) . VH1 was originally conceived to build upon the success of MTV by playing music videos targeting a slightly older demographic focusing on the lighter, softer side of popular music. [2] (#cite_note-launsch-2) Like MTV,VH1 ultimately drifted away (/wiki/Channel_drift) from music and into reality television (/wiki/Reality_television) programming, albeit with a focus on music personalities and celebrities, and shows targeting African-American (/wiki/African-American) audiences. VH1 is best known for franchises such as Behind the Music (/wiki/Behind_the_Music) , the I Love… (/wiki/I_Love...#VH1_series) series, the Celebreality (#Celebreality) block, Love & Hip Hop (/wiki/Love_%26_Hip_Hop) , and Basketball Wives (/wiki/Basketball_Wives) . As of December 2023, VH1 is available in approximately 67,481,000 American households; [3] (#cite_note-3) down from 90.2 million in January 2016. [4] (#cite_note-4) History [ edit ] Part of a series on MTV (/wiki/MTV) MTV channels (/wiki/List_of_MTV_channels) MTV (/wiki/MTV) MTV2 (/wiki/MTV2) Classic (/wiki/MTV_Classic_(U.S._TV_network)) Tres (/wiki/MTV_Tres) MTV Live (/wiki/MTV_Live_(TV_network)) MTVU (/wiki/MTVU) CMT (/wiki/CMT_(American_TV_channel)) Programs on MTV (/wiki/List_of_programs_broadcast_by_MTV) MTV personalities (/wiki/List_of_MTV_VJs) Censorship on MTV (/wiki/Censorship_on_MTV) MTV Generation (/wiki/MTV_Generation) MTV News (/wiki/MTV_News) v t e Early history (1985–1994) [ edit ] This section has multiple issues. Please help improve it (/wiki/Special:EditPage/VH1) or discuss these issues on the talk page (/wiki/Talk:VH1) . ( Learn how and when to remove these template messages (/wiki/Help:Maintenance_template_removal) ) This section's tone or style may not reflect the encyclopedic tone (/wiki/Wikipedia:Writing_better_articles#Tone) used on Wikipedia . See Wikipedia's guide to writing better articles (/wiki/Wikipedia:Writing_better_articles#Tone) for suggestions. ( May 2024 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) This section needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/VH1) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) in this section. Unsourced material may be challenged and removed. Find sources: "VH1" (https://www.google.com/search?as_eq=wikipedia&q=%22VH1%22) – news (https://www.google.com/search?tbm=nws&q=%22VH1%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22VH1%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22VH1%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22VH1%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22VH1%22&acc=on&wc=on) ( May 2024 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Format and VJs (1985–89) [ edit ] The first VH1 logo used from 1985 to 1987 in the USA; between 1995 and 2002 in Germany and 1993–1999 in the UK and Ireland. Designed by LPG/Pon, Dale Pon and George Lois. The second VH1 logo used from 1987 to 1994. Designed by Scott Miller. During the Christmas season the "V" would be flipped upside down to resemble a Christmas tree. This was a rare logo. Also, it is an alternate logo. VH1's aim was to focus on the lighter, softer side of popular music (/wiki/Popular_music) , [5] (#cite_note-b_and_c-5) including American and foreign musicians such as Olivia Newton-John (/wiki/Olivia_Newton-John) , Kenny Rogers (/wiki/Kenny_Rogers) , Carly Simon (/wiki/Carly_Simon) , Tina Turner (/wiki/Tina_Turner) , Elton John (/wiki/Elton_John) , Billy Joel (/wiki/Billy_Joel) , Eric Clapton (/wiki/Eric_Clapton) , Sting (/wiki/Sting_(musician)) , Donna Summer (/wiki/Donna_Summer) , Rod Stewart (/wiki/Rod_Stewart) , Kenny G (/wiki/Kenny_G) , Michael Bolton (/wiki/Michael_Bolton) , Anita Baker (/wiki/Anita_Baker) , Chicago (/wiki/Chicago_(band)) , and Fleetwood Mac (/wiki/Fleetwood_Mac) , in hopes of appealing to people aged 18 to 35, and possibly older. Also frequently featured in the network's early years were "videos" for Motown (/wiki/Motown_Records) and other '60s oldies (/wiki/Oldies) consisting of newsreel (/wiki/Newsreel) and concert footage. It was introduced on January 1, 1985, with the video performance of " The Star-Spangled Banner (/wiki/The_Star-Spangled_Banner) " by Marvin Gaye (/wiki/Marvin_Gaye) , [5] (#cite_note-b_and_c-5) who died a year before the network launched (the national anthem was also played at the launch of Cable Music Channel) It was programmed to fit many of the radio formats popular with adults at the time including soft rock (/wiki/Soft_rock) , smooth jazz (/wiki/Smooth_jazz) , oldies (/wiki/Oldies) and adult contemporary (/wiki/Adult_contemporary) . From the start, Video Hits One was branded as an urban version of its sister/parent channel. It played more jazz and R&B artists than MTV and had a higher rotation of urban-contemporary performers. [ citation needed ] Its early on-camera personalities were New York radio veterans Don Imus (/wiki/Don_Imus) (then of WNBC (/wiki/WNBC_(AM)) ), Frankie Crocker (/wiki/Frankie_Crocker) (then program director and DJ for WBLS (/wiki/WBLS) ), Scott Shannon (/wiki/Scott_Shannon) (of WHTZ (/wiki/WHTZ) ), Jon Bauman (/wiki/Jon_Bauman) ("Bowzer" from Sha Na Na (/wiki/Sha_Na_Na) ), and Rita Coolidge (/wiki/Rita_Coolidge) . [ citation needed ] Later VJs included Bobby Rivers (/wiki/Bobby_Rivers) , who joined in 1987, Tim Byrd of WPIX-FM (/wiki/WFAN-FM) (the current day FM rebroadcast of WFAN (/wiki/WFAN_(AM)) ), a station whose eclectic ballad-and-R&B oriented format mirrored that of VH-1, Roger Rose - Actor and comedian (Ski Patrol), and Alison Steele (/wiki/Alison_Steele) ("The Nightbird" of WNEW-FM (/wiki/WNEW-FM) ). Rosie O'Donnell (/wiki/Rosie_O%27Donnell) later joined the outlet's VJ lineup. [ citation needed ] O'Donnell would also host a comedy show featuring several comedians each episode. [ citation needed ] As an added touch to make the network more like a televised radio station, the early years of the network featured jingles in their bumpers produced by JAM Creative Productions (/wiki/JAM_Creative_Productions) in Dallas, who had previously made jingles for radio stations worldwide. [ citation needed ] The format left room for occasional ad-libs by the VJ, a godsend for emcees such as Imus and O'Donnell. In true Imus style, he used a 1985 segment of his VH-1 show to jokingly call smooth-jazz icon Sade (/wiki/Sade_(singer)) a "grape" for her oval-shaped head. Typical of VH1's very early programming was New Visions , a series which featured videos and in-studio performances by smooth jazz (/wiki/Smooth_jazz) and classical and new-age (/wiki/New-age_music) bands and performers, including Spyro Gyra (/wiki/Spyro_Gyra) , Andy Narell (/wiki/Andy_Narell) , Mark Isham (/wiki/Mark_Isham) , Philip Glass (/wiki/Philip_Glass) , [6] (#cite_note-6) and Yanni (/wiki/Yanni) . At first many different musicians guest-hosted the program, but eventually musician/songwriter Ben Sidran (/wiki/Ben_Sidran) became the permanent host. New Age music videos continued to play on the channel into the 1990s. They would be seen on the Sunday morning two-hour music video block titled Sunday Brunch . Early programming (1989–1994) [ edit ] Once VH1 established itself a few years later, they catered to Top 40, adult contemporary (/wiki/Adult_contemporary) , classic rock (/wiki/Classic_rock) , and 1980s mainstream pop. [7] (#cite_note-7) For a time, even country music videos aired in a one-hour block during the afternoons. They started out using MTV's famous Kabel (/wiki/Kabel_(typeface)) -based credits for their music video credit tags. It was later replaced in 1991 by a larger, vertically oriented font, with the year the video was made added to the lower column that identified the label on which the album was released. In 1993, the name of the videos' director was included at the bottom of the credits. During this time, they also had some non-music programming, such as a comedy hour hosted by Rosie O'Donnell (/wiki/Rosie_O%27Donnell) with various amateur and veteran comedians, called Stand Up Spotlight , [8] (#cite_note-8) an in-depth look at current movies called Flix , [9] (#cite_note-9) and reports on good civilians and volunteers in the community, called Good News People . [10] (#cite_note-10) Every week, the Top 21 Video Countdown usually had a different guest host. [11] (#cite_note-11) Occasionally, they had themed countdowns as well, such as Elvira hosting creepy videos for Halloween in 1991. [12] (#cite_note-12) Long blocks of music videos by a particular artist or band, theme, or years were also very popular in this era. One popular weekend program was called Video Rewind , in which blocks of 1980s videos from one particular year would play for an hour. [13] (#cite_note-13) There was also a short-lived hour-long program called By Request in which viewers could call a 1–900 hotline number to request their videos. Another program was "History of Music Videos A to Z", [14] (#cite_note-14) which would include mini-marathons of videos mostly centered around artists based on a given alphabetical letter. During Independence Day weekends all the way to 1998, a large percentage of their library of music videos would be shown. A weeknight 11 p.m. hour-long broadcast of Madonna (/wiki/Madonna) videos, titled The Madonna Show , aired around that era. The videos were aired without introduction by a VJ and the program was soon shortened to thirty minutes, and then scrapped altogether. Also in 1991, a popular morning program was introduced called Hits News & Weather that ran from 7 am to 9 am ET. [15] (#cite_note-15) (It later expanded to 10 am ET.) It was composed of music videos both past and present along with a 90-second update of the day's news & weather provided by All News Channel (/wiki/All_News_Channel) . The updates were typically shown twice an hour during the program. A box displaying the minutes past the hour was shown below the logo during the period. It was discontinued a week before the channel was re-branded in the Fall of 1994. During the week prior, classic music videos from forgotten artists/bands aired, titled Whatever Happened To...? The channel's playlist was gradually expanding, and, by 1994, included contemporary musicians such as Ace of Base (/wiki/Ace_of_Base) , Melissa Etheridge (/wiki/Melissa_Etheridge) , Sheryl Crow (/wiki/Sheryl_Crow) , Lisa Loeb (/wiki/Lisa_Loeb) , Amy Grant (/wiki/Amy_Grant) , Seal (/wiki/Seal_(musician)) , and other slightly heavier, or more alternative rock (/wiki/Alternative_rock) -influenced music than what it had originally played, although favorites such as Whitney Houston (/wiki/Whitney_Houston) , Mariah Carey (/wiki/Mariah_Carey) , Rod Stewart (/wiki/Rod_Stewart) , Cher (/wiki/Cher) , Elton John (/wiki/Elton_John) , Madonna (/wiki/Madonna) , Phil Collins (/wiki/Phil_Collins) , Janet Jackson (/wiki/Janet_Jackson) , and Céline Dion (/wiki/Celine_Dion) still continued to receive heavy play for several more years as well. VH1 to One was a program in the Video Hits One era that was very similar to Behind The Music. It profiled artists such as Phil Collins, Michael Bolton and Paul McCartney, plus other various artists of interest at the time that were playing the network's chosen style of music at the time and their music careers. It was one of the programs that would continue into the incoming Music First era. VH1 Corvette Give-away Sweepstakes [ edit ] In order to reach a wider and younger audience, VH1 announced in late 1989 that in 1990 they would be holding a contest where the grand prize was a collection of 36 Chevrolet Corvettes (/wiki/Chevrolet_Corvette) , one for every model year from its introduction year of 1953, to the then current model year of 1989 (there is no model for 1983), all going to a single grand winner. All cars were to be certified as roadworthy and in "good" to "excellent" condition. The collection at the time had an estimated worth of over US$ 1 million. Contestants entered by calling a 1-900 number (/wiki/Premium-rate_telephone_number) and registering, at $2 per call. VH1 received over 4 million call-in entries. The winner was a man from Long Island, New York, who immediately sold the entire collection to artist Peter Max (/wiki/Peter_Max) for $500,000. Max intended to use the cars for an art project, but it never got started and the entire collection was left in an underground parking lot in New York City for over 20 years, and deteriorated into poor condition. [16] (#cite_note-16) [17] (#cite_note-17) [18] (#cite_note-18) [19] (#cite_note-19) [20] (#cite_note-20) VH1: Music First (1994–2003) [ edit ] This section needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/VH1) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) in this section. Unsourced material may be challenged and removed. ( May 2008 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) The third VH1 logo used from 1994 to 2003. The circle ring surrounding the logo was added in 1998. It was used on VH1 Classic UK (/wiki/MTV_Classic_(British_and_Irish_TV_channel)) from 2004 to 2010, VH1 Classic US (/wiki/MTV_Classic_(American_TV_channel)) from 2000 to 2007, and VH1 Classic Europe (/wiki/VH1_Classic_(European_TV_channel)) from 2004 to 2020. On October 17, 1994, VH1 re-branded itself as VH1: Music First , [21] (#cite_note-21) [22] (#cite_note-22) following a slight ratings decline in the early 1990s. [5] (#cite_note-b_and_c-5) By 1996, VH1 was heading down the same path as its sister channel, MTV, choosing to focus more on music-related shows rather than just music videos. Additionally, the network began to expand its playlist of music videos to include more rock music. [5] (#cite_note-b_and_c-5) Old episodes of American Bandstand (/wiki/American_Bandstand) could regularly be seen on the channel. By that time, the channel's ratings (/wiki/Nielsen_ratings) were beginning to fall. Video Countdown [ edit ] This section does not cite (/wiki/Wikipedia:Citing_sources) any sources (/wiki/Wikipedia:Verifiability) . Please help improve this section (/wiki/Special:EditPage/VH1) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed (/wiki/Wikipedia:Verifiability#Burden_of_evidence) . Find sources: "VH1" (https://www.google.com/search?as_eq=wikipedia&q=%22VH1%22) – news (https://www.google.com/search?tbm=nws&q=%22VH1%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22VH1%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22VH1%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22VH1%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22VH1%22&acc=on&wc=on) ( May 2024 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) As part of VH-1's re-branding as "VH1: Music First" in 1994, the channel launched a new series, the VH1 Top 10 Countdown , replacing the old Top 21 Countdown, that counted down the top 10 music videos played on VH1 each week. A combination of record sales, radio airplay, video spins, message board (/wiki/Internet_forum) posts, and conventional mail (/wiki/Mail) would decide the order of the countdown. A rotating cast of VJs (/wiki/VJ_(media_personality)) picked up hosting duties for the show over the years. The series expanded from 10 to 20 music videos, becoming the VH1 Top 20 Video Countdown (/wiki/VH1_Top_20_Video_Countdown) , in 2001. In early 2015, the show was renamed The 20 and discontinued later that year. Pop-Up Video [ edit ] In Fall 1996, VH1 premiered Pop-Up Video (/wiki/Pop-Up_Video) , in which music videos were accompanied by "pop-ups" (also known as "bubbles" or "info nuggets")—small enclosed areas of the screen containing facts about the band artists, and videos such as career highlights, discography, biographical details, quotes, and anecdotes. For a time, this was VH1's highest rated show. VH1 Storytellers [ edit ] Main article: VH1 Storytellers (/wiki/VH1_Storytellers) In February 1996, VH1 again hit it big with the premiere of the first of the network's flagship shows, VH1 Storytellers . The show began with a broadcast of Ray Davies (/wiki/Ray_Davies) , during his "Storyteller" tour, and took its name from this first show. In each hourlong episode, artists appear in front of a (mostly small and intimate) live audience, interspersing musical performances with anecdotes related to the songs' meaning, the songwriting process, audience reaction, etc. Along with Davies, the series has featured a widely diverse list of artists, including Culture Club (/wiki/Culture_Club) , Stone Temple Pilots (/wiki/Stone_Temple_Pilots) , Willie Nelson (/wiki/Willie_Nelson) , Johnny Cash (/wiki/Johnny_Cash) , Kanye West (/wiki/Kanye_West) , Tom Waits (/wiki/Tom_Waits) , and Def Leppard (/wiki/Def_Leppard) . Meat Loaf (/wiki/Meat_Loaf) enjoyed the show's format so much that he bought the stage decorations from VH-1 and went on to do a "Storytellers" tour in 1998/1999. [23] (#cite_note-23) Behind the Music [ edit ] Main article: Behind the Music (/wiki/Behind_the_Music) VH1 scored another hit in August 1997 with the debut of Behind the Music . The hour-long show features interviews and biographies of some of popular music's biggest stars qualified to be profiled on the series. The premiere episode featured Milli Vanilli (/wiki/Milli_Vanilli) . Episodes have ranged from Aaliyah (/wiki/Aaliyah) to Stryper (/wiki/Stryper) to Keith Moon (/wiki/Keith_Moon) , as well as others such as, Meat Loaf (/wiki/Meat_Loaf) , Tori Amos (/wiki/Tori_Amos) , MC Hammer (/wiki/MC_Hammer) , Cher (/wiki/Cher) , Oasis (/wiki/Oasis_(band)) , Steppenwolf (/wiki/Steppenwolf_(band)) , Fleetwood Mac (/wiki/Fleetwood_Mac) , TLC (/wiki/TLC_(music)) , "Weird Al" Yankovic (/wiki/%22Weird_Al%22_Yankovic) , Megadeth (/wiki/Megadeth) , Britney Spears (/wiki/Britney_Spears) , Selena (/wiki/Selena) , Petra (/wiki/Petra_(band)) , Pantera (/wiki/Pantera) , and Eminem (/wiki/Eminem) , with more episodes being produced periodically. By the late 1990s, the show began to run out of artists to profile, leading to the short-lived BTM2 program, half-hour looks into bands and artists whose popularity was rising, but not yet at its peak. Legends [ edit ] Main article: VH1's Legends (/wiki/VH1%27s_Legends) Shortly after, VH1 created a companion series, Legends (/wiki/VH1%27s_Legends) (originally sponsored by AT&T (/wiki/AT%26T_Corporation) ), profiling artists who have made a more significant contribution to music history to qualify as "Legends" (that is, those artists who have gone beyond the category of Behind the Music biographies). The artists profiled so far have included Aerosmith (/wiki/Aerosmith) ; the Bee Gees (/wiki/Bee_Gees) ; David Bowie (/wiki/David_Bowie) ; Johnny Cash (/wiki/Johnny_Cash) ; Eric Clapton (/wiki/Eric_Clapton) ; The Clash (/wiki/The_Clash) ; George Clinton (/wiki/George_Clinton_(funk_musician)) ; Sam Cooke (/wiki/Sam_Cooke) ; Crosby, Stills, Nash & Young (/wiki/Crosby,_Stills,_Nash_%26_Young) ; The Doors (/wiki/The_Doors) ; John Fogerty (/wiki/John_Fogerty) ; Aretha Franklin (/wiki/Aretha_Franklin) ; Marvin Gaye (/wiki/Marvin_Gaye) ; The Grateful Dead (/wiki/The_Grateful_Dead) ; Guns N' Roses (/wiki/Guns_N%27_Roses) ; Jimi Hendrix (/wiki/Jimi_Hendrix) ; Michael Jackson (/wiki/Michael_Jackson) ; Eminem (/wiki/Eminem) ; Elton John (/wiki/Elton_John) ; Janis Joplin (/wiki/Janis_Joplin) ; B.B. King (/wiki/B.B._King) ; Led Zeppelin (/wiki/Led_Zeppelin) ; John Lennon (/wiki/John_Lennon) ; Curtis Mayfield (/wiki/Curtis_Mayfield) ; Nirvana (/wiki/Nirvana_(band)) ; Pink Floyd (/wiki/Pink_Floyd) ; The Pretenders (/wiki/The_Pretenders) ; Red Hot Chili Peppers (/wiki/Red_Hot_Chili_Peppers) ; Queen (/wiki/Queen_(band)) ; Bruce Springsteen (/wiki/Bruce_Springsteen) ; Tina Turner (/wiki/Tina_Turner) ; U2 (/wiki/U2) ; Stevie Ray Vaughan (/wiki/Stevie_Ray_Vaughan) ; The Who (/wiki/The_Who) , and Neil Young (/wiki/Neil_Young) . [24] (#cite_note-24) Save The Music Foundation [ edit ] This section does not cite (/wiki/Wikipedia:Citing_sources) any sources (/wiki/Wikipedia:Verifiability) . Please help improve this section (/wiki/Special:EditPage/VH1) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed (/wiki/Wikipedia:Verifiability#Burden_of_evidence) . Find sources: "VH1" (https://www.google.com/search?as_eq=wikipedia&q=%22VH1%22) – news (https://www.google.com/search?tbm=nws&q=%22VH1%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22VH1%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22VH1%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22VH1%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22VH1%22&acc=on&wc=on) ( May 2024 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Founded in 1997 (until 2017) by John Sykes as VH1 Save The Music and funded by the first Divas concerts, the Save The Music Foundation became a standalone 501(c)(3) nonprofit in 2008. The mission of the organization is to help students, schools, and communities reach their full potential through the power of making music. Save The Music partners with school districts and raises funds to restore music programs in public schools. Since inception, STM has donated over $60 million worth of new musical instruments, equipment, and technology to 2,201 schools in 277 school districts around the country, reaching hundreds of thousands of students. VH1 Divas [ edit ] In 1998 (until 2016), VH1 debuted the first annual VH1 Divas (/wiki/VH1_Divas) concert and featured the "divas" Aretha Franklin (/wiki/Aretha_Franklin) , Mariah Carey (/wiki/Mariah_Carey) , Shania Twain (/wiki/Shania_Twain) , Gloria Estefan (/wiki/Gloria_Estefan) , and Celine Dion (/wiki/Celine_Dion) , and the "special guest" Carole King (/wiki/Carole_King) . [25] (#cite_note-25) The second installment of these "diva" shows was produced in 1999 featuring Whitney Houston (/wiki/Whitney_Houston) , Tina Turner (/wiki/Tina_Turner) , Cher (/wiki/Cher) , LeAnn Rimes (/wiki/LeAnn_Rimes) , Mary J. Blige (/wiki/Mary_J._Blige) , Billy Joel (/wiki/Billy_Joel) , Chaka Khan (/wiki/Chaka_Khan) , Brandy (/wiki/Brandy_Norwood) , and special "divo" Elton John (/wiki/Elton_John) . [26] (#cite_note-26) It became a huge success and was featured in the following years starring Diana Ross (/wiki/Diana_Ross) , Donna Summer (/wiki/Donna_Summer) , Destiny's Child (/wiki/Destiny%27s_Child) , Kelly Clarkson (/wiki/Kelly_Clarkson) , Jordin Sparks (/wiki/Jordin_Sparks) , Miley Cyrus (/wiki/Miley_Cyrus) , Jennifer Hudson (/wiki/Jennifer_Hudson) , Shakira (/wiki/Shakira) , Deborah Harry (/wiki/Deborah_Harry) , Anastacia (/wiki/Anastacia) , Dixie Chicks (/wiki/Dixie_Chicks) , Gladys Knight (/wiki/Gladys_Knight) , Patti LaBelle (/wiki/Patti_LaBelle) , and Jessica Simpson (/wiki/Jessica_Simpson) . Also in 1999, Donna Summer (/wiki/Donna_Summer) who was asked to do the "diva" concert, was given her own concert special by VH1 "Donna Summer Live and More: Encore". Some female artists such as Whitney Houston (/wiki/Whitney_Houston) , Mariah Carey (/wiki/Mariah_Carey) , Aretha Franklin (/wiki/Aretha_Franklin) , Mary J. Blige (/wiki/Mary_J._Blige) , Celine Dion (/wiki/Celine_Dion) , Cher (/wiki/Cher) , Chaka Khan (/wiki/Chaka_Khan) , and Billy Joel (/wiki/Billy_Joel) were featured in two or more VH1 divas concerts, with Cyndi Lauper (/wiki/Cyndi_Lauper) appearing the most times, having been featured in four concerts. In 2000, Diana Ross (/wiki/Diana_Ross) , who has been asked several times to appear on previous editions, appeared in her own edition of the special, "VH1 Divas 2000: A Tribute To Diana Ross". [27] (#cite_note-27) Movies That Rock [ edit ] This section does not cite (/wiki/Wikipedia:Citing_sources) any sources (/wiki/Wikipedia:Verifiability) . Please help improve this section (/wiki/Special:EditPage/VH1) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed (/wiki/Wikipedia:Verifiability#Burden_of_evidence) . Find sources: "VH1" (https://www.google.com/search?as_eq=wikipedia&q=%22VH1%22) – news (https://www.google.com/search?tbm=nws&q=%22VH1%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22VH1%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22VH1%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22VH1%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22VH1%22&acc=on&wc=on) ( May 2024 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) In 1999, VH1 aired its first original movie, a biopic on Sweetwater (/wiki/Sweetwater_(band)) . Their third original movie (which aired in 2000), Two of Us (/wiki/Two_of_Us_(2000_television)) , focused on a fictional meeting between John Lennon (/wiki/John_Lennon) and Paul McCartney (/wiki/Paul_McCartney) . Over the next three years, they made over a dozen movies, including bio-pics on Jim Morrison (/wiki/Jim_Morrison) and The Doors (/wiki/The_Doors) , Ricky Nelson (/wiki/Ricky_Nelson) , MC Hammer (/wiki/MC_Hammer) , The Monkees (/wiki/The_Monkees) , Meat Loaf (/wiki/Meat_Loaf) , and Def Leppard (/wiki/Def_Leppard) . VH1 continues to air "Movies That Rock" on a regular basis, expanding to include movies not produced by VH1. The subject matter remains mostly focused on music and musicians. Diversification [ edit ] This section needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/VH1) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) in this section. Unsourced material may be challenged and removed. Find sources: "VH1" (https://www.google.com/search?as_eq=wikipedia&q=%22VH1%22) – news (https://www.google.com/search?tbm=nws&q=%22VH1%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22VH1%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22VH1%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22VH1%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22VH1%22&acc=on&wc=on) ( May 2024 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) In the late 1990s, VH1's music choices became more diversified and teen-oriented. [ citation needed ] The network would update its 1994 "Big 1" logo during this period. [ citation needed ] Various late-night rock shows have been shown on VH1, featuring alternative rock (/wiki/Alternative_rock) and metal (/wiki/Heavy_metal_music) videos from the 1980s and 1990s. [ citation needed ] VH1 eventually warmed up to harder rock acts such as the Red Hot Chili Peppers (/wiki/Red_Hot_Chili_Peppers) , the Foo Fighters (/wiki/Foo_Fighters) , the Stone Temple Pilots (/wiki/Stone_Temple_Pilots) , and Metallica (/wiki/Metallica) . Their new videos began being added into VH1's playlist right away. [ citation needed ] Two spinoff channels, VH1 Smooth (/wiki/VH1_Smooth) (later to be known as VH1 Classic and MTV (/wiki/MTV) Classic) & VH1 Country (later to be known as CMT (/wiki/CMT_(American_TV_channel)) Pure Country and CMT Music (/wiki/CMT_(American_TV_channel)#CMT_Music) ), launched on August 1, 1998. [28] (#cite_note-Smooth-28) [29] (#cite_note-29) [30] (#cite_note-30) Around late 2002, VH1 began to play mainstream rap (/wiki/Hip_hop_music) musicians. [5] (#cite_note-b_and_c-5) The latest videos by Eminem (/wiki/Eminem) , Nelly (/wiki/Nelly) , Jay-Z (/wiki/Jay-Z) , Snoop Dogg (/wiki/Snoop_Dogg) , Busta Rhymes (/wiki/Busta_Rhymes) , Missy Elliott (/wiki/Missy_Elliott) , and Eve (/wiki/Eve_(entertainer)) began to be shown in VH1's rotation and even started to cut up on VH1's top 20 countdown. [ citation needed ] VH1 also plays music from Latin artists such as Ricky Martin (/wiki/Ricky_Martin) , Marc Anthony (/wiki/Marc_Anthony) , Enrique Iglesias (/wiki/Enrique_Iglesias) , Thalía (/wiki/Thal%C3%ADa) , and Shakira (/wiki/Shakira) . [ citation needed ] Other past trends [ edit ] rockDocs was the title under which VH1 aired various music documentaries (/wiki/Rockumentary) , both those produced by VH1 and those produced by third parties. Such documentary series produced by VH1 include " And Ya' Don't Stop ", a five-part series on the history of hip-hop and rap, [31] (#cite_note-31) a four-part series on the history of heavy metal, Heavy: The Story of Metal (/wiki/Heavy:_The_Story_of_Metal) , and The Drug Years (/wiki/The_Drug_Years) , which tells the story of different drug cultures that changed America. Films produced by other studios have also been aired as rockDocs , including Woodstock (/wiki/Woodstock_(film)) , Madonna: Truth or Dare (/wiki/Madonna:_Truth_or_Dare) , Tupac: Resurrection (/wiki/Tupac:_Resurrection) , Metal: A Headbanger's Journey (/wiki/Metal:_A_Headbanger%27s_Journey) , Awesome; I Fuckin' Shot That! (/wiki/Awesome;_I_Fuckin%27_Shot_That!) , a documentary on the Beastie Boys (/wiki/Beastie_Boys) , and most recently Last Days of Left Eye (/wiki/Last_Days_of_Left_Eye) which documented the last month of Lisa Lopes (/wiki/Lisa_Lopes) 's life from the band TLC (/wiki/TLC_(band)) , and N.W.A.: The World's Most Dangerous Group, featuring the narration of comedian Chris Rock (/wiki/Chris_Rock) , which chronicled the rise and fall of N.W.A (/wiki/N.W.A) . VH1 endured criticism for Music Behind Bars , which mainly focuses on musicians in custody. Critics have claimed prisoners, mainly those convicted of murder, should not be entitled to any exposure, especially nationally. [32] (#cite_note-32) The channel aired Where Are They Now? (/wiki/Where_Are_They_Now%3F_(VH1_TV_series)) from 1999 to 2002. It featured former celebrities and their current professional and personal status. Each episode was dedicated to a specific genre, ranging from past child stars to Aaron Spelling's notable productions (/wiki/Aaron_Spelling#Notable_productions) , to controversial news figures. VH1 also aired a series of promos in 2003, featuring animated kittens from the online animation website Rathergood, lip-synching popular songs such as " I Love Rock n' Roll (/wiki/I_Love_Rock_n%27_Roll) " written & performed by Alan Merrill (/wiki/Alan_Merrill) of the Arrows (/wiki/Arrows_(British_band)) since 1975 (US cover hit by Joan Jett (/wiki/Joan_Jett) in 1982), Culture Club (/wiki/Culture_Club) 's " Karma Chameleon (/wiki/Karma_Chameleon) " and Guns N' Roses (/wiki/Guns_N%27_Roses) ' " Welcome to the Jungle (/wiki/Welcome_to_the_Jungle) ". These spots were done by London-based animator Joel Veitch (/wiki/Joel_Veitch) . Box logo era (2003–2013) [ edit ] The fourth VH1 logo used from 2003 to 2013. VH1 Classic (/wiki/MTV_Classic_(American_TV_channel)) used the wordmark until 2016. VH1 international channels also used the logo, with the Indian version of VH1 (/wiki/VH1_India) still using the logo today. In August 2003, the network changed its focus again, dropping "Music First" from its name, and introducing a box logo. Having saturated its Behind The Music series (and spinoff BTM2 , a 30-minute version that told the stories of current chart-toppers), gotten past the point of showing music videos on a regular basis, the network began to target the pop culture nostalgia market. [5] (#cite_note-b_and_c-5) [33] (#cite_note-slate-33) Following the controversy over the murder-suicide of a contestant from Megan Wants a Millionaire (/wiki/Megan_Wants_a_Millionaire) , the channel toned down its reality programming. [34] (#cite_note-34) [35] (#cite_note-35) On July 1, 2007, VH1 and MHD (/wiki/MTV_Live_(TV_network)) simulcast the entire Concert for Diana live from London, England, on the birthday of Princess Diana (/wiki/Princess_Diana) , Princess of Wales (/wiki/Princess_of_Wales) . [36] (#cite_note-36) VH1 would continue to air its music video blocks despite its decreasing reliance on such programming. [ citation needed ] Their main program block was seen from 3 a.m. to 11 a.m. ET. [ citation needed ] The overnight block was called Insomniac Music Theater , later renamed Nocturnal State in August 2005. [ citation needed ] At of the beginning of October 2008, Nocturnal State was cut down to one hour, and Fresh: New Music was supplanted by additional hours of Jump Start . [ citation needed ] In 2010, VH1 retired Nocturnal State . [ citation needed ] Music Videos continued to be branded under Jump Start until January 5, 2013. [ citation needed ] I Love… series (2002–2014) [ edit ] Further information: I Love... § VH1 series (/wiki/I_Love...#VH1_series) In 2002, VH1 broadcast a ten-part series entitled I Love the '80s (/wiki/I_Love_the_%2780s_(U.S._TV_series)) . The series was adapted from a BBC (/wiki/British_Broadcasting_Corporation) series, first broadcast in 2000, [37] (#cite_note-37) in which current entertainers and pop-culture figures offered their take on the trends, events, and personalities of another decade. The success of VH1's I Love the '80s , coupled with the growing nostalgia for ever-more-recent times, led the network to create an array of similarly themed programs. These ranged from 2003's (/wiki/2003_in_television) I Love the '70s (/wiki/I_Love_the_%2770s_(U.S._TV_series)) , to further variants like I Love the '80s Strikes Back (/wiki/I_Love_the_%2780s_Strikes_Back) , I Love the '90s (/wiki/I_Love_the_%2790s_(U.S._TV_series)) , and I Love the '90s: Part Deux (/wiki/I_Love_the_%2790s:_Part_Deux) . More recently, VH1 premiered I Love the '80s 3-D (/wiki/I_Love_the_%2780s_3-D) and I Love the '70s: Volume 2 (/wiki/I_Love_the_%2770s:_Volume_2) . So eager was the network to capitalize on the trend while it was hot, that it devoted a series to the 2000s, despite the fact that the decade had not yet ended ( I Love the New Millennium (/wiki/I_Love_the_New_Millennium) , broadcast in 2008, covered only the years 2000–2007). This was thought to be the final installment of the series until 2014, when I Love the 2000s (/wiki/I_Love_the_2000s) continued the format. The concept was broadened to include non-decade based installments, I Love the Holidays (/wiki/I_Love_the_Holidays) and I Love Toys (/wiki/I_Love_Toys) . The format of these shows has also been reused for the weekly program Best Week Ever (/wiki/Best_Week_Ever) and the four-part series Black to the Future (/wiki/Black_to_the_Future_(TV_series)) that focuses on African-American (/wiki/African-American) topics. The Greatest series [ edit ] VH1 also produces its The Greatest (/wiki/The_Greatest_(TV_series)) series in which a similar format is used to countdown lists like "100 Greatest Artists of Rock and Roll" , "The 50 Sexiest Video Moments" , "100 Greatest Songs of Rock 'N' Roll" , "100 Greatest Songs from the Past 25 Years" , "100 Greatest One-hit Wonders" , "100 Greatest Kid Stars" , and "100 Greatest Teen Stars" . In 2001, Mark McGrath (/wiki/Mark_McGrath) hosted VH1's miniseries "100 Most Shocking Moments in Rock 'N' Roll" , which compiled a list of the moments in music history that changed its course and shook its foundations. [38] (#cite_note-38) Recently in late December 2009, an updated series titled "100 Most Shocking Music Moments" aired on VH1. [39] (#cite_note-39) [40] (#cite_note-40) In 2008 and early 2009, the channel premiered the " 100 Greatest Hip-Hop Songs" , "100 Greatest Hard Rock Songs" , "100 Greatest Songs of the 90s" , and "100 Greatest Songs of the 80s" . 40 Most Awesomely Bad [ edit ] In 2004, VH1 began this mini-series category with "50 Most Awesomely Bad Songs...Ever" , counting down the songs that were deemed horrible. Additional series in this group include "40 Most Awesomely Bad Dirrty Songs...Ever" , [41] (#cite_note-41) "40 Most Awesomely Bad Break-up Songs...Ever" , [42] (#cite_note-42) "40 Most Awesomely Bad #1 Songs...Ever" , [43] (#cite_note-43) "40 Most Awesomely Bad Metal Songs...Ever" , [44] (#cite_note-44) and "40 Most Awesomely Bad Love Songs" . [45] (#cite_note-45) Celebreality [ edit ] In January 2005 VH1 launched its Celebreality programming block of reality shows featuring celebrities, anchored by The Surreal Life (/wiki/The_Surreal_Life) , which mimics MTV (/wiki/MTV) 's The Real World (/wiki/The_Real_World_(TV_series)) , instead placing celebrities from the past into a living environment. [46] (#cite_note-46) The word "celebreality" is blend of the words "celebrity" and "reality" and is generally used to describe reality TV shows in which celebrities participate as subjects. The term appears to have been coined by Michael Gross, writing for The Toronto Star on May 12, 1991. In his article, entitled "Celebrity's New Face," Mr. Gross used a hyphenated form of the word ("celeb-reality") to describe the tendency of certain contemporary celebrities to downplay the traditional trappings of Hollywood glamour (/wiki/Hollywood_glamour) . "You could see the new celeb-reality on display at this year's Oscars," wrote Gross. "It is Kathy Bates and Whoopi Goldberg, not Kim Basinger and Michelle Pfeiffer. It is Jeremy Irons in black tie and the sneakers he says keep his feet on the ground. It is Kevin Costner, fighting small, important battles, winning big, but reacting with modesty and going off to party privately. The new celebrities are human first, famous second." The next known citation of the word is by Joyce Millman, writing for The New York Times (/wiki/The_New_York_Times) on January 5, 2003. In an article entitled, "Celebreality: The 'Stars' Are Elbowing Their Way In," Ms. Millman wrote: "Celebreality, the junk genre du jour, turns the notion of reality TV upside down. Instead of real people acting like celebrities on shows like "Survivor", "Big Brother" and "The Bachelor", celebreality gives us celebrities acting like real people on shows like "The Osbournes", "The Anna Nicole Show" and "Celebrity Boot Camp." I'm using the term "celebrity" loosely here—we're not talking about Russell Crowe, Julia Roberts and Dame Judi Dench eating bugs and scrubbing latrines. No, the celebrities of celebreality are a motlier crew, like, well, Mötley Crüe's Vince Neil, the former rap superstar M. C. Hammer and the wee ex-Michael Jackson ornament Emmanuel ("Webster") Lewis. Those three will be setting up housekeeping together on Thursday in "The Surreal Life" on WB, a celebreality spin on MTV's "Real World." Not to be outdone, ABC sends a Baldwin brother (Stephen), a supermodel (Frederique) and a former "L.A. Law" star (Corbin Bernsen) to Hawaii for "Celebrity Mole Hawaii", beginning Wednesday." The VH1 Celebreality block has also aired shows such as: 2003: Surviving Nugent (/wiki/Surviving_Nugent) sent eight individuals to Ted Nugent (/wiki/Ted_Nugent) 's house to compete in various games and activities. One of the contestants was future reality show star Tila Tequila (/wiki/Tila_Tequila) . 2005–2007: Hogan Knows Best (/wiki/Hogan_Knows_Best) is Hulk Hogan (/wiki/Hulk_Hogan) 's reality show. 2005–2010: Celebrity Fit Club (/wiki/Celebrity_Fit_Club_(U.S._TV_series)) is a show where celebrities get in shape. 2005: Strange Love (/wiki/Strange_Love) is a spin-off of The Surreal Life (/wiki/The_Surreal_Life) , following the relationship between Brigitte Nielsen (/wiki/Brigitte_Nielsen) and Flavor Flav (/wiki/Flavor_Flav) . 2005–2008: My Fair Brady (/wiki/My_Fair_Brady) is another spin-off from The Surreal Life (/wiki/The_Surreal_Life) , which follows the relationship of Christopher Knight (/wiki/Christopher_Knight_(actor)) , who played Peter Brady (/wiki/Peter_Brady_(The_Brady_Bunch)) on The Brady Bunch (/wiki/The_Brady_Bunch) , and Adrianne Curry (/wiki/Adrianne_Curry) , who won the first season of America's Next Top Model (/wiki/America%27s_Next_Top_Model) . 2005-2006: Breaking Bonaduce (/wiki/Breaking_Bonaduce) covers the therapy and life of Danny Bonaduce (/wiki/Danny_Bonaduce) . 2006–2007: Celebrity Paranormal Project (/wiki/Celebrity_Paranormal_Project) features celebrities placed in haunted locations to explore and perform tasks. 2006–2008: Flavor of Love (/wiki/Flavor_of_Love) is a spin-off of Strange Love (/wiki/Strange_Love) , where Flavor Flav (/wiki/Flavor_Flav) tries to find love. 2007–2009: I Love New York (/wiki/I_Love_New_York_(TV_series)) , New York Goes to Hollywood (/wiki/New_York_Goes_to_Hollywood) , and New York Goes to Work feature Tiffany "New York" Pollard (/wiki/Tiffany_Pollard) , from Flavor of Love (/wiki/Flavor_of_Love) . 2007: Flavor of Love Girls: Charm School (/wiki/Flavor_of_Love_Girls:_Charm_School) is a spin-off of Flavor of Love (/wiki/Flavor_of_Love) 2007–2009: Rock of Love (/wiki/Rock_of_Love_with_Bret_Michaels) features Bret Michaels (/wiki/Bret_Michaels) searching for love. 2007: Ego Trip's The (White) Rapper Show (/wiki/Ego_Trip%27s_The_(White)_Rapper_Show) is a reality contest hosted by MC Serch. 2007–2008: The Salt-N-Pepa Show (/wiki/The_Salt-N-Pepa_Show) is a reality series following the 1990s rap duo Salt-N-Pepa (/wiki/Salt-N-Pepa) . 2008–2009: Rock of Love: Charm School (/wiki/Rock_of_Love:_Charm_School) is a spin-off of Rock of Love with Bret Michaels (/wiki/Rock_of_Love_with_Bret_Michaels) 2008–2010: I Love Money (/wiki/I_Love_Money) is a spin-off of Flavor of Love (/wiki/Flavor_of_Love) , I Love New York (/wiki/I_Love_New_York_(TV_series)) , Real Chance of Love (/wiki/Real_Chance_of_Love) , and Rock of Love with Bret Michaels (/wiki/Rock_of_Love_with_Bret_Michaels) . There were four seasons of this show made altogether (seasons 1, 2, 3* and 4). The third season was cancelled due to contestant Ryan Jenkin's involvement in the murder of Jasmine Fiore (/wiki/Jasmine_Fiore) , which took place in August 2009. 2008: ¡Viva Hollywood! (/wiki/%C2%A1Viva_Hollywood!) featured Hispanic actors competing for a chance to star in a telenovela (/wiki/Telenovela) , hosted by Carlos Ponce (/wiki/Carlos_Ponce) and María Conchita Alonso (/wiki/Mar%C3%ADa_Conchita_Alonso) . 2008: Ego Trip's Miss Rap Supreme (/wiki/Ego_Trip%27s_Miss_Rap_Supreme) is another reality contest hosted by MC Serch. 2008–2009: Real Chance of Love (/wiki/Real_Chance_of_Love) is a spin-off of I Love New York (/wiki/I_Love_New_York_(TV_series)) and I Love Money (/wiki/I_Love_Money) . 2008–2012: Celebrity Rehab with Dr. Drew (/wiki/Celebrity_Rehab_with_Dr._Drew) , which chronicled a group of celebrities as they're treated for alcohol and drug addiction by Dr. Drew Pinsky and his staff at the Pasadena Recovery Center in Pasadena, California. 2008: Glam God with Vivica A. Fox (/wiki/Glam_God_with_Vivica_A._Fox) is a reality show with red carpet diva Vivica A. Fox (/wiki/Vivica_A._Fox) . 2008: The Cho Show (/wiki/The_Cho_Show) is a reality sitcom following the antics of comedian Margaret Cho (/wiki/Margaret_Cho) . 2009: Daisy of Love (/wiki/Daisy_of_Love) features Daisy de la Hoya, the runner-up of Rock of Love 2 (/wiki/Rock_of_Love_with_Bret_Michaels_(season_2)) , in her own dating show spin-off. 2009: My Antonio (/wiki/My_Antonio) is a reality series based on Antonio Sabato Jr. (/wiki/Antonio_Sabato_Jr.) 's search for love. 2009: Charm School with Ricki Lake (/wiki/Charm_School_with_Ricki_Lake) is a spin-off of Rock of Love Bus with Bret Michaels (/wiki/Rock_of_Love_Bus_with_Bret_Michaels) and Real Chance of Love (/wiki/Real_Chance_of_Love) . 2009: Megan Wants a Millionaire (/wiki/Megan_Wants_a_Millionaire) features Megan Hauserman (/wiki/Megan_Hauserman) from Rock of Love 2 (/wiki/Rock_of_Love_with_Bret_Michaels_(season_2)) , I Love Money (/wiki/I_Love_Money_(season_1)) , and Rock of Love: Charm School (/wiki/Rock_of_Love:_Charm_School) in her own reality dating spin-off. The program was canceled in mid-August 2009, a third of the way through its run, due to show contestant Ryan Jenkins's involvement in the murder of Jasmine Fiore (/wiki/Jasmine_Fiore) . 2010: Frank the Entertainer in a Basement Affair (/wiki/Frank_the_Entertainer_in_a_Basement_Affair) features Frank Maresca, a contestant from I Love New York 2 (/wiki/I_Love_New_York_2) , I Love Money (/wiki/I_Love_Money) , and I Love Money 2 (/wiki/I_Love_Money_2) , in his own dating show spin-off. 2010: The Price of Beauty (/wiki/The_Price_of_Beauty) is a reality/documentary show featuring singer Jessica Simpson (/wiki/Jessica_Simpson) traveling the world. Hip-Hop and Rock Honors [ edit ] This section does not cite (/wiki/Wikipedia:Citing_sources) any sources (/wiki/Wikipedia:Verifiability) . Please help improve this section (/wiki/Special:EditPage/VH1) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed (/wiki/Wikipedia:Verifiability#Burden_of_evidence) . ( May 2024 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Since 2004, VH1 has showed their appreciation for hip-hop and rock music by honoring pioneers and movements. Hip-hop musicians honored include Eazy-E (/wiki/Eazy-E) , LL Cool J (/wiki/LL_Cool_J) , The Notorious B.I.G. (/wiki/The_Notorious_B.I.G.) , 2Pac (/wiki/2Pac) , and Public Enemy (/wiki/Public_Enemy_(band)) . All of the shows have been taped in the Hammerstein Ballroom in New York City. On May 25, 2006, Queen (/wiki/Queen_(band)) , Judas Priest (/wiki/Judas_Priest) , Def Leppard (/wiki/Def_Leppard) , and Kiss (/wiki/Kiss_(band)) were the inaugural inductees into the VH1 Rock Honors (/wiki/VH1_Rock_Honors) in Las Vegas. The ceremony aired on VH1 six days later. In 2007, ZZ Top (/wiki/ZZ_Top) , Heart (/wiki/Heart_(band)) , Genesis (/wiki/Genesis_(band)) , and Ozzy Osbourne (/wiki/Ozzy_Osbourne) were inducted into the VH1 Rock Honors. 2008's only Rock Honors inductees were The Who (/wiki/The_Who) . For What It's Worth [ edit ] For What It's Worth premiered on February 21, 2013, and only lasted the length of one season. The show featured hosts Gary Dell'Abate (/wiki/Gary_Dell%27Abate) and Jon Hein (/wiki/Jon_Hein) appraising music and pop-culture memorabilia. [47] (#cite_note-47) The first episode featured musician Jack White (/wiki/Jack_White) at Third Man Records (/wiki/Third_Man_Records) in Nashville, Tennessee (/wiki/Nashville,_Tennessee) , discussing a format of vinyl record he invented called the "Triple Decker Record". [48] (#cite_note-48) The show also chose Gary Sohmers (/w/index.php?title=Gary_Sohmers&action=edit&redlink=1) , an appraiser from Antiques Roadshow (/wiki/Antiques_Roadshow_(U.S._TV_series)) , to be an expert appraiser on all six episodes. [49] (#cite_note-49) Breakfast television [ edit ] Starting in 2011, VH1 has broadcast Big Morning Buzz Live (/wiki/Big_Morning_Buzz_Live) , a daily morning news (/wiki/Breakfast_television) and pop culture (/wiki/Pop_culture) talk show hosted by Carrie Keagan (/wiki/Carrie_Keagan) , Jason Dundas (/wiki/Jason_Dundas) and VH1 music expert Jim Shearer (/wiki/Jim_Shearer) and, later, Nick Lachey (/wiki/Nick_Lachey) . [50] (#cite_note-VH1_Sept_2013-50) [51] (#cite_note-VH1_May2013-51) The show features entertainment news, celebrity interviews and musical performances. [50] (#cite_note-VH1_Sept_2013-50) [51] (#cite_note-VH1_May2013-51) On June 3, 2013, VH1 premiered The Gossip Table (/wiki/The_Gossip_Table) , another live daily entertainment news program featuring five entertainment columnists presenting entertainment news and gossip. [50] (#cite_note-VH1_Sept_2013-50) [51] (#cite_note-VH1_May2013-51) Both shows have since been cancelled. VH1 Best Cruise Ever [ edit ] This section does not cite (/wiki/Wikipedia:Citing_sources) any sources (/wiki/Wikipedia:Verifiability) . Please help improve this section (/wiki/Special:EditPage/VH1) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed (/wiki/Wikipedia:Verifiability#Burden_of_evidence) . ( May 2024 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) From April 28 to May 2, 2011, from Tampa to Cozumel music fans could experience non-stop music performances from headliners Train (/wiki/Train_(band)) , Lifehouse (/wiki/Lifehouse_(band)) , Colbie Caillat (/wiki/Colbie_Caillat) , and The Script (/wiki/The_Script) . Other bands include Alpha Rev (/wiki/Alpha_Rev) , Civil Twilight (/wiki/Civil_Twilight_(band)) , Mat Kearney (/wiki/Mat_Kearney) , One eskimO (/wiki/One_eskimO) , SafetySuit (/wiki/SafetySuit) , Thriving Ivory (/wiki/Thriving_Ivory) , Trailer Park Ninjas, and Ryan Star (/wiki/Ryan_Star) . The cruise is on The Carnival Cruise Line (/wiki/Carnival_Cruise_Lines) ship Carnival Inspiration (/wiki/Carnival_Inspiration) . "Plus" logo era (2013–2022) [ edit ] VH1 logo used from 2013 until 2016, font still used in the updated 2016 version of the logo. On January 5, 2013, VH1 introduced a new logo that closely resembles their first. The logo has a "plus" sign in it, representing VH1's focus on music-related shows and events and pop culture-based reality programming. [52] (#cite_note-52) The network's main video block was VH1 + Music , seen weekday mornings between 6 a.m. and 11 a.m. The new Nocturnal State block aired Mondays through Sundays between 3 a.m. and 6 a.m. Since 2014, VH1 programming was noted to be shifting towards shows focused around African-American (/wiki/African-American) personalities, similar to BET (/wiki/BET) and its sister networks (/wiki/BET_Networks) . [53] (#cite_note-53) [54] (#cite_note-54) On December 28, 2015, oversight of spin-off music video channel VH1 Soul was moved to BET Networks (/wiki/BET_Networks) , with the channel rebranding as BET Soul (/wiki/BET_Soul) . [55] (#cite_note-55) In the first quarter of 2016, VH1 announced its highest ratings in six years and it was then the fastest-growing subscription channel in that same period. Thanks to the success of shows like Love & Hip Hop (/wiki/Love_%26_Hip_Hop) , Stevie J & Joseline Go Hollywood (/wiki/Stevie_J_%26_Joseline_Go_Hollywood) , K. Michelle: My Life (/wiki/K._Michelle:_My_Life) , and Mob Wives (/wiki/Mob_Wives) , the channel has moved ahead as a Top Five network for adults. [56] (#cite_note-56) Conversely, VH1 + Music was discontinued and replaced by reruns of 1990s–2000s sitcoms shared with Paramount's other networks. [ citation needed ] Since then, the channel only carries music videos in continuity between shows. [ citation needed ] During the same year, VH1 would also revive the former CW (/wiki/The_CW) reality competition series America's Next Top Model (/wiki/America%27s_Next_Top_Model) . [57] (#cite_note-57) [58] (#cite_note-58) [59] (#cite_note-59) VH1 has seen further shifts to its programming as part of its parent company's 2017 restructuring plan. [60] (#cite_note-60) Beginning with its ninth season (/wiki/RuPaul%27s_Drag_Race_(season_9)) , Logo TV (/wiki/Logo_TV) original series RuPaul's Drag Race (/wiki/RuPaul%27s_Drag_Race) was moved to VH1. [61] (#cite_note-61) In 2019, as part of an expansion of MTV's Wild 'n Out (/wiki/Wild_%27n_Out) , new episodes premiered on VH1 from July 7, 2019, to September 15, 2019. [62] (#cite_note-wild-62) [63] (#cite_note-63) Shift to BET (2022–present) [ edit ] On November 9, 2022, it was announced that oversight of VH1 would move to the BET Media Group (/wiki/BET_Networks) under Scott Mills (/wiki/Scott_Mills_(businessman)) . [1] (#cite_note-BET_move-1) The move reunited the network with BET Soul (/wiki/BET_Soul) , while also splitting them from MTV (/wiki/MTV) and its siblings (including the formerly-named VH1 Classic (/wiki/VH1_Classic) and VH1 Country (/wiki/VH1_Country) ). On December 12, 2022, it was announced that future Drag Race seasons would move to MTV, though the Celebrity edition would remain on VH1. [64] (#cite_note-64) Programming [ edit ] Further information: List of programs broadcast by VH1 (/wiki/List_of_programs_broadcast_by_VH1) Original programming currently seen on VH1 includes the Love & Hip Hop (/wiki/Love_%26_Hip_Hop) and the Basketball Wives (/wiki/Basketball_Wives) franchises. Other notable shows and franchisees that have aired on the network include Black Ink Crew (/wiki/Black_Ink_Crew) , The Impact: New York (/wiki/The_Impact:_New_York) (a spinoff of BET+ (/wiki/BET%2B) 's The Impact: Atlanta (/wiki/The_Impact:_Atlanta) ), RuPaul's Drag Race (/wiki/RuPaul%27s_Drag_Race) (which was moved over from Logo (/wiki/Logo_(TV_channel)) , and aired on VH1 from 2017–2022), reruns and new episodes of Nick Cannon Presents: Wild 'N Out (/wiki/Wild_%27n_Out) (which originated on MTV (/wiki/MTV) ), and Martha & Snoop's Potluck Dinner Party (/wiki/Martha_%26_Snoop%27s_Potluck_Dinner_Party) . [62] (#cite_note-wild-62) Since the 2010's, and prior to its move to BET (/wiki/BET_Networks) , VH1's programming had shifted towards urban music genres and African-American personalities. Sister and international networks [ edit ] VH1 HD [ edit ] VH1 HD (launched in 2005) is a 1080i (/wiki/1080i) high-definition (/wiki/High-definition_television) feed, with all major providers carrying the network; as of 2016 this feed is downgraded at a provider's headend (/wiki/Cable_television_headend) to provide the network's standard definition channel on systems. Sister channels in the U.S. [ edit ] Further information: List of MTV channels (/wiki/List_of_MTV_channels) VH1 has launched spinoff digital networks as part of The MTV (/wiki/MTV) Suite . Initially, four VH1 spinoff networks were formed, with another being made later on. By August 2016, all of VH1's spinoffs had been realigned with either MTV, BET (/wiki/BET) , or CMT (/wiki/CMT_(American_TV_channel)) or were shuttered altogether. VH1 Classic : Music videos primarily from the 1970s and 1980s, but also the 1960s and 1990s, concert footage, vintage movies, and original programming focused on adult hits (/wiki/Adult_hits) , classic hits (/wiki/Classic_hits) and classic rock (/wiki/Classic_rock) music. Rebranded as MTV Classic (/wiki/MTV_Classic_(American_TV_network)) on August 1, 2016, in honor of MTV (/wiki/MTV) 's 35th anniversary. VH1 MegaHits (/wiki/VH1_MegaHits) : A channel which played mostly top 40 adult contemporary (/wiki/Adult_contemporary) videos from throughout VH1's history, from the 1980s to the early 2000s. Due to low viewership, the network was discontinued. The satellite space was utilized by corporate parent MTV Networks to launch the LGBTQ network Logo (/wiki/Logo_(TV_channel)) . VH1 Soul : Classic and neo- soul music (/wiki/Soul_music) videos from the past and today. Rebranded as BET Soul (/wiki/BET_Soul) under the control of BET Networks (/wiki/BET_Networks) on December 28, 2015. VH1 Uno (/wiki/VH1_Uno) : A Spanish language channel which mostly composed of music videos of Latin pop, rock, and traditional ballads, tropical, salsa and merengue music. Discontinued February 2, 2008, by MTV Networks to expand normal distribution of MTVU (/wiki/MTVU) beyond college campuses. [65] (#cite_note-65) VH1 Country : Continuous country music (/wiki/Country_music) videos; moved under CMT (/wiki/CMT_(American_TV_channel)) 's editorial control and renamed CMT Pure Country (/wiki/CMT_Music) on Memorial Day 2006. Internet [ edit ] This section does not cite (/wiki/Wikipedia:Citing_sources) any sources (/wiki/Wikipedia:Verifiability) . Please help improve this section (/wiki/Special:EditPage/VH1) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed (/wiki/Wikipedia:Verifiability#Burden_of_evidence) . Find sources: "VH1" (https://www.google.com/search?as_eq=wikipedia&q=%22VH1%22) – news (https://www.google.com/search?tbm=nws&q=%22VH1%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22VH1%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22VH1%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22VH1%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22VH1%22&acc=on&wc=on) ( July 2024 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) VH1's website launched in the mid-1990s. In 2003, MTV Networks VSPOT , a broadband video channel that followed the model of MTV Overdrive (/wiki/MTV_Overdrive) , containing the shows aired by VH1 and music videos (/wiki/Music_videos) . Like Overdrive, it was coolly received due to a heavy reliance on broadband and advanced web technologies. VH1 returned to a traditional-style website in late 2007. International networks [ edit ] Further information: List of MTV channels (/wiki/List_of_MTV_channels) As with other MTV channels, Paramount Global has broadcast international versions of VH1, besides VH1 India they all closed down however: VH1 Adria : By the end of September 2012, Serbia, Slovenia, Bosnia and Herzegovina, Macedonia, Bulgaria, Montenegro and Croatia got their regional version of VH1 called VH1 Adria. [66] (#cite_note-66) [67] (#cite_note-67) However, due to financial issues, the channel closed in January 2015 and was replaced by the feed of VH1 Europe. VH1 Australia (/wiki/VH1_Australia) : Since March (April for Optus customers) 2004, VH1 has been available in Australia on Foxtel (/wiki/Foxtel) , Optus Television (/wiki/Optus_Television) and Austar (/wiki/Austar) . It is also available on the SelecTv pay-TV platform. On May 1, 2010, VH1 Australia was re-branded as MTV Classic. VH1 Brasil (/wiki/VH1_Brasil) : The Portuguese-language (/wiki/Portuguese_language) version of VH1 was launched in Brazil on May 1, 2004. However, VH1 Soul had been available to digital cable (/wiki/Digital_cable) subscribers since 2004. In 2007 VH1 Soul stopped being available in Brazil. In 2009 the version HD (/wiki/High-definition_television) of VH1 was launched. It closed down on November 14, 2014. VH1 Mega Hits Brazil (/wiki/VH1_Mega_Hits) : Replaced the Brazilian version of MTV Hits (/wiki/NickMusic) . The channel plays 24h chart hits non-stop. Closed down on July 31, 2020. VH1 Christmas : A special channel that played Christmas music videos. VH1 Christmas aired on MTV Rocks (/wiki/MTV_Rocks_(UK_%26_Ireland)) in the UK and Ireland during the Christmas period annually. VH1 Denmark (/wiki/VH1_Denmark) : The Danish version of VH1 was launched in Denmark on March 15, 2008. Today the programming still consist of music videos unlike its American counterpart. This was the only international VH1 under Paramount's responsibility, since the Italian (/wiki/VH1_(Italian_TV_channel)) version closed in January 2024 until 1 April 2024 and it has been replaced by NickMusic (/wiki/NickMusic_EMEA) . [68] (#cite_note-68) VH1 Europe (/wiki/VH1_(European_TV_channel)) : The Pan-European VH1 channel has broadcast in the European continent as well as Africa and the Middle East. This channel also airs in Russia and many countries of Latin America, albeit only in Russia it has the "16+" icon on the bottom-right, due to Russia's broadcasting laws. VH1 Europe was replaced with MTV 00s on August 2, 2021. VH1 Export : VH1 Export is the technical name used for the version of VH1 European available in the Middle East, Africa, and the Levant (/wiki/Levant) territories broadcasting via satellite, exclusively from the OSN (/wiki/Orbit_Showtime) pay-TV network. In Africa (on DStv (/wiki/DStv) ), the channel is exactly the same as VH1 European, but with different adverts. Also VH1 Export has ceased existing on August 2, 2021, and has been replaced by MTV 00s. VH-1 Germany (/wiki/VH-1_Germany) : In 1995 to 2001, a German-language version of VH-1 was broadcast, featuring more adult music than MTV, and using the original 1985 to 1987 US logo. It proved unsuccessful and eventually had to make way for a non-stop music channel aimed at teenagers called MTV2 Pop (/wiki/MTV2_Pop) . VH1 India (/wiki/VH1_India) : In December 2004, MTV India and Zee-Turner (/wiki/Zee_TV) teamed up to bring VH1 to India (later owned by Viacom18 (/wiki/Viacom_18) ). It is the only version of VH1 that currently uses the 2003 branding. It also airs MTV international shows due to MTV India (/wiki/MTV_(Indian_TV_channel)) only airing Indian originals. VH1 Indonesia (/wiki/VH1_Indonesia) : In Indonesia, VH1 programming were aired on MTV Indonesia at 4 until 8 pm, and on local terrestrial channels such as JakTV (/wiki/JakTV) , Jakarta (/wiki/Jakarta) , STV Bandung (/wiki/Bandung) , TV Borobudur, Semarang (/wiki/Semarang) , TATV, Solo, Batam TV, Batam (/wiki/Batam) , and Makassar TV, Makassar (/wiki/Makassar) and also a full link channel seen on satellite PALAPA C2. VH1 Italy (/wiki/VH1_(Italy)) : Launched in July 2016, which replaced MTV Music (/wiki/MTV_Music_(Italy)) on DTT (/wiki/Digital_terrestrial_television) , which sold the main MTV station to Sky Italia on August 1, 2015. The channel ceased its broadcast on January 7, 2024. [69] (#cite_note-69) VH1 Latin America (/wiki/VH1_Latin_America) : On April 1, 2004, VH1 Latin America joined MTV (/wiki/MTV) and Nickelodeon (/wiki/Nickelodeon) Latin America targeting audiences 25–49 years old. Until then, the VH1 main channel available for Latin America was the original US version. The Spanish-language channel is tailored for the market and feature a mix of music and entertainment with local and international-recording artists, as well as original programming. VH1 Latin America closed down on October 7, 2020, being replaced by its European counterpart (/wiki/VH1_(European_TV_channel)) . VH1 Pakistan (/wiki/VH1_Pakistan) : It was launched in 2008 by Viacom as a joint venture with ARY Digital Network (/wiki/ARY_Digital_Network) . However, in 2009, the channel was closed due to low ratings and repeated shows. [ citation needed ] VH1 Polska (/wiki/VH1_Polska) : Launched (or rather renamed) on December 1, 2005. The channel was aimed at people in Poland over 25. The channel was formerly known as "MTV Classic" and (especially in its last months) was the same as present VH1, airing the same programs for the same target group. VH1 Polska closed down in March 2020 being replaced by VH1 Europe. VH1 Russia : VH1 Russia launched on December 2, 2005. It ceased broadcasting on July 1, 2010, and was replaced by the European VH1 feed. VH1 UK (/wiki/VH1_UK) : VH1 UK targeted 25–44 years old and had much of the same content as the main U.S. channel. From 2008 until the last few years of its existence, the channel played music videos, mostly prominently countdowns and artist playlists. However, it shifted its focus to reality and travel shows, ending up with re-runs of Are You the One? and Channel 5 's (/wiki/Channel_5_(British_TV_channel)) Cruising With Jane McDonald (/wiki/Jane_McDonald) , [70] (#cite_note-70) when it closed down on January 7, 2020. In addition to VH1, there were two sister stations in the UK: VH1 Classic (/wiki/VH1_Classic) (now MTV Classic) and VH2 (/wiki/VH2) (now closed). In Canada, CHUM Limited (/wiki/CHUM_Limited) launched MuchMoreMusic (/wiki/M3_(Canadian_TV_channel)) , a sister channel to MuchMusic (/wiki/Much_(TV_channel)) (which was considered to be MTV's Canadian counter-part), in 1998. The channel would air the majority of VH1's music and reality programming until 2013. See also [ edit ] Cable Music Channel (/wiki/Cable_Music_Channel) List of programs broadcast by VH1 (/wiki/List_of_programs_broadcast_by_VH1) MTV (/wiki/MTV) MTV Classic (/wiki/MTV_Classic_(U.S._TV_network)) Night Tracks (/wiki/Night_Tracks) The Tube Music Network (/wiki/The_Tube_Music_Network) Roger Rose (/wiki/Roger_Rose) Video Hits (Australian TV series) (/wiki/Video_Hits_(Australian_TV_series)) References [ edit ] ^ Jump up to: a b Andreeva, Nellie (November 9, 2022). "VH1 Shifts From Paramount Media Networks To BET Media Group Under Scott Mills" (https://deadline.com/2022/11/vh1-shifts-bet-media-group-scott-mills-paramount-media-networks-1235167972/) . Deadline . Retrieved November 10, 2022 . ^ (#cite_ref-launsch_2-0) Sherwood, Rick (October 5, 1984). "VH-1 wants adult video viewers" (https://news.google.com/newspapers?id=11xOAAAAIBAJ&pg=5661%2C1204403) . Spokane Chronicle . (Washington). 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"VH1 Soul to Become BET Soul The 24-hour music video channel to make big switch today" (https://www.bet.com/article/c8hxuc/vh1-soul-to-become-bet-soul) . BET Networks (/wiki/BET_Networks) . Retrieved January 3, 2016 . ^ (#cite_ref-56) "VH1 Garners Highest Ratings In 6 Years, Leads The Top 25 Cable Networks In Growth" (https://www.vh1.com/news/009tp1/vh1-highest-ratings-in-6-years-leads-the-top-25-cable-networks-in-growth) . www.vh1.com . Archived (https://web.archive.org/web/20220620022230/https://www.vh1.com/news/009tp1/vh1-highest-ratings-in-6-years-leads-the-top-25-cable-networks-in-growth) from the original on June 20, 2022 . Retrieved August 21, 2022 . ^ (#cite_ref-57) Bellino, Damian (October 20, 2016). "The reinvented America's Next Top Model cycle 23 will premiere on December 12th" (https://www.vh1.com/news/hx83cc/americas-next-top-model-cycle-23-premiere-december-12) . VH1 . Archived (https://web.archive.org/web/20161021003224/http://www.vh1.com/news/287383/americas-next-top-model-cycle-23-premiere-december-12/) from the original on October 21, 2016 . Retrieved October 20, 2016 . ^ (#cite_ref-58) "VH1 Welcomes Back Supermodel Ashley Graham, 'Paper' Magazine's Drew Elliott and Image Architect Law Roach to Join Host Tyra Banks for the New Cycle of 'America's Next Top Model' (http://thefutoncritic.com/news/2017/05/12/vh1-welcomes-back-ashley-graham-drew-elliott-and-law-roach-to-join-host-tyra-banks-for-the-new-cycle-of-americas-next-top-model-402210/20170512vh101/) " (http://thefutoncritic.com/news/2017/05/12/vh1-welcomes-back-ashley-graham-drew-elliott-and-law-roach-to-join-host-tyra-banks-for-the-new-cycle-of-americas-next-top-model-402210/20170512vh101/) (Press release). VH1. May 12, 2017 . Retrieved October 3, 2017 – via The FutonCritic.com. ^ (#cite_ref-59) Bellino, Damian (March 16, 2017). "Tyra Banks Will Return as Host of America's Next Top Model" (https://www.vh1.com/news/3haz1l/tyra-banks-will-return-as-host-of-americas-next-top-model) . VH1. Viacom. Archived (https://web.archive.org/web/20170317014847/http://www.vh1.com/news/305717/tyra-banks-will-return-as-host-of-americas-next-top-model/) from the original on March 17, 2017 . Retrieved March 16, 2017 . ^ (#cite_ref-60) Lieberman, David (February 9, 2017). "Viacom CEO Supports Paramount And Non-Core Networks – But For How Long?" (https://deadline.com/2017/02/viacom-ceo-bob-bakish-supports-paramount-non-core-networks-how-long-1201906682/) . Deadline Hollywood . Archived (https://web.archive.org/web/20210224140150/https://deadline.com/2017/02/viacom-ceo-bob-bakish-supports-paramount-non-core-networks-how-long-1201906682/) from the original on February 24, 2021 . Retrieved September 18, 2017 . ^ (#cite_ref-61) "LOGO'S "RUPAUL'S DRAG RACE" GETS A FRIDAY NIGHT MAKEOVER ON VH1" (https://press.logotv.com/press-releases/2017/03/01/logos-rupauls-drag-race-gets-a-friday-night-makeover-on-vh1) (Press release). Logo Press. March 1, 2017. Archived (https://web.archive.org/web/20190829180758/https://press.logotv.com/press-releases/2017/03/01/logos-rupauls-drag-race-gets-a-friday-night-makeover-on-vh1) from the original on August 29, 2019 . Retrieved August 29, 2019 . ^ Jump up to: a b "MTV's "Nick Cannon Presents: Wild 'N Out" Expands to VH1 for Summer Stunt" (http://www.thefutoncritic.com/news/2019/06/20/mtvs-nick-cannon-presents-wild-n-out-expands-to-vh1-for-summer-stunt-622415/20190620mtv01/) (Press release). The Futon Critic . Retrieved August 21, 2019 . ^ (#cite_ref-63) Out, Wild 'N (June 19, 2019). "This is NOT a test ALL NEW #WildNOut x @VH1 starting SUNDAY, July 7th at 7/6c pic.twitter.com/VyI1C310Wh" (https://twitter.com/wildnout/status/1141504687780323328) . @wildnout . Archived (https://web.archive.org/web/20210309004030/https://twitter.com/wildnout/status/1141504687780323328) from the original on March 9, 2021 . Retrieved June 20, 2019 . ^ (#cite_ref-64) Hailu, Selome (December 12, 2022). " (https://variety.com/2022/tv/news/rupauls-drag-race-mtv-global-all-stars-1235457468/) 'RuPaul's Drag Race' Moves to MTV, Launches 'Global All Stars' And Editions in Brazil, Germany, Mexico" (https://variety.com/2022/tv/news/rupauls-drag-race-mtv-global-all-stars-1235457468/) . Variety (/wiki/Variety_(magazine)) . Retrieved December 19, 2022 . ^ (#cite_ref-65) "MTV Networks discontinues VH1 Uno" (https://web.archive.org/web/20080208171939/http://money.cnn.com/news/newsfeeds/articles/prnewswire/NYTU12729012008-1.htm) . Archived from the original (https://money.cnn.com/news/newsfeeds/articles/prnewswire/NYTU12729012008-1.htm) on February 8, 2008 . Retrieved June 27, 2011 . ^ (#cite_ref-66) "Blic Online | Srbija dobija svoj VH1 kanal" (http://www.blic.rs/Zabava/Vesti/342501/Srbija-dobija-svoj-VH1-kanal) . Blic.rs. Archived (https://web.archive.org/web/20121012063041/http://www.blic.rs/Zabava/Vesti/342501/Srbija-dobija-svoj-VH1-kanal) from the original on October 12, 2012 . Retrieved October 24, 2012 . ^ (#cite_ref-67) "Vh1 Adria" (https://www.facebook.com/Vh1Adria) . Facebook. October 19, 2012. Archived (https://web.archive.org/web/20151017092558/https://www.facebook.com/Vh1Adria) from the original on October 17, 2015 . Retrieved October 24, 2012 . ^ (#cite_ref-68) "Norlys varsler prisstigning og kanalændringer på tv-pakker fra 1. marts - den lille tv-pakke stiger med 45,- / måned" (https://digitalt.tv/norlys-varsler-prisstigning-og-kanalaendringer-paa-tv-pakker-fra-1-marts/) . digitalt.tv (in Danish). January 19, 2024 . Retrieved January 22, 2024 . ^ (#cite_ref-69) Salaris, Marco (January 3, 2024). "VH1 cessa le trasmissioni tv domenica 7 gennaio 2024" (https://www.tvblog.it/post/vh1-italia-chiude-trasmissioni) . TvBlog (in Italian) . Retrieved January 6, 2024 . ^ (#cite_ref-70) TVEpg.eu. "VH1 - Cruising With Jane McDonald - Sat 28 Dec 2019 15:05 GMT" (https://tvepg.eu/en/united_kingdom/channel/vh1/review/20191228150500/cruising_with_jane_mcdonald) . tvepg.eu . Archived (https://web.archive.org/web/20220202171117/https://tvepg.eu/en/united_kingdom/channel/vh1/review/20191228150500/cruising_with_jane_mcdonald) from the original on February 2, 2022 . Retrieved December 17, 2020 . 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(30%) List of Paramount channels (/wiki/List_of_Paramount_channels) v t e Paramount Networks UK & Australia (/wiki/Paramount_Networks_UK_%26_Australia) United Kingdom & Ireland Comedy Central (/wiki/Comedy_Central_(British_TV_channel)) 1 Comedy Central Extra (/wiki/Comedy_Central_Extra) Legend (/wiki/Legend_(television_channel)) 2 Legend Xtra (/wiki/Legend_(television_channel)#Legend_Xtra) MTV (/wiki/MTV_(British_and_Irish_TV_channel)) MTV 80s (/wiki/MTV_80s_(British_and_Irish_TV_channel)) MTV 90s (/wiki/MTV_90s_(British_and_Irish_TV_channel)) MTV Hits (/wiki/MTV_Hits_(British_and_Irish_TV_channel)) MTV Music (/wiki/MTV_Music_(British_and_Irish_TV_channel)) Nickelodeon (/wiki/Nickelodeon_(British_and_Irish_TV_channel)) Nicktoons (/wiki/Nicktoons_(British_and_Irish_TV_channel)) Nick Jr. (/wiki/Nick_Jr._(British_and_Irish_TV_channel)) Nick Jr. Too (/wiki/Nick_Jr._(British_and_Irish_TV_channel)#Nick_Jr._Too/Nick_Jr._2) True Crime (/wiki/True_Crime_(AMC_Networks)) 2 True Crime Xtra (/wiki/True_Crime_Xtra) UK-only Channel 5 (/wiki/Channel_5_(British_TV_channel)) 5Action (/wiki/5Action) 5Select (/wiki/5Select) 5Star (/wiki/5Star) 5USA (/wiki/5USA) Milkshake! (/wiki/Milkshake!) My5 (/wiki/My5) MTV Live (/wiki/MTV_Live_(International_TV_channel)) Ten Network Holdings (/wiki/Ten_Network_Holdings) (Australia & New Zealand) Network 10 (/wiki/Network_10) Adelaide (/wiki/ADS_(TV_station)) Brisbane (/wiki/TVQ) Melbourne (/wiki/ATV_(Australian_TV_station)) Perth (/wiki/NEW_(TV_station)) Sydney (/wiki/TEN_(TV_station)) Multichannels 10 HD (/wiki/Network_10#10_HD) 10 Bold Drama (/wiki/10_Bold_Drama) 10 Peach Comedy (/wiki/10_Peach_Comedy) Nickelodeon (/wiki/Nickelodeon_(Australian_TV_channel)) you.tv (/wiki/You.tv) gecko (/wiki/Gecko_(TV_channel)) Other CMT (/wiki/CMT_(Australian_TV_channel)) Comedy Central (/wiki/Comedy_Central_(Australian_and_New_Zealand_TV_channel)) MTV (/wiki/MTV_(Australian_and_New_Zealand_TV_channel)) Classic (/wiki/MTV_Classic_(Australian_TV_channel)) Club (/wiki/Club_MTV_(Australian_TV_channel)) Hits (/wiki/MTV_Hits_(Australian_and_New_Zealand_TV_channel)) Nickelodeon (Australia and New Zealand) (/wiki/Nickelodeon_(Australian_and_New_Zealand_TV_channel)) Nick Jr. (/wiki/Nick_Jr._(Australian_and_New_Zealand_TV_channel)) NickMusic (/wiki/NickMusic_(Australia_and_New_Zealand)) OzTAM (/wiki/OzTAM) 3 Related Canwest (/wiki/Canwest) Network 10 programs (/wiki/List_of_programs_broadcast_by_Network_10) Defunct 5Spike (/wiki/5Spike) 10 daily (/wiki/10_daily) BET International (/wiki/BET_International) CBS Justice (/wiki/CBS_Justice) 1 MTV Base (/wiki/MTV_Base) Classic (/wiki/MTV_Classic_(British_and_Irish_TV_channel)) Club (/wiki/Club_MTV_(British_and_Irish_TV_channel)) Extra (/wiki/MTV_Extra) Flux (/wiki/MTV_Flux) Music (/wiki/MTV_Music_(Australian_and_New_Zealand_TV_channel)) OMG (/wiki/MTV_OMG) Rocks (/wiki/MTV_Rocks_(British_and_Irish_TV_channel)) Shows (/wiki/MTV_Shows) Nicktoonsters (/wiki/Nicktoonsters) Smithsonian Channel (/wiki/Smithsonian_Channel_(British_and_Irish_TV_channel)) Spike (/wiki/Spike_(Australian_TV_channel)) Spree TV (/wiki/Spree_TV) Ten Guide (/wiki/Ten_Guide) TMF (/wiki/TMF_(UK_%26_Ireland)) VH1 (/wiki/VH1_(British_and_Irish_TV_channel)) Classic (/wiki/VH1_Classic_(European_TV_channel)) VH2 (/wiki/VH2) Viva (/wiki/Viva_(British_and_Irish_TV_channel)) 1 75% with Sky Group (/wiki/Sky_Group) 2 with AMC Networks International UK (/wiki/AMC_Networks_International_UK) 3 33% with Seven Network (/wiki/Seven_Network) & Nine Network (/wiki/Nine_Network) Miscellaneous (/wiki/List_of_assets_owned_by_Paramount_Global) holdings (/wiki/List_of_assets_owned_by_Paramount_Global) Bellator MMA (/wiki/Bellator_MMA) CBS Broadcast Center (/wiki/CBS_Broadcast_Center) Ed Sullivan Theater (/wiki/Ed_Sullivan_Theater) Paramount Consumer Products (/wiki/Paramount_Consumer_Products) Paramount Global Content Distribution (/wiki/Paramount_Global_Content_Distribution) Philo (/wiki/Philo_(company)) (unknown stake) Porta dos Fundos (/wiki/Porta_dos_Fundos) (51%) VidCon (/wiki/VidCon) WhoSay (/wiki/WhoSay) Defunct/former holdings AXS TV (/wiki/AXS_TV) Blockbuster (/wiki/Blockbuster_(retailer)) BNET (/wiki/BNET) CBS Cable (/wiki/CBS_Cable) CBS Eye on People (/wiki/Discovery_People) CBS Films (/wiki/CBS_Films) CBS Innertube (/wiki/CBS_Innertube) CBS Productions (/wiki/CBS_Productions) CBS Radio (/wiki/CBS_Radio) CBS Records (/wiki/CBS_Records_(2006)) CBS Telenoticias (/wiki/CBS_Telenoticias) CNET (/wiki/CNET) Chowhound (/wiki/Chowhound) CNET Video (/wiki/CNET_Video) Download.com (/wiki/Download.com) UrbanBaby (/wiki/UrbanBaby) ZDNET (/wiki/ZDNET) SmartPlanet (/wiki/SmartPlanet) TechRepublic (/wiki/TechRepublic) Comedy Central Films (/wiki/Comedy_Central_Films) DreamWorks (/wiki/DreamWorks_Pictures) Epix (/wiki/MGM%2B) Famous Music (/wiki/Famous_Music) FindArticles (/wiki/FindArticles) Free FM (/wiki/Free_FM) GameSpot (/wiki/GameSpot) GameFAQs (/wiki/GameFAQs) GameRankings (/wiki/GameRankings) Giant Bomb (/wiki/Giant_Bomb) GameTrailers (/wiki/GameTrailers) Harmonix (/wiki/Harmonix) HDNet Movies (/wiki/HDNet_Movies) IFilm (/wiki/IFilm) Infinity Broadcasting (/wiki/Infinity_Broadcasting_Corporation) Insurge Pictures (/wiki/Insurge_Pictures) King World Productions (/wiki/King_World_Productions) Metacritic (/wiki/Metacritic) MetroLyrics (/wiki/MetroLyrics) MovieTickets.com (/wiki/MovieTickets.com) Neopets (/wiki/Neopets) Nickelodeon on Sunset (/wiki/Earl_Carroll_Theatre_(Los_Angeles)) Nick Records (/wiki/Nickelodeon_Records) onGamers (/wiki/OnGamers) Paramount Digital Entertainment (/wiki/Paramount_Digital_Entertainment) Paramount Famous Productions (/wiki/Paramount_Famous_Productions) Paramount Parks (/wiki/Paramount_Parks) Paramount Stations Group (/wiki/Paramount_Stations_Group) Paramount Vantage (/wiki/Paramount_Vantage) Rainbow S.p.A. (/wiki/Rainbow_S.p.A.) (30%) Bardel Entertainment (/wiki/Bardel_Entertainment) Colorado Film (/wiki/Colorado_Film) Republic Pictures (/wiki/Republic_Pictures) Scout.com (/wiki/Scout.com) Simon & Schuster (/wiki/Simon_%26_Schuster) Shockwave (/wiki/Shockwave_(game_portal)) Spelling Television (/wiki/Spelling_Television) TV Guide (/wiki/TV_Guide) TV.com (/wiki/TV.com) Clicker.com (/wiki/Clicker.com) United Paramount Theatres (/wiki/American_Broadcasting-Paramount_Theatres) UPN (/wiki/UPN) USA Network (/wiki/USA_Network) VersionTracker (/wiki/VersionTracker) VH1 Uno (/wiki/VH1_Uno) Viacom18 (/wiki/Viacom18) (13%) Viacom Entertainment Store (/wiki/Viacom_Entertainment_Store) Westinghouse Broadcasting (/wiki/Westinghouse_Broadcasting) Westinghouse Licensing (/wiki/Westinghouse_Licensing_Corporation) Worldvision Enterprises (/wiki/Worldvision_Enterprises) See also CBS Corporation (/wiki/CBS_Corporation) Gulf and Western Industries (/wiki/Gulf_and_Western_Industries) National Amusements (/wiki/National_Amusements) Viacom (1952–2005) (/wiki/Viacom_(1952%E2%80%932005)) Viacom (2005–2019) (/wiki/Viacom_(2005%E2%80%932019)) Westinghouse Electric Corporation (/wiki/Westinghouse_Electric_Corporation) History of CBS (/wiki/History_of_CBS) Split of CBS Corporation and Viacom (/wiki/Split_of_CBS_Corporation_and_Viacom) 2019 merger of CBS and Viacom (/wiki/2019_merger_of_CBS_and_Viacom) Proposed merger of Skydance Media and Paramount Global (/wiki/Proposed_merger_of_Skydance_Media_and_Paramount_Global) Criticism (/wiki/Criticism_of_Paramount_Global) News (/wiki/CBS_News_controversies_and_criticism) Television programs (/wiki/List_of_Paramount_Global_television_programs) Buildings and facilities CBS Building (/wiki/CBS_Building) One Astor Plaza (/wiki/One_Astor_Plaza) Radford Studio Center (/wiki/Radford_Studio_Center) v t e VH1 original programming (/wiki/List_of_programs_broadcast_by_VH1) Current Basketball Wives: LA (/wiki/Basketball_Wives:_LA) (since 2010) Basketball Wives: Orlando (/w/index.php?title=Basketball_Wives:_Orlando&action=edit&redlink=1) (since 2023) Infamy: When Fame Turns Deadly (since 2021) My True Crime Story (since 2021) Nick Cannon Presents: Wild 'n Out (/wiki/Wild_%27n_Out) (since 2019) Celebrity Squares (since 2023) The Impact: New York (/wiki/The_Impact:_New_York) (since 2024) The Impact: Atlanta (/wiki/The_Impact:_Atlanta) (since 2024) Former 2000s debuts America's Most Smartest Model (/wiki/America%27s_Most_Smartest_Model) (2007) Breaking Bonaduce (/wiki/Breaking_Bonaduce) (2005–06) Brooke Knows Best (/wiki/Brooke_Knows_Best) (2008–09) But Can They Sing? (/wiki/But_Can_They_Sing%3F) (2005) Celebracadabra (/wiki/Celebracadabra) (2008) Celebrity Fit Club (/wiki/Celebrity_Fit_Club_(American_TV_series)) (2005–10) Celebrity Paranormal Project (/wiki/Celebrity_Paranormal_Project) (2006) Celebrity Rehab with Dr. Drew (/wiki/Celebrity_Rehab_with_Dr._Drew) (2008–12) Charm School (/wiki/Charm_School_(TV_series)) (2007–09) The Cho Show (/wiki/The_Cho_Show) (2008) Confessions of a Teen Idol (/wiki/Confessions_of_a_Teen_Idol) (2009) Daisy of Love (/wiki/Daisy_of_Love) (2009) Dice: Undisputed (/wiki/Dice:_Undisputed) (2007) Eddie Griffin: Going For Broke (/wiki/Eddie_Griffin:_Going_For_Broke) (2009) The Fabulous Life of... (/wiki/The_Fabulous_Life_of...) (2003–13) Flavor of Love (/wiki/Flavor_of_Love) (2006–08) For the Love of Ray J (/wiki/For_the_Love_of_Ray_J) (2009–10) Free Radio (/wiki/Free_Radio_(TV_series)) (2008–09) Glam God with Vivica A. Fox (/wiki/Glam_God_with_Vivica_A._Fox) (2008) Hey Joel (/wiki/Hey_Joel) (2003) Hogan Knows Best (/wiki/Hogan_Knows_Best) (2005–07) I Hate My 30's (/wiki/I_Hate_My_30%27s) (2007) I Know My Kid's a Star (/wiki/I_Know_My_Kid%27s_a_Star) (2008) I Love Money (/wiki/I_Love_Money) (2008–10) I Love New York (/wiki/I_Love_New_York_(TV_series)) (2007–08) I Want to Work for Diddy (/wiki/I_Want_to_Work_for_Diddy) (2008–10) Kept (/wiki/Kept) (2005) Megan Wants a Millionaire (/wiki/Megan_Wants_a_Millionaire) (2009) Ego Trip's Miss Rap Supreme (/wiki/Ego_Trip%27s_Miss_Rap_Supreme) (2008) Ego Trip's The (White) Rapper Show (/wiki/Ego_Trip%27s_The_(White)_Rapper_Show) (2007) My Antonio (/wiki/My_Antonio) (2009) My Fair Brady (/wiki/My_Fair_Brady) (2005–08) New York Goes to Hollywood (/wiki/New_York_Goes_to_Hollywood) (2008) New York Goes to Work (2009) The Pick-up Artist (/wiki/The_Pickup_Artist_(TV_series)) (2007–08) Real Chance of Love (/wiki/Real_Chance_of_Love) (2008–09) Rock of Love with Bret Michaels (/wiki/Rock_of_Love_with_Bret_Michaels) (2007–09) The Salt-N-Pepa Show (/wiki/The_Salt-N-Pepa_Show) (2007–08) Scott Baio Is 45...and Single (/wiki/Scott_Baio_Is_45...and_Single) (2007) Scott Baio Is 46...and Pregnant (/wiki/Scott_Baio_Is_46...and_Pregnant) (2008) Scream Queens (/wiki/Scream_Queens_(2008_TV_series)) (2008–10) Sex Rehab with Dr. Drew (/wiki/Sex_Rehab_with_Dr._Drew) (2009) So Notorious (/wiki/So_Notorious) (2006) Celebrity Rehab Presents Sober House (/wiki/Celebrity_Rehab_Presents_Sober_House) (2009–10) Strange Love (/wiki/Strange_Love) (2005) The Surreal Life (/wiki/The_Surreal_Life) (2004–06; 2022) The Surreal Life: Fame Games (/wiki/The_Surreal_Life:_Fame_Games) (2007) Surviving Nugent (/wiki/Surviving_Nugent) (2003–04) The T.O. Show (/wiki/The_T.O._Show) (2009–11) Tool Academy (/wiki/Tool_Academy_(American_TV_series)) (2009–10) Tough Love (/wiki/Tough_Love_(TV_series)) (2009–13) VH1 ILL-ustrated (/wiki/VH1_ILL-ustrated) (2003–04) ¡Viva Hollywood! (/wiki/%C2%A1Viva_Hollywood!) (2008) 2010s debuts America's Next Top Model (/wiki/America%27s_Next_Top_Model) (2016–18) The Amber Rose Show (/wiki/The_Amber_Rose_Show) (2016) Atlanta Exes (/wiki/Atlanta_Exes) (2014) Audrina (/wiki/Audrina) (2011) Baller Wives (/wiki/Baller_Wives) (2017) Barely Famous (/wiki/Barely_Famous) (2015–16) Basketball Wives: Miami (/wiki/Basketball_Wives) (2010–13) Big Ang (/wiki/Big_Ang_(TV_series)) (2012) Black Ink Crew (/wiki/Black_Ink_Crew) (2013–23) Black Ink Crew: Chicago (/wiki/Black_Ink_Crew:_Chicago) (2015–22) Black Ink Crew: Los Angeles (/wiki/Black_Ink_Crew:_Los_Angeles) (2019–23) Brandy & Ray J: A Family Business (/wiki/Brandy_%26_Ray_J:_A_Family_Business) (2010–11) The Breaks (/wiki/The_Breaks_(TV_series)) (2017) Bret Michaels: Life as I Know It (/wiki/Bret_Michaels:_Life_as_I_Know_It) (2010) Candidly Nicole (/wiki/Candidly_Nicole) (2014–15) Chrissy & Mr. Jones (/wiki/Chrissy_%26_Mr._Jones) (2012–13) Couples Therapy (/wiki/Couples_Therapy_(2012_TV_series)) (2012–15) Cartel Crew (/wiki/Cartel_Crew) (2019–21) Dad Camp (/wiki/Dad_Camp) (2010) Dating Naked (/wiki/Dating_Naked) (2014–16) Daytime Divas (/wiki/Daytime_Divas) (2017) Family Therapy with Dr. Jenn (/wiki/Family_Therapy_with_Dr._Jenn) (2016) Fantasia for Real (/wiki/Fantasia_for_Real) (2010) Frank the Entertainer in a Basement Affair (/wiki/Frank_the_Entertainer_in_a_Basement_Affair) (2010) Girls Cruise (/wiki/Girls_Cruise) (2019) The Gossip Game (/wiki/The_Gossip_Game) (2013) Hindsight (/wiki/Hindsight_(TV_series)) (2015) Hit the Floor (/wiki/Hit_the_Floor_(TV_series)) (2013–16) Hip Hop Squares (/wiki/Hip_Hop_Squares) (2017–19) Hollywood Exes (/wiki/Hollywood_Exes) (2012–14) K. Michelle: My Life (/wiki/K._Michelle:_My_Life) (2014–17) Leave It to Stevie (/wiki/Leave_It_to_Stevie) (2016–18) Let's Talk About Pep (/wiki/Let%27s_Talk_About_Pep) (2010) Love & Hip Hop: Atlanta (/wiki/Love_%26_Hip_Hop:_Atlanta) (2012–22) Love & Hip Hop: Hollywood (/wiki/Love_%26_Hip_Hop:_Hollywood) (2014–19) Love & Hip Hop: Miami (/wiki/Love_%26_Hip_Hop:_Miami) (2018–24) Love & Hip Hop: New York (/wiki/Love_%26_Hip_Hop:_New_York) (2011–20) Love & Listings (2019–20) Mario Lopez: Saved by the Baby (/wiki/Mario_Lopez:_Saved_by_the_Baby) (2010–11) Martha & Snoop's Potluck Dinner Party (/wiki/Martha_%26_Snoop%27s_Potluck_Dinner_Party) (2016–20) Miami Monkey (/wiki/Miami_Monkey) (2013) My Big Friggin' Wedding (/wiki/My_Big_Friggin%27_Wedding) (2010) Mob Wives (/wiki/Mob_Wives) (2011–16) Mob Wives Chicago (/wiki/Mob_Wives_Chicago) (2012) Mob Wives: The Sit Down (/wiki/Mob_Wives:_The_Sit_Down) (2012) Money Hungry (/wiki/Money_Hungry) (2010) Ochocinco: The Ultimate Catch (/wiki/Ochocinco:_The_Ultimate_Catch) (2010) The OCD Project (/wiki/The_OCD_Project) (2010) Real and Chance: The Legend Hunters (/wiki/Real_and_Chance:_The_Legend_Hunters) (2010) Remy & Papoose: Meet the Mackies (/wiki/Remy_%26_Papoose:_Meet_the_Mackies) (2018) RuPaul's Drag Race (/wiki/RuPaul%27s_Drag_Race) (2016–22) RuPaul's Drag Race All Stars (/wiki/RuPaul%27s_Drag_Race_All_Stars) (2016–20) RuPaul's Drag Race: Untucked (/wiki/RuPaul%27s_Drag_Race:_Untucked) (2018–22) Scared Famous (/wiki/Scared_Famous_(TV_series)) (2017) Scream: Resurrection (/wiki/Scream:_Resurrection) (2019) Stevie J & Joseline: Go Hollywood (/wiki/Stevie_J_%26_Joseline:_Go_Hollywood) (2016) This Is Hot 97 (/wiki/This_Is_Hot_97) (2014) T.I. & Tiny: The Family Hustle (/wiki/T.I._%26_Tiny:_The_Family_Hustle) (2011–17) T.I. & Tiny: Friends & Family Hustle (/wiki/T.I._%26_Tiny:_Friends_%26_Family_Hustle) (2018–20) Ton of Cash (/wiki/Ton_of_Cash) (2011) VH1 Live! (/wiki/VH1_Live!) (2016) What Chilli Wants (/wiki/What_Chilli_Wants) (2010–11) The X-Life (/wiki/The_X-Life) (2011) You're Cut Off! (/wiki/You%27re_Cut_Off!) (2010–11) 2020s debuts Couples Retreat (2021) Family Reunion: Love & Hip Hop Edition (/wiki/Family_Reunion:_Love_%26_Hip_Hop_Edition) (2021–23) RuPaul's Drag Race All Stars: Untucked (/wiki/RuPaul%27s_Drag_Race:_Untucked) (2020) RuPaul's Drag Race: Vegas Revue (/wiki/RuPaul%27s_Drag_Race:_Vegas_Revue) (2020) RuPaul's Secret Celebrity Drag Race (/wiki/RuPaul%27s_Secret_Celebrity_Drag_Race) (2020–22) Shaunie & Keion's Destination "I Do" (2022) Upcoming Love & Hip Hop: Houston (2024) Love & Hip Hop: Detroit (TBA) Love & Hip Hop: Chicago (TBA) Love & Hip Hop: New Orleans (TBA) v t e Primetime Emmy Governors Award (/wiki/Primetime_Emmy_Awards) 1970s William S. Paley (/wiki/William_S._Paley) (1978) Walter Cronkite (/wiki/Walter_Cronkite) (1979) 1980s Johnny Carson (/wiki/Johnny_Carson) (1980) Elton Rule (/wiki/Elton_Rule) (1981) Hallmark Cards, Inc. (/wiki/Hallmark_Cards) (1982) Sylvester L. "Pat" Weaver (/wiki/Pat_Weaver) (1983) Bob Hope (/wiki/Bob_Hope) (1984) Alistair Cooke (/wiki/Alistair_Cooke) (1985) Red Skelton (/wiki/Red_Skelton) (1986) Grant Tinker (/wiki/Grant_Tinker) (1987) William Hanna (/wiki/William_Hanna) & Joseph Barbera (/wiki/Joseph_Barbera) (1988) Lucille Ball (/wiki/Lucille_Ball) (1989) 1990s Leonard Goldenson (/wiki/Leonard_Goldenson) (1990) Masterpiece Theatre (/wiki/Masterpiece_(TV_series)) (1991) Ted Turner (/wiki/Ted_Turner) (1992) No Award (1993) No Award (1994) PBS (/wiki/PBS) (1995) USA (/wiki/USA_Network) 's Erase the Hate Campaign / Turner's Native American Initiative (1996) ABC (/wiki/American_Broadcasting_Company) 's March Against Drugs Campaign / Comic Relief USA (/wiki/Comic_Relief_USA) / Jac Venza (/wiki/Jac_Venza) (1997) National Geographic Channel (/wiki/National_Geographic_(American_TV_channel)) / Great Books (/wiki/Great_Books_(TV_program)) Literacy Project (1998) MTV (/wiki/MTV) 's "Fight for Your Rights: Take a Stand Against Violence" / Save Our History (/wiki/Save_Our_History) (1999) 2000s A&E (/wiki/A%26E_(TV_network)) 's The Biography Project for Schools / The Teen Files / VH1 Save the Music Foundation (2000) CNN (/wiki/CNN) / Showtime (/wiki/Showtime_(TV_network)) (2001) ABC (/wiki/American_Broadcasting_Company) , CBS (/wiki/CBS) , Fox (/wiki/Fox_Broadcasting_Company) and NBC (/wiki/NBC) for America: A Tribute to Heroes (/wiki/America:_A_Tribute_to_Heroes) (2002) Lifetime Network (/wiki/Lifetime_(TV_network)) 's "Stop the Violence Against Women" initiative (2003) Viacom Inc. (/wiki/Viacom_(1952%E2%80%932006)) (2004) Jerry Lewis (/wiki/Jerry_Lewis) (2005) MTVu (/wiki/MTVU) Campaign for Darfur (/wiki/Darfur) (2006) Idol Gives Back (/wiki/Idol_Gives_Back) / The Addiction Project (2007) Planet Earth (/wiki/Planet_Earth_(1986_TV_series)) (2008) Sheila Nevins (/wiki/Sheila_Nevins) and her HBO documentary unit (2009) 2010s Norman Brokaw (/wiki/Norman_Brokaw) / Ad Council (/wiki/Ad_Council) (2010) John Walsh (/wiki/John_Walsh_(television_host)) (2011) It Gets Better Project (/wiki/It_Gets_Better_Project) (co-founders Dan Savage (/wiki/Dan_Savage) and Terry Miller) (2012) June Foray (/wiki/June_Foray) (2013) Marion Dougherty (/wiki/Marion_Dougherty) (2014) A+E Networks (/wiki/A%26E_Networks) (2015) American Idol (/wiki/American_Idol) (2016) ITVS (/wiki/ITVS) (2017) Star Trek (/wiki/Star_Trek:_The_Original_Series) (2018) No Award (2019) 2020s Tyler Perry (/wiki/Tyler_Perry) and The Perry Foundation (2020) Debbie Allen (/wiki/Debbie_Allen) (2021) Geena Davis Institute on Gender in Media (/wiki/Geena_Davis_Institute_on_Gender_in_Media) (2022) GLAAD (/wiki/GLAAD) (2023) v t e Hulu (/wiki/Hulu) original programming (/wiki/List_of_Hulu_original_programming) Current 2010s debuts The Handmaid's Tale (/wiki/The_Handmaid%27s_Tale_(TV_series)) (since 2017) The Bravest Knight (/wiki/The_Bravest_Knight) (since 2019) The New York Times Presents (/wiki/The_New_York_Times_Presents) (since 2019) 2020s debuts Solar Opposites (/wiki/Solar_Opposites) (since 2020) Nine Perfect Strangers (/wiki/Nine_Perfect_Strangers_(TV_series)) (since 2021) Only Murders in the Building (/wiki/Only_Murders_in_the_Building) (since 2021) Hit-Monkey (/wiki/Hit-Monkey_(TV_series)) (since 2021) Life & Beth (/wiki/Life_%26_Beth) (since 2022) The Kardashians (/wiki/The_Kardashians) (since 2022) Tell Me Lies (/wiki/Tell_Me_Lies_(TV_series)) (since 2022) Reasonable Doubt (/wiki/Reasonable_Doubt_(TV_series)) (since 2022) Unprisoned (/wiki/Unprisoned) (since 2023) Saint X (/wiki/Saint_X) (since 2023) Futurama (/wiki/Futurama) (season 8; since 2023) Fright Krewe (/wiki/Fright_Krewe) (since 2023) Goosebumps (/wiki/Goosebumps_(2023_TV_series)) (since 2023) Ended (/wiki/List_of_ended_Hulu_original_programming) 2010s debuts The Morning After (/wiki/The_Morning_After_(web_series)) (2011–2014) The Confession (/wiki/The_Confession_(TV_series)) (2011) A Day in the Life (/wiki/A_Day_in_the_Life_(TV_series)) (2011–2013) Battleground (/wiki/Battleground_(American_TV_series)) (2012) Lucha Libre USA (/wiki/Lucha_Libre_USA) (2012) Spoilers with Kevin Smith (/wiki/Spoilers_with_Kevin_Smith) (2012) Up to Speed (/wiki/Up_to_Speed) (2012) The Thick of It (/wiki/The_Thick_of_It) (series 4; 2012) East Los High (/wiki/East_Los_High) (2013–2017) The Awesomes (/wiki/The_Awesomes) (2013–2015) Quick Draw (/wiki/Quick_Draw_(TV_series)) (2013–2014) Behind the Mask (/wiki/Behind_the_Mask_(TV_series)) (2013–2015) Mother Up! (/wiki/Mother_Up!) 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20th-century American film personality and fashion designer (1897–1966) Natacha Rambova Rambova in 1925 Born Winifred Kimball Shaughnessy ( 1897-01-19 ) January 19, 1897 Salt Lake City, Utah (/wiki/Salt_Lake_City,_Utah) , U.S. Died June 5, 1966 (1966-06-05) (aged 69) Pasadena, California (/wiki/Pasadena,_California) , U.S. Other names Winifred Hudnut Winifred de Wolfe Natacha Valentino Natacha de Urzàiz Occupations Costume (/wiki/Costume_design) and set (/wiki/Scenic_design) designer dancer actress academic Spouses Rudolph Valentino (/wiki/Rudolph_Valentino) ( m. 1923; div. 1925) Álvaro de Urzáiz ( m. 1932; ann. 1957) Relatives Heber C. Kimball (/wiki/Heber_C._Kimball) (great-grandfather) Natacha Rambova (born Winifred Kimball Shaughnessy ; January 19, 1897 – June 5, 1966) was an American film costume designer, set designer, and occasional actress who was active in Hollywood in the 1920s. In her later life, she abandoned design to pursue other interests, specifically Egyptology (/wiki/Egyptology) , a subject on which she became a published scholar in the 1950s. Rambova was born into a prominent family in Salt Lake City who were members of the Church of Jesus Christ of Latter-day Saints (/wiki/The_Church_of_Jesus_Christ_of_Latter-day_Saints) . She was raised in San Francisco and educated in England before beginning her career as a dancer, performing under Russian ballet choreographer Theodore Kosloff (/wiki/Theodore_Kosloff) in New York City. She relocated to Los Angeles at age 19, where she became an established costume designer for Hollywood film productions. It was there she became acquainted with actor Rudolph Valentino (/wiki/Rudolph_Valentino) , with whom she had a two-year marriage from 1923 to 1925. Rambova's association with Valentino afforded her a widespread celebrity typically afforded to actors. [1] (#cite_note-picturing-1) Although they shared many interests such as art, poetry and spiritualism (/wiki/Spiritualism_(movement)) , his colleagues felt that she exercised too much control over his work and blamed her for several expensive career flops. After divorcing Valentino in 1925, Rambova operated her own clothing store in Manhattan before moving to Europe and marrying the aristocrat Álvaro de Urzáiz in 1932. It was during this time that she visited Egypt and developed a fascination with the country that remained for the rest of her life. Rambova spent her later years studying Egyptology and earned two Mellon Grants (/wiki/Andrew_W._Mellon_Foundation) to travel there and study Egyptian symbols and belief systems. She served as the editor of the first three volumes of Egyptian Religious Texts and Representations (1954–7) by Alexandre Piankoff, also contributing a chapter on symbology in the third volume. She died in 1966 in California of a heart attack while working on a manuscript examining patterns within the texts in the Pyramid of Unas (/wiki/Pyramid_of_Unas) . Rambova has been noted by fashion and art historians for her unique costume designs that drew on and synthesized a variety of influences, as well as her dedication to historical accuracy in crafting them. Academics have also cited her interpretive contributions to the field of Egyptology as significant. In popular culture, Rambova has been depicted in several films and television series, figuring significantly in the Valentino biopics The Legend of Valentino (/wiki/The_Legend_of_Valentino) (1975), in which she was portrayed by Yvette Mimieux (/wiki/Yvette_Mimieux) , and Ken Russell (/wiki/Ken_Russell) 's Valentino (/wiki/Valentino_(1977_film)) (1977) by Michelle Phillips (/wiki/Michelle_Phillips) . She was also featured in a fictionalized narrative in the network series American Horror Story: Hotel (/wiki/American_Horror_Story:_Hotel) (2015), portrayed by Alexandra Daddario (/wiki/Alexandra_Daddario) . Early life [ edit ] Rambova was born Winifred Kimball Shaughnessy on January 19, 1897, in Salt Lake City, Utah. [2] (#cite_note-FOOTNOTEJorgensenScoggins201528-2) Her father, Michael Shaughnessy, was an Irish Catholic from New York City who fought for the Union during the American Civil War (/wiki/American_Civil_War) and then worked in the mining industry. Her mother, Winifred Shaughnessy (née Kimball), [3] (#cite_note-FOOTNOTEKimball1986311-3) was the granddaughter of Heber C. Kimball (/wiki/Heber_C._Kimball) , a member of the first presidency of the Church of Jesus Christ of Latter-day Saints (/wiki/The_Church_of_Jesus_Christ_of_Latter-day_Saints) , [a] (#cite_note-5) and was raised in a prominent Salt Lake City family. [5] (#cite_note-lesko-6) At her father's wishes, Rambova was baptized a Catholic at the Cathedral of the Madeleine (/wiki/Cathedral_of_the_Madeleine_(Salt_Lake_City,_Utah)) in Salt Lake City in June 1897, [6] (#cite_note-FOOTNOTEMorris199128-7) though she later was baptized a member of the Church of Jesus Christ of Latter-day Saints (/wiki/The_Church_of_Jesus_Christ_of_Latter-day_Saints) at the urging of her mother at age eight. [7] (#cite_note-FOOTNOTEQuinn2001173–5-8) Rambova's 1916 passport photograph Rambova's parents had a tumultuous relationship: Her father was an alcoholic, and often sold her mother's possessions to pay off gambling debts. [8] (#cite_note-FOOTNOTEMorris199128–9-9) This led Winifred (senior) to divorce Shaughnessy in 1900 and relocate with Rambova to San Francisco. [9] (#cite_note-FOOTNOTEMorris199129-10) There, she remarried to Edgar de Wolfe in 1907. [10] (#cite_note-FOOTNOTESparke2005344-11) During her childhood, Rambova spent summer vacations at the Villa Trianon in Le Chesnay (/wiki/Le_Chesnay) , France with Edgar's sister, the French designer Elsie de Wolfe (/wiki/Elsie_de_Wolfe) . [11] (#cite_note-FOOTNOTEMcGuire198992-12) [12] (#cite_note-FOOTNOTEMorris199137–9-13) The marriage between Winifred (senior) and Edgar de Wolfe was short-lived, and she again remarried, this time to millionaire perfume mogul Richard Hudnut (/wiki/Richard_Hudnut) . [13] (#cite_note-FOOTNOTEMorris199132-14) Rambova was adopted by her new stepfather, making her legal name Winifred Hudnut. [14] (#cite_note-FOOTNOTEKotowski201490-15) Rambova was given the nickname "Wink" by her aunt Teresa to distinguish her from her mother because of their shared name. [6] (#cite_note-FOOTNOTEMorris199128-7) She also sometimes went by Winifred de Wolfe, after her former step-aunt Elsie, with whom she maintained a relationship after her mother's divorce from Edgar. [15] (#cite_note-FOOTNOTELeider2003129-16) A rebellious teenager, Rambova was sent by her mother to Leatherhead Court, a boarding school in Surrey (/wiki/Surrey) , England (/wiki/England) . [16] (#cite_note-FOOTNOTERambovaPickford200983-17) [17] (#cite_note-FOOTNOTELeider2003130-18) [18] (#cite_note-FOOTNOTEMorris199134–8-19) In her schooling, she became fascinated by Greek mythology (/wiki/Greek_mythology) , [5] (#cite_note-lesko-6) and also proved especially gifted at ballet. [17] (#cite_note-FOOTNOTELeider2003130-18) After seeing Anna Pavlova (/wiki/Anna_Pavlova) in a production of Swan Lake (/wiki/Swan_Lake) in Paris with her former step-aunt Elsie, Rambova decided she wanted to pursue a career as a ballerina (/wiki/Ballet_dancer) . [19] (#cite_note-FOOTNOTELambert1997234-20) Her family had encouraged her to study ballet purely as a social grace, and were appalled when she chose it as her career. Her aunt Teresa, however, was supportive, and took Rambova to New York City, where she studied under the Russian ballet dancer and choreographer Theodore Kosloff (/wiki/Theodore_Kosloff) in his Imperial Russian Ballet Company. [20] (#cite_note-FOOTNOTELeider2003131-21) While dancing under Kosloff, she adopted the Russian-inspired stage name Natacha Rambova. [21] (#cite_note-FOOTNOTERambovaPickford2009224-22) Standing at 5 feet 8 inches (1.73 m), Rambova was too tall to be a classical ballerina, but was given leading parts by the then-32-year-old Kosloff, who soon became her lover. [21] (#cite_note-FOOTNOTERambovaPickford2009224-22) [22] (#cite_note-FOOTNOTELambert1997232-23) Rambova's mother was outraged upon discovering the affair as Rambova was 17 years old at the time, and she tried to have Kosloff deported on statutory rape (/wiki/Statutory_rape) charges. [23] (#cite_note-FOOTNOTEMorris199146-24) [2] (#cite_note-FOOTNOTEJorgensenScoggins201528-2) Rambova retaliated against her mother by fleeing abroad, and her mother ultimately agreed to her continuing to perform with the company. [21] (#cite_note-FOOTNOTERambovaPickford2009224-22) Career [ edit ] Design in film [ edit ] Costume concept for Forbidden Fruit (1921), designed and drawn by Rambova Around 1917, Kosloff was hired by Cecil B. DeMille (/wiki/Cecil_B._DeMille) as a performer and costume designer for DeMille's Hollywood films, after which he and Rambova relocated from New York to Los Angeles. [24] (#cite_note-FOOTNOTEMorris199159–60-25) Rambova carried out much of the creative work as well as the historical research for Kosloff, and he then stole her sketches and claimed credit for these as his own. [2] (#cite_note-FOOTNOTEJorgensenScoggins201528-2) When Kosloff started work for fellow-Russian film producer Alla Nazimova (/wiki/Alla_Nazimova) at Metro Pictures Corporation (later MGM) in 1919, he sent Rambova to present some designs. Nazimova requested some alterations, and was impressed when Rambova was able to make these changes immediately in her own hand. Nazimova offered Rambova a position on her production staff as an art director and costume designer, proposing a wage of up to USD (/wiki/US_dollar) $5,000 per picture (equivalent to $76,047 in 2023). [25] (#cite_note-FOOTNOTERambovaPickford2009225-26) Rambova immediately began working for Nazimova on the comedy film Billions (/wiki/Billions_(film)) (1920), for which she supplied the costumes and served as art director. [26] (#cite_note-FOOTNOTEMorris1991265-27) She also designed the costumes for two Cecil DeMille films in 1920: Why Change Your Wife? (/wiki/Why_Change_Your_Wife%3F) and Something to Think About (/wiki/Something_to_Think_About) . [27] (#cite_note-FOOTNOTEMorris199157-28) The following year, she served as the art director on the DeMille production Forbidden Fruit (/wiki/Forbidden_Fruit_(1921_film)) (1921), in which she designed (with Mitchell Leisen (/wiki/Mitchell_Leisen) ) an elaborate costume for a Cinderella-inspired fantasy sequence. [27] (#cite_note-FOOTNOTEMorris199157-28) While working on her second project for Nazimova— Aphrodite , which never was filmed [28] (#cite_note-FOOTNOTERambovaPickford2009238-29) —Rambova revealed to Kosloff that she planned on leaving him. During the ensuing argument, he attempted to kill her, [29] (#cite_note-FOOTNOTEMorris199167-30) shooting at her with a shotgun. [30] (#cite_note-FOOTNOTEMorris199163-31) The gun fired into Rambova's leg, and the bullet lodged above her knee. [31] (#cite_note-FOOTNOTEMcLellan200027-32) Rambova fled the Hollywood apartment she shared with Kosloff to the set of Aphrodite , where a cameraman helped her remove the birdshot (/wiki/Shotgun_shell#Birdshot) from her leg. [31] (#cite_note-FOOTNOTEMcLellan200027-32) Despite the nature of the incident, she continued to live with Kosloff for some time. [29] (#cite_note-FOOTNOTEMorris199167-30) Stylistically, Rambova favored designers such as Paul Poiret (/wiki/Paul_Poiret) , [2] (#cite_note-FOOTNOTEJorgensenScoggins201528-2) Léon Bakst (/wiki/L%C3%A9on_Bakst) , [32] (#cite_note-33) and Aubrey Beardsley (/wiki/Aubrey_Beardsley) . [2] (#cite_note-FOOTNOTEJorgensenScoggins201528-2) She specialized in "exotic" and "foreign" effects in both costume and stage design. For costumes she favored bright colors, baubles, bangles, shimmering draped fabrics, sparkles, and feathers. [20] (#cite_note-FOOTNOTELeider2003131-21) She also strived for historical accuracy in her costume and set designs. As noted in The Moving Picture World (/wiki/The_Moving_Picture_World) ' s review of 1917's The Woman God Forgot (/wiki/The_Woman_God_Forgot) (Rambova's first film project): "To the student of history the accuracy of the exteriors, interiors, costumes, and accessories ... [the film] will make strong appeal." [33] (#cite_note-34) Relationship with Rudolph Valentino [ edit ] Rambova with Valentino in 1925 In 1921, Rambova was introduced to actor Rudolph Valentino (/wiki/Rudolph_Valentino) on the set of Nazimova's Uncharted Seas (1921). [2] (#cite_note-FOOTNOTEJorgensenScoggins201528-2) She and Valentino subsequently worked together on Camille (/wiki/Camille_(1921_film)) (1921), [34] (#cite_note-FOOTNOTEMorris199170-35) a film which was a financial failure and resulted in Metro Pictures terminating their contract with Nazimova. [35] (#cite_note-FOOTNOTERambovaPickford2009227-36) While making the film, however, Rambova and Valentino became romantically involved. Although Valentino was still married to American film actress Jean Acker (/wiki/Jean_Acker) , he and Rambova moved in together within a year, having formed a relationship based more on friendship and shared interests than on emotional or professional rapport. They then had to pretend to separate until Valentino's divorce was finalized, and married on May 13, 1922, in Mexicali, Mexico, an event described by Rambova as "wonderful ... even though it did cause many worries and heartaches later." [36] (#cite_note-FOOTNOTERambovaPickford200961-37) However, the law required a year to pass before remarriage, and Valentino was jailed for bigamy (/wiki/Bigamy) , having to be bailed out by friends. [37] (#cite_note-FOOTNOTERambovaPickford200962-38) They legally remarried on March 14, 1923, in Crown Point, Indiana (/wiki/Crown_Point,_Indiana) . [38] (#cite_note-FOOTNOTEMorris1991133-39) Both Rambova and Valentino were spiritualists (/wiki/Spiritualism_(movement)) , and they frequently visited psychics and took part in séances and automatic writing (/wiki/Automatic_writing) . [39] (#cite_note-FOOTNOTERambovaPickford200974-40) Valentino wrote a book of poetry, entitled Daydreams , with many poems about Rambova. [40] (#cite_note-FOOTNOTELeider2003241–2-41) When it came to domestic life, Valentino and Rambova turned out to hold very different views. Valentino cherished Old World ideals of a woman being a housewife and mother, while Rambova was intent on maintaining a career and had no intention of being a housewife. [41] (#cite_note-FOOTNOTERambovaPickford2009282-42) Valentino was known as an excellent cook, while actress Patsy Ruth Miller suspected Rambova didn't know "how to make burnt fudge," although the truth was she did occasionally bake and was an excellent seamstress. [42] (#cite_note-FOOTNOTELeider2003198-43) Valentino wanted children, but Rambova did not. [43] (#cite_note-FOOTNOTEMorris1991177-44) [44] (#cite_note-FOOTNOTEJorgensenScoggins201530-45) He knew what I was when I married him. I have been working since I was seventeen. Homes and babies are all very nice, but you can't have them and a career as well. I intended, and intend, to have a career and Valentino knew it. If he wants a housewife, he'll have to look again. –Rambova on Valentino during the dissolution of their marriage [45] (#cite_note-FOOTNOTEMorris1991172-46) While her association with Valentino lent Rambova a celebrity typically afforded to actors, their professional collaborations showed-up their differences more than their similarities, and she did not contribute to any of his successful films in spite of serving as his manager. [46] (#cite_note-FOOTNOTEJorgensenScoggins201529–30-47) In The Young Rajah (/wiki/The_Young_Rajah) (1922) [47] (#cite_note-FOOTNOTELeider2003215-48) she designed authentic Indian costumes that tended to compromise his Latin lover (/wiki/Latin_lover_(stereotype)) image, and the film was a major flop. [47] (#cite_note-FOOTNOTELeider2003215-48) She also supported his one-man strike against Famous Players–Lasky (/wiki/Famous_Players%E2%80%93Lasky) , which left him temporarily banned from movie work. [48] (#cite_note-FOOTNOTEJorgensenScoggins201529-49) In the interval, they performed a promotional dance-tour for Mineralava Beauty Products, to keep his name in the spotlight, though when they reached her hometown of Salt Lake City, and she was billed as "The Little Pigtailed Shaughnessy Girl", Rambova was deeply insulted. [49] (#cite_note-FOOTNOTELeider2003249-50) In 1923, Rambova helped design the costumes for friend Alla Nazimova (/wiki/Alla_Nazimova) in Salomé (/wiki/Salom%C3%A9_(1923_film)) , inspired by the work of Aubrey Beardsley (/wiki/Aubrey_Beardsley) . [50] (#cite_note-FOOTNOTEMahar2008175-51) Beginning in February 1924, she accompanied Valentino on a trip abroad that was profiled in twenty-six installments published in Movie Weekly over the course of six months. [51] (#cite_note-FOOTNOTEWilliams201393–4-52) Rambova's later work with Valentino was characterised by elaborate and costly preparations for films that either flopped or never manifested. These included Monsieur Beaucaire (/wiki/Monsieur_Beaucaire_(1924_film)) , The Sainted Devil , and The Hooded Falcon (a film that Rambova co-wrote, but was never realized). [52] (#cite_note-FOOTNOTERambovaPickford2009238,_250-53) By this time, critics and the press were beginning to blame Rambova's excessive control for these failures. [53] (#cite_note-FOOTNOTERambovaPickford2009249–50-54) [54] (#cite_note-FOOTNOTEKlepper2005378-55) United Artists (/wiki/United_Artists) went so far as to offer Valentino an exclusive contract with the stipulation that Rambova had no negotiating power, and was disallowed from even visiting the sets of his films. [48] (#cite_note-FOOTNOTEJorgensenScoggins201529-49) After this, Rambova was offered $30,000 to create a film of her choosing, which resulted in the production of What Price Beauty? (/wiki/What_Price_Beauty%3F) , a drama which she co-produced and co-wrote. [55] (#cite_note-FOOTNOTERambovaPickford2009234-56) In 1925, Rambova and Valentino separated, and an acrimonious divorce ensued. [55] (#cite_note-FOOTNOTERambovaPickford2009234-56) After the divorce proceedings began, Rambova moved on to other ventures: On March 2, 1926, she patented a doll she had designed with a "combined coverlet", [56] (#cite_note-57) [57] (#cite_note-58) and also produced and starred in her own picture, Do Clothes Make the Woman? with Clive Brook (/wiki/Clive_Brook) (now lost). [55] (#cite_note-FOOTNOTERambovaPickford2009234-56) However, the distributor took the opportunity to bill her as 'Mrs. Valentino' and changed the title to When Love Grows Cold (/wiki/When_Love_Grows_Cold) ; Rambova was horrified by the title change. [55] (#cite_note-FOOTNOTERambovaPickford2009234-56) The film did garner press due to it being Rambova's first screen credit, however. An Oregon newspaper teased before a screening: "Natacha Rambova (Mrs. Rudolph Valentino) ... So much has been written of this remarkable lady who won and lost the heart of the great Valentino that everyone wants to see her. Tonight is your opportunity to do so." [58] (#cite_note-59) The film, however, was not well received by critics; a review in Picture Play (/wiki/Picture_Play_(magazine)) deemed the film "the poorest picture of the month, or of almost any month, for that matter," adding: "The interiors are bad, the costumes atrocious. Miss Rambova is not well dressed, nor does she film well, in the slightest degree." [59] (#cite_note-60) After its release, Rambova never worked in film, on or offscreen, again. [55] (#cite_note-FOOTNOTERambovaPickford2009234-56) Three months later, Valentino died unexpectedly of peritonitis (/wiki/Peritonitis) , leaving Rambova inconsolable, [44] (#cite_note-FOOTNOTEJorgensenScoggins201530-45) and she purportedly locked herself in her bedroom for three days. [60] (#cite_note-FOOTNOTERambovaPickford2009234–5-61) Though she did not attend his funeral, she sent a telegram (/wiki/Telegram) to Valentino's business manager George Ullman, requesting he be buried in her family crypt at Woodlawn Cemetery (/wiki/Woodlawn_Cemetery_(Bronx,_New_York)) in the Bronx (/wiki/The_Bronx) (a request Ullman denied). [60] (#cite_note-FOOTNOTERambovaPickford2009234–5-61) Writing and fashion design [ edit ] After Valentino's death, Rambova relocated to New York City. There, she immersed herself in several endeavors, appearing in vaudeville (/wiki/Vaudeville) at the Palace Theatre (/wiki/Palace_Theatre_(New_York_City)) [61] (#cite_note-62) and writing a semi-fictional play entitled All that Glitters , which detailed her relationship with Valentino, and concluded in a fictionalized happy reconciliation. [62] (#cite_note-FOOTNOTERambovaPickford2009235-63) She also published the 1926 memoir, Rudy: An Intimate Portrait by His Wife Natacha Rambova , which contains memories of her life with him. The following year, a second memoir was published entitled Rudolph Valentino Recollections (a variation of Rudy: An Intimate Portrait ), in which she prefaces an addended final chapter by asking that only those "ready to accept the truth" read on; what follows is a detailed letter supposedly communicated by Valentino's spirit from an astral plane (/wiki/Astral_plane) , which Rambova claimed to have received during an automatic writing session. [63] (#cite_note-FOOTNOTERambovaPickford2009245–6-64) While residing in New York, she frequently arranged séances (/wiki/S%C3%A9ance) with medium George Wehner, and claimed to have made contact with Valentino's spirit on several occasions. [64] (#cite_note-FOOTNOTEEllenberger200543-65) [65] (#cite_note-FOOTNOTELeider2003407–8-66) [66] (#cite_note-FOOTNOTEMorris1991175,_187-67) [67] (#cite_note-FOOTNOTEWilliams2013178-68) Rambova also appeared in supporting parts in two original 1927 Broadway productions: Set a Thief , a drama written by Edward E. Paramore, Jr. (/wiki/Edward_E._Paramore,_Jr.) , and Creoles , a comedy written by Kenneth Perkins and Samuel Shipman. [68] (#cite_note-playbill-69) Costume designs by Rambova published in Photoplay (/wiki/Photoplay) in December 1922, which show her unique design sensibilities In June 1928, she opened an elite couture (/wiki/Haute_couture) shop on Fifth Avenue and West 55th street in Manhattan, [44] (#cite_note-FOOTNOTEJorgensenScoggins201530-45) which sold Russian-inspired clothing that Rambova herself designed. [69] (#cite_note-FOOTNOTEVaughan200828-70) Her clientele included Broadway and Hollywood actresses such as Beulah Bondi (/wiki/Beulah_Bondi) and Mae Murray (/wiki/Mae_Murray) . [70] (#cite_note-FOOTNOTEVaughan200827-71) On opening the shop, she commented: "I'm in business, not exactly because I need the money, but because it enables me to give vent to an artistic urge." [70] (#cite_note-FOOTNOTEVaughan200827-71) In addition to clothing, the shop also carried jewelry, although it is unknown if it was designed by Rambova or imported. [69] (#cite_note-FOOTNOTEVaughan200828-70) By late 1931, Rambova had grown uneasy about the economic situation of the United States during the Great Depression (/wiki/Great_Depression) , and feared the country would experience a drastic revolution. [71] (#cite_note-FOOTNOTEVaughan200636-72) This led her to close her shop and formally retire from commercial fashion design, leaving the United States to live in Juan-les-Pins (/wiki/Juan-les-Pins) , France in 1932. [71] (#cite_note-FOOTNOTEVaughan200636-72) On a yacht cruise to the Balearic Islands, she met her second husband Álvaro de Urzáiz, a British-educated Spanish aristocrat, whom she married in 1932. [71] (#cite_note-FOOTNOTEVaughan200636-72) They lived together on the island of Mallorca (/wiki/Mallorca) and restored abandoned Spanish villas for tourists, a venture financed by Rambova's inheritance from her stepfather. [62] (#cite_note-FOOTNOTERambovaPickford2009235-63) It was during her marriage to Urzáiz that Rambova first toured Egypt in January 1936, visiting the ancient monuments in Memphis (/wiki/Memphis,_Egypt) , Luxor (/wiki/Luxor) , and Thebes (/wiki/Thebes,_Egypt) . [72] (#cite_note-FOOTNOTEMorris1991207-73) While there, she met archeologist Howard Carter (/wiki/Howard_Carter) , and became fascinated by the country and its history, which had a profound effect on her. [73] (#cite_note-FOOTNOTEMorris1991231-74) [74] (#cite_note-FOOTNOTEMcGuire198993-75) "I felt as if I had at last returned home," she said. "The first few days I was there I couldn't stop the tears streaming from my eyes. It was not sadness, but some emotional impact from the past – a returning to a place once loved after too long a time." [45] (#cite_note-FOOTNOTEMorris1991172-46) Upon returning to Spain, Urzáiz became a naval commander for the pro-fascist nationalist side during the Spanish Civil War (/wiki/Spanish_Civil_War) . Rambova fled the country to a familial château in Nice (/wiki/Nice) , where she suffered a heart attack (/wiki/Myocardial_infarction) at age forty. [62] (#cite_note-FOOTNOTERambovaPickford2009235-63) Soon after, she and Urzáiz separated. [62] (#cite_note-FOOTNOTERambovaPickford2009235-63) Rambova remained in France until the Nazi invasion in June 1940, upon which she returned to New York. [75] (#cite_note-FOOTNOTEMorris1991228-76) Egyptology and scholarly work [ edit ] Rambova's interest in the metaphysical evolved significantly during the 1940s, and she became an avid supporter of the Bollingen Foundation (/wiki/Bollingen_Foundation) , through which she believed she could see a past life (/wiki/Past_life_regression) in Egypt. [62] (#cite_note-FOOTNOTERambovaPickford2009235-63) Rambova was also follower of Helena Blavatsky (/wiki/Helena_Blavatsky) and George Gurdjieff (/wiki/George_Gurdjieff) , [62] (#cite_note-FOOTNOTERambovaPickford2009235-63) and conducted classes in her Manhattan apartment about myths, symbolism and comparative religion. [76] (#cite_note-FOOTNOTERambovaPickford2009237-77) She also began publishing articles on healing, astrology (/wiki/Astrology) , yoga, post-war rehabilitation, and numerous other topics, [74] (#cite_note-FOOTNOTEMcGuire198993-75) [77] (#cite_note-FOOTNOTEVaughan200635-78) some of which appeared in American Astrology and Harper's Bazaar (/wiki/Harper%27s_Bazaar) . [5] (#cite_note-lesko-6) In 1945, the Old Dominion (a predecessor to the Andrew W. Mellon Foundation (/wiki/Andrew_W._Mellon_Foundation) ) awarded Rambova a grant-in-aid of USD (/wiki/US_dollar) $500 for "making a collection of essential cosmological symbols for a proposed archive of comparative universal symbolism." [78] (#cite_note-FOOTNOTEMcGuire198994-79) Rambova intended to use her research to generate a book, which she wanted Ananda Coomaraswamy (/wiki/Ananda_Coomaraswamy) to write, with the principal themes derived from astrology, theosophy (/wiki/Theosophy_(Blavatskian)) , and Atlantis (/wiki/Atlantis) . [78] (#cite_note-FOOTNOTEMcGuire198994-79) In an undated letter to Mary Mellon, she wrote: It is so necessary that gradually people be given the realization of a universal pattern of purpose and human growth, which the knowledge of the mysteries of initiation of the Atlantean past, as the source of our symbols of the Unconscious, gives ... Just as you said, knowledge of the meaning of the destruction of Atlantis and the present cycle of recurrence would give people an understanding of the present situation. [78] (#cite_note-FOOTNOTEMcGuire198994-79) Title page of Mythological Papyri (1957) Rambova's intellectual investment in Egypt also led her to undertake work deciphering ancient scarabs (/wiki/Scarab_(artifact)) and tomb inscriptions, which she began researching in 1946. [5] (#cite_note-lesko-6) Initially, she believed she would find evidence of a connection between ancient Egyptian belief systems and those of ancient American cultures. [5] (#cite_note-lesko-6) While researching at the Institut Français d'Archéologie Orientale (/wiki/Institut_Fran%C3%A7ais_d%27Arch%C3%A9ologie_Orientale) in Cairo, she met the institute's director, Alexandre Piankoff, with whom she established a rapport based on their shared interest in Egyptology. [79] (#cite_note-FOOTNOTEMcGuire1989160-80) Piankoff introduced her to his French translation of the Book of Caverns (/wiki/Book_of_Caverns) , a royal funerary text, which he was working on at the time. "To my amazement, I found that it contains all the most important esoteric material," Rambova wrote. "I can only compare it to the Coptic (/wiki/Copts) Pistis Sophia (/wiki/Pistis_Sophia) , the Tibetan Voice of the Silence (/wiki/The_Voice_of_the_Silence) , and the Hindu Sutras of Patanjali (/wiki/Yoga_Sutras_of_Patanjali) . It is what I have been looking for for years." [79] (#cite_note-FOOTNOTEMcGuire1989160-80) Her interest in the Book of Caverns led her to abandon her studies of scarabs, and she began translating Piankoff's French translation into English, an endeavor she felt "was the main purpose and point" of her studies in Egypt. [79] (#cite_note-FOOTNOTEMcGuire1989160-80) She secured a second two-year grant of US$50,000 through the Mellon and Bollingen Foundations (a considerably large grant for the time) to help Piankoff photograph and publish his work on the Book of Caverns. [5] (#cite_note-lesko-6) In the winter of 1949–50, she joined Piankoff and Elizabeth Thomas (/wiki/Elizabeth_Thomas_(Egyptologist)) in Luxor (/wiki/Luxor) to undertake further studies. [5] (#cite_note-lesko-6) In the spring of 1950, the group was given permission to photograph and study inscriptions on golden shrines that had once enclosed the sarcophagus of Tutankhamun (/wiki/Tutankhamun) , after which they toured the Pyramid of Unas (/wiki/Pyramid_of_Unas) at Saqqara (/wiki/Saqqara) . [5] (#cite_note-lesko-6) After completing the expedition in Egypt, Rambova returned to the United States, where, in 1954, she donated her extensive collection of Egyptian artifacts (accumulated over years of research) to the University of Utah (/wiki/University_of_Utah) 's Museum of Fine Arts (/wiki/Utah_Museum_of_Fine_Arts) (UMFA). [80] (#cite_note-81) She settled in New Milford, Connecticut (/wiki/New_Milford,_Connecticut) , where she spent the following several years working as an editor on the first three volumes of Piankoff's series Egyptian Texts and Religious Representations , [76] (#cite_note-FOOTNOTERambovaPickford2009237-77) [81] (#cite_note-yaleschol-82) which was based on the research he had done with Rambova and Thomas. [5] (#cite_note-lesko-6) The first volume was The Tomb of Ramesses VI published in 1954, followed by The Shrines of Tut-Ankh-Amon in 1955. During this time, she kept regular correspondence with fellow Egyptologists William C. Hayes (/wiki/William_C._Hayes) and Richard Parker (/wiki/Richard_Anthony_Parker) . [5] (#cite_note-lesko-6) For the third volume of Piankoff's series, Mythological Papyri (published in 1957), Rambova contributed her own chapter in which she discussed semiotics in Egyptian papyri (/wiki/Papyrus) . [82] (#cite_note-papyri-83) Rambova continued to write and research intensely into her sixties, often working twelve hours per day. [5] (#cite_note-lesko-6) In the years prior to her death, she was working on a manuscript examining texts from the Pyramid of Unas for a translation by Piankoff. [83] (#cite_note-FOOTNOTEMorris1991262-84) This manuscript, which exceeds a thousand pages, was donated to the Brooklyn Museum after her death. [5] (#cite_note-lesko-6) Two additional manuscripts were also left behind, which are part of Yale University (/wiki/Yale_University) 's Yale in Egypt collection: The Cosmic Circuit: Religious Origins of the Zodiac and The Mystery Pattern in Ancient Symbolism: A Philosophic Interpretation . [81] (#cite_note-yaleschol-82) Later life and death [ edit ] In the early 1950s Rambova developed scleroderma (/wiki/Scleroderma) , which significantly affected her throat, impeding her ability to swallow and speak. [84] (#cite_note-FOOTNOTEMorris1991247-85) In 1957, Rambova moved to New Milford, Connecticut (/wiki/New_Milford,_Connecticut) , and devoted her time to researching a comparative study of ancient religious symbolism, which she continued virtually unabated until her death. [85] (#cite_note-86) She grew delusional, believing that she was being poisoned, and quit eating, resulting in malnourishment. [86] (#cite_note-FOOTNOTEMorris1991255-87) On September 29, 1965, she was discovered going "berserk" in a hotel elevator in Manhattan. [87] (#cite_note-FOOTNOTEMorris1991255–6-88) Rambova was admitted to Lenox Hill Hospital (/wiki/Lenox_Hill_Hospital) , where she was diagnosed with paranoid psychosis brought on by malnutrition. [88] (#cite_note-wfpp-89) With her health in rapid decline, Rambova's cousin, Ann Wollen, relocated her from her home in Connecticut to California, in order to help take care of her. [89] (#cite_note-FOOTNOTEMorris1991256-90) There, Rambova was admitted to Methodist Hospital in Arcadia (/wiki/Arcadia,_California) . [87] (#cite_note-FOOTNOTEMorris1991255–6-88) On January 19, 1966 (her 69th birthday), she was relocated to a nursing home (/wiki/Nursing_home_care) at Las Encinas Hospital in Pasadena (/wiki/Pasadena,_California) . [87] (#cite_note-FOOTNOTEMorris1991255–6-88) She died there six months later of a heart attack on June 5, 1966, at the age of 69. [90] (#cite_note-91) [91] (#cite_note-FOOTNOTEEllenberger2005149-92) At her wishes, Rambova was cremated, and her ashes were scattered in a forest in northern Arizona. [75] (#cite_note-FOOTNOTEMorris1991228-76) Claims regarding personal life [ edit ] Portrait of Valentino and Rambova, c. 1923 Claims that Rambova was bisexual (/wiki/Bisexuality) or homosexual date back to at least 1975 when they appeared in Kenneth Anger (/wiki/Kenneth_Anger) 's notoriously libelous Hollywood Babylon (/wiki/Hollywood_Babylon) , in which it is written that Rambova claimed to have never consummated (/wiki/Consummation) her marriage with Rudolph Valentino. [92] (#cite_note-93) This has led some historians to refer to the couple's union as a " lavender marriage (/wiki/Lavender_marriage) ." [93] (#cite_note-norton-94) The claim, however, is at odds with the grounds of Valentino's 1922 arrest after the couple's wedding: he was arrested and jailed for consummating the marriage in Palm Springs, California despite still being legally married to Jean Acker. [94] (#cite_note-FOOTNOTEMorris1991114-95) Discussion of Rambova's sexuality continued to appear in academic and biographical texts throughout the 1980s and beyond. [b] (#cite_note-99) The basis of the claim is an alleged relationship Rambova had with Alla Nazimova, [c] (#cite_note-103) her friend and peer while Rambova was beginning her career in film design. [d] (#cite_note-104) [101] (#cite_note-FOOTNOTEAbrams2008108–9-105) Similar inferences have been made about others in Nazimova's social circle, including Marlene Dietrich (/wiki/Marlene_Dietrich) , Eva Le Gallienne (/wiki/Eva_Le_Gallienne) , and Greta Garbo (/wiki/Greta_Garbo) . [102] (#cite_note-FOOTNOTEMorris1991246-106) Whether Rambova was bisexual or homosexual is unclear; some have disputed such claims, including journalist David Wallace, who dismisses it as rumor in his 2002 book Lost Hollywood . [103] (#cite_note-107) Biographer Morris also disputes the claim, writing in his epilogue of Madam Valentino that "the convenient ... allegation that Rambova was a lesbian collapses when one scrutinizes the facts." [104] (#cite_note-108) Additionally, a close friend of writer Mercedes de Acosta (/wiki/Mercedes_de_Acosta) (also an alleged lover of Nazimova) told Morris that she believed Rambova and Nazimova's relationship was nothing other than platonic. [102] (#cite_note-FOOTNOTEMorris1991246-106) Rambova's friend Dorothy Norman (/wiki/Dorothy_Norman) also stated that Rambova had been "displeased" by De Acosta's controversial 1960 autobiography, which implied she was bisexual or homosexual, as it had "cast her in an improper light." [102] (#cite_note-FOOTNOTEMorris1991246-106) In his 1996 book The Silent Feminists , Anthony Slide (/wiki/Anthony_Slide) stated that "all who [knew] Rambova deny that she was a gay woman." [105] (#cite_note-109) Cultural significance [ edit ] Design and fashion [ edit ] Alla Nazimova in Camille (1921); Rambova's "exotic" set and costume designs in the film blended elements of Art Deco (/wiki/Art_Deco) and Art Nouveau (/wiki/Art_Nouveau) [106] (#cite_note-FOOTNOTEKirkham2002260-110) Rambova was one of the few women in Hollywood during the 1920s to serve as a head art designer in film productions. [107] (#cite_note-FOOTNOTEKirkham2002259-111) At the time, her costume and set designs were considered "highly stylized," and divided opinion among critics. [108] (#cite_note-FOOTNOTEKlepper2005199-112) A 1925 Picture Play magazine profile on What Price Beauty? (/wiki/What_Price_Beauty%3F) noted the "bizarre" effects present, adding: "Miss Rambova insists the picture will be popular in its appeal, and not, as one might think, "arty."" [109] (#cite_note-schallert-113) Rambova's sets incorporated shimmering shades of silver and white against sharp " moderne (/wiki/Modernism) " lines, and blended elements of Bauhaus (/wiki/Bauhaus) and Asian-inspired geometries. [110] (#cite_note-stutesman-114) Commenting on her career in film, design historian Robert La Vine proclaimed Rambova one of the "most inventive designers ... ever," also noting her as one of few who crafted both sets and costumes. [110] (#cite_note-stutesman-114) Film historian Robert Klepper wrote of her designs in Camille (1921): "In evaluating the film today, one has to give art director Natacha Rambova her due credit for her vision as an artist. The deco (/wiki/Art_Deco) sets are beautiful, and the ultra modern design was far ahead of its time. Although Rambova may have influenced her future husband Valentino to make some bad business decisions, her talent as an artist cannot be denied." [108] (#cite_note-FOOTNOTEKlepper2005199-112) Historian Pat Kirkham (/wiki/Pat_Kirkham) also praised her contributions to film, writing that she created "some of the most visually unified films in Hollywood history." [107] (#cite_note-FOOTNOTEKirkham2002259-111) Costume historian Deborah Landis named Rambova's white rubberized tunic (worn by Alla Nazimova) and the Art Deco-inspired imagery of Salome (1922) among the "most memorable in motion picture history." [111] (#cite_note-115) Rambova c. 1926 in a dress by Paul Poiret (/wiki/Paul_Poiret) Though her work in both set and costume design has been deemed influential by film and fashion historians alike, [e] (#cite_note-117) Rambova herself claimed to "loathe fashion," adding: I want to dress in a way that is becoming to me, whether it is the style of the hour or not. So it should be with all women, in my opinion. All women should not wear knee-length skirts, even if that is the prevailing fashion; clothes that are becoming to the tall, languid type, would not do at all for a short girl of the staccato type, who has to have sharp clothes to express her personality. [113] (#cite_note-FOOTNOTEVaughan200826-118) Thus, Rambova's approach to fashion design in her post-film career was conscious of the individual, a practice which fashion historian Heather Vaughan suggests was carried over from her past designing movie costumes for "individual character types." [70] (#cite_note-FOOTNOTEVaughan200827-71) Vaughan adds: "While not necessarily an innovator of fashion, her Hollywood cachet and ability to synthesize fashion and traditional cultures allowed her to create designs and a personal style that continues to fascinate." [114] (#cite_note-FOOTNOTEVaughan200621-119) Rambova's clothing designs drew on various influences, described by fashion critics as blending and re-working elements of Renaissance, 18th-century, Oriental, Grecian, Russian, and Victorian fashion. [115] (#cite_note-FOOTNOTEVaughan200633–4-120) [116] (#cite_note-FOOTNOTEVaughan200827–8-121) Common preferences in her work included the dolman sleeve (/wiki/Sleeve#Types_of_sleeves) , long skirts with high waists, premium velvets, and intricate embroidery, [70] (#cite_note-FOOTNOTEVaughan200827-71) as well as incorporation of geometric shapes and use of "vivid colors ... that are violent and definite. Scarlets, vermilions, strong blues, [and] blazoning purples." [70] (#cite_note-FOOTNOTEVaughan200827-71) She was cited as influential by several designers with whom she worked, including Norman Norell (/wiki/Norman_Norell) , Adrian, and Irene Sharaff. [71] (#cite_note-FOOTNOTEVaughan200636-72) Rambova typically dressed in the style of her designs, and thus her personal style was also influential: She often wore her hair in coiled "ballerina style" braids, [117] (#cite_note-FOOTNOTELambert1997233-122) sometimes covered in a headscarf or turban (/wiki/Turban) , with dangling earrings and calf-length velvet or brocade (/wiki/Brocade) skirts. [118] (#cite_note-FOOTNOTELeider201247-123) Actress Myrna Loy (/wiki/Myrna_Loy) once proclaimed Rambova the "most beautiful woman she'd ever seen." [118] (#cite_note-FOOTNOTELeider201247-123) In 2003, Rambova was posthumously inducted into the Costume Designers' Guild Hall of Fame. [71] (#cite_note-FOOTNOTEVaughan200636-72) Scholarly influence [ edit ] Rambova's scholarly work has been regarded as significant by contemporary academics in the fields of Egyptology and history: archaeologist Barbara Lesko notes that her contribution to Piankoff's Mythological Papyri "demonstrates her organizational skills and her commitment to searching out truths and does not reek of unfounded theories or other eccentricity." [5] (#cite_note-lesko-6) Rambova's research, specifically her metaphysical interpretations of texts, has been deemed useful by Egyptologists Rudolph Anthes, Edward Wente (/wiki/Edward_F._Wente) , and Erik Hornung (/wiki/Erik_Hornung) . [5] (#cite_note-lesko-6) In the 1950s, Rambova donated her extensive collection of Egyptian artifacts to the University of Utah, displayed in the Utah Museum of Fine Arts (/wiki/Utah_Museum_of_Fine_Arts) 's Natacha Rambova Collection of Egyptian Antiquities. [5] (#cite_note-lesko-6) [119] (#cite_note-FOOTNOTEMcGuire1989164-124) Both Rambova and her mother were credited as "vital" to the establishment of the museum through their donations of paintings, furniture, and artifacts. [120] (#cite_note-dailyu-125) Depictions in art and film [ edit ] Rambova has been depicted across several mediums, including visual art, film, and television: She was the subject of a 1925 painting by Serbian artist Paja Jovanović (/wiki/Paja_Jovanovi%C4%87) (donated by her mother to the UMFA in 1949). [121] (#cite_note-126) [122] (#cite_note-127) In 1975, she was portrayed by Yvette Mimieux (/wiki/Yvette_Mimieux) in Melville Shavelson (/wiki/Melville_Shavelson) 's television film The Legend of Valentino (/wiki/The_Legend_of_Valentino) (1975), [123] (#cite_note-FOOTNOTEEllenberger2005220-128) and again by Michelle Phillips (/wiki/Michelle_Phillips) in Ken Russell (/wiki/Ken_Russell) 's feature film Valentino (/wiki/Valentino_(1977_film)) (1977). [124] (#cite_note-FOOTNOTEEllenberger2005221-129) Ksenia Jarova later portrayed her in the American silent film Silent Life (2016), and she also figured in a fictionalized narrative in the network series American Horror Story: Hotel (/wiki/American_Horror_Story:_Hotel) (2015), played by Alexandra Daddario (/wiki/Alexandra_Daddario) . [125] (#cite_note-130) Filmography [ edit ] Year Title Role Notes Ref. 1917 The Woman God Forgot (/wiki/The_Woman_God_Forgot) § — Costume designer [126] (#cite_note-FOOTNOTEMorris199151-131) 1920 Why Change Your Wife? (/wiki/Why_Change_Your_Wife%3F) § — Costume designer [27] (#cite_note-FOOTNOTEMorris199157-28) 1920 Something to Think About (/wiki/Something_to_Think_About) § — Art director, costume designer [27] (#cite_note-FOOTNOTEMorris199157-28) 1920 Billions (/wiki/Billions_(film)) — Art director, costume designer [26] (#cite_note-FOOTNOTEMorris1991265-27) 1921 Forbidden Fruit (/wiki/Forbidden_Fruit_(1921_film)) § — Costume designer [26] (#cite_note-FOOTNOTEMorris1991265-27) 1921 Camille (/wiki/Camille_(1921_film)) § — Art director, costume designer Uncredited [26] (#cite_note-FOOTNOTEMorris1991265-27) 1921 Aphrodite — Art director, costume designer (never made) [26] (#cite_note-FOOTNOTEMorris1991265-27) 1922 Beyond the Rocks (/wiki/Beyond_the_Rocks) § — Valentino's costumes [26] (#cite_note-FOOTNOTEMorris1991265-27) 1922 The Young Rajah (/wiki/The_Young_Rajah) — Costume designer Uncredited [26] (#cite_note-FOOTNOTEMorris1991265-27) 1922 A Doll's House (/wiki/A_Doll%27s_House_(1922_film)) — Art director, costume designer [26] (#cite_note-FOOTNOTEMorris1991265-27) 1923 Salomé (/wiki/Salom%C3%A9_(1923_film)) § — Art director, costume designer, writer Credited as Peter M. Winters [26] (#cite_note-FOOTNOTEMorris1991265-27) 1924 The Hooded Falcon — Costume designer, set decorator, writer (never made) [26] (#cite_note-FOOTNOTEMorris1991265-27) 1924 Monsieur Beaucaire (/wiki/Monsieur_Beaucaire_(1924_film)) § — Costume designer, writer [26] (#cite_note-FOOTNOTEMorris1991265-27) 1924 A Sainted Devil (/wiki/A_Sainted_Devil) — Art director, costume designer, writer [26] (#cite_note-FOOTNOTEMorris1991265-27) 1925 What Price Beauty? (/wiki/What_Price_Beauty%3F) — Producer, writer [26] (#cite_note-FOOTNOTEMorris1991265-27) 1926 When Love Grows Cold (/wiki/When_Love_Grows_Cold) Margaret Benson Orig. title: Do Clothes Make the Woman? ; only acting credit [26] (#cite_note-FOOTNOTEMorris1991265-27) § Indicates surviving films Stage credits [ edit ] Year Title Role Run date(s) Venue No. of performances Notes Ref. 1927 Set a Thief Anne Dowling February 21 – May 1 Empire Theatre (/wiki/Empire_Theatre_(41st_Street)) 80 Broadway [127] (#cite_note-132) 1927 Creoles Golondrina September 22 – October 16 Klaw Theatre (/wiki/Klaw_Theatre) 28 Broadway [128] (#cite_note-133) Bibliography [ edit ] Authored works [ edit ] Library resources (/wiki/Wikipedia:The_Wikipedia_Library) about Natacha Rambova Resources in your library (https://ftl.toolforge.org/cgi-bin/ftl?st=viaf&su=64809751) Resources in other libraries (https://ftl.toolforge.org/cgi-bin/ftl?st=viaf&su=64809751&library=0CHOOSE0) By Natacha Rambova Resources in your library (https://ftl.toolforge.org/cgi-bin/ftl?at=viaf&au=64809751) Resources in other libraries (https://ftl.toolforge.org/cgi-bin/ftl?at=viaf&au=64809751&library=0CHOOSE0) Rambova, Natacha (1926). Rudy: An Intimate Portrait by His Wife Natacha Rambova . Hutchinson & Co. [76] (#cite_note-FOOTNOTERambovaPickford2009237-77) Rambova, Natacha (2009). Rudolph Valentino: A Wife's Memories of an Icon . [Afterword by Hala Pickford; reprint of Rudy: An Intimate Portrait ]. PVG Publishing. ISBN (/wiki/ISBN_(identifier)) 978-0-981-64404-2 . [76] (#cite_note-FOOTNOTERambovaPickford2009237-77) Rambova, Natacha (1927). Rudolph Valentino Recollections: Intimate and Interesting Reminiscences of the Life of the Late World-Famous Star . Jacobsen-Hodgkinson-Corporation. [76] (#cite_note-FOOTNOTERambovaPickford2009237-77) Rambova, Natacha (February 1942 – June 1943). "Astrological Psycho-Chemistry". American Astrology . [5] (#cite_note-lesko-6) Rambova, Natacha (June–July 1942). "Strength ... Serenity ... Security". Harper's Bazaar (/wiki/Harper%27s_Bazaar) . [5] (#cite_note-lesko-6) Rambova, Natacha (July 1942). "America: Her purpose and three great trials for Liberty–Equality–Unity". American Astrology . [5] (#cite_note-lesko-6) Rambova, Natacha (November 1942). "America's Destiny". American Astrology . [5] (#cite_note-lesko-6) Rambova, Natacha (1957). "The Symbolism of the Papyri" (https://archive.org/stream/PiankoffRambovaMythologicalPapyriTexts/Piankoff_Rambova_Mythological_papyri_Texts#page/n25/mode/2up) . In Rambova, Natacha; Piankoff, Alexandre (eds.). Mythological Papyri . Egyptian Religious Texts and Representations (Bollingen Series XL). Vol. III. Pantheon Books. pp. 29–50. [76] (#cite_note-FOOTNOTERambovaPickford2009237-77) [f] (#cite_note-134) Rambova, Natacha (2015). All That Glitters: A Play in Three Acts . [Foreword by Hala Pickford; published posthumously]. Theodosia Tramp Publishing. ISBN (/wiki/ISBN_(identifier)) 978-0-982-77096-2 . Edited works [ edit ] Rambova, Natacha; Piankoff, Alexandre, eds. (1954). The Tomb of Ramesses VI . Egyptian Religious Texts and Representations (Bollingen Series XL). Vol. I. Pantheon Books. Rambova, Natacha; Piankoff, Alexandre, eds. (1955). The Shrines of Tut-Ankh-Amon . Egyptian Religious Texts and Representations (Bollingen Series XL). Vol. II. Pantheon Books. Rambova, Natacha; Piankoff, Alexandre, eds. (1957). Mythological Papyri . Egyptian Religious Texts and Representations (Bollingen Series XL). Vol. III. Pantheon Books. Notes [ edit ] ^ (#cite_ref-5) Biographer and descendant Stanley Kimball notes in his biography Heber C. Kimball: Mormon Patriarch and Pioneer (1981) that Rambova's great-grandfather, Heber, was a sixth-generation American descended from English immigrants in the New England colony. [4] (#cite_note-FOOTNOTEKimball19864-4) ^ (#cite_ref-99) Claims that Rambova was bisexual or a lesbian arose in several academic and historical publications in the late-1980s and 1990s, including articles in the London Theatre Record (/wiki/Theatre_Record) , [95] (#cite_note-london-96) as well as several books, such as Who was that Man?: A Present for Mr. Oscar Wilde (1988) by Neil Bartlett (/wiki/Neil_Bartlett_(playwright)) , [96] (#cite_note-bartlett-97) and Dell Richards's Lesbian Lists: A Look at Lesbian Culture, History, and Personalities (1990). [97] (#cite_note-98) ^ (#cite_ref-103) Ty Burr (/wiki/Ty_Burr) notes these perceptions and rumors surrounding Rambova, Nazimova, and Valentino in his book Gods Like Us: On Movie Stardom and Modern Fame (2012), [98] (#cite_note-FOOTNOTEBurr201265–6-100) and Nazimova and Rambova's alleged relationship is also written about extensively in The Girls: Sappho Goes to Hollywood (2001) by historian Diane McLellan, [99] (#cite_note-FOOTNOTEMcLellan200056–9-101) as well as several other books. [93] (#cite_note-norton-94) [100] (#cite_note-102) ^ (#cite_ref-104) D. Michael Quinn points out the ambiguity regarding the allegations that Rambova was bisexual and had a romantic relationship with Alla Nazimova. She purportedly told friends she "hated lesbians" during her relationship with Valentino, which has been interpreted as both genuine and as potentially reflective of her own self-hatred and psychological denial over her sexuality. [7] (#cite_note-FOOTNOTEQuinn2001173–5-8) Some sources less definitively allege only her relationship with Nazimova, while others refer to her as Valentino's "lesbian wife." [95] (#cite_note-london-96) [96] (#cite_note-bartlett-97) ^ (#cite_ref-117) Several fashion and textile historians have proclaimed Rambova's film and fashion design as historically relevant (including Heather Vaughan and Robert La Vine), and have noted her influence. [112] (#cite_note-FOOTNOTEVaughan200827–9-116) [110] (#cite_note-stutesman-114) ^ (#cite_ref-134) The full text of Mythological Papyri , featuring Rambova's chapter "The Symbolism of the Papyri," is available at the Internet Archive (https://archive.org/details/PiankoffRambovaMythologicalPapyriTexts) . References [ edit ] ^ (#cite_ref-picturing_1-0) Cook, Pam (August 2015). "Picturing Natacha Rambova: Design and Celebrity Performance in the 1920s" (https://web.archive.org/web/20160819101602/http://www.screeningthepast.com/2015/08/picturing-natacha-rambova-design-and-celebrity-performance-in-the-1920s/) . Screening the Past . Archived from the original (http://www.screeningthepast.com/2015/08/picturing-natacha-rambova-design-and-celebrity-performance-in-the-1920s/) on August 19, 2016 . Retrieved November 9, 2017 . ^ Jump up to: a b c d e f Jorgensen & Scoggins 2015 (#CITEREFJorgensenScoggins2015) , p. 28. ^ (#cite_ref-FOOTNOTEKimball1986311_3-0) Kimball 1986 (#CITEREFKimball1986) , p. 311. ^ (#cite_ref-FOOTNOTEKimball19864_4-0) Kimball 1986 (#CITEREFKimball1986) , p. 4. ^ Jump up to: a b c d e f g h i j k l m n o p q r s "Natacha Rambova" (https://web.archive.org/web/20060504031045/https://www.brown.edu/Research/Breaking_Ground/bios/Rambova_Natacha.pdf) (PDF) . Breaking Ground: Women in Old World Archaeology . Brown University. Archived from the original (https://www.brown.edu/Research/Breaking_Ground/bios/Rambova_Natacha.pdf) (PDF) on May 4, 2006 . Retrieved November 8, 2017 . ^ Jump up to: a b Morris 1991 (#CITEREFMorris1991) , p. 28. ^ Jump up to: a b Quinn 2001 (#CITEREFQuinn2001) , pp. 173–5. ^ (#cite_ref-FOOTNOTEMorris199128–9_9-0) Morris 1991 (#CITEREFMorris1991) , pp. 28–9. ^ (#cite_ref-FOOTNOTEMorris199129_10-0) Morris 1991 (#CITEREFMorris1991) , p. 29. ^ (#cite_ref-FOOTNOTESparke2005344_11-0) Sparke 2005 (#CITEREFSparke2005) , p. 344. ^ (#cite_ref-FOOTNOTEMcGuire198992_12-0) McGuire 1989 (#CITEREFMcGuire1989) , p. 92. ^ (#cite_ref-FOOTNOTEMorris199137–9_13-0) Morris 1991 (#CITEREFMorris1991) , pp. 37–9. ^ (#cite_ref-FOOTNOTEMorris199132_14-0) Morris 1991 (#CITEREFMorris1991) , p. 32. ^ (#cite_ref-FOOTNOTEKotowski201490_15-0) Kotowski 2014 (#CITEREFKotowski2014) , p. 90. ^ (#cite_ref-FOOTNOTELeider2003129_16-0) Leider 2003 (#CITEREFLeider2003) , p. 129. ^ (#cite_ref-FOOTNOTERambovaPickford200983_17-0) Rambova & Pickford 2009 (#CITEREFRambovaPickford2009) , p. 83. ^ Jump up to: a b Leider 2003 (#CITEREFLeider2003) , p. 130. ^ (#cite_ref-FOOTNOTEMorris199134–8_19-0) Morris 1991 (#CITEREFMorris1991) , pp. 34–8. ^ (#cite_ref-FOOTNOTELambert1997234_20-0) Lambert 1997 (#CITEREFLambert1997) , p. 234. ^ Jump up to: a b Leider 2003 (#CITEREFLeider2003) , p. 131. ^ Jump up to: a b c Rambova & Pickford 2009 (#CITEREFRambovaPickford2009) , p. 224. ^ (#cite_ref-FOOTNOTELambert1997232_23-0) Lambert 1997 (#CITEREFLambert1997) , p. 232. ^ (#cite_ref-FOOTNOTEMorris199146_24-0) Morris 1991 (#CITEREFMorris1991) , p. 46. ^ (#cite_ref-FOOTNOTEMorris199159–60_25-0) Morris 1991 (#CITEREFMorris1991) , pp. 59–60. ^ (#cite_ref-FOOTNOTERambovaPickford2009225_26-0) Rambova & Pickford 2009 (#CITEREFRambovaPickford2009) , p. 225. ^ Jump up to: a b c d e f g h i j k l m n Morris 1991 (#CITEREFMorris1991) , p. 265. ^ Jump up to: a b c d Morris 1991 (#CITEREFMorris1991) , p. 57. ^ (#cite_ref-FOOTNOTERambovaPickford2009238_29-0) Rambova & Pickford 2009 (#CITEREFRambovaPickford2009) , p. 238. ^ Jump up to: a b Morris 1991 (#CITEREFMorris1991) , p. 67. ^ (#cite_ref-FOOTNOTEMorris199163_31-0) Morris 1991 (#CITEREFMorris1991) , p. 63. ^ Jump up to: a b McLellan 2000 (#CITEREFMcLellan2000) , p. 27. ^ (#cite_ref-33) "Valentino". The New Yorker . Goings On About Town. Vol. 53. 1977. p. 120. ^ (#cite_ref-34) Keyser, E.T. (November 17, 1917). "The Woman God Forgot" (https://archive.org/details/movpicwor342movi) . The Moving Picture World (/wiki/The_Moving_Picture_World) . Reviews of Current Productions: 1035 – via The Archive.org (/wiki/Internet_Archive) . ^ (#cite_ref-FOOTNOTEMorris199170_35-0) Morris 1991 (#CITEREFMorris1991) , p. 70. ^ (#cite_ref-FOOTNOTERambovaPickford2009227_36-0) Rambova & Pickford 2009 (#CITEREFRambovaPickford2009) , p. 227. ^ (#cite_ref-FOOTNOTERambovaPickford200961_37-0) Rambova & Pickford 2009 (#CITEREFRambovaPickford2009) , p. 61. ^ (#cite_ref-FOOTNOTERambovaPickford200962_38-0) Rambova & Pickford 2009 (#CITEREFRambovaPickford2009) , p. 62. ^ (#cite_ref-FOOTNOTEMorris1991133_39-0) Morris 1991 (#CITEREFMorris1991) , p. 133. ^ (#cite_ref-FOOTNOTERambovaPickford200974_40-0) Rambova & Pickford 2009 (#CITEREFRambovaPickford2009) , p. 74. ^ (#cite_ref-FOOTNOTELeider2003241–2_41-0) Leider 2003 (#CITEREFLeider2003) , pp. 241–2. ^ (#cite_ref-FOOTNOTERambovaPickford2009282_42-0) Rambova & Pickford 2009 (#CITEREFRambovaPickford2009) , p. 282. ^ (#cite_ref-FOOTNOTELeider2003198_43-0) Leider 2003 (#CITEREFLeider2003) , p. 198. ^ (#cite_ref-FOOTNOTEMorris1991177_44-0) Morris 1991 (#CITEREFMorris1991) , p. 177. ^ Jump up to: a b c Jorgensen & Scoggins 2015 (#CITEREFJorgensenScoggins2015) , p. 30. ^ Jump up to: a b Morris 1991 (#CITEREFMorris1991) , p. 172. ^ (#cite_ref-FOOTNOTEJorgensenScoggins201529–30_47-0) Jorgensen & Scoggins 2015 (#CITEREFJorgensenScoggins2015) , pp. 29–30. ^ Jump up to: a b Leider 2003 (#CITEREFLeider2003) , p. 215. ^ Jump up to: a b Jorgensen & Scoggins 2015 (#CITEREFJorgensenScoggins2015) , p. 29. ^ (#cite_ref-FOOTNOTELeider2003249_50-0) Leider 2003 (#CITEREFLeider2003) , p. 249. ^ (#cite_ref-FOOTNOTEMahar2008175_51-0) Mahar 2008 (#CITEREFMahar2008) , p. 175. ^ (#cite_ref-FOOTNOTEWilliams201393–4_52-0) Williams 2013 (#CITEREFWilliams2013) , pp. 93–4. ^ (#cite_ref-FOOTNOTERambovaPickford2009238,_250_53-0) Rambova & Pickford 2009 (#CITEREFRambovaPickford2009) , pp. 238, 250. ^ (#cite_ref-FOOTNOTERambovaPickford2009249–50_54-0) Rambova & Pickford 2009 (#CITEREFRambovaPickford2009) , pp. 249–50. ^ (#cite_ref-FOOTNOTEKlepper2005378_55-0) Klepper 2005 (#CITEREFKlepper2005) , p. 378. ^ Jump up to: a b c d e Rambova & Pickford 2009 (#CITEREFRambovaPickford2009) , p. 234. ^ (#cite_ref-57) "Invention–Hobby of Great Men". Popular Science (/wiki/Popular_Science) . 112 (1): 136. January 1928. ISSN (/wiki/ISSN_(identifier)) 0161-7370 (https://www.worldcat.org/issn/0161-7370) . ^ (#cite_ref-58) US 1575263 (https://www.google.com/patents/US1575263) , Guglielmi, Winifred (Rambova, N.), "Combined coverlet and doll", published March 2, 1926. ^ (#cite_ref-59) "When Love Grows Cold" (https://www.newspapers.com/newspage/92127654/) . The Klamath News . Klamath Falls, Oregon (/wiki/Klamath_Falls,_Oregon) . December 15, 1926. p. 5 – via Newspapers.com (/wiki/Newspapers.com) . ^ (#cite_ref-60) "The Screen in Review" (https://archive.org/stream/pictureplaymagaz24unse#page/n349/) . Picture Play : 96. May 1926 – via The Internet Archive. ^ Jump up to: a b Rambova & Pickford 2009 (#CITEREFRambovaPickford2009) , pp. 234–5. ^ (#cite_ref-62) "Over the Teacups" (https://archive.org/stream/pictureplaymagaz24unse#page/n283/) . Picture Play : 30. May 1926 – via Internet Archive. Then there's always the Palace vaudeville—Natacha Rambova is making her début there this week. ^ Jump up to: a b c d e f Rambova & Pickford 2009 (#CITEREFRambovaPickford2009) , p. 235. ^ (#cite_ref-FOOTNOTERambovaPickford2009245–6_64-0) Rambova & Pickford 2009 (#CITEREFRambovaPickford2009) , pp. 245–6. ^ (#cite_ref-FOOTNOTEEllenberger200543_65-0) Ellenberger 2005 (#CITEREFEllenberger2005) , p. 43. ^ (#cite_ref-FOOTNOTELeider2003407–8_66-0) Leider 2003 (#CITEREFLeider2003) , pp. 407–8. ^ (#cite_ref-FOOTNOTEMorris1991175,_187_67-0) Morris 1991 (#CITEREFMorris1991) , p. 175, 187. ^ (#cite_ref-FOOTNOTEWilliams2013178_68-0) Williams 2013 (#CITEREFWilliams2013) , p. 178. ^ (#cite_ref-playbill_69-0) "Natacha Rambova" (http://www.playbill.com/person/natacha-rambova-vault-0000049689) . Playbill (/wiki/Playbill) . Vault . Retrieved December 14, 2017 . ^ Jump up to: a b Vaughan 2008 (#CITEREFVaughan2008) , p. 28. ^ Jump up to: a b c d e Vaughan 2008 (#CITEREFVaughan2008) , p. 27. ^ Jump up to: a b c d e Vaughan 2006 (#CITEREFVaughan2006) , p. 36. ^ (#cite_ref-FOOTNOTEMorris1991207_73-0) Morris 1991 (#CITEREFMorris1991) , p. 207. ^ (#cite_ref-FOOTNOTEMorris1991231_74-0) Morris 1991 (#CITEREFMorris1991) , p. 231. ^ Jump up to: a b McGuire 1989 (#CITEREFMcGuire1989) , p. 93. ^ Jump up to: a b Morris 1991 (#CITEREFMorris1991) , p. 228. ^ Jump up to: a b c d e f Rambova & Pickford 2009 (#CITEREFRambovaPickford2009) , p. 237. ^ (#cite_ref-FOOTNOTEVaughan200635_78-0) Vaughan 2006 (#CITEREFVaughan2006) , p. 35. ^ Jump up to: a b c McGuire 1989 (#CITEREFMcGuire1989) , p. 94. ^ Jump up to: a b c McGuire 1989 (#CITEREFMcGuire1989) , p. 160. ^ (#cite_ref-81) "Brief history of the Utah Museum of Fine Arts" (https://web.archive.org/web/20150906210146/https://www.deseretnews.com/article/844950/Brief-history-of-the-Utah-Museum-of-Fine-Arts.html) . The Deseret News . May 27, 2001. Archived from the original (https://www.deseretnews.com/article/844950/Brief-history-of-the-Utah-Museum-of-Fine-Arts.html) on September 6, 2015 . Retrieved November 10, 2017 . ^ Jump up to: a b "The Scholarship of Natacha Rambova" (https://egyptology.yale.edu/collections/natacha-rambova-archive-yale-university/scholarship-natacha-rambova) . Yale in Egypt . Yale University . Retrieved November 12, 2017 . ^ (#cite_ref-papyri_83-0) Rambova, Natacha (1957). "The Symbolism of the Papyri" (https://archive.org/stream/PiankoffRambovaMythologicalPapyriTexts/Piankoff_Rambova_Mythological_papyri_Texts#page/n25/mode/2up) . In Rambova, Natacha; Piankoff, Alexandre (eds.). Mythological Papyri . Egyptian Religious Texts and Representations (Bollingen Series XL). Vol. III. Pantheon Books. pp. 29–50. ^ (#cite_ref-FOOTNOTEMorris1991262_84-0) Morris 1991 (#CITEREFMorris1991) , p. 262. ^ (#cite_ref-FOOTNOTEMorris1991247_85-0) Morris 1991 (#CITEREFMorris1991) , p. 247. ^ (#cite_ref-86) Manassa and Dobbin-Bennett. "The Life of Natacha Rambova" (https://egyptology.yale.edu/collections/natacha-rambova-archive-yale-university/life-natacha-rambova) . Yale in Egypt . Yale University . Retrieved March 28, 2021 . ^ (#cite_ref-FOOTNOTEMorris1991255_87-0) Morris 1991 (#CITEREFMorris1991) , p. 255. ^ Jump up to: a b c Morris 1991 (#CITEREFMorris1991) , pp. 255–6. ^ (#cite_ref-wfpp_89-0) Stutesman, Drake. "Natacha Rambova" (https://web.archive.org/web/20151224065411/https://wfpp.cdrs.columbia.edu/pioneer/ccp-natacha-rambova/) . Women Film Pioneers Project . Columbia University. Archived from the original (https://wfpp.cdrs.columbia.edu/pioneer/ccp-natacha-rambova/) on December 24, 2015 . Retrieved November 10, 2017 . ^ (#cite_ref-FOOTNOTEMorris1991256_90-0) Morris 1991 (#CITEREFMorris1991) , p. 256. ^ (#cite_ref-91) Willis, John (1983). Screen World 1967 . Biblo & Tannen Publishers. p. 239. ISBN (/wiki/ISBN_(identifier)) 978-0-819-60308-1 . ^ (#cite_ref-FOOTNOTEEllenberger2005149_92-0) Ellenberger 2005 (#CITEREFEllenberger2005) , p. 149. ^ (#cite_ref-93) Anger, Kenneth (/wiki/Kenneth_Anger) (1975). Hollywood Babylon . Straight Arrow Books. p. 108 (https://archive.org/details/hollywoodbabylon00ange/page/108) . ISBN (/wiki/ISBN_(identifier)) 978-0-879-32086-7 . ^ Jump up to: a b Norton, Rictor (2016). Myth of the Modern Homosexual: Queer History and the Search for Cultural Unity . Bloomsbury. p. 57. ISBN (/wiki/ISBN_(identifier)) 978-1-474-28692-3 . ^ (#cite_ref-FOOTNOTEMorris1991114_95-0) Morris 1991 (#CITEREFMorris1991) , p. 114. ^ Jump up to: a b "Valentino: Half Moon". London Theatre Record (/wiki/Theatre_Record) . 10 (1–13): 338. 1990. ISSN (/wiki/ISSN_(identifier)) 0962-1792 (https://www.worldcat.org/issn/0962-1792) . ^ Jump up to: a b Bartlett, Neil (/wiki/Neil_Bartlett_(playwright)) (1988). Who was that Man?: A Present for Mr. Oscar Wilde . Profile Books. p. 40 (https://archive.org/details/whowasthatmanpre00bart/page/40) . ISBN (/wiki/ISBN_(identifier)) 978-1-852-42123-6 . OCLC (/wiki/OCLC_(identifier)) 885172684 (https://www.worldcat.org/oclc/885172684) . ^ (#cite_ref-98) Richards, Dell (1990). Lesbian Lists: A Look at Lesbian Culture, History, and Personalities . Alyson Publications. p. 176 (https://archive.org/details/lesbianlistslook00rich_0/page/176) . ISBN (/wiki/ISBN_(identifier)) 978-1-555-83163-9 . OCLC (/wiki/OCLC_(identifier)) 21454734 (https://www.worldcat.org/oclc/21454734) . ^ (#cite_ref-FOOTNOTEBurr201265–6_100-0) Burr 2012 (#CITEREFBurr2012) , pp. 65–6. ^ (#cite_ref-FOOTNOTEMcLellan200056–9_101-0) McLellan 2000 (#CITEREFMcLellan2000) , pp. 56–9. ^ (#cite_ref-102) Aldrich, Robert; Wotherspoon, Garry, eds. (2001). Who's who in Gay and Lesbian History: From Antiquity to World War II (Revised ed.). Psychology Press. p. 57. ISBN (/wiki/ISBN_(identifier)) 978-0-415-15983-8 . OCLC (/wiki/OCLC_(identifier)) 813248489 (https://www.worldcat.org/oclc/813248489) . ^ (#cite_ref-FOOTNOTEAbrams2008108–9_105-0) Abrams 2008 (#CITEREFAbrams2008) , pp. 108–9. ^ Jump up to: a b c Morris 1991 (#CITEREFMorris1991) , p. 246. ^ (#cite_ref-107) Wallace, David (2002). Lost Hollywood . Macmillan. p. 48. ISBN (/wiki/ISBN_(identifier)) 978-0-312-28863-1 . OCLC (/wiki/OCLC_(identifier)) 49346768 (https://www.worldcat.org/oclc/49346768) . ^ (#cite_ref-108) Quoted in Anderson, Mark Lynn (2011). Twilight of the Idols: Hollywood and the Human Sciences in 1920s America . University of California Press. p. 74. ISBN (/wiki/ISBN_(identifier)) 978-0-520-94942-3 . OCLC (/wiki/OCLC_(identifier)) 721927339 (https://www.worldcat.org/oclc/721927339) . ^ (#cite_ref-109) Slide, Anthony (1996). The Silent Feminists: America's First Women Directors . Scarecrow Press. p. 128. ISBN (/wiki/ISBN_(identifier)) 978-0-810-83053-0 . OCLC (/wiki/OCLC_(identifier)) 34190533 (https://www.worldcat.org/oclc/34190533) . ^ (#cite_ref-FOOTNOTEKirkham2002260_110-0) Kirkham 2002 (#CITEREFKirkham2002) , p. 260. ^ Jump up to: a b Kirkham 2002 (#CITEREFKirkham2002) , p. 259. ^ Jump up to: a b Klepper 2005 (#CITEREFKlepper2005) , p. 199. ^ (#cite_ref-schallert_113-0) Schallert, Edwin (August 1925). "Natacha Rambova Emerges" (https://archive.org/stream/pictureplaymagaz22unse#page/n671/) . Picture Play : 46–7, 94 – via The Internet Archive. ^ Jump up to: a b c Stutesman, Drake (2016). "The Silent Screen, 1895–1927". In McLean, Adrienne L. (ed.). Costume, Makeup, and Hair . Rutgers University Press. p. 31. ISBN (/wiki/ISBN_(identifier)) 978-0-813-57153-9 . OCLC (/wiki/OCLC_(identifier)) 972306563 (https://www.worldcat.org/oclc/972306563) . ^ (#cite_ref-115) Landis, Deborah (2007). Dress: A Century of Hollywood Costume Design . Harper Design. p. 32 (https://archive.org/details/dressedcenturyof0000land/page/32) . ISBN (/wiki/ISBN_(identifier)) 978-0-060-81650-6 . OCLC (/wiki/OCLC_(identifier)) 938099689 (https://www.worldcat.org/oclc/938099689) . ^ (#cite_ref-FOOTNOTEVaughan200827–9_116-0) Vaughan 2008 (#CITEREFVaughan2008) , pp. 27–9. ^ (#cite_ref-FOOTNOTEVaughan200826_118-0) Vaughan 2008 (#CITEREFVaughan2008) , p. 26. ^ (#cite_ref-FOOTNOTEVaughan200621_119-0) Vaughan 2006 (#CITEREFVaughan2006) , p. 21. ^ (#cite_ref-FOOTNOTEVaughan200633–4_120-0) Vaughan 2006 (#CITEREFVaughan2006) , pp. 33–4. ^ (#cite_ref-FOOTNOTEVaughan200827–8_121-0) Vaughan 2008 (#CITEREFVaughan2008) , pp. 27–8. ^ (#cite_ref-FOOTNOTELambert1997233_122-0) Lambert 1997 (#CITEREFLambert1997) , p. 233. ^ Jump up to: a b Leider 2012 (#CITEREFLeider2012) , p. 47. ^ (#cite_ref-FOOTNOTEMcGuire1989164_124-0) McGuire 1989 (#CITEREFMcGuire1989) , p. 164. ^ (#cite_ref-dailyu_125-0) Ehmann, Kylee (February 16, 2016). "Exploring the Legacy of Actress, Dancer, UMFA Donor Natacha Rambova" (https://web.archive.org/web/20161218053112/http://dailyutahchronicle.com/2016/02/16/exploring-the-legacy-of-actress-dancer-umfa-donor-natacha-rambova/) . The Daily Utah Chronicle . Archived from the original (http://dailyutahchronicle.com/2016/02/16/exploring-the-legacy-of-actress-dancer-umfa-donor-natacha-rambova/) on December 18, 2016. ^ (#cite_ref-126) "Collection Highlight: Portrait of Miss Winifred de Wolfe" (https://web.archive.org/web/20140213061039/https://umfablog.wordpress.com/2014/02/04/collection-highlight-portrait-of-miss-winifred-de-wolfe/) . Utah Museum of Fine Arts Blog . February 4, 2014. Archived from the original (https://umfablog.wordpress.com/2014/02/04/collection-highlight-portrait-of-miss-winifred-de-wolfe/) on February 13, 2014 . Retrieved November 10, 2017 . ^ (#cite_ref-127) "Art is 100 at UFMA: Portrait of Natacha Rambova" (https://web.archive.org/web/20150217084030/http://thekingstonfoundation.org/programs-services/art-education/art-is-100-portrait-of-natacha-rambova/) . The Joy Kingston Foundation . Archived from the original (http://thekingstonfoundation.org/programs-services/art-education/art-is-100-portrait-of-natacha-rambova/) on February 17, 2015 . Retrieved November 10, 2017 . ^ (#cite_ref-FOOTNOTEEllenberger2005220_128-0) Ellenberger 2005 (#CITEREFEllenberger2005) , p. 220. ^ (#cite_ref-FOOTNOTEEllenberger2005221_129-0) Ellenberger 2005 (#CITEREFEllenberger2005) , p. 221. ^ (#cite_ref-130) Murphy, Shaunna (December 10, 2015). "Alexandra Daddario Reveals How to Make 'AHS' Sex Scenes with Lady Gaga Less 'Awkward' (https://web.archive.org/web/20151213184943/http://www.mtv.com/news/2685595/american-horror-story-alexandra-daddario/) " (https://web.archive.org/web/20151213184943/http://www.mtv.com/news/2685595/american-horror-story-alexandra-daddario/) . MTV (/wiki/MTV) . Archived from the original (http://www.mtv.com/news/2685595/american-horror-story-alexandra-daddario/) on December 13, 2015 . Retrieved November 9, 2017 . ^ (#cite_ref-FOOTNOTEMorris199151_131-0) Morris 1991 (#CITEREFMorris1991) , p. 51. ^ (#cite_ref-132) "Creoles" (http://www.playbill.com/production/creoles-klaw-theatre-vault-0000006298) . Playbill . Archived (https://archive.today/20171112005633/http://www.playbill.com/production/creoles-klaw-theatre-vault-0000006298) from the original on November 12, 2017 . Retrieved November 12, 2017 . ^ (#cite_ref-133) "Set a Thief" (http://www.playbill.com/production/set-a-thief-empire-theatre-vault-0000004005) . Playbill . Archived (https://archive.today/20171112010016/http://www.playbill.com/production/set-a-thief-empire-theatre-vault-0000004005) from the original on November 12, 2017 . Retrieved November 12, 2017 . Works cited [ edit ] Abrams, Brett L. (2008). Hollywood Bohemians: Transgressive Sexuality and the Selling of the Movieland Dream . McFarland. ISBN (/wiki/ISBN_(identifier)) 978-0-786-43929-4 . OCLC (/wiki/OCLC_(identifier)) 891146121 (https://www.worldcat.org/oclc/891146121) . Burr, Ty (2012). Gods Like Us: On Movie Stardom and Modern Fame . Pantheon Books. ISBN (/wiki/ISBN_(identifier)) 978-0-307-39084-4 . OCLC (/wiki/OCLC_(identifier)) 812407866 (https://www.worldcat.org/oclc/812407866) . Ellenberger, Alan R. (2005). The Valentino Mystique: The Death and Afterlife of the Silent Film Idol . McFarland. ISBN (/wiki/ISBN_(identifier)) 978-0-786-41950-0 . OCLC (/wiki/OCLC_(identifier)) 982213332 (https://www.worldcat.org/oclc/982213332) . Jorgensen, Jay; Scoggins, Donald L. (2015). Creating the Illusion: A Fashionable History of Hollywood Costume Designers . Running Press. ISBN (/wiki/ISBN_(identifier)) 978-0-762-45807-3 . OCLC (/wiki/OCLC_(identifier)) 963893175 (https://www.worldcat.org/oclc/963893175) . Kimball, Stanley (1986) [1981]. Heber C. Kimball: Mormon Patriarch and Pioneer . University of Illinois Press. ISBN (/wiki/ISBN_(identifier)) 978-0-252-01299-0 . OCLC (/wiki/OCLC_(identifier)) 16122343 (https://www.worldcat.org/oclc/16122343) . Kirkham, Pat (2002). Women Designers in the USA, 1900-2000: Diversity and Difference . Yale University Press. ISBN (/wiki/ISBN_(identifier)) 978-0-300-09331-5 . OCLC (/wiki/OCLC_(identifier)) 925656148 (https://www.worldcat.org/oclc/925656148) . Klepper, Robert K. (2005). Silent Films, 1877–1996: A Critical Guide to 646 Movies . McFarland. ISBN (/wiki/ISBN_(identifier)) 978-1-476-60484-8 . OCLC (/wiki/OCLC_(identifier)) 439709956 (https://www.worldcat.org/oclc/439709956) . Kotowski, Mariusz (2014). Pola Negri: Hollywood's First Femme Fatale . University Press of Kentucky. ISBN (/wiki/ISBN_(identifier)) 978-0-813-14490-0 . OCLC (/wiki/OCLC_(identifier)) 881701106 (https://www.worldcat.org/oclc/881701106) . Lambert, Gavin (1997). Nazimova: A Biography . Alfred A. Knopf. ISBN (/wiki/ISBN_(identifier)) 978-0-679-40721-8 . OCLC (/wiki/OCLC_(identifier)) 717624473 (https://www.worldcat.org/oclc/717624473) . Leider, Emily (2003). Dark Lover: The Life and Death of Rudolph Valentino . Faber and Faber. ISBN (/wiki/ISBN_(identifier)) 978-0-374-28239-4 . OCLC (/wiki/OCLC_(identifier)) 901683955 (https://www.worldcat.org/oclc/901683955) . Leider, Emily (2012). Myrna Loy: The Only Good Girl in Hollywood . University of California Press. ISBN (/wiki/ISBN_(identifier)) 978-0-52027-450-1 . OCLC (/wiki/OCLC_(identifier)) 813210664 (https://www.worldcat.org/oclc/813210664) . Mahar, Karen Wood (2008). Women Filmmakers in Early Hollywood . Johns Hopkins University Press. ISBN (/wiki/ISBN_(identifier)) 978-0-801-89084-0 . OCLC (/wiki/OCLC_(identifier)) 226358159 (https://www.worldcat.org/oclc/226358159) . McGuire, William (1989) [1982]. Bollingen: An Adventure in Collecting the Past . Princeton University Press. ISBN (/wiki/ISBN_(identifier)) 978-0-691-01885-0 . OCLC (/wiki/OCLC_(identifier)) 23769287 (https://www.worldcat.org/oclc/23769287) . McLellan, Diane (2000). The Girls: Sappho Goes to Hollywood . St. Martin's Press. ISBN (/wiki/ISBN_(identifier)) 978-0-312-28320-9 . OCLC (/wiki/OCLC_(identifier)) 50707794 (https://www.worldcat.org/oclc/50707794) . Morris, Michael (1991). Madam Valentino: The Many Lives of Natacha Rambova . Abbeville Press. ISBN (/wiki/ISBN_(identifier)) 978-1-558-59136-3 . OCLC (/wiki/OCLC_(identifier)) 555726616 (https://www.worldcat.org/oclc/555726616) . Quinn, D. Michael (2001). Same-Sex Dynamics Among Nineteenth-Century Americans: A Mormon Example . University of Illinois Press. ISBN (/wiki/ISBN_(identifier)) 978-0-252-06958-1 . OCLC (/wiki/OCLC_(identifier)) 1001546076 (https://www.worldcat.org/oclc/1001546076) . Rambova, Natacha; Pickford, Hala (2009) [1926]. Rudolph Valentino: A Wife's Memories of an Icon . PVG Publishing. ISBN (/wiki/ISBN_(identifier)) 978-0-981-64404-2 . OCLC (/wiki/OCLC_(identifier)) 618549556 (https://www.worldcat.org/oclc/618549556) . Sparke, Penny (2005). Elsie De Wolfe: The Birth of Modern Interior Decoration . Acanthus Press. ISBN (/wiki/ISBN_(identifier)) 978-0-926-49427-5 . OCLC (/wiki/OCLC_(identifier)) 917170478 (https://www.worldcat.org/oclc/917170478) . Vaughan, Heather A. (2006). "Natacha Rambova: Fashion Designer (1928–1931)". Dress . 33 : 21–41. doi (/wiki/Doi_(identifier)) : 10.1179/036121106805252972 (https://doi.org/10.1179%2F036121106805252972) . S2CID (/wiki/S2CID_(identifier)) 191483650 (https://api.semanticscholar.org/CorpusID:191483650) . (subscription required) Vaughan, Heather A. (2008). "Violent & Definite: Natacha Rambova & her Fashion Designs" (https://web.archive.org/web/20121101145337/http://www.fashionhistorian.net/pdf/HeatherCostumeAustralia.pdf) (PDF) . Costume Australia . 1 : 26–9. Archived from the original on November 1, 2012. {{ cite journal (/wiki/Template:Cite_journal) }} : CS1 maint: bot: original URL status unknown ( link (/wiki/Category:CS1_maint:_bot:_original_URL_status_unknown) ) Williams, Michael (2013). Film Stardom, Myth and Classicism: The Rise of Hollywood's Gods . Palgrave Macmillan. ISBN (/wiki/ISBN_(identifier)) 978-0-230-35544-6 . OCLC (/wiki/OCLC_(identifier)) 982217818 (https://www.worldcat.org/oclc/982217818) . Further reading [ edit ] Cottrill, Jennifer (2002). " 'She would not cook the spaghetti ... ': Domestic and decorative femininity and the film designs of Natacha Rambova". In Elliott, Bridget; Helland, Janice (eds.). Women Artists and the Decorative Arts, 1880-1935: The Gender of Ornament . Ashgate. pp. 114–137. ISBN (/wiki/ISBN_(identifier)) 978-0-754-60596-6 . Mormon Artists Group (July 2009). "A Séance In The Mormon Tabernacle: Art And Spiritualism Of Natacha Rambova" (https://archive.today/20171110224625/https://www.mormonartistsgroup.com/new-blog/2017/10/3/a-sance-in-the-mormon-tabernacle-art-and-spiritualism-of-natacha-rambova) . New York City, NY. Archived from the original (https://www.mormonartistsgroup.com/new-blog/2017/10/3/a-sance-in-the-mormon-tabernacle-art-and-spiritualism-of-natacha-rambova) on November 10, 2017. {{ cite journal (/wiki/Template:Cite_journal) }} : Cite journal requires |journal= ( help (/wiki/Help:CS1_errors#missing_periodical) ) Vaughan, Heather, " Personality and Style: The Fashion Career of Natacha Rambova (/w/index.php?title=Url%3Dhttp://fashionhistorian.net/natacha-rambova.html&action=edit&redlink=1) ," September 11, 2004 to February 6, 2005. (Co-curator/Guest-Curator) Phoenix Art Museum, Fashion Design Gallery, Phoenix, AZ. www.fashionhistorian.net (http://www.fashionhistorian.net) Waterbury, Ruth (December 1922). "Wedded and Parted, or, in other words, the story of Natacha Rambova Valentino" (https://archive.org/stream/photoplayvolume222chic#page/686/mode/2up/search/rambova) . Photoplay (/wiki/Photoplay) : 58–9, 117. Zumaya, Evelyn, Affairs Valentino . The Rudolph Valentino Society and Publishing LLC, 2011. ISBN (/wiki/ISBN_(identifier)) 978-0-9827709-5-5 (/wiki/Special:BookSources/978-0-9827709-5-5) External links [ edit ] Natacha Rambova (https://www.imdb.com/name/nm0708118/) at IMDb (/wiki/IMDb_(identifier)) Natacha Rambova (https://wfpp.cdrs.columbia.edu/pioneer/ccp-natacha-rambova/) at the Women Film Pioneers Project, Columbia University (/wiki/Columbia_University) Scan of article (https://web.archive.org/web/20121101145405/http://www.fashionhistorian.net/pdf/NatachaRambovainDressbyHAV2008-1.pdf) on Rambova in Dress (Vol. 33), 2006, Costume Society of America Natacha Rambova papers (https://www.loc.gov/item/mm87062130/) at the Library of Congress (/wiki/Library_of_Congress) Catalog of artifacts (https://umfa.utah.edu/sites/default/files/2017-05/10000_EgyptianArtLessonssm.pdf) donated by Rambova to the University of Utah (/wiki/University_of_Utah) (from the Utah Museum of Fine Art's Ancient Egyptian Art collection) The Natacha Rambova Archive (https://egyptology.yale.edu/collections/natacha-rambova-archive-yale-university) at Yale University (/wiki/Yale_University) (Yale in Egypt collection) Portals (/wiki/Wikipedia:Contents/Portals) : 1920s (/wiki/Portal:1920s) Film (/wiki/Portal:Film) Fashion (/wiki/Portal:Fashion) Ancient Egypt (/wiki/Portal:Ancient_Egypt) California (/wiki/Portal:California) Utah (/wiki/Portal:Utah) Natacha Rambova at Wikipedia's sister projects : Media (https://commons.wikimedia.org/wiki/Category:Natacha_Rambova) from Commons Quotations (https://en.wikiquote.org/wiki/Natacha_Rambova) from Wikiquote Authority control databases (/wiki/Help:Authority_control) International FAST (http://id.worldcat.org/fast/82352/) ISNI (https://isni.org/isni/0000000116599132) VIAF (https://viaf.org/viaf/64809751) WorldCat (https://id.oclc.org/worldcat/entity/E39PBJqBm7phpjGGFRK8fRHKVC) National France (https://catalogue.bnf.fr/ark:/12148/cb140419875) BnF data (https://data.bnf.fr/ark:/12148/cb140419875) Germany (https://d-nb.info/gnd/119087081) Israel (http://olduli.nli.org.il/F/?func=find-b&local_base=NLX10&find_code=UID&request=987007428722605171) United States (https://id.loc.gov/authorities/n81132171) Netherlands (http://data.bibliotheken.nl/id/thes/p070377324) Poland (https://dbn.bn.org.pl/descriptor-details/9812667841005606) Artists Museum of Modern Art (https://www.moma.org/artists/4798) ULAN (https://www.getty.edu/vow/ULANFullDisplay?find=&role=&nation=&subjectid=500465107) Other SNAC (https://snaccooperative.org/ark:/99166/w6gq8vv0) IdRef (https://www.idref.fr/135356679) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐526fc Cached time: 20240720163818 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 1.639 seconds Real time usage: 1.946 seconds Preprocessor visited node count: 18102/1000000 Post‐expand include size: 193670/2097152 bytes Template argument size: 27561/2097152 bytes Highest expansion depth: 23/100 Expensive parser function count: 27/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 295184/5000000 bytes Lua time usage: 0.986/10.000 seconds Lua memory usage: 13848947/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 1743.543 1 -total 26.07% 454.527 165 Template:Sfn 17.99% 313.705 1 Template:Infobox_person 14.25% 248.376 40 Template:Cite_book 13.38% 233.301 2 Template:Reflist 9.22% 160.767 20 Template:Pluralize_from_text 6.07% 105.800 3 Template:Plainlist 5.60% 97.627 193 Template:Main_other 5.51% 96.125 2 Template:Marriage 5.39% 93.890 1 Template:Subject_bar Saved in parser cache with key enwiki:pcache:idhash:230910-0!canonical and timestamp 20240720163818 and revision id 1231356490. 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Japanese group of manufacturing companies For other uses, see YKK (disambiguation) (/wiki/YKK_(disambiguation)) . YKK Group Native name YKKグループ Formerly San-es Shokai, Yoshida Kōgyō Kabushikigaisha ( 吉田工業株式会社 ) Company type Private (/wiki/Private_company) KK (/wiki/Kabushiki_kaisha) Industry Manufacturing (/wiki/Manufacturing) Founded Nihonbashi (/wiki/Nihonbashi) , Tokyo (/wiki/Tokyo) (January 1, 1934 ; 90 years ago ( 1934-01-01 ) ) Founder Tadao Yoshida Headquarters Kanda Izumi-cho (/wiki/Izumich%C5%8D,_Chiyoda,_Tokyo) , Chiyoda-ku, Tokyo (/wiki/Chiyoda,_Tokyo) 101-8642 , Japan Area served Worldwide Key people Tadahiro Yoshida ( Chairman (/wiki/Chairman) and CEO (/wiki/CEO) ) Hiroaki Ōtani ( President (/wiki/President_(corporate_title)) ) Products Fastening products (/wiki/Fastener) Windows (/wiki/Window) and doors (/wiki/Door) Building facades (/wiki/Facade_engineering) Production machinery (/wiki/Machine_(mechanical)) Revenue JPY (/wiki/Japanese_yen) 721.03 billion ( FY (/wiki/Fiscal_year) 2014) ( US$ (/wiki/US_dollar) 6.1 billion) (FY 2014) Net income (/wiki/Net_income) JPY 46.9 billion (FY 2014) (US$ 390.8 million) (FY 2014) Number of employees 42,154 (consolidated as of March 31, 2015) Website Official website (http://www.ykk.com/english/) Footnotes / references [1] (#cite_note-1) [2] (#cite_note-2) [3] (#cite_note-Financial_Highlights-3) Closeup of a YKK zipper on blue jeans (/wiki/Jeans) The YKK Group ( YKKグループ , Waikeikei Gurūpu ) is a Japanese group of manufacturing companies. They are the world's largest zipper (/wiki/Zipper) manufacturer, also producing other fastening products, architectural products, plastic hardware and industrial machinery. The initials YKK stand for Yoshida Kōgyō Kabushiki gaisha (/wiki/Kabushiki_gaisha) ( 吉田工業株式会社 , lit. "Yoshida Manufacturing Corporation") , which was the name of the company from 1945 until 1994. YKK produces fasteners and architectural products at 109 YKK facilities in 71 countries worldwide. [4] (#cite_note-YKK_Corporate_Profile-4) History [ edit ] Before World War II [ edit ] What would later become YKK operated initially as San-es Shokai and was founded by Tadao Yoshida in Higashi Nihonbashi, Tokyo in January 1934. The company specialized in marketing of fastening products. In February 1938, San-es Shokai was renamed to Yoshida Kogyosho. WWII was under way by 1939, and the next major corporate event would not take place until February 1942 when the company reorganized as a limited corporation. [5] (#cite_note-5) After World War II [ edit ] In January 1946, the company registered the YKK trademark (/wiki/Trademark) . A major technological change came in 1950, when the company purchased a chain machine from the U.S. (/wiki/United_States) that allowed the automation of the zipper making process. Previously, YKK zippers were made by hand, and hence had an inferior quality compared to automated zippers from abroad. In March 1951, YKK relocated its headquarters to Chūō, Tokyo (/wiki/Ch%C5%AB%C5%8D,_Tokyo) . In May 1955, a new plant was opened in Kurobe, Toyama (/wiki/Kurobe,_Toyama) . In August 1958, the headquarters was again relocated to Taitō, Tokyo (/wiki/Tait%C5%8D,_Tokyo) . In this year, the company also introduced its new Conceal brand that does not show the teeth of the zippers. Another major step came in November 1959, with the opening of its first overseas location, producing YKK zippers in New Zealand (/wiki/New_Zealand) . YKK's first US office opened in New York City (/wiki/New_York_City) in 1960 and is now the country's top supplier of zippers and other fastening devices such as snaps (/wiki/Snap_fastener) and buttons (/wiki/Button_(clothing)) . As the company grew, it brought every step of manufacturing in-house, including smelting brass and dyeing cloth. [6] (#cite_note-slate-6) Diversification [ edit ] In November 1961, the product line was diversified to include aluminium products for buildings. In June 1963, the company relocated its headquarters again to Chiyoda, Tokyo (/wiki/Chiyoda,_Tokyo) , the current location of the company. In 1966, a new product YZip was introduced, an extra strong and durable zipper for jeans (/wiki/Jeans) . The development of a machine that automatically included the YZip zipper into the stitching process of jeans further increased sales, especially in the USA. In 1968, YKK opened its first branch in Canada. Its Canadian headquarters are currently in Montreal (/wiki/Montreal) , Quebec (/wiki/Quebec) . There was further expansion in the 1970s, with the opening of three new plants in Utazu, Kagawa (/wiki/Utazu,_Kagawa) in April 1972, in Sanbongi, Miyagi (/wiki/Sanbongi,_Miyagi) in June 1974, and in Yatsushiro, Kumamoto (/wiki/Yatsushiro,_Kumamoto) in February 1975. YKK also opened a fastener making factory in Swaziland (/wiki/Swaziland) which has grown to supply the entire sub-Saharan region, including Madagascar and Mauritius. More product lines became available with the Quicklon (sometimes called Cosmolon ) fasteners in December 1981. International and product expansion continued during the 1980s, with a real estate (/wiki/Real_estate) business in Singapore (/wiki/Singapore) in December 1984, an agricultural (/wiki/Agricultural) business in Brazil (/wiki/Brazil) in January 1985, and a plant in Indonesia (/wiki/Indonesia) in September 1986 producing zippers and aluminium parts for buildings. The company was finally renamed YKK in August 1994. New millennium [ edit ] In July 2000, the company established YKK Newmax Co., Ltd , specializing in the production of snaps and buttons. In December 2002, a machine company was established in Suzhou (/wiki/Suzhou) , China (/wiki/China) . In April 2003, a research and development facility was established in Hokkaido (/wiki/Hokkaido) , Japan (/wiki/Japan) . A company specializing in sales, YKK Fastening Products Sales Inc. was established in February 2003. YKK AP Inc. was founded in October 2003, specializing in architectural products. Overall, the organization operates 111 affiliated companies in 71 countries, with 42,154 employees. [4] (#cite_note-YKK_Corporate_Profile-4) Price fixing [ edit ] On September 19, 2007, YKK was fined €150.3 million by the European Commission (/wiki/European_Commission) for running worldwide price-fixing (/wiki/Price-fixing) cartels and sharing markets with zipper-makers Prym (/wiki/Prym) and Coats (/wiki/Coats_plc) . Coats of Britain and Prym of Germany were fined €122.4 million and €40.5 million respectively for their participation in cartel behaviour. [7] (#cite_note-YKK_fined-7) YKK lost its appeal (/wiki/Appeal) to the General Court (/wiki/General_Court_(European_Union)) on June 27, 2012. [8] (#cite_note-8) [9] (#cite_note-9) It then launched an appeal to the European Court of Justice (/wiki/European_Court_of_Justice) on September 5, 2012. [10] (#cite_note-10) In October 2014, part of the fine was reduced by the European high court from €19.25 million to €2.79 million. [11] (#cite_note-11) [12] (#cite_note-12) Products [ edit ] Fastening products [ edit ] Fastening products are the first and still the most important product of YKK. Within YKK, the company distinguishes between the Slide Fastener Division, the Textile and Plastic Products Division, and the Snap Fastener and Button Division. Zippers Standard Metal YZiP: Metal zipper, extra durable for jeans EverBright: Metal zipper, polished for visual appeal, corrosion resistant Excella: Metal zipper (/wiki/Metal_zipper) , polished and plated for visual appeal, also in different colours (silver, gold, and "antique" finish) Standard Coil Conceal: Plastic coil zipper (/wiki/Coil_zipper) with concealed elements (no visible teeth) Vislon: Standard – rugged plastic zipper Hook and loop (/wiki/Hook-and-loop_fastener) products Plastic parts, including various types of clips and buckles (/wiki/Buckle) Snaps and buttons, including snap fasteners (/wiki/Snap_fastener) and jeans buttons On August 26, 2013, YKK Corporation filed a patent infringement complaint in the Middle District of Georgia against Velcro (/wiki/Velcro) USA Inc. of Manchester, New Hampshire, relating to a fastener strip used in foam moulded products like a cushion body used for an automobile seat. [13] (#cite_note-13) Architectural products [ edit ] Architectural Aluminium products include fenestration systems for glass exteriors; entrances for commercial and institutional structures; Aluminium sunshades and residential windows. It is based in Austell, Georgia, USA. YKK AP America Inc. manufactures entrances, store fronts, curtain wall, window wall, sunshades, windows and sliding doors for office buildings, residential high-rises, schools, stadiums, shopping centres and institutional structures. [14] (#cite_note-YKK_award-14) Machinery and engineering [ edit ] The Machinery and Engineering Group focuses on the development and production of machines, equipment, and dyes, serving YKK Group with the Exclusive Machinery Division, Industrial Machinery Division, and Dye Division. Facilities [ edit ] As of March 31, 2020, YKK has manufacturing facilities in 72 countries. [4] (#cite_note-YKK_Corporate_Profile-4) References [ edit ] ^ (#cite_ref-1) "Corporate Profile" (http://www.ykk.com/english/corporate/group/index.html) . YKK Corporation . Retrieved December 22, 2015 . ^ (#cite_ref-2) "Company Overview" (https://www.bloomberg.com/research/stocks/private/snapshot.asp?privcapId=5476579) . Bloomberg L.P. (/wiki/Bloomberg_L.P.) Retrieved December 22, 2015 . ^ (#cite_ref-Financial_Highlights_3-0) "Financial Highlights" (http://www.ykk.com/english/corporate/financial/highlights/consolidated.html) . YKK Corporation . Retrieved February 9, 2015 . ^ Jump up to: a b c "YKK Corporate Profile" (http://www.ykk.com/english/corporate/group/index.html) . YKK Corporation . Retrieved April 18, 2013 . ^ (#cite_ref-5) "HISTORY : YKK GROUP" (http://www.ykk.com/english/corporate/g_outline.html) . Ykk Corporation . Retrieved November 25, 2014 . ^ (#cite_ref-slate_6-0) Stevenson, Seth (April 30, 2012). "Why YKK? The mysterious Japanese company behind the world's best zippers" (http://www.slate.com/articles/business/branded/2012/04/ykk_zippers_why_so_many_designers_use_them_.html) . Slate (/wiki/Slate_(magazine)) . Retrieved November 25, 2014 . ^ (#cite_ref-YKK_fined_7-0) Schomberg, William (September 19, 2007). "EU fines zipper-makers over 328 mln Euros for cartel" (https://www.reuters.com/article/consumerproducts-SP/idUSL1926941520070919) . Reuters . Retrieved November 25, 2014 . ^ (#cite_ref-8) Judgment of the General Court of 27 June 2012 — YKK and Others v Commission (http://eur-lex.europa.eu/LexUriServ/LexUriServ.do?uri=OJ%3AC%3A2012%3A243%3A0013%3A0013%3Aen%3APDF) , Official Journal of the European Union (/wiki/Official_Journal_of_the_European_Union) ^ (#cite_ref-9) White, Aoife (June 27, 2012). "Coats and YKK Lose EU Court Challenges Over Antitrust Fines" (https://web.archive.org/web/20120629231724/http://www.businessweek.com/news/2012-06-27/coats-and-ykk-lose-eu-court-challenges-over-antitrust-fines) . Businessweek. Archived from the original (http://www.businessweek.com/news/2012-06-27/coats-and-ykk-lose-eu-court-challenges-over-antitrust-fines) on June 29, 2012 . Retrieved November 13, 2013 . ^ (#cite_ref-10) Appeal brought on 5 September 2012 by YKK Corp., YKK Holding Europe BV (http://eur-lex.europa.eu/LexUriServ/LexUriServ.do?uri=OJ%3AC%3A2012%3A343%3A0010%3A0010%3Aen%3APDF) , Official Journal of the European Union (/wiki/Official_Journal_of_the_European_Union) ^ (#cite_ref-11) Hummer, Christina; Kahn, Ori (September 8, 2014). "ECJ defines limit of fines" (https://be.schindhelm.com/en/news-jusful/news/ecj-defines-limit-of-fines) . be.schindhelm.com . ^ (#cite_ref-12) "Judgment of the Court (Second Chamber)" (https://eur-lex.europa.eu/legal-content/EN/TXT/?uri=CELEX%3A62012CJ0408) . EUR-Lex . September 4, 2014 . Retrieved October 16, 2018 . ^ (#cite_ref-13) Womble Carlyle Sandridge & Rice, PLLC (October 10, 2013). "YKK Corporation Files Patent Infringement Action Against Competitor Velcro USA" (http://www.natlawreview.com/article/ykk-corporation-files-patent-infringement-action-against-competitor-velcro-usa) . The National Law Review . Retrieved November 25, 2014 . ^ (#cite_ref-YKK_award_14-0) "YKK AP Wins Design Award: YKK AP Wins International Design Excellence Award With Aid Of Agency Video" (https://web.archive.org/web/20110711024950/http://blog.freebairn.com/2009/08/ykk-ap-wins-design-award.html) . Freebairn & Company. August 21, 2009. Archived from the original (http://blog.freebairn.com/2009/08/ykk-ap-wins-design-award.html) on July 11, 2011 . Retrieved November 25, 2014 . External links [ edit ] Wikimedia Commons has media related to YKK Group (https://commons.wikimedia.org/wiki/Category:YKK_Group) . Tokyo portal (/wiki/Portal:Tokyo) Engineering portal (/wiki/Portal:Engineering) Fashion portal (/wiki/Portal:Fashion) Companies portal (/wiki/Portal:Companies) YKK Corporation website (http://www.ykk.com/english/) (in English) Authority control databases (/wiki/Help:Authority_control) International ISNI (https://isni.org/isni/0000000417609672) VIAF (https://viaf.org/viaf/254438682) National Japan (https://id.ndl.go.jp/auth/ndlna/00405688) Academics CiNii (https://ci.nii.ac.jp/author/DA18117584?l=en) NewPP limit report Parsed by mw‐web.eqiad.main‐57d74c944b‐bsxrk Cached time: 20240720163050 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.799 seconds Real time usage: 1.719 seconds Preprocessor visited node count: 2412/1000000 Post‐expand include size: 50999/2097152 bytes Template argument size: 3999/2097152 bytes Highest expansion depth: 20/100 Expensive parser function count: 11/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 54238/5000000 bytes Lua time usage: 0.549/10.000 seconds Lua memory usage: 16532599/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 1579.582 1 -total 34.43% 543.841 1 Template:Infobox_company 31.47% 497.026 1 Template:Infobox 27.70% 437.580 1 Template:Short_description 24.33% 384.315 2 Template:Pagetype 15.53% 245.269 1 Template:Reflist 14.52% 229.422 1 Template:Lang 13.27% 209.672 11 Template:Cite_web 7.74% 122.330 1 Template:Authority_control 6.68% 105.481 1 Template:Commons_category Saved in parser cache with key enwiki:pcache:idhash:231742-0!canonical and timestamp 20240720163050 and revision id 1220231386. 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Fitted dress in Chinese culture For the male version of the cheongsam, see Changshan (/wiki/Changshan) . "Qi pao" redirects here. For the Thai television series, see Qi Pao (TV series) (/wiki/Qi_Pao_(TV_series)) . Cheongsam A woman in a cheongsam Type Dress (/wiki/Dress) / female outwear Material Diverse, such as silk, silk-like material, cotton [1] (#cite_note-1) Place of origin China (/wiki/China) Introduced 20th century Cheongsam "Cheongsam" in Traditional (top) and Simplified (bottom) Chinese characters Traditional Chinese (/wiki/Traditional_Chinese_characters) 長衫 (https://en.wiktionary.org/wiki/%E9%95%B7%E8%A1%AB) Simplified Chinese (/wiki/Simplified_Chinese_characters) 长衫 Literal meaning long garment Transcriptions Standard Mandarin (/wiki/Standard_Chinese) Hanyu Pinyin (/wiki/Hanyu_Pinyin) chángshān Bopomofo (/wiki/Bopomofo) ㄔㄤˊ ㄕㄢ IPA (/wiki/Help:IPA/Mandarin) [ʈʂʰǎŋʂán] (/wiki/Help:IPA/Mandarin) Wu (/wiki/Wu_Chinese) Shanghainese (/wiki/Shanghainese) Romanization zan 3 se 1 Yue: Cantonese (/wiki/Cantonese) Yale Romanization (/wiki/Yale_romanization_of_Cantonese) chèuhng-sāam Jyutping (/wiki/Jyutping) coeng 4 -saam 1 IPA (/wiki/Help:IPA/Cantonese) [tsʰœŋ˩sam˥] (/wiki/Help:IPA/Cantonese) Southern Min (/wiki/Southern_Min) Hokkien (/wiki/Hokkien) POJ (/wiki/Pe%CC%8Dh-%C5%8De-j%C4%AB) tn̂g-sann Tâi-lô (/wiki/Taiwanese_Romanization_System) tn̂g-saⁿ Qipao Chinese (/wiki/Chinese_language) 旗袍 Literal meaning banner gown Transcriptions Standard Mandarin (/wiki/Standard_Chinese) Hanyu Pinyin (/wiki/Hanyu_Pinyin) qípáo Wade–Giles (/wiki/Wade%E2%80%93Giles) ch'i 2 -p'ao 2 IPA (/wiki/Help:IPA/Mandarin) [tɕʰǐpʰǎʊ] (/wiki/Help:IPA/Mandarin) Yue: Cantonese (/wiki/Cantonese) Yale Romanization (/wiki/Yale_romanization_of_Cantonese) kèih pòuh Jyutping (/wiki/Jyutping) kei4 pou4 Southern Min (/wiki/Southern_Min) Hokkien (/wiki/Hokkien) POJ (/wiki/Pe%CC%8Dh-%C5%8De-j%C4%AB) kî-phâu Tâi-lô (/wiki/Taiwanese_Romanization_System) kî-phâu Cheongsam ( UK (/wiki/British_English) : / (/wiki/Help:IPA/English) tʃ ( (/wiki/Help:IPA/English) i ) (/wiki/Help:IPA/English) ɒ ŋ ˈ s æ m / (/wiki/Help:IPA/English) , US (/wiki/American_English) : / (/wiki/Help:IPA/English) tʃ ɔː ŋ ˈ s ɑː m / (/wiki/Help:IPA/English) ) or zansae , also known as the qipao ( / (/wiki/Help:IPA/English) ˈ tʃ iː p aʊ / (/wiki/Help:IPA/English) ) and sometimes referred to as the mandarin gown , is a Chinese dress (/wiki/Dress) worn by women which takes inspiration from the qizhuang (/wiki/Qizhuang) , the ethnic clothing of the Manchu people (/wiki/Manchu_people) . [2] (#cite_note-:2-2) [ better source needed ] The cheongsam is most often seen as a longer, figure-fitting, one piece garment with a standing collar, an asymmetric, left-over-right ( youren (/wiki/Garment_collars_in_Hanfu#Youren/_right_lapel) ) opening and two side slits, and embellished with Chinese frog fasteners on the lapel and the collar. It was developed in the 1920s and evolved in shapes and design over years. [2] (#cite_note-:2-2) [ better source needed ] It was popular in China from the 1920s to 1960s, overlapping with the Republican era, and was popularized by Chinese socialites (/wiki/Socialite) and high society (/wiki/High_society_(social_class)) women in Shanghai (/wiki/Shanghai) . [3] (#cite_note-3) [4] (#cite_note-:19-4) Although the cheongsam is sometimes seen as traditional Chinese clothing (/wiki/Chinese_clothing) , the cheongsam continues to evolve with times as it responds to the contemporary modern life. [2] (#cite_note-:2-2) [ better source needed ] Terminology [ edit ] As English loanwords (/wiki/Loanword) , both " cheongsam " and " qipao " describe the same type of body-hugging dress worn by Chinese women, and the words could be used interchangeably. [5] (#cite_note-5) The term cheongsam is a romanization (/wiki/Romanization) of Cantonese (/wiki/Standard_Cantonese) word chèuhngsāam ( 長衫 (https://en.wiktionary.org/wiki/%E9%95%B7%E8%A1%AB) ; 'long shirt/dress'), which comes from the Shanghainese (/wiki/Shanghainese_dialect) term zansae . In Cantonese and Shanghainese, the term is used to describe a Chinese dress popularized in Shanghai (/wiki/Shanghai) . However, in Mandarin Chinese (/wiki/Mandarin_Chinese) and other varieties of Chinese (/wiki/Varieties_of_Chinese) , chángshān ( 長衫 ) refers to an exclusively male garment (/wiki/Changshan) , and the female version is known as the qípáo . In Hong Kong (/wiki/Hong_Kong) , where many Shanghainese (/wiki/Shanghainese_people_in_Hong_Kong) tailors fled after the communist revolution of 1949 (/wiki/Chinese_Revolution_(1949)) , the word chèuhngsāam became gender-neutral, referring to both male and female garments. The word qipao ( keipo ), which literally means " Bannerman (/wiki/Eight_Banners) robe" and originally referred to a loose-fitting, trapezoidal-cut garment worn by both Manchu men and women, became a more formal term for the female chèuhngsāam . Usage of the term " cheongsam " in Western countries mostly followed the original Cantonese meaning and applies to the dress worn by women only. [6] (#cite_note-6) Design and construction [ edit ] See also: Pankou: Cheongsam fasteners, also known as frogs (/wiki/Frog_(fastening)) Chinese community in Dublin (/wiki/Dublin) wearing various styles of cheongsam, 2016 An exhibition of cheongsam worn by Suzhou pingtan performers The design of the cheongsam has evolved with time; [7] (#cite_note-:11-7) and there are now a various styles of cheongsam. [8] (#cite_note-:5-8) However, after decades of development, the design of cheongsam itself can be roughly categorized into the Beijing (/wiki/Beijing) style, the Shanghai (/wiki/Shanghai) style, and the Hong Kong (/wiki/Hong_Kong) style. General characteristics and features [ edit ] The cheongsam is typically a tight-fitting dress, with a pair of high side slits above the knee-level. [7] (#cite_note-:11-7) The length of the cheongsam can vary; it can be either long or short. [8] (#cite_note-:5-8) It is more often seen with short sleeves; however, it can also be sleeveless. [7] (#cite_note-:11-7) Collars and neckline [ edit ] Various shape of neckline It is typically found with the mandarin collar (/wiki/Mandarin_collar) and has asymmetric closure which runs from the central collar across the top area of the chest to the armhole curing down to the right side. [7] (#cite_note-:11-7) In Chinese clothing culture, the overlap on the right side is known as youren (/wiki/Garment_collars_in_Hanfu#Youren/_right_lapel) . However, the cheongsam is not limited to the asymmetrical youren closure; there are various styles of cheongsam necklines, including a symmetrical opening in the chest area. Fasteners and closures [ edit ] The fasteners uses traditional Chinese knotting (/wiki/Chinese_knotting) craftwork with the use of the pankou (/wiki/Frog_(fastening)) fastening and Chinese button knot (/wiki/Chinese_button_knot) . [7] (#cite_note-:11-7) Edges and piping [ edit ] Edges and piping Cheongsam without any piping Gun piping at the collar and front overlap Yigun yiqian: the gun is dark purple while the qian is white. Triple-edged piping (two-gun-one-qian) The cheongsam is typically edged with piping, especially at the collar and the closure. [7] (#cite_note-:11-7) There are four traditional piping techniques used in the making of the cheongsam: gun ( 滚 ; 'roll') which is a narrow strips of fabric roll around the raw edge of the garment and is the most commonly used nowadays, xiang ( 镶 ) which is broad edging typically found in Manchu clothing (/wiki/Qizhuang) of the Qing dynasty (/wiki/Qing_dynasty) and the early cheongsam and is now quite rare, qian ( 嵌 ) is a very narrow strip of fabric which is even narrower than the gun , and dang ( 宕 ) is a specific type of xiang technique which uses a narrow strip of fabric which is stitched on the dress. [9] (#cite_note-:12-9) It is also typical for the qian and the gun to be used together on the same dress creating a double-edged look; this technique is known as yigun yiqian ( 一滚一嵌 ; 'one gun one qian'). [9] (#cite_note-:12-9) Other double-edged piping technique include “two- gun -one- qian ” and the “two- gun -two- qian ”. [9] (#cite_note-:12-9) The dang can also be combined with the gun ; in this combination, the dang and the gun would be made of the same width and colour of fabric but they would run parallel to each other about two to five centimeters away from each other. [9] (#cite_note-:12-9) Fabric and textile [ edit ] See also: Chinese auspicious ornaments in textile and clothing (/wiki/Chinese_auspicious_ornaments_in_textile_and_clothing) and Chinese ornamental gold silk (/wiki/Chinese_ornamental_gold_silk) Different materials can be used in the making of the cheongsam, such as wool (/wiki/Wool) , silk (/wiki/Silk) (including silk floss (/wiki/Silk) , damask (/wiki/Damask) , brocade (/wiki/Brocade) , satin (/wiki/Satin) ), or silk-like materials. [7] (#cite_note-:11-7) [8] (#cite_note-:5-8) [10] (#cite_note-:18-10) The cheongsam can also be unlined or interlined. [8] (#cite_note-:5-8) The fabric of the cheongsam can decorated with a diversity of decorative motifs, which can be embroidered on the dress. [7] (#cite_note-:11-7) Main styles [ edit ] Beijing-style cheongsam Shanghai-style cheongsam Jiangnan-style Cheongsam The Beijing-style cheongsam originated in Beijing [10] (#cite_note-:18-10) and is fairly traditional and conservative. [11] (#cite_note-:15-11) It is typically handmade. [12] (#cite_note-:17-12) It maintains the traditional straight and A-line silhouette which flattens the curves of the female figure; embroidery and elaborate adornments are considered desirable. It is also characterized by its wide piping. [11] (#cite_note-:15-11) Therefore, the Beijing-style cheongsam expresses the beauty of Chinese culture in its style; it gives the wearer a reserved, concise, gorgeous, and dignified appearance. [10] (#cite_note-:18-10) Although it appears to use simple lines, the production process is complex. [12] (#cite_note-:17-12) The pankou (/wiki/Frog_(fastening)) fasteners can sometimes take several days to create, typically requiring twenty-six procedures of silk processing to be turning into silk strips which would be appropriate in the making of the fasteners of various patterns by skilled artisans. [12] (#cite_note-:17-12) The Shanghai-style Cheongsam originated in Shanghai and is a popular and dominant style. [11] (#cite_note-:15-11) The Shanghai-style Cheongsam, especially, conveyed progressive messages of female body emancipation from the 1930s to 1940s; it also came to symbolize the idea of modernity in "pursuing health, fashion, and natural beauty". [13] (#cite_note-:14-13) As a result, to deliberately create a more figure-hugging silhouette and to focus on showing off the natural curve of the female body, many elements of Western tailoring techniques can be found in the Shanghai-style cheongsam, including curved cutting, waist darts. [11] (#cite_note-:15-11) This act of showing the female body was a physical expression of the changes in the identities of Chinese women and their rebellion against the idealized womanhood as indicated in the Confucian (/wiki/Confucianism) ideology. [13] (#cite_note-:14-13) It also features high side slits and high collar. [10] (#cite_note-:18-10) The collars can be lapel collars, water drop collars, and lotus leaf collars; the shape of the sleeves are also diverse. [10] (#cite_note-:18-10) It also uses lighter materials and is less elaborate embroidery or adornments; the piping is very narrow. [11] (#cite_note-:15-11) The Jiangnan-style cheongsam, also known as Su-style cheongsam, originated in the Jiangnan (/wiki/Jiangnan) Water town (/wiki/Water_town_(China)) . This style of cheongsam expresses the cultural characteristics of the water town in Jiangnan and also creates a fusion between the beauty of Chinese calligraphy (/wiki/Chinese_calligraphy) and Chinese painting (/wiki/Chinese_painting) , incorporating the hand-painting art of the Wumen School of Painting (/w/index.php?title=Wumen_School_of_Painting&action=edit&redlink=1) . It is characterized by the sophisticated neckline and embroidered patterns on the edges of the cuff. The dress is also embroidered with rich pattern motifs which tend to be floral, e.g. plum (/wiki/Prunus_mume) , orchid (/wiki/Orchid) , bamboo (/wiki/Bamboo) , chrysanthemum (/wiki/Chrysanthemum) , peonies (/wiki/Peony) , and roses (/wiki/Rose) . The fabrics used tend to be high-quality soft satin and plain crepe satin, etc. [10] (#cite_note-:18-10) History [ edit ] Background [ edit ] Main article: Qizhuang: Manchu clothing (/wiki/Qizhuang) The Manchu (/wiki/Manchu_people) are an ethnic minority that founded the last of China's imperial dynasties, the Qing dynasty (/wiki/Qing_dynasty) , which lasted from 1644 to 1911. When the dynasty was first established, dress regulations were implemented as a way of expressing their identity as a people and creating social order. They used an administrative division called the Eight Banner system (/wiki/Eight_Banner_system) . Originally only the Manchu households were organized within this system, but over time naturalized (/wiki/Naturalization) Mongols (/wiki/Mongol) and Han Chinese (/wiki/Han_Chinese) were incorporated. The Manchu, and anyone living under the Eight Banners system (/wiki/Eight_Banners) , wore different clothing from ordinary civilians. Thus, they became known as the Banner People ( Chinese (/wiki/Chinese_language) : 旗人 (https://en.wiktionary.org/wiki/%E6%97%97%E4%BA%BA) ; pinyin (/wiki/Pinyin) : qírén ; lit. 'banner person'). The type of qizhuang (/wiki/Qizhuang) that both men and women typically wore consisted of long robes, which can be referred to as the Manchu changpao and also categorized under the broad category of changpao (/wiki/Paofu) ( Chinese (/wiki/Chinese_language) : 长袍 (https://en.wiktionary.org/wiki/%E9%95%BF%E8%A2%8D) ; Chinese (/wiki/Traditional_Chinese_characters) : 長袍 (https://en.wiktionary.org/wiki/%E9%95%B7%E8%A2%8D) ; lit. 'long robe') or changshan (/wiki/Changshan) ( simplified Chinese (/wiki/Simplified_Chinese_characters) : 长衫 (https://en.wiktionary.org/wiki/%E9%95%BF%E8%A1%AB) ; traditional Chinese (/wiki/Traditional_Chinese_characters) : 長衫 (https://en.wiktionary.org/wiki/%E9%95%B7%E8%A1%AB) ; lit. 'long shirt'). [14] (#cite_note-14) Manchu men wore a changpao , which were designed for horseback riding, known as neitao (/wiki/Qizhuang#Ordinary_dress_(Changfu)/_casual_dress_(Bianfu)) , which was characterized by two pair of slits (one slit on each side, one slit on the back, and one slit on the front) which increased ease of movement when mounting and dismounting horses, a pianjin (/wiki/Garment_collars_in_Hanfu#Pipa-shaped_collar) collar (a collar which curved like the alphabet《S》), and the sleeve cuffs known 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'). [15] (#cite_note-:3-15) : 27 [8] (#cite_note-:5-8) Manchu changpao of women changfupao changyi chenyi On the other hand, some imperial Manchu women wore a changfu ( 常服 ), informal dress, which looked similar to the men's neitao known as the changfupao ( 常服袍 ). [15] (#cite_note-:3-15) There were also two styles of changpao for the imperial consorts, known as chenyi (/wiki/Qizhuang#Ordinary_dress_(Changfu)/_casual_dress_(Bianfu)) and changyi (/wiki/Qizhuang#Ordinary_dress_(Changfu)/_casual_dress_(Bianfu)) , became popular. [2] (#cite_note-:2-2) [ better source needed ] The chenyi and the changyi differed in terms of structure: the changyi had two high side slits which allowed for greater ease of movements while the chenyi had no side slits. [16] (#cite_note-:37-16) Both the chenyi and changyi differed from the changfupao lacking the matixiu cuffs. [16] (#cite_note-:37-16) Both the chenyi and changyi were also the changfu of the Manchu women; they also both became popular during the reign of Emperor Qianlong (/wiki/Qianlong_Emperor) . [17] (#cite_note-17) It is also theorized that the cheongsam was derived from the Manchu women's chenyi although the chenyi shows the absence of slits. [2] (#cite_note-:2-2) [ better source needed ] Introduction of Manchu-style clothing [ edit ] Main articles: Tifayifu (/wiki/Tifayifu) and Mandarin collar (/wiki/Mandarin_collar) See also: Hanfu (/wiki/Hanfu) and Ruqun (/wiki/Ruqun) Chinese changshan and Manchu neitao Differences between the Chinese Changshan (left) and Manchu Neitao (right), Qing dynasty Throughout China's multicultural history, clothing has been shaped through an intermingling of primarily Han clothing styles (/wiki/Hanfu) , the Han Chinese being the dominant ethnicity, and the styles of various ethnic groups. Some examples include the standing collar of the cheongsam, which has been found in relics from the Ming dynasty (/wiki/Ming_dynasty) , ruled by the Han Chinese, and was subsequently adopted in the Qing dynasty as Manchu clothing items. Manchu robes were initially collarless. The Manchu also adopted the right closure from the Han Chinese as they initially closed their robes on the left side. [ citation needed ] Han Chinese women's attire and Manchu women's robe Han Chinese's women aoqun (/wiki/Ruqun) , Qing dynasty Chenyi, a one-piece Manchu women's robe, Qing dynasty. Left: A Qing-style aoqun (/wiki/Ruqun) , a form of Hanfu (/wiki/Hanfu) worn by Han women around the 19th to 20th centuries. Below their upper garment, this qun (/wiki/Qun) , skirt, is a mamianqun (/wiki/Mamianqun) , a style which was inherited from the Ming dynasty (/wiki/Ming_dynasty) and continued to develop in the Qing dynasty. Right: Lady Aisin-Gioro Hengxiang, the birth mother of Wanrong, wearing the traditional Manchu one-piece robe, a chenyi, that later inspired the cheongsam. Under the dynastic laws of transition from Ming to Qing (/wiki/Transition_from_Ming_to_Qing) , all Han Chinese were forced to adopt the Manchu male queue (/wiki/Queue_(hairstyle)) hairstyle and adopt Manchu clothing (/wiki/Qizhuang) under the Tifayifu (/wiki/Tifayifu) ( 剃发易服 ; 剃髮易服 ; tìfàyìfú ) policy instead of being wearing the traditional Hanfu (/wiki/Hanfu) under the threat of death penalty. However, the order for ordinary non-Banner Han civilians to wear Manchu clothing was lifted, and only those Han who served as officials or scholars were required to wear them. Over time though, some Han civilian men voluntarily adopted the changshan (/wiki/Changshan) . By the late Qing, not only officials and scholars, but a great many Han commoners wore Manchu-style male attire. [18] (#cite_note-Rhoads2000-18) [19] (#cite_note-Twitchett,_Denis_2008_p87-88-19) However, until 1911, the Manchu changpao was required clothing for Chinese men of a certain class. [20] (#cite_note-20) What is now known as the Chinese changshan (/wiki/Changshan) was developed by the Han Chinese during the Qing dynasty. [15] (#cite_note-:3-15) : 129 The Qing dynasty Chinese changshan started to be worn by the Han Chinese after the Manchu conquest; the Chinese changshan was a modified version of the changshan worn in the Ming dynasty (/wiki/Ming_dynasty) (1368–1644 AD), the preceding dynasty before the Qing dynasty. [15] (#cite_note-:3-15) : 129 The Qing dynasty Chinese changshan was modeled after the Manchu's men's robe. [2] (#cite_note-:2-2) [ better source needed ] It thus adopted certain Manchu elements, such as by slimming their changshan, by adopting the pianjin (/wiki/Garment_collars_in_Hanfu#Pipa-shaped_collar) collar of the Manchu, and by using buttons and loops at the neck and sides. [15] (#cite_note-:3-15) : 129 The Chinese changshan differed from the Manchu men's neitao as it only had two slits on the sides lacking the central front and back slits and lacked the presence of the matixiu (/w/index.php?title=Matixiu&action=edit&redlink=1) cuffs; the sleeves were also longer than the ones found in the neitao. [15] (#cite_note-:3-15) : 129 For women, Manchu and Han systems of clothing coexisted. [21] (#cite_note-Yang2004-21) Throughout the Qing dynasty, Han civilian women could wear traditional Han clothing from the Ming dynasty. [22] (#cite_note-22) As a result, Ming dynasty style clothing was preserved to an extent in China until the Xinhai Revolution (/wiki/Xinhai_Revolution) of 1911. [23] (#cite_note-23) Birth of the cheongsam [ edit ] Various Shanghai-style cheongsam, 1928 In the late 1910s, after the overthrow of the Qing dynasty and the founding of the Republic of China (/wiki/Republic_of_China_(1912%E2%80%931949)) , women began to partake in the education system. They wore an early form of the cheongsam, which quickly became the regular outfit of urban women in metropolitan cities like Beijing and Shanghai. Cheongsam of the late 1910s and early 1920s had relatively loose cutting with long, wide sleeves. [24] (#cite_note-24) [25] (#cite_note-tct-25) One of the earliest cheongsams was A-line with wide three-quarter sleeves and would fall just below the knee level. [7] (#cite_note-:11-7) Under the Western influences of wearing shorter dresses in 1928, the length of the cheongsam became shorter. [26] (#cite_note-:16-26) In 1929, the cheongsam was chosen by the Republic of China government to be one of the country's national dresses. [27] (#cite_note-27) : 48 With the designation of "national dress", the Republic of China government also promulgated the new Clothing Regulations of 1929 , which specified the cheongsam should be worn with trousers and be calf-length. However, even before the Clothing Regulations of 1929 , women had already stopped wearing ku (/wiki/Ku_(trousers)) trousers in favor of silk (/wiki/Silk) stockings (/wiki/Stocking) . [26] (#cite_note-:16-26) Chinese women held no respect to the rule, as it was seen as an attempt by the Republican government to control individual rights and woman's liberty. [28] (#cite_note-feminism-28) From the 1920s onwards, the cheongsam was quickly popularized by celebrities, socialites (/wiki/Socialites) , and politicians in Shanghai (/wiki/Shanghai) . Former First Lady of China (/wiki/First_Lady_of_the_Republic_of_China) Madame Wellington Koo (/wiki/Oei_Hui-lan) (Oei Hui-lan) was a prominent figure among them. [29] (#cite_note-Koo_&_Van_Rensselaer_Thayer_(1943)-29) [30] (#cite_note-Nee_Hao_Magazine-30) Voted several times by Vogue (/wiki/Vogue_(magazine)) into its lists of the world's best-dressed women, Madame Wellington Koo was much admired for her adaptations of the traditional Manchu fashion, which she wore with lace trousers and jade necklaces. [29] (#cite_note-Koo_&_Van_Rensselaer_Thayer_(1943)-29) [30] (#cite_note-Nee_Hao_Magazine-30) Cheongsam dresses at the time had been decorously slit a few inches up the sides, but Madame Koo slashed hers to the knee, 'with lace pantelettes just visible to the ankle'. [30] (#cite_note-Nee_Hao_Magazine-30) Unlike other Asian socialites, Madame Koo also insisted on local Chinese silks, which she thought were of superior quality. [29] (#cite_note-Koo_&_Van_Rensselaer_Thayer_(1943)-29) [30] (#cite_note-Nee_Hao_Magazine-30) Further transformation [ edit ] Two women wearing cheongsam and high-heel shoes in a 1930s Shanghai advertisement Starting from the early 1930s, there was a further transformation of the qipao as it became increasingly shorter, tighter, and body-hugging, with side slits that reached up to the thigh. [25] (#cite_note-tct-25) [31] (#cite_note-31) Moreover, numerous distinct cheongsams designs emerged, with experimental changes on fastenings, pipings, collars, fur-lined cuffs, various length of sleeves, or simply sleeveless. [25] (#cite_note-tct-25) [32] (#cite_note-32) Consumer culture rose as Western and Chinese merchants cooperated to move towards early capitalism. People eagerly sought a more modernized dress style and transformed the old cheongsam to suit new tastes. Newer forms featured slender and tight-fitting pencil cuts and deep necks, which is different from the early cheongsam. High-class courtesans (/wiki/Courtesan) and celebrities in the city welcomed the tight-fitting cheongsam. It was at this time the word cheongsam became well known in English. In Shanghainese (/wiki/Shanghainese) , it was first known as zansae for 'long dress', rendered in Mandarin as chángshān and in Cantonese as chèuhngsāam . Then, the spoken Cantonese renditions of 長衫 was borrowed into English as "cheongsam". [33] (#cite_note-33) Trousers had completely fallen out of use, replaced by different types of hosiery (/wiki/Hosiery) . High-heeled shoes (/wiki/High-heeled_shoe) were popularized in the Shanghai fashion scene in the 1930s. Stockings and High-heeled shoes became an essential part of the cheongsam fashion set, which spawned new side slits designs reaching the hip line, intended to display the hosiery and heels. As Western fashions evolved, so did the cheongsam design, introducing high-necked sleeveless dresses, bell-like sleeves, and the black lace frothing at the hem of a ball gown. [34] (#cite_note-shanghai_qipao-34) By the 1940s, cheongsam came in a wide variety of fabrics with an equal variety of accessories. [34] (#cite_note-shanghai_qipao-34) In late 20th century [ edit ] Cheongsams were worn by celebrities, societies, and students of prestigious missionary schools in the early 20th century. [35] (#cite_note-:13-35) : 247 As a result, the cheongsam-style uniform was regarded as an icon of the wealthy class and was perceived as Bourgeois (/wiki/Bourgeois) by the Communist China (/wiki/Communist-controlled_China_(1927%E2%80%931949)) . [35] (#cite_note-:13-35) : 247 From the 1950s to the 1970s, with the destroying Four Olds (/wiki/Four_Olds) movements and the Chinese Cultural Revolution (/wiki/Chinese_Cultural_Revolution) (1966–1976), China pushed for egalitarian ideology and wearing cheongsam can result in punishment. For example, in 1963, when Chinese President Liu Shaoqi (/wiki/Liu_Shaoqi) visited four neighbouring countries in South Asia, the first lady Wang Guangmei (/wiki/Wang_Guangmei) wore a cheongsam. She was later declared guilty in the Cultural Revolution for wearing the cloth due to its historical ties and symbologies. [35] (#cite_note-:13-35) : 247 In other Chinese communities, such as Taiwan (/wiki/Taiwan) , Malaysia (/wiki/Malaysia) , Indonesia (/wiki/Indonesia) , Singapore (/wiki/Singapore) and Hong Kong (/wiki/Hong_Kong) , the cheongsam remained popular after the war. It became everyday wear in the British colony of Hong Kong (/wiki/British_colony_of_Hong_Kong) in the 1950s, and leather clutch, high heels, and white gloves were common pairing accessories. However, the popularity ultimately declined in the 1970s, giving way for cheaper and mass-produced Western-style clothing. [25] (#cite_note-tct-25) Since the 1980s, with the trend of reevaluation of Chinese traditional culture, people in mainland China started to pay attention to the cheongsam again. The cheongsam is gaining popularity in films, beauty pageants, and fashion shows in both China and other countries all over the world. In 1984, the cheongsam was specified as the formal attire of female diplomatic agents by the People's Republic of China (/wiki/China) . Daoguang Period (1821–1850) Empress Xiaoshen (/wiki/Empress_Xiaoshen) Daoguang Period (1821–1850) Empress Xiaojingcheng (/wiki/Empress_Xiaojingcheng) Guangxu Period (1875–1908) Lady Heseri Republican Period (1912–1949) Soong Ching-ling (/wiki/Soong_Ching-ling) 1925 Republican Period (1912–1949) Noble Consort Mingxian (/wiki/Noble_Consort_Mingxian) 1937 Republican Period (1912–1949) Actress Zhou Xuan (/wiki/Zhou_Xuan) late 1930s Post-War Period (1949-) Modern Qipao 2016 Modern use [ edit ] Workplace [ edit ] The uniform of Hainan Airlines (/wiki/Hainan_Airlines) cabin attendants based on cheongsam debuted in 2017, with a coat worn outside. Women in Dublin Chinese community celebrating Chinese New Year in various styles of Qipao, 2016 Some airlines in Mainland China and Taiwan, such as China Airlines (/wiki/China_Airlines) [36] (#cite_note-36) and Hainan Airlines (/wiki/Hainan_Airlines) , [37] (#cite_note-37) have cheongsam uniforms for their women flight attendants and ground workers. These uniform cheongsams are in a plain color, hemmed just above the knee, with a close-fitting wool suit jacket of the same color as the cheongsam. It is also common for these uniforms to only borrow certain elements, such as the standing collar and frog clasps, without adopting the whole design. [38] (#cite_note-38) In the 1950s, women in the workforce (/wiki/Women_in_the_workforce) in Hong Kong started to wear more functional cheongsam made of wool, twill, and other materials. Most were tailor fitted and often came with a matching jacket. The dresses were a fusion of Chinese tradition with modern styles. Cheongsam was commonly replaced by more comfortable clothing such as sweaters, jeans, business suits, and skirts. Due to its restrictive nature, it is now mainly worn as formal wear (/wiki/Formal_wear) for important occasions. [ citation needed ] They are sometimes worn by politicians and film artists in Taiwan and Hong Kong. They are shown in some Chinese movies, such as in the 1960s film The World of Suzie Wong (/wiki/The_World_of_Suzie_Wong_(film)) , where actress Nancy Kwan (/wiki/Nancy_Kwan) made the cheongsam briefly fashionable in Western culture. They are also commonly seen in beauty contests, along with swimsuits (/wiki/Swimsuits) . Today, cheongsam is only commonly worn day to day as a uniform by people like restaurant hostesses and serving staff at luxury hotels. [ citation needed ] School uniform [ edit ] Before World War II (/wiki/World_War_II) , it was customary for girl students who attended schools run by Western missionaries societies to wear cheongsam as their school uniforms; on the other hand, there were very few indigenous Chinese schools that were using the cheongsam as a school uniform. [35] (#cite_note-:13-35) : 247 A few primary schools and some secondary schools in Hong Kong, especially older schools established by Christian missionaries, use a plain-rimmed sky-blue cotton and/or dark blue velvet (for winter) cheongsam with the metal school badge right under the stand-up collar to be closed with a metal hook and eye as the official uniform for their female students. The schools which use this standard include True Light Girls' College (/wiki/True_Light_Girls%27_College) , St. Paul's Co-educational College (/wiki/St._Paul%27s_Co-educational_College) , Heep Yunn School (/wiki/Heep_Yunn_School) , St. Stephen's Girls' College (/wiki/St._Stephen%27s_Girls%27_College) , Ying Wa Girls' School (/wiki/Ying_Wa_Girls%27_School) , etc. These cheongsams are usually straight, with no waist shaping, and the cheongsam hem must reach mid-thigh. The cheongsam fit closely to the neck, and the stiff collar is hooked closed, despite the tropical humid and hot weather. Although the skirts have short slits, they are too narrow to allow students to walk in long strides. The seams above the slits often split when walking and are repeatedly sewn. Many schools also require underskirts to be worn with the cheongsam. The underskirt is a white cotton full slip, hemmed slightly shorter than the cheongsam, and has slits at the sides like the cheongsam, although the slits are deeper. A white cotton undershirt is often worn underneath the cheongsam. The cheongsam's length, styling, color, and sleeve length vary between schools. Many students feel it is an ordeal, yet it is a visible manifestation of the strict discipline that is the hallmark of prestigious secondary schools in Hong Kong, and many students and their parents like that. Some rebellious students express dissatisfaction with this tradition by wearing their uniform with the stand-up collar intentionally left unhooked or hemmed above their knees. The Ying Wa and True Light Schools have sent questionnaires to their students about uniform reforms but have not altered their policies. [39] (#cite_note-39) However, Madam Lau Kam Lung Secondary School of Miu Fat Buddhist Monastery ended their cheongsam uniform in 1990 after receiving suggestions from its student union. [40] (#cite_note-40) Festivities [ edit ] Cheongsams are a popular outfit choice for festive seasons like Chinese New Year (/wiki/Chinese_New_Year) . [4] (#cite_note-:19-4) In countries with significant Chinese populations, such as Malaysia, Singapore, Hong Kong, and Taiwan, it is common for women to have new cheongsams tailored in preparation for the New Year. [4] (#cite_note-:19-4) Cheongsams are also popular outfits for older women on formal occasions or family reunions. [4] (#cite_note-:19-4) Upmarket fashion labels such as Shanghai Tang (/wiki/Shanghai_Tang) specialize in modern versions of the cheongsam as occasion wear. Weddings [ edit ] Main article: Traditional Chinese wedding dress (/wiki/Traditional_Chinese_wedding_dress) A bride wearing a red wedding cheongsam covering her face with a honggaitou (/wiki/Honggaitou) (a red veil). In Western weddings (/wiki/Wedding) , Chinese brides or brides marrying into a Chinese family will often wear cheongsam for a portion of the wedding day. It is common for many brides to have both a traditional white wedding dress (/wiki/Wedding_dress) and a cheongsam or a guaqun (/wiki/Qungua) (another kind of wedding attire) to be worn during the tea ceremony (/wiki/Tea_ceremony) . Cheongsam styles have also evolved to be more modern, from mermaid silhouettes to semi-traditional styles that feature a cheongsam top with softer details like lace and a looser skirt. [41] (#cite_note-41) Lolita fashion [ edit ] Main article: Lolita fashion (/wiki/Lolita_fashion) Some Lolita dresses (/wiki/Lolita_dress) are styled like cheongsam. The dresses or jumper skirts are designed after traditional Chinese dresses. This style of Lolita fashion is called Qi Lolita . [42] (#cite_note-42) On the international stage [ edit ] Sport-related [ edit ] In the 2008 Summer Olympics (/wiki/2008_Summer_Olympics) , the medal bearers wore cheongsam. Similar attire was worn by female members of the Swedish team and of the Spanish team in the opening ceremony, with the national colors. For the 2012 Hong Kong Sevens (/wiki/2012_Hong_Kong_Sevens) tournament, sportswear brand Kukri Sports (/wiki/Kukri_Sports) teamed up with Hong Kong lifestyle retail store G.O.D. (/wiki/Goods_of_Desire) to produce merchandising, which included traditional Chinese jackets and cheongsam-inspired ladies' polo shirts. [43] (#cite_note-43) [44] (#cite_note-44) [45] (#cite_note-45) Political stage [ edit ] Cheongsam belonging to the wives of past Singaporean political leaders on display in an exhibition entitled In the Mood for Cheongsam: Modernity and Singapore Women at the National Museum of Singapore (/wiki/National_Museum_of_Singapore) in 2012 In contemporary China, the meaning of cheongsam has been revisited again. It now embodies an identity of being ethnic Chinese and thus is used for important diplomatic occasions. Since 2013, Peng Liyuan (/wiki/Peng_Liyuan) , the first lady of China (/wiki/First_Lady_of_China) , has worn cheongsam several times while on foreign visits (/wiki/List_of_international_trips_made_by_Xi_Jinping) with Chinese leader (/wiki/Paramount_leader) Xi Jinping (/wiki/Xi_Jinping) . In November 2014, cheongsam was the official attire for the political leaders' wives in the 22nd APEC meeting (/wiki/APEC_China_2014) in Beijing. International fashion [ edit ] Main article: Chinoiserie in fashion (/wiki/Chinoiserie_in_fashion) With the growth of the Chinese economy, cheongsam has experienced a renewed popularity. Many Western designers have integrated elements of cheongsam into their fashion collections. French designer Pierre Cardin (/wiki/Pierre_Cardin) once said that cheongsam was his inspiration for many of his evening dress designs. [46] (#cite_note-46) In many films and movies, cheongsam is used to make a fashion statement. The varied interpretations of this ethnic dress brings in debates of cultural appropriation and the designs being linked to Orientalism. In the 2011 movie One Day (/wiki/One_Day_(2011_film)) , Anne Hathaway (/wiki/Anne_Hathaway) wore a set of dark blue cheongsam as an evening dress. [ citation needed ] Many western stars such as Elizabeth Taylor (/wiki/Elizabeth_Taylor) , Grace Kelly (/wiki/Grace_Kelly) , Nicole Kidman (/wiki/Nicole_Kidman) , Paris Hilton (/wiki/Paris_Hilton) , Emma Watson (/wiki/Emma_Watson) , Deepika Padukone (/wiki/Deepika_Padukone) , and Celine Dion (/wiki/Celine_Dion) have also made public appearances wearing cheongsam. [ citation needed ] This dress style has also been specifically seen on more than one celebrity or figure in the early 2000's (/wiki/2000s_in_fashion) . This era is often described as a "global mash up", incorporating styles, silhouettes, prints, and accessories from subcultures around the world. And with this, the qipao made a frequent appearance on the runways and in the closets from the early 2000's. In the 1998, family comedy The Parent Trap (/wiki/The_Parent_Trap_(1998_film)) , [47] (#cite_note-47) Lindsey Lohan's 11 year old character has a prominent scene wearing a pink qipao, paired with a little matching fluffy pink trimmed purse, also an iconic Y2k accessory. This heightened attention of global fashions from Asia brought to Western pop culture's wardrobe, whilst being shone in starlight with social media and tabloids fawning over these 'new' styles, also caused insensitive representation of the fashions, also known as Cultural appropriation (/wiki/Cultural_appropriation) . The Cheongsam was also sold in stores as a Halloween costume for young girls and women to wear, pretending to be a person of Asian descent as their costume. [48] (#cite_note-48) This created more conversation as more voices of minorities were heard, that this cultural dress is not appreciated when it is sold as a costume. However, as conversations of cultural appropriation increase and social awareness is spread through media platforms and social media, these racially insensitive costumes have since been left more in the past. Cultural and historical significance [ edit ] The cheongsam became a national dress of the Republic of China (/wiki/Republic_of_China_(1912%E2%80%931949)) , [49] (#cite_note-:4-49) : 277 along with the aoqun (/wiki/Ruqun) , a traditional clothing attire of the Han Chinese (/wiki/Han_Chinese) women. [50] (#cite_note-50) It was eventually accepted by the People's Republic of China (/wiki/China) as a form of hanfu (/wiki/Hanfu) , thus becoming transnational and representative of a generic Chinese national identity rather than an ethnic or ancestral identity. [49] (#cite_note-:4-49) : 277 The cheongsam can be worn by people of all ages and at any season. [8] (#cite_note-:5-8) It is also used as a style Traditional Chinese wedding dress (/wiki/Traditional_Chinese_wedding_dress) among many others. For overseas Chinese (/wiki/Overseas_Chinese) , the cheongsam has often used as a form of emblematic culture. [49] (#cite_note-:4-49) : 277 In the 1920s, the cheongsam was originally an embodiment of Chinese women's rebellion and a heroic gesture and a marker of Chinese feminism and Chinese women's emancipation (/wiki/Women%27s_rights) . [13] (#cite_note-:14-13) Roles in Chinese nationalism and women's liberation [ edit ] The Republican period is the golden age of the cheongsam. In exploring the reasons behind its prevalence in Republic of China (/wiki/Republic_of_China_(1912%E2%80%931949)) , many scholars relate it to the women's liberation movements. After the feudal Qing dynasty was overturned, Chinese feminists called for women's liberation from traditional roles. They led several movements against the Neo-Confucian gender segregation, including the termination of foot binding (/wiki/Foot_binding) for women, cutting off long hair, which was conventionally symbolized as women's "oriental" beauty, and encouraging women to wear men's one-piece clothing, Changshan (/wiki/Changshan) or "changpao". "Changpao" was traditionally taken as men's patent throughout the long history from Han dynasty (/wiki/Han_dynasty) (202 BC to 220) to Qing dynasty (/wiki/Qing_dynasty) (1616–1911). During that time, Chinese Han female's clothing gradually developed into two pieces. Women were forbidden to wear robes as men did and instead had to wear tops and bottoms known as "Liang jie yi". After the Xinhai Revolution of 1911 (/wiki/Xinhai_Revolution) (which overthrew the Qing dynasty), young Chinese people began to learn Western science and cultures in order to seek a way of saving the nation. Also, the opening of several ports and ceding territories of China to Western powers imported some Western ideas to mainland China. Among all these Western thoughts, the idea of gender equality quickly gained its followers, among whom young female students became its prime advocates. [51] (#cite_note-51) It was the May Thirteenth Movement of 1925, where anti-Westernization demonstrations persisted throughout the country, that served as an important push for the qipao's institutionalization. The Republicans declared the qipao a formal dress in the Clothing Regulations of 1929. The dress was meant to assert the importance of nationalism by rejecting Western forms of dress. That being said, there were still strict rules regulating how the dress needed to be worn, including specifications about length, material, accessories, collar, buttons, and sleeves, but curiously enough, none of these were followed. [52] (#cite_note-52) From the start, there was no unifying style for the dress like the Republicans intended; Chinese women had no respect for the Clothing Regulations of 1929, which tried to control individuality. There were endless variations in style, with adaptations to length, material, hemlines, collars, fabrics, patterns, colors, and pairing accessories. It was worn by everyone from Shanghai socialites to students, housewives, and prostitutes. [28] (#cite_note-feminism-28) The style of the qipao was often in tune with fashion cycles and was influenced by Western trends seen through women styling it with matching scarves, fur coats, and leather heels. Magazines such as LingLong also gave women access to dressmaking knowledge and normalized it for women to make their dresses in their style. The base form of the qipao is rather simple to sew, which makes it easily accessible and economical. The style of cheongsam also varied due to Western influence. It changed from a wide and loose style to a more form-fitting and revealing cut, which put more emphasis on women's body lines. The length of the cheongsam was also reduced from the ankle reaching to above the knee. The design of the cheongsam got various inventions like ruffled collars, bell-like sleeves, and black lace frothing. Starting from that, the priority of cheongsam moved from a political expression to an aesthetic and ornamental emphasis. Intangible cultural heritage [ edit ] Due to its long history dating back to the Manchu clothing (/wiki/Qizhuang) of the early Qing dynasty, the Beijing-style cheongsam-making technique is listed as a city-level intangible cultural heritage. [12] (#cite_note-:17-12) The Hongkong (/wiki/Hong_Kong) Cheongsam-making technique is unique due to its historical background, having incorporated both Eastern and Western clothing designs before giving the Hongkong-style cheongsam its distinctive looks. [53] (#cite_note-:6-53) [54] (#cite_note-:7-54) In 2021, the Hong Kong cheongsam making technique was successfully listed on the fifth National List of Intangible Cultural Heritage. [53] (#cite_note-:6-53) [54] (#cite_note-:7-54) Authenticity as ethnic wear [ edit ] In Western countries (/wiki/Western_countries) , the cheongsam is widely perceived as being a quintessential Chinese garment. [55] (#cite_note-:8-55) However, the cheongsam is a type of Chinese clothing (/wiki/Chinese_clothing) which was developed in the 20th century under the influences of several cultures, including Western culture (/wiki/Western_culture) , Manchu (/wiki/Manchu_people) culture, and the Han Chinese (/wiki/Han_Chinese) culture. [55] (#cite_note-:8-55) The cheongsam also had a significant impact on international fashion centers in the 1950s and 1960s, such as Paris (/wiki/Paris) , Rome (/wiki/Rome) , and New York (/wiki/New_York_(state)) , due to its perceived exoticism (/wiki/Exoticism) and its slim line silhouette which was also fashionable in Europe at those times. [55] (#cite_note-:8-55) Descendants of Chinese immigrants or overseas Chinese in Western countries, such as Canada (/wiki/Canada) , may wear cheongsam on events such as weddings (/wiki/Wedding) , graduation ceremonies (/wiki/Graduation) , and other occasions; however, the cheongsam is not always perceived as being traditional Chinese clothing; for example, some Canadians of Han Chinese descent still remember the use of aoqun (/wiki/Ruqun) as their traditional Chinese dress (/wiki/Hanfu) . [56] (#cite_note-:9-56) : 100–107 In Suriname (/wiki/Suriname) , the cheongsam is not only presented as being the quintessential Chinese dress but also as the authentic Chinese ethnic clothing; however, the Chinese ethnic clothing, which should have been used, is the shanku (/wiki/Shanku) , consisting of a shan (/wiki/Ru_(upper_garment)) (jacket) and a pair of ku (/wiki/Ku_(trousers)) trousers, as it was the attire which was worn by the Hakka people (/wiki/Hakka_people) who came in Suriname as indentured laborers and chain immigrants. [49] (#cite_note-:4-49) : 277 The use of cheongsam as a cultural marker of Chineseness can be thus perceived as ironic, and a cultural stereotype of Chineseness as the cheongsam is not associated with any specific ancestral clothing of Chinese immigrants. [49] (#cite_note-:4-49) : 277 In Indonesia (/wiki/Indonesia) , the cheongsam has experienced acculturation from Chinese culture (/wiki/Chinese_culture) and Indonesian culture (/wiki/Culture_of_Indonesia) , one of which is the batik-patterned cheongsam which has become the main cultural identity in Indonesia. In recent years, the trend of Chinese clothing combined with local elements has started to become popular. The euphoria of acculturating Chinese and Indonesian culture is driven by local Chinese citizens (/wiki/Chinese_Indonesians) who want to show that they love their homeland (/wiki/Indonesian_nationalism) . Cheongsam clothing made from batik (/wiki/Batik) is very attractive fashion, there are clothing models that are suitable to wear during Chinese New Year (/wiki/Chinese_New_Year) celebrations. Clothing that is an acculturation of Indonesian and Chinese culture is very suitable to complement the celebration. [57] (#cite_note-57) [58] (#cite_note-58) [59] (#cite_note-59) [60] (#cite_note-60) Appreciation and rejection in overseas Chinese community [ edit ] The cheongsam was introduced in Canada after the early 1930s with the flow of Chinese immigrants. [61] (#cite_note-:10-61) : 83 However, the wearing the cheongsam is mixed amongst Canadians with Chinese heritage (/wiki/Chinese_Canadians) . [56] (#cite_note-:9-56) : 100 Some may be reluctant to wear it publicly due to their experiences of being part of a racialized group (/wiki/Racialization) and/or due to self-loathing (/wiki/Self-hatred) due to the experiences of racism (/wiki/Racism) and marginalization (/wiki/Social_exclusion) in various forms, such as physical attacks, ostracism (/wiki/Ostracism) , and bullying (/wiki/Bullying) , the social pressure (/wiki/Peer_pressure) to integrate and/or the desire to assimilate in the dominant culture as a protective mechanism even at the expense of rejecting any aspects or association with Chinese culture, identity, and appearance in the dress. [56] (#cite_note-:9-56) : 100–110 [61] (#cite_note-:10-61) : 84 Others may wear the cheongsam as an attempt to reconnect with their Chinese heritage and/or to show appreciation to the dress. [56] (#cite_note-:9-56) Some may find themselves uncomfortable or feel alienation when wearing cheongsam due to the lack of self-identification with Chinese culture and Chinese identity. [56] (#cite_note-:9-56) : 103 [61] (#cite_note-:10-61) : 84 Controversies on origin [ edit ] The cheongsam is generally considered to be adapted from the one-piece dress of Manchu women during the Qing dynasty which survived from the 1911 Revolution surviving the political changes and improved until it has become the traditional dress for Chinese women. [8] (#cite_note-:5-8) However, there has been considerable debate on the origin of the cheongsam in academic circles. The following are three common arguments on the origin of the cheongsam: The first argument says that the cheongsam came directly from the clothing of the banner people when the Manchu ruled China during the Qing dynasty. This argument was prominently represented by Zhou Xibao ( Chinese (/wiki/Chinese_language) : 周锡保 ) in his work The History of Ancient Chinese Clothing and Ornaments . [62] (#cite_note-62) The second opinion holds that the cheongsam inherited some features of the chángpáo of Banner People in the Qing dynasty (/wiki/Qing_dynasty) , but the true origin of the cheongsam dates back to a period between the Western Zhou dynasty (/wiki/Western_Zhou) (1046–771 BC) and the pre-Qin era, approximately two millennia before the Qing dynasty. According to Yuan Jieying's ( Chinese (/wiki/Chinese_language) : 袁杰英 ) book Chinese Cheongsam , the modern cheongsam [63] (#cite_note-63) shares many similarities with the narrow-cut straight skirt that women wore in the Western Zhou dynasty. [64] (#cite_note-64) And Chinese Professor Bao Minxin ( Chinese (/wiki/Chinese_language) : 包铭新 ) also pointed out in his book A Real Record of Modern Chinese Costume that the cheongsam originated from the ancient robe in the Han dynasty (/wiki/Han_dynasty) (206 BC-220 AD). The robe is a one-piece upper and lower connected long dress (/wiki/Shenyi) which was quite popular among ladies in Han. [65] (#cite_note-65) The third argument was raised by Bian Xiangyang ( Chinese (/wiki/Chinese_language) : 卞向阳 ) in his book An Analysis on the Origin of Qipao . Bian thinks that the cheongsam originates from neither the robe nor the chángpáo . It is an adaption of Western-style dress during the Republic of China era (/wiki/Republic_of_China_(1912%E2%80%9349)) when people were open to the Western cultures. In his opinion, the cheongsam was a hybrid of traditional Chinese costumes and Western costumes such as the waistcoat and one-piece dress. [66] (#cite_note-66) Moreover, according to him, Chinese women traditionally wore ku (/wiki/Ku_(trousers)) trousers under their clothing and the use of silk stockings under the cheongsam or being bare legs is not a Chinese tradition but the result of Western influence. [26] (#cite_note-:16-26) Similar garments [ edit ] Further information: Áo dài (/wiki/%C3%81o_d%C3%A0i) A girl wearing áo dài The Vietnamese (/wiki/Vietnamese_people) áo dài (/wiki/%C3%81o_d%C3%A0i) looks similar to the cheongsam as they both consist of a long robe with side splits on both sides of the robe with one of the main difference typically being the height of the side split. [67] (#cite_note-67) The áo dài was developed from the clothing worn in Chinese court but it could only be worn by the royalty originally. [68] (#cite_note-68) The áo dài was derived from áo ngũ thân (/w/index.php?title=%C3%81o_ng%C5%A9_th%C3%A2n&action=edit&redlink=1) (lit. 'five-panel gown') which was a Nguyễn court fashion which drew strong influences from the civil and military official clothing practices used in China; [69] (#cite_note-69) the áo dài also evolved from the early prototypes decreed by Nguyễn Phúc Khoát (/wiki/Nguy%E1%BB%85n_Ph%C3%BAc_Kho%C3%A1t) . [70] (#cite_note-:1-70) In the 18th century, in an attempt to separate his domain from Tonkin (/wiki/Tonkin) ruled by his rival Trịnh clan (/wiki/Tr%E1%BB%8Bnh_lords) and build an independent state, Lord Nguyễn Phúc Khoát (reigned 1738–1765) forced his subjects to wear Ming dynasty style Chinese clothing (/wiki/Hanfu) . [71] (#cite_note-:0-71) The ethnic Kinh (/wiki/Vietnamese_people) robe (i.e. the traditional áo giao lĩnh (/wiki/%C3%81o_giao_l%C4%A9nh) , a type of crossed-collar robe, which was identical to the ones (/wiki/Paofu) worn by the Han Chinese (/wiki/Han_Chinese) ). [72] (#cite_note-72) was, therefore, replaced by a robe with Chinese-style fasteners, [71] (#cite_note-:0-71) which was buttoned in the front, [73] (#cite_note-73) and had an upright collar. [70] (#cite_note-:1-70) The skirt which was worn by the Vietnamese was also replaced by trousers under his rule. [70] (#cite_note-:1-70) [71] (#cite_note-:0-71) This form of new fashion became the prototype of the áo dài ; it was a form of áo ngũ thân which was invented by Lord Nguyễn Phúc Khoát; the áo ngũ thân also had 5 flaps instead of 4 (the 5th flap was small and was found under the front garment) and 5 buttons. [70] (#cite_note-:1-70) [74] (#cite_note-74) Another new form of fashion included a type of four-panel robe which was described by Lê Quý Đôn (/wiki/L%C3%AA_Qu%C3%BD_%C4%90%C3%B4n) as an áo dài which was loose fitting similarly to the á o giao lãnh. [71] (#cite_note-:0-71) Under the rule of Emperor Minh Mạng (/wiki/Minh_M%E1%BA%A1ng) , two new forms of áo dài were created from the áo ngũ thân regulated by Nguyễn Phúc Khoát: the áo tứ thân (/wiki/%C3%81o_t%E1%BB%A9_th%C3%A2n) , and the Huế-style áo dài which was created with five flaps . [70] (#cite_note-:1-70) The Huế-style áo dài represented royal court culture of the Huế and later developed influenced the modern áo dài . [70] (#cite_note-:1-70) See also [ edit ] Hanfu (/wiki/Hanfu) Mao suit (/wiki/Mao_suit) Chinese clothing (/wiki/Chinese_clothing) Qizhuang (/wiki/Qizhuang) Chinoiserie in fashion (/wiki/Chinoiserie_in_fashion) Qungua (/wiki/Qungua) Gallery [ edit ] Puyi (/wiki/Puyi) , the last emperor of China, and his wife Empress Wanrong (/wiki/Empress_Wanrong) Indonesian actress Aminah Cendrakasih (/wiki/Aminah_Cendrakasih) in cheongsam Typical modern cheongsam with high-slit cuts reaching top of the thigh Typical modern cheongsam in short style above the knee A variant of qipao, taken at the Tokyo Game Show (/wiki/Tokyo_Game_Show) in Japan. References [ edit ] Citations [ edit ] ^ (#cite_ref-1) Wei, Yulong (2017). [10.2991/iccese-17.2017.120 "Research on the Evolution of Cheongsam Style in the Republican Period and Its Contemporary Application"]. Proceedings of the 2017 International Conference on Culture, Education and Financial Development of Modern Society (ICCESE 2017) . Atlantis Press. doi (/wiki/Doi_(identifier)) : 10.2991/iccese-17.2017.120 (https://doi.org/10.2991%2Ficcese-17.2017.120) . ISBN (/wiki/ISBN_(identifier)) 978-94-6252-330-2 . {{ cite book (/wiki/Template:Cite_book) }} : Check |chapter-url= value ( help (/wiki/Help:CS1_errors#bad_url) ) ^ Jump up to: a b c d e f Han, Qingxuan (2019). Qipao and Female Fashion in Republican China and Shanghai (1912-1937): the Discovery and Expression of Individuality (Senior project). Bard College. ^ (#cite_ref-3) "Qipao (Ch'i-p'ao)" (https://www.britannica.com/EBchecked/topic/110067/chi-pao) . Encyclopædia Britannica (/wiki/Encyclop%C3%A6dia_Britannica) . Retrieved 18 November 2008 . ^ Jump up to: a b c d Stephanie, Ho; Singapore, National Library Board. "Cheongsam" (https://www.nlb.gov.sg/main/article-detail?cmsuuid=9893f3e4-b524-4f12-ae63-5581a712be84) . www.nlb.gov.sg . Retrieved 12 December 2023 . ^ (#cite_ref-5) Natalie Proulx (8 May 2018). "Is a Chinese-Style Prom Dress Cultural Appropriation?" (https://www.nytimes.com/2018/05/08/learning/prom-dress-cultural-appropriation.html) . New York Times . ^ (#cite_ref-6) "All You Need to Know About Chinese Traditional Clothing and Cheongsam" (https://jinzaoriental.com/blogs/news/all-you-need-to-know-about-chinese-traditional-clothing-and-cheongsam-qipao-dresses) . Jinza Oriental Couture . Retrieved 12 December 2023 . ^ Jump up to: a b c d e f g h i McKean, Erin (2013). The hundred dresses : the most iconic styles of our time . New York: Bloomsbury. ISBN (/wiki/ISBN_(identifier)) 978-1-60819-976-1 . OCLC (/wiki/OCLC_(identifier)) 812068649 (https://www.worldcat.org/oclc/812068649) . ^ Jump up to: a b c d e f g "Chinese Cheongsam" (http://en.chinaculture.org/library/2008-01/28/content_43933.htm) . en.chinaculture.org . Retrieved 16 August 2022 . ^ Jump up to: a b c d "The four techniques of Qipao (cheongsam) edging « The Pankou" (http://www.thepankou.com/qipao-cheongsam-edging/) . 23 December 2017 . Retrieved 16 August 2022 . ^ Jump up to: a b c d e f "Four categories of cheongsam, which one is your favorite?" (https://inf.news/en/culture/e8be869ae4b07c474a1250ab2afb3902.html) . iNEWS . 17 August 2022. ^ Jump up to: a b c d e "The difference between Shanghai-style and Beijing-style qipao (海派和京派旗袍) « The Pankou" (http://www.thepankou.com/difference-shanghai-style-beijing-style-qipao/) . 12 May 2017 . Retrieved 17 August 2022 . ^ Jump up to: a b c d 刘冬. "The Beauty of Beijing-Style Cheongsam" (http://www.chinatoday.com.cn/ctenglish/2018/ich/202006/t20200606_800208985.html) . China Today . Retrieved 17 August 2022 . ^ Jump up to: a b c Huang, Yunlin; Liu, Yuqing; Yang, Fangxin (24 December 2021). "Exploring the Meaning of Shanghai Cheongsam from the Perspective of the Male Gaze". Proceedings of the 2021 4th International Conference on Humanities Education and Social Sciences (ICHESS 2021) . Vol. 615. Atlantis Press. pp. 550–561. doi (/wiki/Doi_(identifier)) : 10.2991/assehr.k.211220.093 (https://doi.org/10.2991%2Fassehr.k.211220.093) . ISBN (/wiki/ISBN_(identifier)) 978-94-6239-495-7 . S2CID (/wiki/S2CID_(identifier)) 247204263 (https://api.semanticscholar.org/CorpusID:247204263) . ^ (#cite_ref-14) 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/article/21512) . Proceedings of the 2015 International Conference on Education, Management, Information and Medicine . Vol. 8. doi (/wiki/Doi_(identifier)) : 10.2991/emim-15.2015.141 (https://doi.org/10.2991%2Femim-15.2015.141) . ISBN (/wiki/ISBN_(identifier)) 978-94-62520-68-4 . ^ Jump up to: a b c d e f Garrett, Valery (2019). Chinese dress from the Qing Dynasty to the present day . Tuttle Publishing. ISBN (/wiki/ISBN_(identifier)) 978-0-8048-5256-2 . OCLC (/wiki/OCLC_(identifier)) 1281840650 (https://www.worldcat.org/oclc/1281840650) . ^ Jump up to: a b 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-17) "Chinese dress in the Qing dynasty" (http://archive.maas.museum/hsc/evrev/chinese_dress.html) . archive.maas.museum . Retrieved 4 July 2022 . ^ (#cite_ref-Rhoads2000_18-0) Edward J. M. Rhoads (2000). Manchus and Han: Ethnic Relations and Political Power in Late Qing and Early Republican China, 1861–1928 . University of Washington Press. pp. 61–. ISBN (/wiki/ISBN_(identifier)) 978-0-295-98040-9 . ^ (#cite_ref-Twitchett,_Denis_2008_p87-88_19-0) Twitchett, Denis; Fairbank, John K. (2008) Cambridge History of China Volume 9 Part 1 The Ch'ing Empire to 1800, p87-88 ^ (#cite_ref-20) "Manchu Style" (https://exhibits.library.cornell.edu/chinese-traditional-dress/feature/manchu-style) . Chinese Traditional Dress - Online exhibitions across Cornell University Library . 31 March 2020 . Retrieved 12 December 2023 . ^ (#cite_ref-Yang2004_21-0) Shaorong Yang (2004). Traditional Chinese Clothing Costumes, Adornments & Culture . Long River Press. p. 7. ISBN (/wiki/ISBN_(identifier)) 978-1-59265-019-4 . Men's clothing in the Qing Dynasty consisted for the most of long silk gowns and the so-called "Mandarin" jacket, which perhaps achieved their greatest popularity during the latter Kangxi Period to the Yongzheng Period. For women's clothing, Manchu and Han systems of clothing coexisted. ^ (#cite_ref-22) 周, 锡保 (1 January 2002). 《中国古代服饰史》 . 中国戏剧出版社. p. 449. ISBN (/wiki/ISBN_(identifier)) 9787104003595 . . ^ (#cite_ref-23) 千志, 魏 (1998). 《明清史概論》 . 中國社會科學出版社. pp. 358–360. ^ (#cite_ref-24) Lee, Linda T. (8 May 2012), "Han-Centric Dress: Fashion Subculture or a National Identity for China?" (https://dx.doi.org/10.1163/9781848881488_010) , Fashion: Exploring Critical Issues , BRILL, pp. 99–108, doi (/wiki/Doi_(identifier)) : 10.1163/9781848881488_010 (https://doi.org/10.1163%2F9781848881488_010) , ISBN (/wiki/ISBN_(identifier)) 9781848881488 , retrieved 20 March 2022 ^ Jump up to: a b c d Gao, Sally (9 December 2016). "A Brief History Of The Cheongsam" (https://theculturetrip.com/asia/china/articles/a-brief-history-of-the-cheongsam/) . Culture Trip . Retrieved 5 March 2019 . ^ Jump up to: a b c Material women, 1750-1950 : consuming desires and collecting practices . Maureen Daly Goggin, Beth Fowkes Tobin. Abingdon, Oxon: Routledge. 2016. ISBN (/wiki/ISBN_(identifier)) 978-1-315-09137-2 . OCLC (/wiki/OCLC_(identifier)) 993647299 (https://www.worldcat.org/oclc/993647299) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: others ( link (/wiki/Category:CS1_maint:_others) ) ^ (#cite_ref-27) Gorea, Adriana (2020). The book of pockets : a practical guide for fashion designers . Katya Roelse, Martha Hall. London. ISBN (/wiki/ISBN_(identifier)) 978-1-350-22852-8 . 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Retrieved 24 February 2018 . ^ Jump up to: a b c d "Madame Wellington-Koo – Voted best dressed Chinese Woman of 1920s by Vogue" (https://web.archive.org/web/20170722130918/http://www.neehao.co.uk/2016/01/madame-wellington-koo-voted-best-dressed-chinese-woman-of-1920s-by-vogue/) . Nee Hao Magazine . Archived from the original (http://www.neehao.co.uk/2016/01/madame-wellington-koo-voted-best-dressed-chinese-woman-of-1920s-by-vogue/) on 22 July 2017 . Retrieved 24 February 2018 . ^ (#cite_ref-31) "Qipao, a timeless fashion icon" (https://www.news.gov.hk/isd/ebulletin/en/category/healthandcommunity/100625/features/html/100625en05001.htm) . www.news.gov.hk . Retrieved 6 March 2019 . ^ (#cite_ref-32) Chew, Matthew (March 2007). "Contemporary Re-emergence of the Qipao: Political Nationalism, Cultural Production and Popular Consumption of a Traditional Chinese Dress". The China Quarterly . 189 : 144–161. doi (/wiki/Doi_(identifier)) : 10.1017/s0305741006000841 (https://doi.org/10.1017%2Fs0305741006000841) . ISSN (/wiki/ISSN_(identifier)) 0305-7410 (https://www.worldcat.org/issn/0305-7410) . S2CID (/wiki/S2CID_(identifier)) 154645123 (https://api.semanticscholar.org/CorpusID:154645123) . ^ (#cite_ref-33) Ling, Wessie (2009). "Harmony and Concealment: How Chinese women fashioned the (https://www.academia.edu/32979136) Qipao in 1930s China." (https://www.academia.edu/32979136) . In Goggin, Maureen Daly; Tobin, Beth Fowkes (eds.). Material Women, 1750–1950: Consuming Desires and Collecting Practices . Ashgate Publishing. pp. 209–225. ISBN (/wiki/ISBN_(identifier)) 978-0-7546-6539-7 . ^ Jump up to: a b Dongfang Daily (2 July 2012). "海上名媛与海上旗袍的华丽转身" (http://fashion.ifeng.com/news/detail_2012_07/02/15705151_0.shtml?_from_ralated) . iFeng (in Simplified Chinese). Phoenix Media Group. ^ Jump up to: a b c d Mizuoka, Fujio (2018). Contrived Laissez-Faireism : the politico-economic structure of British colonialism in Hong Kong . Cham, Switzerland. ISBN (/wiki/ISBN_(identifier)) 978-3-319-69793-2 . OCLC (/wiki/OCLC_(identifier)) 1029352543 (https://www.worldcat.org/oclc/1029352543) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) ^ (#cite_ref-36) Clement Huang (25 June 2015). "China Airlines introduces new uniform designs" (https://www.businesstraveller.com/news/2015/06/16/china-airlines-introduces-new-uniform-designs/) . Business Traveller. ^ (#cite_ref-37) "Airline Debuts New Haute Couture Uniforms for Flight Attendants at Paris Fashion Week" (https://www.cosmopolitan.com/style-beauty/a10284053/hainan-airlines-new-couture-uniforms/) . 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Archived from the original (http://www.kukrisports.com/gb-general-news-nw-3246) on 2 February 2014 . Retrieved 19 November 2012 . ^ (#cite_ref-46) "Chinese Symbolic Qipao Dress History And Meaning?" (http://maybooclothing.com/chinese-symbolic-qipao-dress-history-and-meaning/) . 4 October 2019. ^ (#cite_ref-47) "IMDB page for the movie The Parent Trap (1998)" (https://www.imdb.com/title/tt0120783/) . ^ (#cite_ref-48) "The POST article written about the insensitivity of fetishizing cultures as costume" (https://www.thepostathens.com/article/2022/09/opinion-asian-culture-halloween-costume-cultural-appropriation) . ^ Jump up to: a b c d e Tjon Sie Fat, Paul Brendan (2009). Chinese new migrants in Suriname : the inevitability of ethnic performing . Amsterdam: Amsterdam University Press. ISBN (/wiki/ISBN_(identifier)) 978-90-485-1147-1 . OCLC (/wiki/OCLC_(identifier)) 647870387 (https://www.worldcat.org/oclc/647870387) . ^ (#cite_ref-50) Styling Shanghai . Christopher Breward, Juliette MacDonald. London. 2020. ISBN (/wiki/ISBN_(identifier)) 978-1-350-05116-4 . OCLC (/wiki/OCLC_(identifier)) 1124593626 (https://www.worldcat.org/oclc/1124593626) . {{ 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) ) ^ (#cite_ref-51) 吴, 昊 (January 2008). 中国妇女服饰与身体革命 . 上海: 上海东方出版中心. ISBN (/wiki/ISBN_(identifier)) 9787801867735 . ^ (#cite_ref-52) "An analysis of the visual structure and meaning in the evolution of Qipao" (https://rex.libraries.wsu.edu/view/delivery/01ALLIANCE_WSU/12338025260001842) . rex.libraries.wsu.edu . Retrieved 20 March 2022 . ^ Jump up to: a b "Two local ICH items successfully inscribed onto National List of Intangible Cultural Heritage (with photos)" (https://www.info.gov.hk/gia/general/202106/18/P2021061800373.htm) . www.info.gov.hk . Retrieved 17 August 2022 . ^ Jump up to: a b Hong Kong Intangible Cultural Heritage Database. "Technique of Making Hong Kong Cheongsam and Kwan Kwa Wedding Costume" (https://www.hkichdb.gov.hk/en/item.html?4f2e92a4-c324-43a4-b472-3ed50c7ed012) . www.hkichdb.gov.hk . ^ Jump up to: a b c Transnational screens : expanding the borders of transnational cinema . Armida De la Garza, Ruth Doughty, Deborah Shaw (1st ed.). London. 2020. ISBN (/wiki/ISBN_(identifier)) 978-1-000-05688-4 . OCLC (/wiki/OCLC_(identifier)) 1174974969 (https://www.worldcat.org/oclc/1174974969) . {{ 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 e Sim, Cheryl (2019). Wearing the cheongsam : dress and culture in a Chinese diaspora . London. ISBN (/wiki/ISBN_(identifier)) 978-1-350-10987-2 . OCLC (/wiki/OCLC_(identifier)) 1109390790 (https://www.worldcat.org/oclc/1109390790) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) ^ (#cite_ref-57) jawapos.com (2 February 2019). "Cheongsam Rasa Batik, Cantiknya Koleksi Imlek Peranakan Anne Avantie" (https://jawapos.com/lifestyle/01198494/cheongsam-rasa-batik-cantiknya-koleksi-imlek-peranakan-anne-avantie) . jawapos.com (in Indonesian) . Retrieved 12 February 2024 . ^ (#cite_ref-58) jatim.viva.co.id (22 January 2023). "Desain Batik Keren Akulturasi Indonesia-Tionghoa, Hadirkan Nuansa Imlek" (https://jatim.viva.co.id/gaya-hidup/2181-desain-batik-keren-akulturasi-indonesia-tionghoa-hadirkan-nuansa-imlek) . jatim.viva.co.id (in Indonesian) . Retrieved 12 February 2024 . ^ (#cite_ref-59) hypeabis.id (24 January 2023). "Melihat Tren Akulturasi Fesyen China dan Indonesia pada Imlek 2023" (https://hypeabis.id/read/21122/melihat-tren-akulturasi-fesyen-china-dan-indonesia-pada-imlek-2023) . hypeabis.id (in Indonesian) . Retrieved 12 February 2024 . ^ (#cite_ref-60) thephrase.id (5 February 2024). "Inspirasi Batik Cheongsam untuk Rayakan Imlek" (https://thephrase.id/inspirasi-batik-cheongsam-untuk-rayakan-imlek) . thephrase.id (in Indonesian) . Retrieved 12 February 2024 . ^ Jump up to: a b c Desire change : contemporary feminist art in Canada . Heather M. Davis, Mentoring Artists for Women's Art. Montreal. 2017. ISBN (/wiki/ISBN_(identifier)) 978-0-7735-5077-3 . 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"论旗袍的流行起源". 装饰 (11). J523. ^ (#cite_ref-67) "Vietnam Traditional Clothes: Ao Dai – VietnamOnline" (https://www.vietnamonline.com/culture/ao-dai.html) . www.vietnamonline.com . Retrieved 30 June 2021 . ^ (#cite_ref-68) Lieu, Nhi T. (2011). The American dream in Vietnamese . Minneapolis: University of Minnesota Press. p. 60. ISBN (/wiki/ISBN_(identifier)) 978-0-8166-7671-2 . OCLC (/wiki/OCLC_(identifier)) 741749415 (https://www.worldcat.org/oclc/741749415) . ^ (#cite_ref-69) Howard, Michael C. (2016). Textiles and clothing of Viet Nam : a history . Jefferson, North Carolina. p. 83. ISBN (/wiki/ISBN_(identifier)) 978-1-4766-6332-6 . OCLC (/wiki/OCLC_(identifier)) 933520702 (https://www.worldcat.org/oclc/933520702) . {{ 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 "The Vietnamese "Áo dài" | Tập San Việt Học" (http://viethocjournal.com/2018/11/the-vietnamese-ao-dai/) . Retrieved 30 June 2021 . ^ Jump up to: a b c d Howard, Michael C. (2016). Textiles and clothing of Viet Nam : a history . Jefferson, North Carolina. p. 73. ISBN (/wiki/ISBN_(identifier)) 978-1-4766-6332-6 . OCLC (/wiki/OCLC_(identifier)) 933520702 (https://www.worldcat.org/oclc/933520702) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) ^ (#cite_ref-72) Fiona. "A Brief History of Traditional Vietnamese Ao Dai" (https://www.vietnamvisa-easy.com/blog/a-brief-history-of-traditional-vietnamese-ao-dai/) . Travel information for Vietnam from local experts . Retrieved 30 June 2021 . ^ (#cite_ref-73) "All about ao dai: Vietnam's national dress" (https://vietnam.travel/things-to-do/ao-dai-vietnam) . Vietnam Tourism . Retrieved 30 June 2021 . ^ (#cite_ref-74) "Áo Dài's Timeless Beauty" (https://web.archive.org/web/20210622080756/https://culturemagazin.com/ao-dais-timeless-beauty/) . CultureMagazin® . 19 March 2021. Archived from the original (https://culturemagazin.com/ao-dais-timeless-beauty/) on 22 June 2021 . Retrieved 30 June 2021 . Sources [ edit ] Bai Yun (2006). Zhongguo lao qipao: lao zhaopian lao guanggo jianzheng qipao de yanbian [ The traditional qiapo of China: evidence of its [stylistic] changes in old photographs and old advertisements ]. Beijing: Guangming ribao chubanshe. ISBN (/wiki/ISBN_(identifier)) 9787802061866 . OCLC (/wiki/OCLC_(identifier)) 123015683 (https://www.worldcat.org/oclc/123015683) . Bao Mingxin; Ma Li, eds. (1998). Zhongguo Qipao [ China's Qipao ]. Shanghai: Shanghai wenhua chubanshe. ISBN (/wiki/ISBN_(identifier)) 9787805119960 . OCLC (/wiki/OCLC_(identifier)) 51630832 (https://www.worldcat.org/oclc/51630832) . Chang, Eileen (Zhang Ailing) (Fall 2003). "A Chronicle of Changing Clothes" (https://web.archive.org/web/20131115131739/http://positions.rice.edu/Content.aspx?id=187) . Positions: East Asia Cultures Critique . 11 (2). Andrew F. Jones, trans.: 427–441. doi (/wiki/Doi_(identifier)) : 10.1215/10679847-11-2-427 (https://doi.org/10.1215%2F10679847-11-2-427) . S2CID (/wiki/S2CID_(identifier)) 145592956 (https://api.semanticscholar.org/CorpusID:145592956) . Archived from the original (http://positions.rice.edu/Content.aspx?id=187) on 15 November 2013 . Retrieved 6 July 2012 . Clark, Hazel (2000). The Cheongsam . Images of Asia. Hong Kong: Oxford University Press (China). ISBN (/wiki/ISBN_(identifier)) 9780195909395 . OCLC (/wiki/OCLC_(identifier)) 44876865 (https://www.worldcat.org/oclc/44876865) . Finnane, Antonia (2007). "Chapter 6: (https://books.google.com/books?id=Ju3N4VeiQ28C&pg=PA139) Qipao China" (https://books.google.com/books?id=Ju3N4VeiQ28C&pg=PA139) . Changing Clothes in China: Fashion, History, Nation . New York: Columbia University Press. pp. 139–176. ISBN (/wiki/ISBN_(identifier)) 9780231143509 . OCLC (/wiki/OCLC_(identifier)) 84903948 (https://www.worldcat.org/oclc/84903948) . Roberts, Claire, ed. (1997). Evolution and Revolution: Chinese Dress 1700s–1900s . Sydney: Powerhouse Pub., Museum of Applied Arts and Sciences. ISBN (/wiki/ISBN_(identifier)) 9781863170673 . OCLC (/wiki/OCLC_(identifier)) 37745658 (https://www.worldcat.org/oclc/37745658) . Lee, Chor Lin; Chung May Khuen (2012). In the Mood for Cheongsam: A Social History, 1920s–Present . Singapore: Editions Didier Millet and National Museum of Singapore (/wiki/National_Museum_of_Singapore) . ISBN (/wiki/ISBN_(identifier)) 9789814260923 . OCLC (/wiki/OCLC_(identifier)) 767566394 (https://www.worldcat.org/oclc/767566394) . Schmitz, Rob (2 June 2012). "The Street of Eternal Happiness: The Tailor" (https://web.archive.org/web/20120623074547/http://www.marketplace.org/topics/world/street-eternal-happiness/street-eternal-happiness-tailor) . Marketplace (/wiki/Marketplace_(radio_program)) . Archived from the original (https://www.marketplace.org/topics/world/street-eternal-happiness/street-eternal-happiness-tailor) on 23 June 2012 . Retrieved 22 June 2012 . About a tailor of cheongsam who has been in the business for nearly 80 years. Van Roojen, Pepin (2009). Cheongsam 旗袍 (Book + CD-ROM). Pepin Fashion, Textiles & Patterns, no. 1. Amsterdam: Pepin Press. ISBN (/wiki/ISBN_(identifier)) 9789460090011 . OCLC (/wiki/OCLC_(identifier)) 632704710 (https://www.worldcat.org/oclc/632704710) . External links [ edit ] Wikimedia Commons has media related to Qipao (https://commons.wikimedia.org/wiki/Category:Qipao) . About.com entry (http://chineseculture.about.com/library/weekly/aa011501a.htm) Archived (https://web.archive.org/web/20110107165856/http://chineseculture.about.com/library/weekly/aa011501a.htm) 7 January 2011 at the Wayback Machine (/wiki/Wayback_Machine) on the qipao v t e Folk costumes (/wiki/Folk_costume) Africa (/wiki/Clothing_in_Africa) Balgha (/wiki/Balgha) Boubou (/wiki/Agbada) Dashiki (/wiki/Dashiki) Djellaba (/wiki/Djellaba) Head tie (/wiki/Head_tie) Jellabiya (/wiki/Jellabiya) Kanzu (/wiki/Kanzu) Kente cloth (/wiki/Kente_cloth) Kufi (/wiki/Kufi) Litham (/wiki/Litham) Pareo (/wiki/Pareo) Senegalese kaftan (/wiki/Senegalese_kaftan) Tagelmust (/wiki/Tagelmust) Wrapper (/wiki/Wrapper_(clothing)) Asia Central Afghanistan (/wiki/Pashtun_clothing) Pakol (/wiki/Pakol) Chapan (/wiki/Chapan) Deel (/wiki/Deel_(clothing)) Malahai (/wiki/Malahai) Paranja (/wiki/Paranja) East China (/wiki/Chinese_clothing) Cheongsam Hanfu (/wiki/Hanfu) Mao suit (/wiki/Mao_suit) Tangzhuang (/wiki/Tangzhuang) Japan (/wiki/Japanese_clothing) Hachimaki (/wiki/Hachimaki) Kimono (/wiki/Kimono) Obi (/wiki/Obi_(sash)) Korea (/wiki/List_of_Korean_clothing) Cheopji (/wiki/Cheopji) Daenggi (/wiki/Daenggi) Gache (/wiki/Gache) Hanbok (/wiki/Hanbok) Hwagwan (/wiki/Hwagwan) Jokduri (/wiki/Jokduri) Manggeon (/wiki/Wangjin) South Bhutan Gho (/wiki/Gho) Kira (/wiki/Kira_(Bhutan)) Dhoti (/wiki/Dhoti) Dupatta (/wiki/Dupatta) India (/wiki/Clothing_in_India) Lungi (/wiki/Lungi) Nepal (/wiki/Newar_traditional_clothing) Pakistan (/wiki/Pakistani_clothing) Pathin (/wiki/Pathin) Perak (/wiki/Perak_(headdress)) Peshawari pagri (/wiki/Peshawari_turban) Sari (/wiki/Sari) Shalwar kameez (/wiki/Shalwar_kameez) Sherwani (/wiki/Sherwani) Southeast Burma (/wiki/Burmese_clothing) Longyi (/wiki/Longyi) Gaung baung (/wiki/Gaung_baung) Cambodia (/wiki/Khmer_clothing) Chong Kben (/wiki/Sompot_Chong_Kben) Krama (/wiki/Krama) Sompot (/wiki/Sompot) Sbai (/wiki/Sbai) Indonesia (/wiki/National_costume_of_Indonesia) Baju bodo (/wiki/Bodo_blouse) Batik (/wiki/Batik) Blangkon (/wiki/Blangkon) Ikat (/wiki/Ikat) Kebaya (/wiki/Kebaya) Kemben (/wiki/Kemben) Kupiah (/wiki/Kupiah) Songket (/wiki/Songket) Songkok (/wiki/Songkok) Tanjak (/wiki/Tengkolok) Ulos (/wiki/Ulos) Laos (/wiki/Culture_of_Laos#Traditional_clothing) Xout lao (/wiki/Xout_lao) Suea pat (/wiki/Suea_pat) Sinh (/wiki/Sinh_(clothing)) Malaysia (/wiki/Malaysian_cultural_outfits) Baju Kurung (/wiki/Baju_Kurung) Baju Melayu (/wiki/Baju_Melayu) Songket (/wiki/Songket) Songkok (/wiki/Songkok) Tengkolok (/wiki/Tengkolok) Philippines (/wiki/Fashion_and_clothing_in_the_Philippines) Barong tagalog (/wiki/Barong_tagalog) Baro't saya (/wiki/Baro%27t_saya) Buntal hat (/wiki/Buntal_hat) Malong (/wiki/Malong) Maria Clara gown (/wiki/Maria_Clara_gown) Patadyong (/wiki/Patadyong) Salakot (/wiki/Salakot) Thailand (/wiki/Traditional_Thai_clothing) Banong (/wiki/Traditional_Thai_clothing#Banong) Chong kraben (/wiki/Chong_kraben) Chut Thai (/wiki/Traditional_Thai_clothing) Formal Chut Thai (/wiki/Formal_Thai_national_costume) Pha khao ma (/wiki/Traditional_Thai_clothing#Pha_khao_ma) Pha nung (/wiki/Pha_nung) Raj pattern (/wiki/Raj_pattern) Sabai (/wiki/Sabai) Sinh (/wiki/Sinh_(clothing)) Suea pat (/wiki/Suea_pat) Tabengman (/wiki/Traditional_Thai_clothing#Tabengman) Tudong (/wiki/Tudong) Vietnam (/wiki/Vietnamese_clothing) Áo bà ba (/wiki/%C3%81o_b%C3%A0_ba) Áo dài (/wiki/%C3%81o_d%C3%A0i) Áo giao lĩnh (/wiki/%C3%81o_giao_l%C4%A9nh) Áo tứ thân (/wiki/%C3%81o_t%E1%BB%A9_th%C3%A2n) Middle East Abaya (/wiki/Abaya) Agal (/wiki/Agal_(accessory)) Assyria (/wiki/Assyrian_clothing) Bisht (/wiki/Bisht_(clothing)) Boshiya (/wiki/Boshiya) Burqa (/wiki/Burqa) Chador (/wiki/Chador) Izaar (/wiki/Izaar) Jewish (/wiki/Jewish_religious_clothing) Kippah (/wiki/Kippah) Sheitel (/wiki/Sheitel) Tallit (/wiki/Tallit) Tallit katan (/wiki/Tallit_katan) Tefillin (/wiki/Tefillin) Tzitzit (/wiki/Tzitzit) Jilbāb 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(/wiki/Poffer) Kraplap (/wiki/Kraplap) Oorijzer (/wiki/Oorijzer) France Breton costume (/wiki/Breton_costume) Spain Traje de flamenca (/wiki/Traje_de_flamenca) Barretina (/wiki/Barretina) Cachirulo (/wiki/Cachirulo) Cordovan hat (/wiki/Cordovan_hat) Sombrero de catite (/wiki/Sombrero_de_catite) Mantilla (/wiki/Mantilla) Italy Ciocia (/wiki/Ciocia) Coppola cap (/wiki/Coppola_cap) Scandinavian Bunad (/wiki/Bunad) Gákti (/wiki/G%C3%A1kti) Iceland (/wiki/Icelandic_national_costume) Sweden (/wiki/Culture_of_Sweden#Folk_costuming) Nationella dräkten (/wiki/Nationella_dr%C3%A4kten) Bäckadräkten (/wiki/B%C3%A4ckadr%C3%A4kten) Sverigedräkten (/w/index.php?title=Sverigedr%C3%A4kten&action=edit&redlink=1) South America Aguayo (/wiki/Aguayo_(cloth)) Chile Chamanto (/wiki/Chamanto) Chilote cap (/wiki/Chilote_cap) Chilote poncho (/wiki/Chilote_poncho) Chupalla (/wiki/Chupalla) Chullo (/wiki/Chullo) Guayabera (/wiki/Guayabera) Liqui liqui (/wiki/Liqui_liqui) Lliklla (/wiki/Lliklla) Panama hat (/wiki/Panama_hat) Pollera (/wiki/Pollera) Poncho (/wiki/Poncho) Ruana (/wiki/Ruana) North America Inuit skin clothing (/wiki/Inuit_clothing) Tignon (/wiki/Tignon) Ceinture fléchée (/wiki/Ceinture_fl%C3%A9ch%C3%A9e) Western wear (/wiki/Western_wear) Bolo tie (/wiki/Bolo_tie) Chaps (/wiki/Chaps) Huipil (/wiki/Huipil) Mexico Huarache (/wiki/Huarache_(shoe)) Mexican pointy boots (/wiki/Mexican_pointy_boots) Rebozo (/wiki/Rebozo) Serape (/wiki/Serape) Sombrero (/wiki/Sombrero) Quechquemitl (/wiki/Quechquemitl) Oceania Grass skirt (/wiki/Grass_skirt) Feather cloak (/wiki/Feather_cloak) I-sala (/wiki/I-sala) Lap-lap (/wiki/Lap-lap) Lavalava (/wiki/Lavalava) Kiekie (/wiki/Kiekie_(clothing)) Pareo (/wiki/Pareo) Sulu (/wiki/Sulu_(skirt)) Taʻovala (/wiki/Ta%CA%BBovala) Tēfui (/wiki/T%C4%93fui) Tupenu (/wiki/Tupenu) Portals (/wiki/Wikipedia:Contents/Portals) : China (/wiki/Portal:China) Fashion (/wiki/Portal:Fashion) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐26wpn Cached time: 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Men's traditional clothing in late imperial China For the female version, see Cheongsam (/wiki/Cheongsam) . For other uses, see Changshan (disambiguation) (/wiki/Changshan_(disambiguation)) . This article needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/Changshan) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed. Find sources: "Changshan" (https://www.google.com/search?as_eq=wikipedia&q=%22Changshan%22) – news (https://www.google.com/search?tbm=nws&q=%22Changshan%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Changshan%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Changshan%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Changshan%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Changshan%22&acc=on&wc=on) ( May 2010 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Changshan Men of the Chinese Consolidated Benevolent Association (/wiki/Chinese_Consolidated_Benevolent_Association) wearing the Changshan Chinese (/wiki/Chinese_language) 長衫 Literal meaning Long shirt Transcriptions Standard Mandarin (/wiki/Standard_Chinese) Hanyu Pinyin (/wiki/Hanyu_Pinyin) Chángshān Changpao Chinese (/wiki/Chinese_language) 長袍 Literal meaning Long robe Transcriptions Standard Mandarin (/wiki/Standard_Chinese) Hanyu Pinyin (/wiki/Hanyu_Pinyin) chángpáo Dagua Chinese (/wiki/Chinese_language) 大褂 Literal meaning Great jacket Transcriptions Standard Mandarin (/wiki/Standard_Chinese) Hanyu Pinyin (/wiki/Hanyu_Pinyin) Dàguà Changshan ( Chinese (/wiki/Traditional_Chinese_characters) : 長衫 (https://en.wiktionary.org/wiki/%E9%95%B7%E8%A1%AB) ; pinyin (/wiki/Pinyin) : chángshān ; lit. 'long shirt'; [ʈʂʰǎŋʂán] (/wiki/Help:IPA/Mandarin) ⓘ (/wiki/File:Chang2shan1.ogg) ), also known as changpao ( Chinese (/wiki/Chinese_language) : 長袍 (https://en.wiktionary.org/wiki/%E9%95%B7%E8%A2%8D) ; pinyin (/wiki/Pinyin) : chángpáo ; lit. 'Long robe'), and dagua ( Chinese (/wiki/Chinese_language) : 大褂 (https://en.wiktionary.org/wiki/%E5%A4%A7%E8%A4%82) ; pinyin (/wiki/Pinyin) : Dàguà ; lit. 'Great jacket'), is a form of paofu (/wiki/Paofu) , Chinese robe, which was derived from the Qing dynasty (/wiki/Qing_dynasty) qizhuang (/wiki/Qizhuang) , the traditional dress of the Manchu people (/wiki/Manchu_people) , which were worn by Manchu men. [1] (#cite_note-:3-1) : 129 The changshan was actually developed by the Han Chinese (/wiki/Han_Chinese) through the modification of their own Ming dynasty's (/wiki/Ming_dynasty) Hanfu (/wiki/Hanfu) by adopting some Manchu men's clothing elements in one of their Hanfu (/wiki/Hanfu) changshan . [1] (#cite_note-:3-1) : 129 In function, the changshan is considered the male equivalent of the women's cheongsam (/wiki/Cheongsam) (also known as qipao ). The changshan was often worn by men with a magua (/wiki/Magua_(clothing)) , also commonly translated as "riding jacket" in English language. Terminology [ edit ] General term [ edit ] See also: Chang'ao (/wiki/Chang%27ao) and paofu (/wiki/Paofu) The term changshan is composed of two Chinese characters: chang 《 長 (https://en.wiktionary.org/wiki/%E9%95%B7) 》which can literally be translated as "long" in length and shan (/wiki/Ru_(upper_garment)) 《 衫 (https://en.wiktionary.org/wiki/%E8%A1%AB) 》, which literally means " shirt (/wiki/Shirt) ". The term changpao is also composed of the Chinese character chang and the Chinese pao (/wiki/Paofu) 《 袍 (https://en.wiktionary.org/wiki/%E8%A2%8D) 》, which is literally means " robe (/wiki/Robe) ". As general terms used in the broad sense, the changshan and changpao can refer to any form of long shirt and long robes respectively. Specific term [ edit ] The Mandarin Chinese (/wiki/Mandarin_Chinese) word changshan is cognate with the Cantonese (/wiki/Standard_Cantonese) term Cheongsam ( 長衫 (https://en.wiktionary.org/wiki/%E9%95%B7%E8%A1%AB) ) . This was then borrowed into English as "cheongsam." Unlike the Mandarin term, however, the chèuhngsàam can refer to both male and female garments. In Hong Kong (/wiki/Hong_Kong) the term is frequently used to refer to the female garment, cheongsam (/wiki/Cheongsam) , rather than the male garment changshan . Because of the long British presence in Hong Kong (/wiki/Hong_Kong) , that local usage has become reflected in the meaning of cheongsam in English, which refers exclusively to the female garment. Origins and development [ edit ] What is now known as the Chinese changshan was developed by the Han Chinese during the Qing dynasty (/wiki/Qing_dynasty) . [1] (#cite_note-:3-1) : 129 The Qing dynasty Chinese changshan started to be worn by the Han Chinese after the Manchu conquest. [1] (#cite_note-:3-1) : 129 The Chinese changshan was actually a modified version of the changshan worn in the Ming dynasty (/wiki/Ming_dynasty) (1368–1644 AD), the preceding dynasty before the Qing dynasty, [1] (#cite_note-:3-1) : 129 and was modelled after the Manchu's men's changpao . [2] (#cite_note-:2-2) Chinese changshan and Manchu neitao Differences between the Chinese changshan (left) and Manchu neitao (right), Qing dynasty Manchu men wore a type of changpao which reflected its equestrian origins, [3] (#cite_note-:0-3) which was originally designed for horseback riding, known as neitao (/wiki/Qizhuang#Ordinary_dress_(Changfu)/_casual_dress_(Bianfu)) , which was characterized by two pair of slits (one slit on each side, one slit on the back, and one slit on the front) which increased ease of movement when mounting and dismounting horses, a pianjin (/wiki/Garment_collars_in_Hanfu#Pipa-shaped_collar) collar (a collar which curved like the alphabet《S》), and the sleeve cuffs known 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'). [1] (#cite_note-:3-1) : 27 The Han Chinese thus adopted certain Manchu elements when modifying their Ming dynasty changshan , such as by slimming their changshan , by adopting the pianjin (/wiki/Garment_collars_in_Hanfu#Pipa-shaped_collar) collar of the Manchu, and by using buttons and loops at the neck and sides. [1] (#cite_note-:3-1) : 129 Despite the shared similarities with Manchu's neitao , the Chinese changshan differed structurally from the Manchu's neitao . The Chinese changshan only has two slits on the sides lacking the central front and back slits and lacked the presence of the matixiu (/w/index.php?title=Matixiu&action=edit&redlink=1) cuffs; the sleeves were also longer than the ones found in the neitao . [1] (#cite_note-:3-1) : 129 History [ edit ] Main articles: Cheongsam History (/wiki/Cheongsam#History) and Tifayifu (/wiki/Tifayifu) The precursors of both the changshan and the qipao were introduced to China during the Qing dynasty (/wiki/Qing_dynasty) (17th–20th centuries). The Manchus (/wiki/Manchu) in 1636 ordered that all Han Chinese (/wiki/Han_Chinese) should adopt the Manchu's hairstyle as well as their attire of dress or face harsh punishment including death penalty. However, by the time of the Qianlong Emperor (/wiki/Qianlong_Emperor) , however, the adoption of Manchu clothing dressing code was only required to the scholar-official elites and did not apply to the entire male population. [3] (#cite_note-:0-3) The court dress of the Qing dynasty also had to follow the attire of the Manchu people; [3] (#cite_note-:0-3) however, commoner Han men and women were still allowed to wear the hanfu (/wiki/Hanfu) under some circumstances and/or if they fell under the exemptions of the Tifayifu policy. The order of wearing Manchu's hairstyle however still remained as a fundamental rule for all Chinese men. [3] (#cite_note-:0-3) Over time, the commoner Han men adopted the changshan while Han women continued to the wear the hanfu predominantly in the style of aoqun (/wiki/Ruqun) . The traditional Chinese Hanfu (/wiki/Han_Chinese_clothing) -style of clothing for men was gradually replaced. Over time, the Manchu-style of male dress gained popularity among Han men. [3] (#cite_note-:0-3) Changshan was considered formal dress for Chinese men before Western-style suits (/wiki/Suit_(clothes)) were widely adopted in China. The male changshan could be worn under a western overcoat, and topped with a fedora and scarf. This combination expressed an East Asian (/wiki/East_Asia) modernity in the early 20th century. The 1949 Communist Revolution (/wiki/Chinese_Civil_War) ended the wearing of changshan and other traditional clothing in Shanghai (/wiki/Shanghai) . Shanghainese (/wiki/Shanghainese_people) emigrants and refugees carried the fashion to Hong Kong (/wiki/Hong_Kong) , where it remained popular. Recently in Shanghai and elsewhere in mainland China (/wiki/Mainland_China) , many people have revived wearing the Shanghainese changshan. It is made of silk. Use of changshan [ edit ] Changshan are traditionally worn for formal pictures, weddings, and other formal Chinese events. A black changshan, along with a rounded black hat, was, and sometimes still is, the burial attire for Chinese men. Changshan are not often worn today [update] (https://en.wikipedia.org/w/index.php?title=Changshan&action=edit) in mainland China, except during traditional Chinese celebrations but, with the revival of some traditional clothing in urban mainland China, the Shanghainese style functions as a stylish party dress ( cf. Mao suit (/wiki/Mao_suit) ). See also [ edit ] Magua (clothing) (/wiki/Magua_(clothing)) Qizhuang (/wiki/Qizhuang) Tangzhuang (/wiki/Tangzhuang) Hanfu (/wiki/Hanfu) References [ edit ] ^ Jump up to: a b c d e f g h Garrett, Valery (2019). Chinese dress from the Qing Dynasty to the present day . Tuttle Publishing. ISBN (/wiki/ISBN_(identifier)) 978-0-8048-5256-2 . OCLC (/wiki/OCLC_(identifier)) 1281840650 (https://www.worldcat.org/oclc/1281840650) . ^ (#cite_ref-:2_2-0) 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 Rhoads, Edward J. M. (2000). Manchus & Han: Ethnic Relations and Political Power in Late Qing and Early Republican China, 1861–1928 . Studies on Ethnic Groups in China. Seattle: University of Washington Press. p. 61. ISBN (/wiki/ISBN_(identifier)) 9780295979380 . OCLC (/wiki/OCLC_(identifier)) 43569203 (https://www.worldcat.org/oclc/43569203) . 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American hip hop apparel company For the military slang, see List of military slang terms § FUBU (/wiki/List_of_military_slang_terms#FUBU) . FUBU Industry Clothing, hip hop apparel Founded 1992 Headquarters New York City (/wiki/New_York_City) , New York (/wiki/New_York_(state)) , United States Products Casual wear (/wiki/Casual_wear) Sports wear (/wiki/Sports_wear) Suit collection Eyewear Belts Shoes Owner Daymond John (/wiki/Daymond_John) Carlton E. Brown J. Alexander Martin Keith C. Perrin Website fubu (http://fubu.com) .com (http://fubu.com) FUBU ( / (/wiki/Help:IPA/English) ˈ f uː b uː / (/wiki/Help:IPA/English) ⓘ (/wiki/File:En-us-FUBU.oga) , FOO -boo ) is an American hip hop (/wiki/Hip_hop) apparel company. FUBU stands for "For Us, By Us" and was created when the founders were brainstorming for a catchy four-letter word following other big brands such as Nike and Coke. [1] (#cite_note-Natalie_Milbrodt_2015-1) It includes casual wear (/wiki/Casual_wear) , sports wear (/wiki/Sportswear_(activewear)) , a suit collection, eyewear, belts, fragrances, and shoes. History [ edit ] The company was founded in 1992 when Daymond John (/wiki/Daymond_John) mortgaged his home for $100,000, and with that seed money, the company's co-founders rebuilt half of his home as a factory while the other half remained living space. [2] (#cite_note-web.archive.org-2) The clothing store Montego Bay, on Queens' Jamaica Avenue (/wiki/Jamaica_Avenue) , was the first to carry the FUBU line. In the mid-1990s, high-end department store retailer Macy's (/wiki/Macy%27s) started stocking FUBU apparel and, at one point, featured the four FUBU founders in a live, interactive window display in its flagship store on 34th Street. [3] (#cite_note-ReferenceA-3) FUBU founders attended the MAGIC men’s apparel show in Las Vegas with samples and got $300,000 worth of orders, but had no idea how to fulfill them. John’s mother suggested they advertise in the New York Times for an investor. [1] (#cite_note-Natalie_Milbrodt_2015-1) In 1995, South Korean company Samsung (/wiki/Samsung) answered a classified ad (/wiki/Classified_ad) and invested in FUBU. [4] (#cite_note-4) At its peak in 1998, FUBU grossed over $350 million in annual worldwide sales. [5] (#cite_note-DailyF-5) FUBU has received several honors for their entrepreneurial achievements. These include two Congressional Awards, two NAACP (/wiki/NAACP) Awards, the Pratt Institute (/wiki/Pratt_Institute) Award, the Christopher Wallace Award, the Online Hip-Hop Award and a Citation of Honor from the Queens Borough President. [ citation needed ] In 1997, LL Cool J (/wiki/LL_Cool_J) starred in a commercial for Gap Inc. (/wiki/Gap_Inc.) in which he wore a FUBU hat and incorporated the phrase “For Us, By Us” into his rap lyrics. The commercial's production team was unaware of the meaning behind LL's FUBU references until the advertisement aired. [1] (#cite_note-Natalie_Milbrodt_2015-1) The subsequent controversy proved to be a tremendous publicity boost for both companies by simultaneously establishing FUBU in the mainstream, while giving Gap street credibility (/wiki/Street_credibility) . [ citation needed ] In 2003, FUBU mostly withdrew from the U.S. market, concentrating its efforts in Saudi Arabia, China, Korea, Japan and South Africa, while acquiring other apparel brands. In 2009, the company's annual revenue was around $200 million. [5] (#cite_note-DailyF-5) In 2010, FUBU relaunched its collection in the U.S., re-branding itself as FB Legacy. [5] (#cite_note-DailyF-5) In 2018, Puma, a footwear brand, began a collaboration with FUBU to create a number of shoes. [6] (#cite_note-6) According to Complex (/wiki/Complex_(magazine)) , FUBU's decline occurred due to its over saturating the market, as John has publicly stated, "The biggest mistake we made with the brand was buying more inventory than we needed. This was around 2001." Since then, FUBU has continued to collaborate with various brands, including Pyer Moss (/wiki/Pyer_Moss) and Urban Outfitters (/wiki/Urban_Outfitters) . In March 2019, FUBU announced a new partnership with Century 21 (/wiki/Century_21_(department_store)) . [7] (#cite_note-7) In September 2020, Eye Candy Creations USA and FUBU announced their collaboration to design, create, produce and sell FUBU FRAMES, a sunglasses and optical collection worldwide. [8] (#cite_note-8) Collection [ edit ] The FUBU collection consists of T-shirts, rugby shirts (/wiki/Rugby_shirt) , hockey (/wiki/Ice_hockey) and football (/wiki/American_football) jerseys, baseball caps, shoes, and denim jeans. All are embroidered with the FUBU logo. Most of the products, such as the jeans, are imported from around the world. FUBU has now expanded to include various lines such as Platinum FUBU, FUBU footwear for men and women, intimate apparel, active wear, swimwear, watches, FUBU suits, and FUBU tuxedos. The Platinum FUBU collection also includes the Fat Albert (/wiki/Fat_Albert) line where the FUBU founders first got approval from Bill Cosby (/wiki/Bill_Cosby) . [3] (#cite_note-ReferenceA-3) FUBU Records [ edit ] This section needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/FUBU) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) in this section. Unsourced material may be challenged and removed. ( May 2017 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) From 2001 to 2003, FUBU established a record label, first releasing a compilation album entitled The Good Life (/wiki/The_Good_Life_(FUBU_album)) in 2001 and then an album by the 54th Platoon (/wiki/54th_Platoon) entitled All or Nothin' (/wiki/All_or_Nothin%27_(54th_Platoon_album)) in 2003. Both albums made it on the Billboard (/wiki/Billboard_(magazine)) charts. Year Title Chart positions U.S. (/wiki/Billboard_200) Billboard 200 (/wiki/Billboard_200) U.S. R&B (/wiki/Top_R%26B/Hip-Hop_Albums) 2001 The Good Life (/wiki/The_Good_Life_(FUBU_album)) Released: September 25, 2001 Label: FUBU/ Universal (/wiki/Universal_Records) 52 9 References [ edit ] ^ Jump up to: a b c Keith Perrin interviewed by Ian Lewis and Natalie Milbrodt. Time Period: 1970 - 2015. Keith Perrin, First Full Interview. Digital audio recording made using TASCAM DR-07 digital recorder and Audacity. ^ (#cite_ref-web.archive.org_2-0) "FUBU Mainpage, Who we are/The company/Company profile" (https://web.archive.org/web/20000304150936/http://www.fubu.com/main.html) . Archived from the original (http://www.fubu.com/main.html) on March 4, 2000. (archived site) ^ Jump up to: a b Keith Perrin interviewed by Ian Lewis and Natalie Milbrodt. Time Period: 1999 - 2015. Keith Perrin, Second Full Interview. Digital audio recording made using TASCAM DR-07 digital recorder and Audacity. ^ (#cite_ref-4) "Samsung C&T America, Inc. - FUBU" (https://web.archive.org/web/20120611011247/http://www.samsungamerica.com/G/fubu.asp) . Archived from the original (http://www.samsungamerica.com/g/fubu.asp) on 2012-06-11 . Retrieved 2012-09-03 . ^ Jump up to: a b c Nance-Nash, Sheryl (2010-07-24). "FUBU Founder Daymond John Stages His Next Act" (https://web.archive.org/web/20120924141410/http://www.dailyfinance.com/2010/07/24/fubu-founder-daymond-john-stages-his-next-act/) . DailyFinance.com. Archived from the original (http://www.dailyfinance.com/2010/07/24/fubu-founder-daymond-john-stages-his-next-act/) on September 24, 2012 . Retrieved 2012-09-03 . ^ (#cite_ref-6) "FUBU & PUMA Join Forces Again for '90s-Inspired Tsugi Jun" (https://hypebeast.com/2018/2/puma-fubu-tsugi-jun-release-date) . HYPEBEAST . Archived (https://web.archive.org/web/20180206090401/https://hypebeast.com/2018/2/puma-fubu-tsugi-jun-release-date) from the original on 2018-02-06 . Retrieved 2018-02-06 . ^ (#cite_ref-7) "How Fubu Is Making a Comeback" (https://www.complex.com/style/2019/03/fubu-comeback-hip-hop-streetwear-brands) . Archived (https://web.archive.org/web/20200627073103/https://www.complex.com/style/2019/03/fubu-comeback-hip-hop-streetwear-brands) from the original on 2020-06-27 . Retrieved 2020-01-19 . ^ (#cite_ref-8) "Eye Candy Creations USA and FUBU Announce Partnership" (https://www.prnewswire.com/news-releases/eye-candy-creations-usa-and-fubu-announce-partnership-301121983.html) . Cision PR Newswire . 1 September 2020. Archived (https://web.archive.org/web/20210410202051/https://www.prnewswire.com/news-releases/eye-candy-creations-usa-and-fubu-announce-partnership-301121983.html) from the original on 10 April 2021 . Retrieved 2 September 2020 . External links [ edit ] United States portal (/wiki/Portal:United_States) Fashion portal (/wiki/Portal:Fashion) Official website (http://fubu.com) NewPP limit report Parsed by mw‐web.codfw.canary‐6ffd65f7b4‐krxx7 Cached time: 20240713181952 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.370 seconds Real time usage: 0.511 seconds Preprocessor visited node count: 2052/1000000 Post‐expand include size: 31400/2097152 bytes Template argument size: 2994/2097152 bytes Highest expansion depth: 13/100 Expensive parser function count: 8/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 30982/5000000 bytes Lua time usage: 0.228/10.000 seconds Lua memory usage: 6349021/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 474.253 1 -total 25.49% 120.890 1 Template:Reflist 22.03% 104.456 1 Template:Infobox_company 20.86% 98.944 5 Template:Cite_web 19.82% 94.000 1 Template:Infobox 15.90% 75.395 1 Template:Short_description 9.84% 46.648 1 Template:IPAc-en 9.20% 43.615 2 Template:Pagetype 7.29% 34.563 1 Template:More_citations_needed_section 6.78% 32.131 1 Template:More_citations_needed Saved in parser cache with key enwiki:pcache:idhash:239039-0!canonical and timestamp 20240713181952 and revision id 1232118365. 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Swimwear and sports goods company This article is about swimwear maker Speedo International. For North American licensee Speedo USA, see Warnaco Group (/wiki/Warnaco_Group) . For the clothing style, see swim briefs (/wiki/Swim_briefs) . For other uses, see Speedo (disambiguation) (/wiki/Speedo_(disambiguation)) . Speedo International Limited Company type Private (/wiki/Private_company_limited_by_shares) Industry Textile (/wiki/Textile_industry) Footwear (/wiki/Footwear) Predecessor Danomic Investments Ltd. Founded 1914 ; 110 years ago ( 1914 ) in Sydney (/wiki/Sydney) , Australia Founder Alexander MacRae (/wiki/Alexander_MacRae) Fate Acquired Headquarters Nottingham (/wiki/Nottingham) , United Kingdom Area served Worldwide Key people Andrew Rubin ( CEO (/wiki/Chief_Executive_Officer) ) Products Swimsuits (/wiki/Swimsuit) Sportswear (/wiki/Sportswear_(activewear)) Flip-flops (/wiki/Flip-flops) Parent (/wiki/Parent_company) Pentland Group (/wiki/Pentland_Group) Website www (https://www.speedo.com) .speedo (https://www.speedo.com) .com (https://www.speedo.com) Footnotes / references [1] (#cite_note-Speedo1-1) Speedo International Limited is an Australian-British distributor of swimwear (/wiki/Swimsuit) and swim-related accessories based in Nottingham (/wiki/Nottingham) , England. Founded in Sydney (/wiki/Sydney) in 1914 by Alexander MacRae (/wiki/Alexander_MacRae) , a Scottish emigrant, the company is now a subsidiary of the British Pentland Group (/wiki/Pentland_Group) . Today, the Speedo brand can be found on products ranging from swimsuits and goggles to wristwatches. [2] (#cite_note-Speedo2-2) The Speedo brand was previously manufactured for and marketed in North America as Speedo USA by PVH (/wiki/PVH_(company)) , under an exclusive perpetual licence, [3] (#cite_note-YearEnd2009-3) which had acquired prior licensee Warnaco Group (/wiki/Warnaco_Group) in 2013. In January 2020, the Pentland Group purchased back the rights from PVH for $170 million in cash, subject to regulatory approval. [4] (#cite_note-PentlandBuyout-4) In accordance with its Australian roots, Speedo uses a boomerang (/wiki/Boomerang) as its symbol. [5] (#cite_note-5) Due to its success in the swimwear industry, the word "Speedo" has become a generic trademark (/wiki/Generic_trademark) for racing bathing suits. History [ edit ] Speedo Knitting Mills [ edit ] Australian swimmers Bonnie Mealing (/wiki/Bonnie_Mealing) , Clare Dennis (/wiki/Clare_Dennis) , Frances Bult (/wiki/Frances_Bult) with chaperone and sprinters Eileen Wearne (/wiki/Eileen_Wearne) (Aus) and Thelma Kench (/wiki/Thelma_Kench) (NZ) at the 1932 Los Angeles Olympics (/wiki/1932_Summer_Olympics) Company founder Alexander MacRae (/wiki/Alexander_MacRae) emigrated from Loch Kishorn (/wiki/Loch_Kishorn) in the western Highlands of Scotland (/wiki/Scottish_Highlands) to Sydney, Australia in 1910. Originally working as a milkman (/wiki/Milkman) , he founded MacRae and Company Hosiery four years later, manufacturing underwear (/wiki/Underwear) under the brand name (/wiki/Brand_name) Fortitude (taken from his family crest (/wiki/Family_crest) ). [6] (#cite_note-Speedo3-6) The Australian Army (/wiki/Australian_Army) 's need for socks during the First World War (/wiki/First_World_War) provided MacRae with enough business to expand and in 1927 his first line of swimwear, called a "racer-back costume" was introduced. The following year, a naming contest held among the MacRae staff yielded the slogan "Speed on in your Speedos." The brand name was born. The contest winner, Captain Parsonson, was awarded £5 for his slogan and the company was renamed Speedo Knitting Mills . [6] (#cite_note-Speedo3-6) The controversial yet revolutionary racerback (/wiki/Racerback) style's open shoulder and exposed back allowed greater range of motion in water and was quickly adopted by competitive swimmers (/wiki/Swimming_(sport)) , despite being banned by some beaches. [7] (#cite_note-Speedo4-7) In 1932, Speedo made its Olympic debut when 16-year old Australian Clare Dennis (/wiki/Clare_Dennis) won the Women's 200 metre Breaststroke (/wiki/Swimming_at_the_Summer_Olympics) at the Los Angeles Olympic Games (/wiki/1932_Summer_Olympics) . After nearly being disqualified for "showing too much shoulder" in her regulation silk Speedo brand swimsuit, Dennis went on to set a world record time of 3:06.3. [8] (#cite_note-Speedo5-8) The 1936 Berlin Summer Games (/wiki/1936_Berlin_Olympics) also saw some controversy as the men's Australian swim team featured shirtless swim trunks for the first time. Also in 1936, Alexander MacRae became involved in the Surf Life Saving Association (/wiki/Surf_Life_Saving_Australia) . To this day, Speedo continues to support the Australian volunteer organisation. [9] (#cite_note-Speedo6-9) Post-War expansion [ edit ] After devoting most of its resources to the War effort (/wiki/War_effort) during World War II (/wiki/Australia_during_World_War_II) , Speedo enjoyed a great post-war (/wiki/Post-war) demand for swimsuits, specifically the recently invented bikini (/wiki/Bikini) style. The company quickly reestablished itself as a leader in swimwear manufacturing and once again drew controversy when its two-piece was banned by Australian beach inspectors. [9] (#cite_note-Speedo6-9) In 1951, Speedo Knitting Mills (Holdings) Ltd. incorporated (/wiki/Corporation) and went public (/wiki/Initial_public_offering) , selling its stock on the Sydney Stock Exchange (/wiki/Australian_Securities_Exchange) . [9] (#cite_note-Speedo6-9) In 1955, nylon was used for the first time in the company's swimsuits [10] (#cite_note-Speedo7-10) and the next year, the increasingly popular swimsuit brand returned to the Olympics when its home country hosted the Melbourne Summer Games (/wiki/1956_Summer_Olympics) . [6] (#cite_note-Speedo3-6) The Speedo sponsored Australian men's swim team (/wiki/Australia_at_the_1956_Summer_Olympics) took home eight gold medals (/wiki/Gold_medal) [11] (#cite_note-sports-reference-11) and brought a new worldwide level of notoriety to the company which debuted the swim briefs (/wiki/Swim_briefs) that would become synonymous with the brand name. By 1957, Speedo had the exclusive licence to manufacture and distribute Jockey (/wiki/Jockey_International) brand men's underwear in Australia. [12] (#cite_note-Speedo9-12) The company finished off the 1950s by exporting to the United States and exploring potential opportunities in South America, Europe, New Zealand and Japan. [9] (#cite_note-Speedo6-9) The end of the 1950s also saw the beginning of a long-lasting business partnership which continues to this day. In 1958, Speedo began the manufacture of American Warnaco's (/wiki/Warnaco_Group) White Stag (/wiki/White_Stag_(clothing)) ski-wear line. In exchange, in 1961, White Stag became the exclusive US distributor of Speedo swimwear. Through White Stag, Speedo's product line expanded to include men's and women's sportswear. [13] (#cite_note-Speedo10-13) By the middle of the 1960s, Speedo had acquired 30% of Nottingham (/wiki/Nottingham) , UK textile manufacturer Robert Shaw and Company Ltd. and had established a European subsidiary. Licences were also granted to Japanese and South American corporations. [9] (#cite_note-Speedo6-9) The 1968 Mexico City Summer Olympics (/wiki/1968_Summer_Olympics) saw 27 of the 29 gold medalists—22 of which set world records—wearing Speedo brand swimsuits. [9] (#cite_note-Speedo6-9) Speedo began the next decade by completing its acquisition of Robert Shaw and Company in 1971. [14] (#cite_note-Speedo8-14) The 1970s also saw the company pioneer the use of elastane (spandex) (/wiki/Spandex) and the brand's use in Olympic record breaking continued at the 1972 Munich (/wiki/1972_Summer_Olympics) and 1976 Montreal (/wiki/1976_Summer_Olympics) games, the latter of which Speedo was an official swimwear licensee. [9] (#cite_note-Speedo6-9) On Australia Day (/wiki/Australia_Day) , 26 January 1981 the Australian Institute of Sport (/wiki/Australian_Institute_of_Sport) opened in Canberra (/wiki/Canberra) , with Speedo as its first official sponsor. [9] (#cite_note-Speedo6-9) Also early in the decade, Speedo provided equipment and training to China [9] (#cite_note-Speedo6-9) to aid the communist country's return to the Olympics for first time since 1958. [15] (#cite_note-China_Olympism-15) Throughout the decade, the brand expanded its reach in Europe by licensing production in Italy, Spain, Sweden and other nations, bringing its total distribution to 112 countries. [9] (#cite_note-Speedo6-9) Modern technology [ edit ] In 1990, British sportswear firm Pentland Group (/wiki/Pentland_Group) , which had just sold its shares of sneaker company Reebok (/wiki/Reebok) , acquired a significant stake in Warnaco offshoot Authentic Fitness, which was the exclusive North American licensee of Speedo. Pentland followed this move with the purchase of 80% of Speedo (Europe) Ltd. Early the next year, Pentland completed its aggressive entrance into the global swimwear market by wholly acquiring Speedo Australia and Speedo International. [16] (#cite_note-Speedo11-16) Under Pentland's ownership, Speedo expanded its line of swimwear to include more fashion-oriented beachwear as well as triathlon (/wiki/Triathlon) accessories. Michael Phelps (centre) unveils the Speedo LZR Racer (/wiki/LZR_Racer) suit. The 1990s saw the creation of the low-drag S2000 suit, the chlorine (/wiki/Chlorine) resistant Endurance line as well as the Aquablade series which was worn by more than three-fourths of medal winners at the 1996 Atlanta Summer Games. [9] (#cite_note-Speedo6-9) Speedo began the 21st century with the introduction of its Fastskin swimsuit and, again, broke world records when the Summer Games returned to the swimwear leader's home town. The company website boasts that 13 out of the 15 swimming records broken in the 2000 Sydney Olympics (/wiki/2000_Summer_Olympics) were by athletes wearing Speedo. [17] (#cite_note-Distillations-17) Three years later, Speedo celebrated its 75th anniversary with special limited edition lines endorsed by Jerry Hall (/wiki/Jerry_Hall) , Naomi Campbell (/wiki/Naomi_Campbell) and others. In 2004, Michael Phelps (/wiki/Michael_Phelps) wore the Fastskin II, the latest evolution of the Fastskin series, [9] (#cite_note-Speedo6-9) in Athens (/wiki/2004_Summer_Olympics) to become the first swimmer to earn eight medals. [17] (#cite_note-Distillations-17) [18] (#cite_note-phelps-18) Phelps followed up this performance four years later, earning eight golds [18] (#cite_note-phelps-18) at Beijing (/wiki/2008_Summer_Olympics) , while wearing Speedo's LZR Racer suit [9] (#cite_note-Speedo6-9) [17] (#cite_note-Distillations-17) In 2010, the company launched Speedo Sculpture ShapeLine, a new line of body-shaping swimsuits for women. [19] (#cite_note-shape-19) Products [ edit ] Speedo shop, Neal Street, Covent Garden, London Although the brand name Speedo is often genericised (/wiki/Genericized_trademark) to refer to any style of men's swim briefs, these account for less than 2% of the company's sales. [20] (#cite_note-USAToday-20) The Speedo name can be found on a wide range of swimsuit styles for men, women, and children focusing on performance and style. Speedo also offers a range of sportswear, footwear, and accessories ranging from swim goggles to electronics. Additionally, Speedo International offers a line of men's underwear and Speedo Australia features a line of underwear called Speedo Underbody for men and women, sold only in select David Jones (/wiki/David_Jones_Limited) retail stores. [21] (#cite_note-FAQ-21) Accessories [ edit ] Speedo offers a broad range of swim accessories including more than seventy models of goggles, [22] (#cite_note-goggles-22) several models of watches, sunglasses, and towels. In addition, Speedo offers several lines of aquatic fitness (/wiki/Aquatic_fitness) aids and swim aids for children and adults as well as scuba (/wiki/Scuba_set) masks, snorkels (/wiki/Snorkeling) and swimfins (/wiki/Swimfins) . Speedo International offers a line of beach games equipment not offered on the SpeedoUSA website. Footwear [ edit ] The Speedo brand can be found on a wide variety of footwear including sandals, flip-flops (/wiki/Flip-flops) , and water shoes. Speedo USA offers waterproof sneakers for aqua fitness training. [23] (#cite_note-shoes-23) Speedo Digital [ edit ] The Speedo Digital line of accessories includes the waterproof Aquabeat and LZR Racer Aquabeat digital music players and related accessories, which are manufactured by South Korean consumer electronics company Iriver (/wiki/Iriver) . [24] (#cite_note-iriver-24) Speedo's electronics offerings also include the Auquashot waterproof digital camera (/wiki/Digital_camera) . Speedos Café [ edit ] Swimwear [ edit ] Speedo USA's men's collections are categorised as: Competition, Racing, Boardshorts (/wiki/Boardshorts) and Swim Trunks (/wiki/Trunks_(clothing)) , Fashion, and Lifeguard (/wiki/Lifeguard) . [25] (#cite_note-USA-25) Speedo International's men's offerings also include wetsuits. [26] (#cite_note-International-26) Both Speedo USA and Speedo International also offer a wide range of children's styles including performance, racing, fashion and beginner lines. [25] (#cite_note-USA-25) [26] (#cite_note-International-26) Controversial technology [ edit ] Swim records were broken in Speedo brand silk suits in the 1930s, and the company was the first to introduce the use of nylon in the 1950s [10] (#cite_note-Speedo7-10) and later nylon/elastane in the 1970s. [9] (#cite_note-Speedo6-9) Speedo's most recent technological advances are found in the Fastskin, Fastskin FS II series and the LZR Racer suit. [17] (#cite_note-Distillations-17) Throughout the company's history, though, it seemed each design innovation was met with great controversy. Clare Dennis (/wiki/Clare_Dennis) was nearly disqualified from her record-breaking Olympic meet because her suit showed too much skin; [8] (#cite_note-Speedo5-8) early Speedo bikinis were banned from some Australian beaches; [9] (#cite_note-Speedo6-9) more recently, the NASA (/wiki/NASA) technology in the LZR Racer suit Michael Phelps (/wiki/Michael_Phelps) wore at the Beijing Olympics (/wiki/2008_Summer_Olympics) was the subject of great media scrutiny. [17] (#cite_note-Distillations-17) Fastskin [ edit ] In 2000, British designer and former competitive swimmer Fiona Fairhurst (/wiki/Fiona_Fairhurst) was named as a finalist for European Inventor of the Year (/wiki/European_Inventor_of_the_Year) . [27] (#cite_note-27) Fairhurst helped Speedo's Aqualab design team invent the first-of-its-kind Fastskin swimsuit. Inspired by the varying skin texture of a shark (/wiki/Shark) , Fairhurst told the BBC (/wiki/BBC) that she was "looking to develop a fabric that mimics nature". [28] (#cite_note-Fastskin1-28) Both the Fastskin and Fastkskin FS II are textured with bumps and ridges in key places, similar to those on a shark's skin. These ridges are claimed to channel the water over the swimmer's body in a more efficient manner than traditional material suits. [29] (#cite_note-Fastskin2-29) However, research in 2012 has suggested that the artificial sharkskin patterning does not benefit human swimmers, whose body movement is different from sharks. [17] (#cite_note-Distillations-17) In addition, the suits are custom designed for the type of stroke (/wiki/Swimming_stroke) the swimmer will use as well as being engineered differently for women and for men. These high-tech suits make use of elastic compression materials to limit muscle oscillation and to compress the swimmer's body, while in other areas a more flexible fabric is used to allow greater range of motion. Leaving no detail overlooked, the design team also uses low-profile seams. According to author Frank Vizard, the Fastskin suits reduce drag by up to four per cent. [30] (#cite_note-fastskin3-30) Speedo adapted this new fabric technology for the 2006 Winter Olympics (/wiki/2006_Winter_Olympics) . [20] (#cite_note-USAToday-20) The full-bodied Fastskin FSII Ice suits were debuted by the silver medal (/wiki/Silver_medal) winning American women's bobsled team (/wiki/Bobsleigh_at_the_2006_Winter_Olympics_%E2%80%93_Two-woman) . [31] (#cite_note-Bobsleigh-31) By the time the bobsledders were given the opportunity to don their Fastskin suits, the line had already gone through several evolutions including the Fastskin FS-II and Fastskin FS-Pro. From the very beginning, these drag reducing suits were met with great resistance. At issue was Fédération Internationale de Natation (FINA) (/wiki/FINA) rule 10.7, which stated "No swimmer shall use any device that may aid his speed, buoyancy, or endurance during a competition (such as webbed gloves, flippers, fins etc). Goggles may be worn". [32] (#cite_note-FINA-32) Early in 2000, Speedo hand-delivered their new Fastskin suits to 150 Olympic hopefuls and promised 6,000 more would be made available for Olympic trials. Fearing the possibility of Speedo-clad race winners being stripped of medals due to challenges, the Australian Olympic Committee (/wiki/Australian_Olympic_Committee) (AOC) asked the Court of Arbitration for Sport (/wiki/Court_of_Arbitration_for_Sport) to examine the legality of the FINA-sanctioned suits. [33] (#cite_note-ABC1-33) In May that year, a CAS-appointed arbitrator backed the FINA ruling allowing use of the suits for Olympic tryouts. Australian Olympic Committee president John Coates, however, said in a press conference that their swimmers would be allowed to wear the futuristic neck to ankle covering suits, but would do so "at their own risk". [34] (#cite_note-Independent-34) Coates later stated that the ruling he sought was whether the suits should be classified as costumes or devices. [34] (#cite_note-Independent-34) Professor Emeritus (/wiki/Professor_Emeritus) of Exercise (/wiki/Exercise_physiology) and Nutritional sciences (/wiki/Nutritional_science) at San Diego State University (/wiki/San_Diego_State_University) , Brent S. Rushall claimed in a report sent to CAS that the suits were – by FINA's definition and based on manufacturer's claims – in fact devices, rather than costumes [35] (#cite_note-Rushall-35) and are therefore in violation of the FINA rule, which disallows equipment such as fins or flippers. In the report, Rushall equally criticises Adidas (/wiki/Adidas) (who had a similarly designed bodysuit) and Speedo for giving FINA members presents (/wiki/Bribery) and declares that these members should recuse themselves from ruling on the legality of these suits. [35] (#cite_note-Rushall-35) Ultimately, the suits were approved for use in the Sydney Olympics and in December 2000 the super-suit earned a place on Popular Science (/wiki/Popular_Science) 's "100 Best of What's New", alongside the US Navy (/wiki/US_Navy) 's F-16 (/wiki/General_Dynamics_F-16_Fighting_Falcon) replacement (/wiki/Lockheed_Martin_F-35_Lightning_II) and Kodak's Smart (/wiki/Eastman_Kodak#Digital_picture_frames) Digital Picture Frame (/wiki/Digital_photo_frame) with built-in modem (/wiki/Modem) . [36] (#cite_note-popsci1-36) Four years later, the FSII debuted in the Athens summer games. While this next stage in swimwear evolution was quickly approved by FINA, it was not without controversy. Speedo competitor TYR (/wiki/Tyr_Sport,_Inc.) developed a similar full body suit with detached sleeves, which the company calls Aqua Bands. Both TYR's detached Aqua bands and Speedo FSII's attached sleeves are designed to essentially "grip" the water on the inner forearm. TYR maintained that essentially the only difference between their suit and Speedo's was whether the sleeves were attached. Despite this, FINA did not approve TYR's armbands. [37] (#cite_note-TYR2-37) In 2004, 47 medals were won by swimmers wearing Fastskin II. [ citation needed ] In late 2011, in time for the holiday season, Speedo introduced a new Fastskin3 suit. This suit comes in two styles, Elite and Super Elite. Speedo developed the Fastskin3 as a racing "system", consisting of a newly introduced cap, goggles, and competition suit. Michael Phelps is the principal advertiser for the Fastskin3 line of suits, as Ryan Lochte has been reported to prefer the older Fastskin LZR Elite suits. In succession to the LZR Pro and Elite, Speedo switched the branding for their technical suits from "Fastskin LZR Racer" to "Fastskin", continuing the trend they left off in 2008 when they debuted the LZR Racer. The male suit is available as a normal-cut suit and a high-waisted suit that utilises the space in between the belly button and waist of the male swimmer. The core of Speedo's advertising campaign for the new line touted the benefits of "becoming one" with the suit. Speedo advertises up to 16.6% drag reduction and 11% improved oxygen economy. The system was sold featuring "fit point markers", allowing the swimmer to line up the suit, cap, and goggles to achieve an ideal fit and appearance. FINA approved this suit shortly after it was launched, and the suit was anticipated to be used at the London 2012 Olympics by a majority of athletes, along with the Arena (/wiki/Arena_(swimwear)) PowerSkin Carbon Pro suit, which debuted in early 2012. However, a series of high-profile seam failures [38] (#cite_note-38) and high costs for poor performance gain meant that the suit was a commercial failure. Most swimmers, including Phelps, ended up using a revamped version of the LZR Elite. The cap and a cut-down version of the "Super Elite" goggles are still sold today. As of the Rio 2016 Olympics, Speedo's lineup of suits consisted of its flagship "LZR Racer X", known for an "x" pattern of silver kinetic taping; a second generation Elite dubbed the "LZR Elite 2"; and an entry-level "LZR Pro". The LZR X performed slightly better than the FS3 in terms of swimmer preference, but Speedo failed to capture much attention at the Games as Mizuno (/wiki/Mizuno_Corporation) , a Japanese manufacturer, had introduced a new suit (the "GX-Sonic III") designed to circumvent the FINA regulations and aid the swimmer in new ways. Specifically, the Mizuno suit comes in two variants: a sprinter ("ST") variant with stiff taping on the inside of the suit along the hamstrings, designed to help the upbeat of a kick at the end of a race as a swimmer's energy fades, while the multi-racer ("MR") uses two layers of the FINA-approved textile to decrease air permeability drastically, thereby trapping considerable excess air and making a swimmer more buoyant just like with the original LZR Racer (see below). Not much marketing material has appeared in the West, as the GX-Sonic has only been primarily aimed at the small Japanese market and required special importing internationally, so there are no numerical performance claims available, but many unsigned standout swimmers like Joseph Schooling (/wiki/Joseph_Schooling) (since signed by Speedo), Caeleb Dressel (/wiki/Caeleb_Dressel) (since signed by Speedo), and Anthony Ervin (/wiki/Anthony_Ervin) (signed by Finis but allowed to choose his own suit) chose to wear the Mizuno suit over any of Speedo's offerings and won many golds in that suit. Additionally, the de facto trademark appearance of some collegiate teams like the Texas Longhorns (/wiki/Texas_Longhorns_swimming_and_diving) at the NCAA (/wiki/National_Collegiate_Athletic_Association) National Championships is in Mizuno now, as opposed to Speedo. To combat the rapid uprise of choosing Mizuno among high-performing swimmers, Speedo released a new lineup of suits in 2019, in advance of the Tokyo 2020 Olympics. Dubbed the "LZR PURE" collection, the lineup consists of two suits: a new high-end LZR Pure Intent, designed to replace the LZR Racer X, borrowing many technologies like hamstring taping from Mizuno's suits, and intended to compete with Mizuno's ST variant of their GX-Sonic series; and a flexible LZR Pure Valor, designed to replace the LZR Elite 2 and compete with the dual-layered MR variant of the GX-Sonic series. Speedo has also released new goggles and a rebranded FS3 cap to go along with the launch. LZR Racer [ edit ] Main article: LZR Racer (/wiki/LZR_Racer) NASA (/wiki/NASA) computer image used in development of the Speedo LZR Racer Speedo's most controversial move came with 2008's unveiling of the LZR (pronounced " laser (/wiki/Laser) ") Racer. The super smooth suit, which was optimised with the help of NASA wind tunnels (/wiki/Wind_tunnel) , uses welded seams and multiple woven fabrics to reduce drag by up to six per cent. [29] (#cite_note-Fastskin2-29) In addition, the LZR, like the Fastskin, utilises a core stabiliser, which acts almost as a girdle (/wiki/Girdle) , to reduce muscle movement. This was designed to help the swimmer maintain the proper angle in the water for longer periods of time. [29] (#cite_note-Fastskin2-29) [39] (#cite_note-economist1-39) Popular Science (/wiki/Popular_Science) magazine named the suit one of their "100 Best of What's New '08" list, calling it "The fastest swimsuit in the world". [40] (#cite_note-popsci-40) Subsequent research revealed another reason for the suit's success: tiny air bubbles tended to be trapped between the swimmer's body and the suit, lifting the swimmer slightly so that they benefited from lower friction against air as compared to water. [17] (#cite_note-Distillations-17) Speedo's website boasts that the LZR Racer was "so fast, it was banned from competition". [41] (#cite_note-LZR1-41) Indeed, the LZR Racer was banned from international competition by FINA in 2009, along with all full-body polyurethane suits. Men's suits were also banned from extending above the waist or below the knee. Women's suits could not extend past the shoulders or go below the knee. [17] (#cite_note-Distillations-17) However, by that time, swimmers wearing the suit had already broken at least 46 world records. [39] (#cite_note-economist1-39) FINA's ban on the LZR Racer and all "hi-tech" suits came shortly before Michael Phelps's 200 meter freestyle loss to Germany (/wiki/Germany) 's Paul Biedermann (/wiki/Paul_Biedermann) at the 2009 FINA World Aquatics Championships (/wiki/FINA_World_Aquatics_Championships) in Rome, Italy. Wearing Arena's (/wiki/Arena_(swimwear)) polyurethane (/wiki/Polyurethane) X-Glide (/wiki/Arena_X-Glide) suit, Biedermann broke two world records that day [42] (#cite_note-msnbc-42) and beat Phelps by more than one second. [43] (#cite_note-omega-43) Even though FINA had already approved the ban, it had not been scheduled to go into effect until the following spring. The delay in FINA's hi-tech prohibition and Phelps's unexpected second-place finish (his first loss since 2005) led Phelps's coach Bob Bowman (/wiki/Bob_Bowman_(coach)) to threaten a boycott of international swim competitions. [44] (#cite_note-bowman1-44) In the first three days of the eight-day competition, 15 world records were set. [44] (#cite_note-bowman1-44) I'm done with this. It has to be implemented immediately. The sport is in shambles right now and they better do something or they're going to lose their guy who fills these seats. That would be my recommendation to him, to not swim internationally... The mess needs to be stopped right now. This can't go on any further. — Bob Bowman, Associated Press The vague decision by swimming's governing body stated that suit materials would need to be textile, rather than polymer (/wiki/Polymer) -based, but offered no specific deadline for this changeover to occur. [45] (#cite_note-LA1-45) The reason for the delay, FINA executive director Cornel Marculescu told the AP (/wiki/Associated_Press) , is to give manufacturers enough time "to pass from polyurethane to textiles". [44] (#cite_note-bowman1-44) The ambiguity continued when FINA was unable to define textile. [45] (#cite_note-LA1-45) The most specific aspect of the ruling returned men to bare chests and ladies to bare shoulders. [46] (#cite_note-LA2-46) The current rule (GR 5.4), as posted on FINA's website, states "Before any swimwear of new design, construction or material is used in competition, the manufacturer of such swimwear must submit the swimwear to FINA and obtain approval of FINA". [47] (#cite_note-FINA2-47) Speedo's latest version of the LZR Racer series, the LZR Racer Elite, carries the FINA stamp of approval. The Elite series, like its predecessor utilises welded seams and compression material to sculpt the swimmer's body. [41] (#cite_note-LZR1-41) The SpeedoUSA website specifically denies the new generation of LZR Racers is a "quick fix". [41] (#cite_note-LZR1-41) The most recent list of FINA approved swimsuits, which was published in January 2011 lists 78 specific Speedo brand swimsuits among 45 worldwide brands and nearly 720 models. Among them, 71 are Fastskin models and 13 are LZR series suits. [48] (#cite_note-FINA2a-48) Several Speedo designs have been removed from the FINA list including the original LZR Racer, and multiple Fastskin models. [21] (#cite_note-FAQ-21) FINA's ban on LZR Racers left Speedo with a significant surplus stock. The obsolete competition suits have found new life, though. London's Chelsea College of Art and Design (/wiki/Chelsea_College_of_Art_and_Design) received a donation of 600 suits, [49] (#cite_note-chelsea3-49) 200 of which were turned into the Chelsea Xpo Pavilion as part of the 2010 London Festival of Architecture (/wiki/London_Festival_of_Architecture) project. [50] (#cite_note-chelsea-50) The pavilion can be seen on the college's campus at the Rootstein Hopkins Parade Ground. [51] (#cite_note-chelsea2-51) Another collaboration between Speedo and academia (/wiki/Academia) netted a line of designer fashions. Teams of students from the London College of Fashion (/wiki/London_College_of_Fashion) , University College Falmouth (/wiki/University_College_Falmouth) and the University of Huddersfield (/wiki/University_of_Huddersfield) have reused the material to create a complete fashion line including casual slacks, jackets, and even different forms of swimwear. [52] (#cite_note-robinson-52) This was not the company's first foray into recycled high fashion, though. In September 2010, sustainable fashion (/wiki/Sustainable_fashion) label, From Somewhere (/w/index.php?title=From_Somewhere&action=edit&redlink=1) announced a new line of dresses made from Speedo's surplus. [53] (#cite_note-somewhere-53) [54] (#cite_note-somewhere2-54) Online resources [ edit ] YouTube channel [ edit ] Speedo started its YouTube (/wiki/YouTube) channel dedicated to Speedo and its products specifically in the context of "life in and around the water" on 2 March 2007. [55] (#cite_note-SIaboutYT11Jul2021-55) One of the initial videos was aimed at journalists and providing them with a literal and virtual feel for what the athletes wearing the LZR Racer at the 2008 Summer Olympics (/wiki/2008_Summer_Olympics) felt by letting members of the media try the suits on in person in Beijing and sharing that experience virtually via YouTube. [56] (#cite_note-SI7Aug2008-56) For swimmers, videos posted cover a wide range of topics including swimming technique overviews and breaking down the process of designing and making swimwear. [57] (#cite_note-SI24Jul2014-57) [58] (#cite_note-SI9Aug2016-58) Speedo's channel also features high profile athletes at different points of their journey as a professional swimmer such as at the end of a World Championships. [59] (#cite_note-SI1Aug2011-59) Sponsorships [ edit ] Olympic Committees [ edit ] Team Nation Expires Ref Olympic Committee of Israel (/wiki/Olympic_Committee_of_Israel) Israel N/A [60] (#cite_note-ISR-60) National teams [ edit ] Speedo is the sponsor of several national swim teams. Team Nation Expires Ref Swimming Canada (/wiki/Swimming_Canada) Canada N/A [61] (#cite_note-CAN-61) Diving Plongeon Canada Canada N/A [62] (#cite_note-Canada2-62) Synchro Canada Canada N/A [63] (#cite_note-Canada3-63) Canadian Water Polo Association Canada N/A [64] (#cite_note-Canada4-64) Colombian Federation of Swimming Colombia N/A [65] (#cite_note-colombia-65) Finnish Swimming Association (/wiki/Finnish_Swimming_Association) Finland N/A [66] (#cite_note-FIN-66) Hong Kong Amateur Swimming Association Hong Kong N/A [67] (#cite_note-HK-67) Icelandic Swimming Association (/wiki/Icelandic_Swimming_Association) Iceland 2012 [68] (#cite_note-Ice-68) Israel Swimming Association (/wiki/Israel_Swimming_Association) Israel N/A [60] (#cite_note-ISR-60) Japan Swimming Federation (/wiki/Japan_Swimming_Federation) Japan N/A [69] (#cite_note-Jap-69) Mexican Swimming Federation Mexico N/A [70] (#cite_note-MX-70) Romanian Water Polo Association Romania N/A [71] (#cite_note-Romania-71) Royal Spanish Swimming Federation (/wiki/Royal_Spanish_Swimming_Federation) Spain 2014 [72] (#cite_note-Spain-72) British Swimming (/wiki/British_Swimming_(organisation)) United Kingdom 2016 [73] (#cite_note-BritSwim-73) Speedo also offers sponsorships to some High School and College ( NCAA (/wiki/National_Collegiate_Athletic_Association) , NAIA (/wiki/National_Association_of_Intercollegiate_Athletics) , Junior college (/wiki/Junior_college) ) Leagues as well as non-profit recreation leagues such as YMCA (/wiki/YMCA) and Boys and Girls Clubs (/wiki/Boys_%26_Girls_Clubs_of_America) . [74] (#cite_note-pureblue-74) Sponsored athletes [ edit ] In addition to team and league sponsorships, these are the several celebrity athletes that are currently being sponsored by Speedo. [75] (#cite_note-athletes-75) Country Name Discipline France Gilot, Fabien (/wiki/Fabien_Gilot) Freestyle Belgium Timmers, Pieter (/wiki/Pieter_Timmers) Freestyle Denmark Blume, Pernille (/wiki/Pernille_Blume) Freestyle South Korea Kim, Seo-yeong (/wiki/Seo-yeong_Kim) Individual Medley Ukraine Romanchuk, Mykhailo (/wiki/Mykhailo_Romanchuk) Freestyle China Li, Zhuhao (/wiki/Zhuhao_Li) Butterfly China Yan, Zibei (/wiki/Zibei_Yan) Breaststroke China Ye, Shiwen (/wiki/Shiwen_Ye) Individual Medley China Zhu, Menghui (/wiki/Menghui_Zhu) Freestyle China Liu, Yaxin (/wiki/Yaxin_Liu) Backstroke Canada Thormeyer, Markus (/wiki/Markus_Thormeyer) Backstroke, Freestyle Russia Chupkov, Anton (/wiki/Anton_Chupkov) Breaststroke United Kingdom Anderson, Freya (/wiki/Freya_Anderson) Freestyle United Kingdom Dean, Thomas (/wiki/Thomas_Dean_(swimmer)) Medley, Freestyle Netherlands Heemskerk, Femke (/wiki/Femke_Heemskerk) Freestyle Russia Efimova, Yuliya (/wiki/Yuliya_Efimova) Breaststroke Italy Magnini, Filippo (/wiki/Filippo_Magnini) Freestyle United States Franklin, Missy (/wiki/Missy_Franklin) Backstroke United States Meili, Katie (/wiki/Katie_Meili) Breaststroke Canada Masse, Kylie (/wiki/Kylie_Masse) Backstroke United States Cordes, Kevin (/wiki/Kevin_Cordes) Breaststroke Australia Horton, Mack (/wiki/Mack_Horton) Freestyle United States Jones, Cullen (/wiki/Cullen_Jones) Freestyle United States Adrian, Nathan (/wiki/Nathan_Adrian) Freestyle Australia Packard, Jake (/wiki/Jake_Packard) Breaststroke United States Beisel, Elizabeth (/wiki/Elizabeth_Beisel) Individual Medley United Kingdom O'Connor, Siobhan-Marie (/wiki/Siobhan-Marie_O%27Connor) Individual Medley Australia Wilson, Matthew (/wiki/Matthew_Wilson) Breaststroke Australia Winnington, Elijah (/wiki/Elijah_Winnington) Freestyle Australia Throssell, Brianna (/wiki/Brianna_Throssell) Butterfly, Freestyle Australia Lewis, Clyde (/wiki/Clyde_Lewis) Individual Medley, Freestyle Australia McKeon, David (/wiki/David_McKeon) Freestyle Australia McKeown, Kaylee (/wiki/Kaylee_McKeown) Backstroke Australia Atherton, Minna (/wiki/Minna_Atherton) Backstroke Australia Titmus, Ariarne (/wiki/Ariarne_Titmus) Freestyle United Kingdom Scott, Duncan (/wiki/Duncan_Scott_(swimmer)) Freestyle Australia McKeon, Emma (/wiki/Emma_McKeon) Butterfly, Freestyle Denmark Blume, Pernille (/wiki/Pernille_Blume) Freestyle United Kingdom Carlin, Jazz (/wiki/Jazz_Carlin) Freestyle Spain Belmonte Garcia, Mireia (/wiki/Mireia_Belmonte) Butterfly, Freestyle, Individual Medley United States Murphy, Ryan (/wiki/Ryan_Murphy_(swimmer)) Backstroke United States Flickinger, Hali (/wiki/Hali_Flickinger) Butterfly, Individual Medley United States Dressel, Caeleb (/wiki/Caeleb_Dressel) Butterfly, Freestyle, Individual Medley United States Miller, Cody (/wiki/Cody_Miller) Breaststroke United States Curtiss, David (/wiki/David_Curtiss_(swimmer)) Freestyle United Kingdom Peaty, Adam (/wiki/Adam_Peaty) Breaststroke Australia Simpson, Cody (/wiki/Cody_Simpson) Butterfly See also [ edit ] Companies portal (/wiki/Portal:Companies) Fashion portal (/wiki/Portal:Fashion) Australia portal (/wiki/Portal:Australia) High-technology swimwear fabric (/wiki/High-technology_swimwear_fabric) List of generic and genericised trademarks (/wiki/List_of_generic_and_genericised_trademarks) List of swimwear brands (/wiki/List_of_swimwear_brands) Tyr Sport, Inc. 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"FINA Ruling – FINA's ruling doesn't clear things up much" (http://articles.latimes.com/2009/jul/29/sports/sp-fina-world-swimming29) . Los Angeles Times . Retrieved 21 January 2011 . ^ (#cite_ref-LA2_46-0) Adam Tschorn (July 2009). "FINA and the Speedo LZR Racer:slippery suit, slippery slope" (http://latimesblogs.latimes.com/alltherage/2009/07/fina-michael-phelps-speedo-lzr-razer.html) . Los Angeles Times . Retrieved 21 January 2011 . ^ (#cite_ref-FINA2_47-0) "Rules & Regulations" (https://web.archive.org/web/20110108062602/http://www.fina.org/H2O/index.php?option=com_content&view=article&id=259:gr-5-swimwear&catid=80:general-rules&Itemid=184) . fina.org . Fédération Internationale de Natation (FINA). Archived from the original (http://www.fina.org/H2O/index.php?option=com_content&view=article&id=259:gr-5-swimwear&catid=80:general-rules&Itemid=184) on 8 January 2011 . 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Retrieved 22 January 2011 . ^ (#cite_ref-BritSwim_73-0) Adam Fraser (March 2009). "Speedo makes a splash with British Swimming" (http://www.sportspromedia.com/news/speedo_makes_a_splash_with_british_swimming/) . SportsPro . SportsProMedia Ltd . Retrieved 22 January 2011 . ^ (#cite_ref-pureblue_74-0) "Promotional Discount Structure Summary" (https://web.archive.org/web/20120303124303/http://www.pureblueswim.com/v/vspfiles/assets/images/2010%20speedo-pure%20blue%20promo%20discount%20summary%20for%20all%20groups.pdf) (PDF) (Press release). Speedo, Pure Blue Swimming. Archived from the original (http://www.pureblueswim.com/v/vspfiles/assets/images/2010%20speedo-pure%20blue%20promo%20discount%20summary%20for%20all%20groups.pdf) (PDF) on 3 March 2012 . Retrieved 22 January 2012 . ^ (#cite_ref-athletes_75-0) "Our Athletes" (https://web.archive.org/web/20110119130026/http://www.speedo.com/en/speedo_brand/swim_athletes/ourathletes/swim_athletes_2/index.html) . speedo.com . Speedo International. Archived from the original (http://www.speedo.com/en/speedo_brand/swim_athletes/ourathletes/swim_athletes_2/index.html) on 19 January 2011 . Retrieved 22 January 2011 . 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German and American model (born 1973) Heidi Klum Klum at the 2019 iHeartRadio Music Awards (/wiki/2019_iHeartRadio_Music_Awards) Born ( 1973-06-01 ) 1 June 1973 (age 51) Bergisch Gladbach (/wiki/Bergisch_Gladbach) , West Germany (/wiki/West_Germany) Citizenship Germany United States Occupations Model television host television producer actress businesswoman Years active 1991–present Spouses Ric Pipino ( m. 1997; div. 2002) Seal (/wiki/Seal_(musician)) ( m. 2005 ; div. 2014 ) Tom Kaulitz (/wiki/Tom_Kaulitz) ( m. 2019 ) Children 4 Modeling information Height 1.76 m (5 ft 9 + 1 ⁄ 2 in) [1] (#cite_note-fmd-1) Hair color Blonde Brown (natural) [2] (#cite_note-2) Eye color Hazel [3] (#cite_note-3) Agency Creative Artists Agency (/wiki/Creative_Artists_Agency) (New York) d'management group (Milan) [4] (#cite_note-4) [5] (#cite_note-5) Website www (https://www.heidiklum.de) .heidiklum (https://www.heidiklum.de) .de (https://www.heidiklum.de) Heidi Klum ( pronounced [ˈhaɪdiː (/wiki/Help:IPA/Standard_German) ˈklʊm] (/wiki/Help:IPA/Standard_German) ; born 1 June 1973) [6] (#cite_note-6) is a German-American (/wiki/German_Americans) model, television host, producer, and businesswoman. She appeared on the cover of the Sports Illustrated Swimsuit Issue (/wiki/Sports_Illustrated_Swimsuit_Issue) in 1998 and was the first German model to become a Victoria's Secret Angel (/wiki/Victoria%27s_Secret_Angel) . Following a successful modeling career, Klum became the host and a judge of Germany's Next Topmodel (/wiki/Germany%27s_Next_Topmodel) and the reality show Project Runway (/wiki/Project_Runway) , which earned her an Emmy (/wiki/Emmy) nomination in 2008 and a win in 2013 for Outstanding Host for a Reality or Reality-Competition Program (/wiki/Outstanding_Host_for_a_Reality_or_Reality-Competition_Program) (shared with co-host Tim Gunn (/wiki/Tim_Gunn) ). Klum has been nominated for six Emmy Awards (/wiki/Primetime_Emmy_Award_for_Outstanding_Host_for_a_Reality_or_Reality-Competition_Program) . She has worked as a spokesmodel for Dannon (/wiki/Dannon) and H&M (/wiki/H%26M) and has appeared in numerous commercials for McDonald's (/wiki/McDonald%27s) , Volkswagen (/wiki/Volkswagen) , and others. In 2009, Klum became Barbie (/wiki/Barbie) 's official ambassador on Barbie's 50th anniversary (/wiki/Barbie#50th_anniversary) . As an occasional actress, she had supporting roles in movies including Blow Dry (/wiki/Blow_Dry) (2001) and Ella Enchanted (/wiki/Ella_Enchanted_(film)) (2004), and made cameo appearances in The Devil Wears Prada (/wiki/The_Devil_Wears_Prada_(film)) (2006), Perfect Stranger (/wiki/Perfect_Stranger_(film)) (2007) and Ocean's 8 (/wiki/Ocean%27s_8) (2018). She has also made guest appearances on TV shows including Sex and the City (/wiki/Sex_and_the_City) , How I Met Your Mother (/wiki/How_I_Met_Your_Mother) , Desperate Housewives (/wiki/Desperate_Housewives) and Parks and Recreation (/wiki/Parks_and_Recreation) . From 2013, with the exception of 2019, Klum has been a judge on the NBC (/wiki/NBC) reality show America's Got Talent (/wiki/America%27s_Got_Talent) . In May 2011, Forbes (/wiki/Forbes) magazine estimated Klum's total earnings for that year as US$20 million. She was ranked second on Forbes ' list of the " World's Top-Earning Models (/wiki/Forbes_list_of_the_world%27s_highest-paid_models) ". Forbes noted that since ending her 13-year run as a Victoria's Secret Angel, Klum has become more of a businesswoman than a model. In 2008, she became an American citizen while maintaining her native German citizenship. [7] (#cite_note-naturalized-7) [8] (#cite_note-Cityist-8) [9] (#cite_note-9) [10] (#cite_note-10) Early life and discovery Klum was born and raised in Bergisch Gladbach (/wiki/Bergisch_Gladbach) , a city near Cologne (/wiki/Cologne) , West Germany. She is the daughter of Erna Klum (née Berger), [11] (#cite_note-11) a hairdresser, [12] (#cite_note-Times-12) and Günther Klum, [13] (#cite_note-13) a cosmetics company executive. A friend convinced her to enroll in a national modeling contest called "Model 92". [14] (#cite_note-14) Out of 25,000 contestants, Klum was voted the winner on 29 April 1992, and she was offered a modeling contract worth US$300,000 by Thomas Zeumer, CEO of Metropolitan Models New York. [15] (#cite_note-15) After winning, she appeared on the Gottschalk Late Night Show , a German television show with host Thomas Gottschalk (/wiki/Thomas_Gottschalk) . She accepted the contract a few months later, after graduating from school, and decided not to try for an apprentice position at a fashion design school. [16] (#cite_note-16) Career Modeling and acting Heidi Klum wearing The Very Sexy Fantasy Bra 2003 Klum has been featured on the cover of French, German, Portuguese and Spanish Vogue (/wiki/Vogue_(magazine)) magazines, as well as Elle (/wiki/Elle_Magazine) , InStyle (/wiki/InStyle) , Marie Claire (/wiki/Marie_Claire) , Glamour (/wiki/Glamour_(magazine)) and Russian Harper's Bazaar (/wiki/Harper%27s_Bazaar) magazines. She became widely known after appearing on the cover of the Sports Illustrated Swimsuit Issue and for her work with Victoria's Secret (/wiki/Victoria%27s_Secret) as an "Angel". [17] (#cite_note-17) Klum hosted the 2002, 2006, 2007, 2008, and 2009 Victoria's Secret Fashion Shows (/wiki/Victoria%27s_Secret_Fashion_Show) . In addition to working with well-known photographers on her first husband's Sports Illustrated shoots, she was the object and subject of Joanne Gair body painting works in several editions from 1997 to 2010. She wrote the foreword (/wiki/Foreword) to Gair's book of body paint work, Body Painting, Masterpieces . [18] (#cite_note-18) Other magazine's covers include GQ (/wiki/GQ) , Cosmopolitan (/wiki/Cosmopolitan_(magazine)) , Photo (/wiki/Photo_(American_magazine)) , Glamour, Stuff, Joy, Esquire, Max, Men's Journal (/wiki/Men%27s_Journal) , Time (/wiki/Time_(magazine)) and Shape . Klum's modeling work includes advertising campaigns for brands like Pringle of Scotland (/wiki/Pringle_of_Scotland) , Liz Claiborne (/wiki/Liz_Claiborne) and – alongside fellow German supermodels Nadja Auermann (/wiki/Nadja_Auermann) , Veruschka von Lehndorff (/wiki/Veruschka_von_Lehndorff) and Tatjana Patitz (/wiki/Tatjana_Patitz) – for the New York jersey label Kathleen Madden. Beauty campaigns include makeup brands Bobbi Brown (/wiki/Bobbi_Brown) and Astor (/wiki/Coty) , as well as Givenchy (/wiki/Givenchy) 's Amarige fragrance. She also appeared in special ad campaigns by designers like Marc Jacobs (/wiki/Marc_Jacobs) ( Protect The Skin You′e In to raise awareness for skin cancer) and Jean-Paul Gaultier (/wiki/Jean-Paul_Gaultier) (summer tote in collaboration with and to benefit amfAR (/wiki/AmfAR,_The_Foundation_for_AIDS_Research) ). Her runway appearances include numerous Victoria's Secret (/wiki/Victoria%27s_Secret) Annual Fashion Shows, walking for various designers and brands of New York Fashion Week like Zac Posen (/wiki/Zac_Posen) (2004), Escada (/wiki/Escada) , Vera Wang (/wiki/Vera_Wang) , Structure, Victor Alfaro (/w/index.php?title=Victor_Alfaro&action=edit&redlink=1) , Imitation Of Christ (/wiki/Imitation_of_Christ_(designs)) as well as working the catwalk for Philip Treacy (/wiki/Philip_Treacy) at Brown Thomas International Fashion Show in Dublin. As a photo model she worked for retail clothing brands such as H & M (/wiki/H_%26_M) , Ann Taylor (/wiki/Ann_Inc.) and Peek & Cloppenburg (/wiki/Peek_%26_Cloppenburg) and since 2007, she has been a celebrity spokesmodel for Jordache (/wiki/Jordache) . [19] (#cite_note-19) International tech, food and internet brands up to the automotive industry asked for Klum as their celebrity spokesperson and produced ad campaigns and TV commercials for Braun (/wiki/Braun_(company)) epilizer, McDonald's (/wiki/McDonald%27s) salad, Dannon (/wiki/Dannon) , Carl's Jr. (/wiki/Carl%27s_Jr.) / Hardee's (/wiki/Hardee%27s) ( Jim Beam Bourbon Burger (/w/index.php?title=Jim_Beam_Bourbon_Burger&action=edit&redlink=1) ), the Wix (/wiki/Wix.com) website building program and, together with then-husband Seal (/wiki/Seal_(musician)) for the Volkswagen (/wiki/Volkswagen) SUV Tiguan (/wiki/Volkswagen_Tiguan) . In addition to modeling, she has appeared in several TV shows, including Spin City (/wiki/Spin_City) , Sex and the City (/wiki/Sex_and_the_City) , Yes, Dear (/wiki/Jimmy_Saves_the_Day) , and How I Met Your Mother (/wiki/How_I_Met_Your_Mother) . She had a role as an ill-tempered hair model in the movie Blow Dry (/wiki/Blow_Dry) , played a giantess in the movie Ella Enchanted (/wiki/Ella_Enchanted_(film)) and was cast as Ursula Andress (/wiki/Ursula_Andress) in The Life and Death of Peter Sellers (/wiki/The_Life_and_Death_of_Peter_Sellers) . She had cameo appearances in the films The Devil Wears Prada (/wiki/The_Devil_Wears_Prada_(film)) and Perfect Stranger (/wiki/Perfect_Stranger_(film)) . Her other projects include dance and video games. She is featured in the 2003 video game James Bond 007: Everything or Nothing (/wiki/James_Bond_007:_Everything_or_Nothing) , where she plays the villain Dr. Katya Nadanova. [20] (#cite_note-20) She has appeared in several music videos, including Jamiroquai (/wiki/Jamiroquai) 's video " Love Foolosophy (/wiki/Love_Foolosophy) " from their album A Funk Odyssey (/wiki/A_Funk_Odyssey) , Kelis (/wiki/Kelis) 's " Young, Fresh n' New (/wiki/Young,_Fresh_n%27_New) ", off her second 2001 album Wanderland (/wiki/Wanderland) and, most recently, the second video for her then husband Seal's (/wiki/Seal_(musician)) song "Secret" off his 2010 album Seal 6: Commitment (/wiki/Commitment_(Seal_album)) . The latter video depicts the married couple sharing intimate moments while naked in bed; the concept was Klum's idea. [21] (#cite_note-21) In July 2007, having earned US$8 million in the previous 16 months, Klum was named by Forbes (/wiki/Forbes) as third on the list of the World's 15 Top-Earning Supermodels. [22] (#cite_note-22) Klum at The Heart Truth (/wiki/The_Heart_Truth) Fashion Show in February 2008 In 2008, Forbes estimated her income at US$ (/wiki/United_States_dollar) 16 million , putting Klum in first place. For 2007, Forbes estimated her income at US$14 million . [23] (#cite_note-23) Klum is signed to IMG Models (/wiki/IMG_Models) in New York City. [24] (#cite_note-24) In 2008, Klum was a featured guest on an American Volkswagen (/wiki/Volkswagen) commercial, where she was interviewed by a black Beetle (/wiki/Volkswagen_Beetle) . When she commented that German engineering is so sexy, she caused the Beetle to blush and turn red. She has been a part of several commercials for Volkswagen and McDonald's on German television. [25] (#cite_note-25) In November 2008, Klum appeared in two versions of a Guitar Hero World Tour (/wiki/Guitar_Hero_World_Tour) commercial, wherein she did a take on Tom Cruise (/wiki/Tom_Cruise) 's iconic underwear dancing scene in Risky Business (/wiki/Risky_Business) . In both versions, she lip-synced to Bob Seger (/wiki/Bob_Seger) 's " Old Time Rock and Roll (/wiki/Old_Time_Rock_and_Roll) " while dancing around the living room with the wireless guitar controller. [ citation needed ] In October 2009, Klum was the often-nude one-woman subject of Heidilicious , [26] (#cite_note-26) a photo book by photographer Rankin (/wiki/Rankin_(photographer)) . Klum ventured into web-based videos, starring in "SPIKED HEEL: Supermodels Battle the Forces of Evil". The web-series starred model Coco Rocha (/wiki/Coco_Rocha) and was directed by fashion documentarian Doug Keeve. In the story, Klum aka 'The Kluminator,' [27] (#cite_note-27) and her stylish sidekick Coco "The Sassy Superhero" Rocha battle the evil Dr. Faux Pas who is plotting to destroy Fashion Week (/wiki/Fashion_Week) . The heroines employ everything from blow-dryer guns to fist fights, to thwart Dr. Faux Pas' dastardly plans. The Kluminator and Girl Wonder avoid a chain of fashion disasters to neutralize a death ray that threatens to vaporize the community of fashionistas gathered in Bryant Park (/wiki/Bryant_Park) . [28] (#cite_note-28) In 2010, Klum became the new face and creative advisor for European cosmetics brand Astor, for which she sets artistic direction and designs new products and fashion forward color collections. [29] (#cite_note-29) In October 2010, Klum parted ways with Victoria's Secret after 13 years of working with the brand. She provided a simple explanation in her official statement, stating: "All good things have to come to an end. I will always love Victoria and never tell her secret. It's been an absolute amazing time!" [30] (#cite_note-30) It was reported in May 2011 that Klum ranked second with estimated earnings of US$20 million on Forbes (/wiki/Forbes) ' list of the World's Top-Earning Models (2010–2011). Forbes noted that since ending her 13-year run as a Victoria's Secret Angel, Klum has become more of a businesswoman than a model. She partnered with New Balance (/wiki/New_Balance) and Amazon.com (/wiki/Amazon.com) to launch a clothing line and signed a 20-episode deal to host a new show on Lifetime (/wiki/Lifetime_(TV_network)) , called Seriously Funny Kids . [31] (#cite_note-31) Some noted fashion designers have long commented on Klum's limited role as a fashion model. Karl Lagerfeld (/wiki/Karl_Lagerfeld) , for example, in 2009 agreed with German designer Wolfgang Joop (/wiki/Wolfgang_Joop) , who said after Klum had posed naked on the cover of the German edition of GQ (/wiki/GQ) magazine, [32] (#cite_note-32) that she was "no runway model. She is simply too heavy and has too big a bust". [33] (#cite_note-33) Lagerfeld observed that neither he nor Claudia Schiffer (/wiki/Claudia_Schiffer) knew Klum, as she has never worked in Paris and was insignificant in the world of fashion, being "more bling bling and glamorous than current fashion." [34] (#cite_note-34) Producing Project Runway (/wiki/Project_Runway) season three finalist Laura Bennett (/wiki/Laura_Bennett) interviews Klum and Seal at the 59th Emmy Awards (/wiki/59th_Primetime_Emmy_Awards) . In December 2004, Klum became the host, judge and executive producer of the reality show Project Runway (/wiki/Project_Runway) on the U.S. cable television channel Bravo (airing on Lifetime (/wiki/Lifetime_(TV_network)) television beginning in 2009), in which fashion designers compete for the opportunity to show their line at New York Fashion Week (/wiki/New_York_Fashion_Week) and receive money to launch their own fashion line. She received an Emmy Award (/wiki/Emmy_Award) nomination for the show for each of the first four seasons. [35] (#cite_note-35) [36] (#cite_note-autogenerated1-36) In 2008, Klum and Project Runway received a Peabody Award (/wiki/Peabody_Award) , the first time a reality show won the award. [37] (#cite_note-37) Klum was nominated for an Emmy in 2008 for "outstanding host of a reality or reality-competition show" for Project Runway , the first year that category was recognized by the Emmys. [36] (#cite_note-autogenerated1-36) Klum has been the host, judge and co-producer of Germany's Next Topmodel (/wiki/Germany%27s_Next_Topmodel) , the German version of the internationally successful reality television show, since 2006. All twelve seasons aired on the German TV station ProSieben (/wiki/ProSieben) . In 2013, Klum, along with her co-host Tim Gunn (/wiki/Tim_Gunn) won an Emmy Award for Outstanding Host for a Reality or Reality-Competition Program (/wiki/Outstanding_Host_for_a_Reality_or_Reality-Competition_Program) . [38] (#cite_note-38) On 7 September 2018, it was confirmed that Klum, along with Tim Gunn (/wiki/Tim_Gunn) would not be returning to Project Runway for a 17th season on Bravo as they both signed a deal to helm another fashion competition show on Amazon Video (/wiki/Amazon_Video) . [39] (#cite_note-39) Design and other business ventures Klum designed clothing lines (one for men), featured in the German mail-order catalog " Otto (/wiki/Otto_GmbH) ". She designed shoes for Birkenstock (/wiki/Birkenstock) , [40] (#cite_note-40) jewelry for Mouawad, a clothing line for Jordache, and swimsuits – featured in the 2002 Sports Illustrated Swimsuit Issue. [41] (#cite_note-41) She was one of the designers of the Victoria's Secret lingerie line "The Body", named after the nickname she received following her first Victoria's Secret Fashion Show appearance. [42] (#cite_note-42) Her Mouawad jewelry collection debuted on the cable shopping network QVC (/wiki/QVC) on 14 September 2006, and 14 of the 16 styles sold out after 36 minutes. [43] (#cite_note-43) Klum's clothing line for Jordache launched on 30 April 2008. [44] (#cite_note-44) Klum in September 2010 Klum has two fragrances, called "Heidi Klum" and "Me". She designed makeup for Victoria's Secret as part of their "Very Sexy Makeup Collection", titled "The Heidi Klum Collection". The first run debuted in Fall 2007. A second run was released in Fall 2008. [45] (#cite_note-45) Klum was involved in the development of a namesake rose, the Heidi Klum rose (/wiki/Heidi_Klum_rose) , [46] (#cite_note-46) [47] (#cite_note-47) which is available in Germany. For the 2008 US Open (/wiki/US_Open_(tennis)) , Klum designed a screen print T-shirt which was sold at the US Open shop. It featured childlike butterfly pictures. Proceeds will go to a non-profit organization maintaining the park that is home to the US Open. [48] (#cite_note-48) Klum became Barbie (/wiki/Barbie) 's official ambassador for the doll's 50th anniversary in 2009, even having made a Barbie doll out of herself. [49] (#cite_note-49) On 1 April that same year, she appeared on the CBS (/wiki/CBS) television special, I Get That a Lot (/wiki/I_Get_That_a_Lot) , as a girl working at a pizza shop. [ citation needed ] That same year, she appeared in advertising for Dannon's Light & Fit brand. [50] (#cite_note-50) Klum and husband Seal announced in June 2010 that they would be making a reality series on Lifetime (/wiki/Lifetime_(TV_network)) titled Love's Divine (after Seal's song of the same name.) [51] (#cite_note-51) In January 2010, Klum launched two lines of maternity wear: Lavish by Heidi Klum for A Pea in the Pod, and Loved by Heidi Klum for Motherhood Maternity. Klum stated, "I experienced fashion challenges during my four pregnancies and combined my knowledge of what works in terms of style, comfort and practicality to create these lines". [52] (#cite_note-52) In October 2010, Klum with New Balance (/wiki/New_Balance) , HKNB, launched a line of active woman's wear fashion clothing on Amazon.com. [53] (#cite_note-53) In January 2015, Klum launched her lingerie line "Heidi Klum Intimates" in Melbourne, Australia. [54] (#cite_note-54) She launched her Intimates collection in collaboration with Bendon (/wiki/Bendon_Group) in March 2015. [55] (#cite_note-55) Klum is a "Real Celebrity" on the website Stardoll (/wiki/Stardoll) , where she has a line of virtual jewelry, and a virtual clothing line called Jordache. Users can go to Klum's suite (/wiki/Suite_(address)) and interact with her by doing interviews, sending pending requests or dressing Klum's doll. [56] (#cite_note-56) In 2015, she appeared in Australian singer Sia (/wiki/Sia) 's music video " Fire Meet Gasoline (/wiki/Fire_Meet_Gasoline) ", [57] (#cite_note-57) to promote her lingerie line. [58] (#cite_note-58) In 2017, Klum released the fashion line Heidi & the city for exclusive sale in Lidl Grocery Stores. It was first presented with a show at the New York Fashion Week. [59] (#cite_note-59) America's Got Talent In March 2013, it was announced that Klum would be joining America's Got Talent (/wiki/America%27s_Got_Talent) , replacing Sharon Osbourne (/wiki/Sharon_Osbourne) as a judge. [60] (#cite_note-60) She judged seasons 8 through 13 and the first season of America's Got Talent: The Champions (/wiki/America%27s_Got_Talent:_The_Champions) before her departure was announced in February 2019. [61] (#cite_note-61) In February 2020, it was announced she would be back on the panel for the fifteenth season of the main series. [62] (#cite_note-62) Other work Klum is an artist, and she had several of her paintings appear in various art magazines in the US. On 27 September 2002, she dedicated a sculpture she painted called "Dog with Butterflies" to commemorate the role of rescue dogs in the aftermath of 11 September. [63] (#cite_note-63) In 2004, Klum co-authored Heidi Klum's Body of Knowledge with Elle magazine editor Alexandra Postman. [64] (#cite_note-64) The book gives Klum's biography as well as her advice on becoming successful. Prior to that, Klum had been an occasional guest columnist for the German television network RTL (/wiki/RTL_Television) 's website. She wrote an essay for the German newspaper Die Zeit (/wiki/Die_Zeit) . [65] (#cite_note-65) In November 2006, Klum released her debut single " Wonderland (/wiki/Wonderland_(Heidi_Klum_song)) ", written for a series of television advertisements for the German retailer Douglas (/wiki/Douglas_Holding) . [66] (#cite_note-66) Proceeds were given to a children's charity in her hometown of Bergisch Gladbach (/wiki/Bergisch_Gladbach) . She contributed to her husband Seal's 2007 album System (/wiki/System_(album)) , singing the duet "Wedding Day", a song that Seal wrote for their wedding. [67] (#cite_note-67) Personal life In 1997, Klum married stylist Ric Pipino. The couple divorced in 2002. [68] (#cite_note-peoplebio-68) In March 2003, Klum began a relationship with Flavio Briatore (/wiki/Flavio_Briatore) , the Italian managing director of Renault (/wiki/Renault) ’s Formula One (/wiki/Formula_One) team. [69] (#cite_note-69) In December she announced her pregnancy. [70] (#cite_note-70) Soon after, the two split and Klum began dating the musician Seal (/wiki/Seal_(musician)) . Klum gave birth to daughter Leni in May 2004 in New York City. [71] (#cite_note-71) Seal was present for Leni's birth, and according to Klum, Briatore is not involved in Leni's life; she has stated emphatically that "Seal is Leni's father." [72] (#cite_note-72) Klum and Seal got engaged in December 2004 on a glacier in Whistler, British Columbia (/wiki/Whistler,_British_Columbia) , [73] (#cite_note-73) and married on 10 May 2005 on a beach in Mexico. [74] (#cite_note-74) They have three biological children together: sons born in September 2005 [75] (#cite_note-75) and November 2006, [76] (#cite_note-76) and a daughter born in October 2009. [77] (#cite_note-lou-77) On 21 November 2009, Klum officially adopted Seal's surname and became legally known as Heidi Samuel. [78] (#cite_note-78) Soon after, in December 2009, Seal officially adopted Leni, and her last name was changed to Samuel. [79] (#cite_note-79) During their marriage, Klum and Seal renewed their vows to one another each year on their anniversary in front of family and friends. [80] (#cite_note-80) On 22 January 2012, the couple announced that they were separating after almost seven years of marriage. [81] (#cite_note-81) [82] (#cite_note-82) She filed for divorce from Seal three months later on 6 April 2012. [83] (#cite_note-divorce_filed-83) She also requested that her name be restored to her birth name of Heidi Klum. [84] (#cite_note-84) Their divorce was finalized on 14 October 2014. [85] (#cite_note-divorce_final-85) Klum dated her bodyguard, Martin Kirsten, from 2012 to 2014. [86] (#cite_note-86) She started dating art curator Vito Schnabel (/wiki/Vito_Schnabel) in 2014. They broke up in 2017 after three years of dating. [87] (#cite_note-87) In May 2018, Klum made public her relationship with Tokio Hotel (/wiki/Tokio_Hotel) guitarist Tom Kaulitz (/wiki/Tom_Kaulitz) through Instagram posts and appearances at Cannes Film Festival (/wiki/Cannes_Film_Festival) . The two were first romantically linked in March of the same year. [88] (#cite_note-88) On 24 December 2018, after approximately one year of dating, Klum announced on her Instagram that she and Kaulitz were engaged and posted a picture of the couple where the ring was showing with the caption "I SAID YES" followed with a red heart emoji. [89] (#cite_note-89) Klum privately married Kaulitz in February 2019. [90] (#cite_note-90) The couple's wedding ceremony was held on the yacht Christina O (/wiki/Christina_O) in Italy in August 2019. [91] (#cite_note-91) In an interview with Ocean View, Klum has described herself as a nudist (/wiki/Naturism) , stating "I grew up very free... not hiding or feeling insecure about myself or my body. As much as I love wearing beautiful lingerie and clothes, I also love not wearing too much. It's a free feeling that I've had since being a small child growing up in Germany. I had parents that never hid from me when they changed clothing or when I walked into the room. When we would go to the beach, my mom would sunbathe topless." [92] (#cite_note-92) Bomb threat during GNTM live finale During the live finale of the 10th season of Germany's Next Top Model (/wiki/Germany%27s_Next_Top_Model) in the Mannheim (/wiki/Mannheim) SAP Arena (/wiki/SAP_Arena) on 14 May 2015, a telephone call by a woman came in at 9:07 pm, threatening that a bomb would go off during the live show. The organizer decided to have the hall evacuated and then to call the police. In the meantime, the live broadcast had been canceled and a note was shown to the television viewers, stating that the show had been interrupted due to technical issues. Later on, a man was arrested after he came near Klum, issuing another bomb threat. Thereupon, she was evacuated along with her daughter Leni and the two other judges. A suspicious suitcase was found, which turned out to be a hoax (/wiki/Hoax) . [93] (#cite_note-93) Philanthropy On 30 April 2011, Klum led Walk for Kids, a community 5K walk to raise funds as part of Children's Hospital Los Angeles community awareness efforts. [94] (#cite_note-94) In May 2014, Klum was honoured with the Crystal Cross Award of the American Red Cross (/wiki/American_Red_Cross) for her charity work, most notably for her contributions to the Red Cross after Hurricane Sandy (/wiki/Hurricane_Sandy) . [95] (#cite_note-95) Filmography Year Title Role 1998 54 (/wiki/54_(film)) VIP Patron 1999 Spin City (/wiki/Spin_City) Herself 2000 Cursed (/wiki/Cursed_(2000_TV_series)) Annika 2001 Blow Dry (/wiki/Blow_Dry) Jasmine Sex and the City (/wiki/Sex_and_the_City) Herself Zoolander (/wiki/Zoolander) Herself 2002 Malcolm in the Middle (/wiki/Malcolm_in_the_Middle) Toothless Hockey Player Yes, Dear (/wiki/Yes,_Dear) Herself 2003 Blue Collar Comedy Tour (/wiki/Blue_Collar_Comedy_Tour) Victoria's Secret (/wiki/Victoria%27s_Secret) Sales Girl James Bond 007: Everything or Nothing (/wiki/James_Bond_007:_Everything_or_Nothing) (video game) Katya Nadanova (voice) CSI: Miami (/wiki/CSI:_Miami) Herself 2004 Ella Enchanted (/wiki/Ella_Enchanted_(film)) Brumhilda The Life and Death of Peter Sellers (/wiki/The_Life_and_Death_of_Peter_Sellers) Ursula Andress (/wiki/Ursula_Andress) 2004–2017 Project Runway (/wiki/Project_Runway) Host and judge 2006 The Devil Wears Prada (/wiki/The_Devil_Wears_Prada_(film)) Herself 2006–present Germany's Next Topmodel (/wiki/Germany%27s_Next_Topmodel) Host and judge 2007 Perfect Stranger (/wiki/Perfect_Stranger_(film)) Victoria's Secret Party Host How I Met Your Mother (/wiki/How_I_Met_Your_Mother) Herself 2009–2010 I Get That a Lot (/wiki/I_Get_That_a_Lot) Herself 2010 Desperate Housewives (/wiki/Desperate_Housewives) Herself 2011 Hoodwinked Too! Hood vs. Evil (/wiki/Hoodwinked_Too!_Hood_vs._Evil) Heidi Seriously Funny Kids (/wiki/Seriously_Funny_Kids) Host 2012–2016 Littlest Pet Shop (/wiki/Littlest_Pet_Shop_(2012_TV_series)) Heidi, the Lady Yodely of the High D (voice) [96] (#cite_note-96) 2013 Parks and Recreation (/wiki/Parks_and_Recreation) Ulee Danssen [97] (#cite_note-97) 2013–2018, 2020–present America's Got Talent (/wiki/America%27s_Got_Talent) Herself/Judge 2016 Zoolander: Super Model (/wiki/Zoolander:_Super_Model) Herself (voice) 2018 Ocean's 8 (/wiki/Ocean%27s_8) Herself 2019 Queen of Drags (/wiki/Queen_of_Drags) Herself/Judge Arctic Dogs (/wiki/Arctic_Dogs) Jade / Bertha (voice) 2019–2020 America's Got Talent: The Champions (/wiki/America%27s_Got_Talent:_The_Champions) Herself/Judge 2020–present Making the Cut (/wiki/Making_the_Cut_(2020_TV_series)) Herself and executive producer 2023 America's Got Talent: All-Stars (/wiki/America%27s_Got_Talent:_All-Stars) Herself/Judge 2024 America's Got Talent: Fantasy League (/wiki/America%27s_Got_Talent:_Fantasy_League) Herself/Judge Awards and nominations Year Association Category Work Result Ref. 2005 Primetime Emmy Awards (/wiki/Primetime_Emmy_Awards) Outstanding Reality-Competition Program (/wiki/Primetime_Emmy_Award_for_Outstanding_Reality-Competition_Program) Project Runway Nominated [98] (#cite_note-Emmys-98) 2006 Nominated 2007 Nominated German Television Awards (/wiki/Deutscher_Fernsehpreis) Best Entertainment Program/Best Host in an Entertainment Program Germany's Next Topmodel Nominated [99] (#cite_note-99) 2008 Nominated [100] (#cite_note-100) Teen Choice Awards (/wiki/Teen_Choice_Awards) Choice TV Personality Project Runway Nominated [101] (#cite_note-101) Primetime Emmy Awards Outstanding Reality-Competition Program Nominated [98] (#cite_note-Emmys-98) Outstanding Host for a Reality or Reality-Competition Program (/wiki/Primetime_Emmy_Award_for_Outstanding_Host_for_a_Reality_or_Reality-Competition_Program) Nominated 2009 Outstanding Reality-Competition Program Nominated Outstanding Host for a Reality or Reality-Competition Program Nominated 2010 Outstanding Reality-Competition Program Nominated Outstanding Host for a Reality or Reality-Competition Program Nominated 2011 Outstanding Reality-Competition Program Nominated 2012 Nominated 2013 Nominated Outstanding Host for a Reality or Reality-Competition Program Won 2014 Outstanding Reality-Competition Program Nominated Outstanding Host for a Reality or Reality-Competition Program Nominated 2015 Outstanding Reality-Competition Program Nominated Outstanding Host for a Reality or Reality-Competition Program Nominated 2016 Outstanding Reality-Competition Program Nominated Outstanding Host for a Reality or Reality-Competition Program Nominated 2017 Outstanding Reality-Competition Program Nominated Outstanding Host for a Reality or Reality-Competition Program Nominated See also Portals (/wiki/Wikipedia:Contents/Portals) : Biography (/wiki/Portal:Biography) Fashion (/wiki/Portal:Fashion) Germany (/wiki/Portal:Germany) Music (/wiki/Portal:Music) Television (/wiki/Portal:Television) United States (/wiki/Portal:United_States) References ^ (#cite_ref-fmd_1-0) Heidi Klum (https://www.fashionmodeldirectory.com/models/Heidi_Klum/) at Fashion Model Directory (/wiki/Fashion_Model_Directory) ^ (#cite_ref-2) Rebeccad (12 May 2012). "Heidi Klum: 'I Felt More Special' as a Blonde" (https://www.yahoo.com/entertainment/blogs/aline/heidi-klum-felt-more-special-blonde-222624889.html) . Yahoo (/wiki/Yahoo) . Archived (https://web.archive.org/web/20190102094944/https://www.yahoo.com/entertainment/blogs/aline/heidi-klum-felt-more-special-blonde-222624889.html) from the original on 2 January 2019 . Retrieved 2 January 2019 . ^ (#cite_ref-3) Sports Illustrated Swimsuit: 50 Years of Beautiful special, 3 February 2014 ^ (#cite_ref-4) "DManagement – Heidi Klum" (https://web.archive.org/web/20191028152049/http://dmanagementgroup.com/model/1045/heidi-klum) . www.dmanagementgroup.com . Archived from the original (http://www.dmanagementgroup.com/model/1045/heidi-klum) on 28 October 2019 . Retrieved 9 December 2017 . ^ (#cite_ref-5) "Heidi Klum – Model" (https://models.com/models/Heidi-Klum) . Archived (https://web.archive.org/web/20171210020349/https://models.com/models/Heidi-Klum) from the original on 10 December 2017 . Retrieved 9 December 2017 . ^ (#cite_ref-6) "Heidi Klum" (https://web.archive.org/web/20070928110027/http://www.heidiklum.com/en/Formerly.aspx) . heidiklum.com. Archived from the original (http://www.heidiklum.com/en/Formerly.aspx) on 28 September 2007 . Retrieved 28 August 2007 . 1. June 1973: My birthday in Bergisch Gladbach, Germany. Bundesrepublik Deutschland ^ (#cite_ref-naturalized_7-0) "Heidi Klum Becomes a Citizen For Her Children" (https://people.com/parents/heidi-klum-becomes-a-citizen-for-her-children/) . People . 5 November 2008. Archived (https://web.archive.org/web/20190212130823/https://people.com/parents/heidi-klum-becomes-a-citizen-for-her-children/) from the original on 12 February 2019 . Retrieved 11 February 2019 . ^ (#cite_ref-Cityist_8-0) "Solid Gold: In fashion, you are either in or you are out. Or in Heidi Klum's case, you are rather above it all" (https://web.archive.org/web/20110412145846/http://www.cityist.com/features/heidi-klum/) . cityist.com . 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"Emmy Nominations: They Give Awards to Reality Shows? (Just Kidding, 'The Amazing Race' Is Outstanding)" (http://tvdecoder.blogs.nytimes.com/2008/07/17/emmy-nominations-they-give-awards-to-reality-shows/) . The New York Times . Archived (https://web.archive.org/web/20081202175844/http://tvdecoder.blogs.nytimes.com/2008/07/17/emmy-nominations-they-give-awards-to-reality-shows/) from the original on 2 December 2008 . Retrieved 4 May 2010 . ^ (#cite_ref-37) "Report, Rock, Runway Get Peabody'd" (https://news.yahoo.com/s/eonline/20080402/en_tv_eo/68f33aa3_e8f74be0_9cc3_4cc929da3dcb) . Yahoo! News (/wiki/Yahoo!_News) . 2 April 2008 . Retrieved 4 April 2008 . [ dead link ] ^ (#cite_ref-38) Margaret Lyons (16 September 2013). "Bob Newhart, Heidi Klum Win First Emmys" (http://www.vulture.com/2013/09/bob-newhart-heidi-klum-win-first-emmys.html) . vulture.com. 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Archived (https://web.archive.org/web/20170916230759/https://www.emmys.com/bios/heidi-klum) from the original on 16 September 2017 . Retrieved 16 September 2017 . ^ (#cite_ref-99) "Nominierte 2007" (http://www.deutscher-fernsehpreis.de/archiv/archiv-2007/nominierte-2007/) (in German). Der Deutsche Fersehpreis. 9 July 2012. Archived (https://web.archive.org/web/20170917032523/http://www.deutscher-fernsehpreis.de/archiv/archiv-2007/nominierte-2007/) from the original on 17 September 2017 . Retrieved 16 September 2017 . ^ (#cite_ref-100) "Nominierte 2008" (http://www.deutscher-fernsehpreis.de/archiv/archiv-2008/nominierte-2008/) (in German). Der Deutsche Fersehpreis. 9 July 2012. Archived (https://web.archive.org/web/20170818214537/http://www.deutscher-fernsehpreis.de/archiv/archiv-2008/nominierte-2008/) from the original on 18 August 2017 . Retrieved 16 September 2017 . ^ (#cite_ref-101) "2008 Teen Choice Awards winners and nominees" (https://web.archive.org/web/20131218191219/http://theenvelope.latimes.com/env-2008-teen-choice-awards-scorecard17jun17,0,2603341.htmlstory) . Los Angeles Times . 17 June 2008. Archived from the original (http://theenvelope.latimes.com/env-2008-teen-choice-awards-scorecard17jun17,0,2603341.htmlstory) on 18 December 2013 . Retrieved 16 September 2017 . External links Heidi Klum at Wikipedia's sister projects Media (https://commons.wikimedia.org/wiki/Category:Heidi_Klum) from Commons Quotations (https://en.wikiquote.org/wiki/Heidi_Klum) from Wikiquote Data (https://www.wikidata.org/wiki/Q60036) from Wikidata Official website (https://www.heidiklum.de) Heidi Klum (https://www.imdb.com/name/nm0005099/) at IMDb (/wiki/IMDb_(identifier)) Heidi Klum (https://www.fashionmodeldirectory.com/models/heidi_klum/) at Fashion Model Directory (/wiki/Fashion_Model_Directory) AOL Books interview about the book (https://web.archive.org/web/20070601233524/http://books.aol.com/feature/_a/interview-heidi-klum-body-of-knowledge/20060710102209990001) Body of Knowledge Interview (https://web.archive.org/web/20051124092542/http://heidiklum.ewestpost.com/) in Der Spiegel (/wiki/Der_Spiegel) (12 February 2006) Links to related articles v t e 1990–1999 Sports Illustrated (/wiki/Sports_Illustrated) Swimsuit Issue (/wiki/Sports_Illustrated_Swimsuit_Issue) 1990 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(/wiki/Naomi_Campbell) Yasmeen Ghauri (/wiki/Yasmeen_Ghauri) p Steffi Graf (/wiki/Steffi_Graf) Eva Herzigová (/wiki/Eva_Herzigov%C3%A1) Vendela Kirsebom (/wiki/Vendela_Kirsebom) Valeria Mazza (/wiki/Valeria_Mazza) Karen Mulder (/wiki/Karen_Mulder) Navia Nguyen (/wiki/Navia_Nguyen) m Chandra North (/wiki/Chandra_North) p Brandi Quiñones (/w/index.php?title=Brandi_Qui%C3%B1ones&action=edit&redlink=1) m Niki Taylor (/wiki/Niki_Taylor) Stacey Williams (/wiki/Stacey_Williams) 1998 Tyra Banks (/wiki/Tyra_Banks) Caprice Bourret (/wiki/Caprice_Bourret) Laetitia Casta (/wiki/Laetitia_Casta) Louise Forsling (/w/index.php?title=Louise_Forsling&action=edit&redlink=1) Eva Herzigová (/wiki/Eva_Herzigov%C3%A1) Heidi Klum Tanga Moreau (/wiki/Tanga_Moreau) Karen Mulder (/wiki/Karen_Mulder) p Chandra North (/wiki/Chandra_North) Irina Pantaeva (/wiki/Irina_Pantaeva) Lorraine Pascale (/wiki/Lorraine_Pascale) Daniela Peštová (/wiki/Daniela_Pe%C5%A1tov%C3%A1) Rebecca Romijn (/wiki/Rebecca_Romijn) Niki Taylor (/wiki/Niki_Taylor) Stacey Williams (/wiki/Stacey_Williams) 1999 Kadra Ahmed Omar (/w/index.php?title=Kadra_Ahmed_Omar&action=edit&redlink=1) Michelle Behennah (/wiki/Michelle_Behennah) * Laetitia Casta (/wiki/Laetitia_Casta) Yamila Díaz (/wiki/Yamila_Diaz-Rahi) * Amber Noelle Ehresmann (/w/index.php?title=Amber_Noelle_Ehresmann&action=edit&redlink=1) Luján Fernández (/wiki/Luj%C3%A1n_Fern%C3%A1ndez) Eva Herzigová (/wiki/Eva_Herzigov%C3%A1) Heidi Klum * Chandra North (/wiki/Chandra_North) Sarah O'Hare (/wiki/Sarah_Murdoch) * Andrea Orme (/w/index.php?title=Andrea_Orme&action=edit&redlink=1) Daniela Peštová (/wiki/Daniela_Pe%C5%A1tov%C3%A1) * Audrey Quock (/wiki/Audrey_Quock) Rebecca Romijn (/wiki/Rebecca_Romijn) * Tamara Spoelder (/w/index.php?title=Tamara_Spoelder&action=edit&redlink=1) Veronika Vařeková (/wiki/Veronika_Va%C5%99ekov%C3%A1) Covergirl in bold, *appeared in bodypainting (/wiki/Bodypainting) by Joanne Gair (/wiki/Joanne_Gair) , p appeared in print edition only, m appeared in special feature v t e 2000–2009 Sports Illustrated (/wiki/Sports_Illustrated) Swimsuit Issue (/wiki/Sports_Illustrated_Swimsuit_Issue) 2000 Elsa Benítez (/wiki/Elsa_Ben%C3%ADtez) p Kylie Bax (/wiki/Kylie_Bax) Michelle Behennah (/wiki/Michelle_Behennah) Laetitia Casta (/wiki/Laetitia_Casta) Yamila Díaz (/wiki/Yamila_Diaz-Rahi) Luján Fernández (/wiki/Luj%C3%A1n_Fern%C3%A1ndez) Kristy Hinze (/wiki/Kristy_Hinze) Malia Jones (/wiki/Malia_Jones) p Heidi Klum Melania Knauss (/wiki/Melania_Trump) p Shakara Ledard (/wiki/Shakara_Ledard) Ana Paula Lemes (/w/index.php?title=Ana_Paula_Lemes&action=edit&redlink=1) p Noémie Lenoir (/wiki/No%C3%A9mie_Lenoir) Josie Maran (/wiki/Josie_Maran) p Carré Otis (/wiki/Carr%C3%A9_Otis) Daniela Peštová (/wiki/Daniela_Pe%C5%A1tov%C3%A1) Audrey Quock (/wiki/Audrey_Quock) p Gabrielle Reece (/wiki/Gabrielle_Reece) p Rachel Roberts (/wiki/Rachel_Roberts_(model)) Molly Sims (/wiki/Molly_Sims) p Veronika Vařeková (/wiki/Veronika_Va%C5%99ekov%C3%A1) Estella Warren (/wiki/Estella_Warren) 2001 Michelle Behennah (/wiki/Michelle_Behennah) Elsa Benítez (/wiki/Elsa_Ben%C3%ADtez) Aurélie Claudel (/wiki/Aur%C3%A9lie_Claudel) Yamila Díaz (/wiki/Yamila_Diaz-Rahi) * Luján Fernández (/wiki/Luj%C3%A1n_Fern%C3%A1ndez) Janelle Fishman (/w/index.php?title=Janelle_Fishman&action=edit&redlink=1) p Heidi Klum * Shakara Ledard (/wiki/Shakara_Ledard) * Kim Lemanton (/w/index.php?title=Kim_Lemanton&action=edit&redlink=1) p Noémie Lenoir (/wiki/No%C3%A9mie_Lenoir) * Shirley Mallmann (/wiki/Shirley_Mallmann) Josie Maran (/wiki/Josie_Maran) Petra Němcová (/wiki/Petra_N%C4%9Bmcov%C3%A1) p Daniela Peštová (/wiki/Daniela_Pe%C5%A1tov%C3%A1) Audrey Quock (/wiki/Audrey_Quock) p Molly Sims (/wiki/Molly_Sims) * Fernanda Tavares (/wiki/Fernanda_Tavares) * Veronika Vařeková (/wiki/Veronika_Va%C5%99ekov%C3%A1) * Amy Wesson (/wiki/Amy_Wesson) 2002 Ana Beatriz Barros (/wiki/Ana_Beatriz_Barros) Elsa Benítez (/wiki/Elsa_Ben%C3%ADtez) Ehrinn Cummings (/w/index.php?title=Ehrinn_Cummings&action=edit&redlink=1) Yamila Díaz (/wiki/Yamila_Diaz-Rahi) Isabeli Fontana (/wiki/Isabeli_Fontana) Bridget Hall (/wiki/Bridget_Hall) Melissa Keller (/wiki/Melissa_Keller) Heidi Klum Shakara Ledard (/wiki/Shakara_Ledard) Vanessa Lorenzo (/wiki/Vanessa_Lorenzo) Josie Maran (/wiki/Josie_Maran) Carla Maria (/w/index.php?title=Carla_Maria&action=edit&redlink=1) p Marisa Miller (/wiki/Marisa_Miller) p Annie Morton (/wiki/Annie_Morton) p Petra Němcová (/wiki/Petra_N%C4%9Bmcov%C3%A1) Chandra North (/wiki/Chandra_North) Daniela Peštová (/wiki/Daniela_Pe%C5%A1tov%C3%A1) p Audrey Quock (/wiki/Audrey_Quock) Molly Sims (/wiki/Molly_Sims) Veronika Vařeková (/wiki/Veronika_Va%C5%99ekov%C3%A1) 2003 Michelle Alves (/wiki/Michelle_Alves) p May Andersen (/wiki/May_Andersen) Ana Beatriz Barros (/wiki/Ana_Beatriz_Barros) Yamila Díaz (/wiki/Yamila_Diaz-Rahi) Reka Ebergenyi (/w/index.php?title=Reka_Ebergenyi&action=edit&redlink=1) p Isabeli Fontana (/wiki/Isabeli_Fontana) Bridget Hall (/wiki/Bridget_Hall) Rachel Hunter (/wiki/Rachel_Hunter) * Melissa Keller (/wiki/Melissa_Keller) Noémie Lenoir (/wiki/No%C3%A9mie_Lenoir) Juliana Martins (/wiki/Juliana_Martins) Marisa Miller (/wiki/Marisa_Miller) Petra Němcová (/wiki/Petra_N%C4%9Bmcov%C3%A1) Sarah O'Hare (/wiki/Sarah_Murdoch) Daniela Peštová (/wiki/Daniela_Pe%C5%A1tov%C3%A1) Audrey Quock (/wiki/Audrey_Quock) Molly Sims (/wiki/Molly_Sims) Fernanda Tavares (/wiki/Fernanda_Tavares) p Jessica White (/wiki/Jessica_White) 2004 May Andersen (/wiki/May_Andersen) Ana Beatriz Barros (/wiki/Ana_Beatriz_Barros) Elsa Benítez (/wiki/Elsa_Ben%C3%ADtez) Yamila Díaz (/wiki/Yamila_Diaz-Rahi) Bridget Hall (/wiki/Bridget_Hall) * Melissa Keller (/wiki/Melissa_Keller) * Noémie Lenoir (/wiki/No%C3%A9mie_Lenoir) * Angela Lindvall (/wiki/Angela_Lindvall) Marisa Miller (/wiki/Marisa_Miller) * Fernanda Motta (/wiki/Fernanda_Motta) Carolyn Murphy (/wiki/Carolyn_Murphy) Petra Němcová (/wiki/Petra_N%C4%9Bmcov%C3%A1) * Daniela Peštová (/wiki/Daniela_Pe%C5%A1tov%C3%A1) Frankie Rayder (/wiki/Frankie_Rayder) Molly Sims (/wiki/Molly_Sims) Jessica Van Der Steen (/wiki/Jessica_Van_Der_Steen) Veronika Vařeková (/wiki/Veronika_Va%C5%99ekov%C3%A1) Jessica White (/wiki/Jessica_White) * 2005 Michelle Alves (/wiki/Michelle_Alves) Ana Beatriz Barros (/wiki/Ana_Beatriz_Barros) Yamila Díaz (/wiki/Yamila_Diaz-Rahi) Alicia Hall (/wiki/Alicia_Hall) Bridget Hall (/wiki/Bridget_Hall) * Shakara Ledard (/wiki/Shakara_Ledard) Noémie Lenoir (/wiki/No%C3%A9mie_Lenoir) Michelle Lombardo (/wiki/Michelle_Lombardo) Marisa Miller (/wiki/Marisa_Miller) * Fernanda Motta (/wiki/Fernanda_Motta) Carolyn Murphy (/wiki/Carolyn_Murphy) Petra Němcová (/wiki/Petra_N%C4%9Bmcov%C3%A1) Oluchi Onweagba (/wiki/Oluchi_Onweagba) Frankie Rayder (/wiki/Frankie_Rayder) Daniella Sarahyba (/wiki/Daniella_Sarahyba) * Mallory Snyder (/wiki/Mallory_Snyder) Jessica Van Der Steen (/wiki/Jessica_Van_Der_Steen) Anne V (/wiki/Anne_Vyalitsyna) * Veronika Vařeková (/wiki/Veronika_Va%C5%99ekov%C3%A1) Jessica White (/wiki/Jessica_White) * 2006 Ana Beatriz Barros (/wiki/Ana_Beatriz_Barros) Elsa Benitez (/wiki/Elsa_Ben%C3%ADtez) Carla Campbell (/wiki/Carla_Campbell) Brooklyn Decker (/wiki/Brooklyn_Decker) Yamila Diaz (/wiki/Yamila_Diaz-Rahi) Bridget Hall (/wiki/Bridget_Hall) Rachel Hunter (/wiki/Rachel_Hunter) Heidi Klum * Noémie Lenoir (/wiki/No%C3%A9mie_Lenoir) Elle Macpherson (/wiki/Elle_Macpherson) Marisa Miller (/wiki/Marisa_Miller) Fernanda Motta (/wiki/Fernanda_Motta) Carolyn Murphy (/wiki/Carolyn_Murphy) Aline Nakashima (/w/index.php?title=Aline_Nakashima&action=edit&redlink=1) Petra Němcová (/wiki/Petra_N%C4%9Bmcov%C3%A1) Oluchi Onweagba (/wiki/Oluchi_Onweagba) Daniela Peštová (/wiki/Daniela_Pe%C5%A1tov%C3%A1) Rebecca Romijn (/wiki/Rebecca_Romijn) Pania Rose (/wiki/Pania_Rose) Daniella Sarahyba (/wiki/Daniella_Sarahyba) Molly Sims (/wiki/Molly_Sims) Mallory Snyder (/wiki/Mallory_Snyder) Yésica Toscanini (/wiki/Y%C3%A9sica_Toscanini) Veronica Varekova (/wiki/Veronika_Va%C5%99ekov%C3%A1) Anne V (/wiki/Anne_Vyalitsyna) 2007 Ana Paula Araújo (/wiki/Ana_Paula_Ara%C3%BAjo_(model)) * Ana Beatriz Barros (/wiki/Ana_Beatriz_Barros) Brooklyn Decker (/wiki/Brooklyn_Decker) Yamila Díaz (/wiki/Yamila_Diaz-Rahi) Selita Ebanks (/wiki/Selita_Ebanks) Julie Henderson (/wiki/Julie_Henderson) Beyoncé Knowles (/wiki/Beyonc%C3%A9) Marisa Miller (/wiki/Marisa_Miller) * Fernanda Motta (/wiki/Fernanda_Motta) Aline Nakashima (/w/index.php?title=Aline_Nakashima&action=edit&redlink=1) Raica Oliveira (/wiki/Raica_Oliveira) Oluchi Onweagba (/wiki/Oluchi_Onweagba) Tori Praver (/wiki/Tori_Praver) * Bar Refaeli (/wiki/Bar_Refaeli) Daniella Sarahyba (/wiki/Daniella_Sarahyba) * Irina Shayk (/wiki/Irina_Shayk) Fernanda Tavares (/wiki/Fernanda_Tavares) Yésica Toscanini (/wiki/Y%C3%A9sica_Toscanini) Anne V (/wiki/Anne_Vyalitsyna) Veronika Vařeková (/wiki/Veronika_Va%C5%99ekov%C3%A1) Jessica White (/wiki/Jessica_White) 2008 Ana Beatriz Barros 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Julie Henderson (/wiki/Julie_Henderson) * Damaris Lewis (/wiki/Damaris_Lewis) Jarah Mariano (/wiki/Jarah_Mariano) Ariel Meredith (/wiki/Ariel_Meredith) Tori Praver (/wiki/Tori_Praver) Bar Refaeli (/wiki/Bar_Refaeli) Hilary Rhoda (/wiki/Hilary_Rhoda) Daniella Sarahyba (/wiki/Daniella_Sarahyba) Irina Shayk (/wiki/Irina_Shayk) * Anne V (/wiki/Anne_Vyalitsyna) Jessica White (/wiki/Jessica_White) * 40th Anniversary (2004) Hall of Fame Elle Macpherson (/wiki/Elle_Macpherson) Paulina Porizkova (/wiki/Paulina_Porizkova) Rachel Hunter (/wiki/Rachel_Hunter) Tyra Banks (/wiki/Tyra_Banks) Valeria Mazza (/wiki/Valeria_Mazza) Stacey Williams (/wiki/Stacey_Williams) Heidi Klum Cheryl Tiegs (/wiki/Cheryl_Tiegs) Roshumba Williams (/wiki/Roshumba_Williams) Christie Brinkley (/wiki/Christie_Brinkley) Vendela Kirsebom (/wiki/Vendela_Kirsebom) All-Star Reunion Cover (2006) Elsa Benítez (/wiki/Elsa_Ben%C3%ADtez) Yamila Díaz (/wiki/Yamila_Diaz-Rahi) Rachel Hunter (/wiki/Rachel_Hunter) Elle Macpherson (/wiki/Elle_Macpherson) Carolyn Murphy (/wiki/Carolyn_Murphy) Daniela Peštová (/wiki/Daniela_Pe%C5%A1tov%C3%A1) Rebecca Romijn (/wiki/Rebecca_Romijn) Veronika Vařeková (/wiki/Veronika_Va%C5%99ekov%C3%A1) (Celebrity special: Maria Sharapova (/wiki/Maria_Sharapova) ) underline indicates cover model, *appeared in bodypainting (/wiki/Bodypainting) by Joanne Gair (/wiki/Joanne_Gair) , p appeared in print edition only v t e America's Got Talent (/wiki/America%27s_Got_Talent) Seasons 1 (/wiki/America%27s_Got_Talent_season_1) 2 (/wiki/America%27s_Got_Talent_season_2) 3 (/wiki/America%27s_Got_Talent_season_3) 4 (/wiki/America%27s_Got_Talent_season_4) 5 (/wiki/America%27s_Got_Talent_season_5) 6 (/wiki/America%27s_Got_Talent_season_6) 7 (/wiki/America%27s_Got_Talent_season_7) 8 (/wiki/America%27s_Got_Talent_season_8) 9 (/wiki/America%27s_Got_Talent_season_9) 10 (/wiki/America%27s_Got_Talent_season_10) 11 (/wiki/America%27s_Got_Talent_season_11) 12 (/wiki/America%27s_Got_Talent_season_12) 13 (/wiki/America%27s_Got_Talent_season_13) 14 (/wiki/America%27s_Got_Talent_season_14) 15 (/wiki/America%27s_Got_Talent_season_15) 16 (/wiki/America%27s_Got_Talent_season_16) 17 (/wiki/America%27s_Got_Talent_season_17) 18 (/wiki/America%27s_Got_Talent_season_18) 19 (/wiki/America%27s_Got_Talent_season_19) Winners Bianca Ryan (/wiki/Bianca_Ryan) Terry Fator (/wiki/Terry_Fator) Neal E. 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(/wiki/Christie_Brinkley) Carol Alt (/wiki/Carol_Alt) Cheryl Tiegs (/wiki/Cheryl_Tiegs) Paulina Porizkova (/wiki/Paulina_Porizkova) Paulina Porizkova (/wiki/Paulina_Porizkova) Elle Macpherson (/wiki/Elle_Macpherson) Elle Macpherson (/wiki/Elle_Macpherson) Elle Macpherson (/wiki/Elle_Macpherson) Kathy Ireland (/wiki/Kathy_Ireland) 1990s Judit Mascó (/wiki/Judit_Masc%C3%B3) Ashley Richardson (/wiki/Ashley_Richardson) Kathy Ireland (/wiki/Kathy_Ireland) Vendela Kirsebom (/wiki/Vendela_Kirsebom) Kathy Ireland (/wiki/Kathy_Ireland) , Rachel Hunter (/wiki/Rachel_Hunter) , Elle Macpherson (/wiki/Elle_Macpherson) Daniela Peštová (/wiki/Daniela_Pe%C5%A1tov%C3%A1) Valeria Mazza (/wiki/Valeria_Mazza) , Tyra Banks (/wiki/Tyra_Banks) Tyra Banks (/wiki/Tyra_Banks) Heidi Klum Rebecca Romijn (/wiki/Rebecca_Romijn) 2000s Daniela Peštová (/wiki/Daniela_Pe%C5%A1tov%C3%A1) Elsa Benítez (/wiki/Elsa_Ben%C3%ADtez) Yamila Díaz (/wiki/Yamila_Diaz-Rahi) Petra Němcová (/wiki/Petra_N%C4%9Bmcov%C3%A1) Veronika 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English model and businesswoman (born 1974) Not to be confused with Kate Mosse (/wiki/Kate_Mosse) . Kate Moss Moss in 2019 Born Katherine Ann Moss [3] (#cite_note-3) [4] (#cite_note-4) [5] (#cite_note-5) ( 1974-01-16 ) 16 January 1974 (age 50) Croydon (/wiki/Croydon) , London (/wiki/London) , England Occupation(s) Model, fashion designer Years active 1988–present Spouse Jamie Hince (/wiki/Jamie_Hince) ( m. 2011; div. 2016) Children Lila Moss (/wiki/Lila_Moss) Relatives Lottie Moss (/wiki/Lottie_Moss) (half-sister) Modelling information Height 5 ft 7 in (1.70 m) [1] (#cite_note-1) Hair colour Blonde (dyed) Eye colour Hazel (/wiki/Hazel_eyes) Agency d'management group (Milan) KMA (London) [2] (#cite_note-2) Website www (http://www.katemoss.com) .katemoss (http://www.katemoss.com) .com (http://www.katemoss.com) Katherine Ann Moss (born 16 January 1974) is an English model. [6] (#cite_note-6) Arriving towards the end of the " supermodel (/wiki/Supermodel) era", Moss rose to fame in the early 1990s as part of the heroin chic (/wiki/Heroin_chic) fashion trend. Her collaborations with Calvin Klein (/wiki/Calvin_Klein) brought her to fashion icon status. She is known for her waifish (/wiki/Waif#Fashion) figure, and role in size zero (/wiki/Size_zero) fashion. Moss has had her own clothing range, has been involved in musical projects, and is also a contributing fashion editor for British (/wiki/British_Vogue) Vogue . In 2012, she came second on the Forbes top-earning models (/wiki/Forbes_list_of_the_world%27s_highest-paid_models) list, with estimated earnings of $9.2 million in one year. [7] (#cite_note-Forbes2012-7) The accolades she has received for modelling include the 2013 British Fashion Awards (/wiki/British_Fashion_Awards) acknowledging her contribution to fashion over 25 years, while Time (/wiki/Time_magazine) named her one of the world's 100 most influential people in 2007. [8] (#cite_note-8) A subject of media scrutiny due to her partying lifestyle, Moss was involved in a drug use scandal in September 2005, which led to her being dropped from fashion campaigns. [9] (#cite_note-9) She was cleared of charges and soon resumed modelling. She has inspired cultural depictions including a £1.5m ($2.8m) 18 carat gold statue of her, sculpted in 2008 for a British Museum (/wiki/British_Museum) exhibition. [10] (#cite_note-Simpson-10) Early life Kate Moss was born on 16 January 1974 [11] (#cite_note-11) in Croydon (/wiki/Croydon) , Greater London (/wiki/Greater_London) , [12] (#cite_note-12) the daughter of Linda Rosina Moss ( née Shepherd), a barmaid, and Peter Edward Moss, an airline employee, and raised in the Addiscombe (/wiki/Addiscombe) and Sanderstead (/wiki/Sanderstead) areas of the borough. [13] (#cite_note-13) She has a younger brother, Nick, and a half-sister named Lottie (/wiki/Lottie_Moss) (Charlotte). [14] (#cite_note-14) [15] (#cite_note-15) Moss's parents divorced when she was 13. She attended Ridgeway Primary School and Riddlesdown High School (now Riddlesdown Collegiate (/wiki/Riddlesdown_Collegiate) ) in Purley (/wiki/Purley,_London) . She worked several local retail jobs in her early teens. [16] (#cite_note-16) Career Beginnings and "heroin chic" fashion Moss was recruited as a model in 1988 at age 14 by Sarah Doukas, founder of Storm Management (/wiki/Storm_Management) , at JFK Airport (/wiki/JFK_Airport) in New York (/wiki/New_York_City) , [17] (#cite_note-MarieClaireprofile-17) after a holiday in The Bahamas (/wiki/The_Bahamas) . Corinne Day (/wiki/Corinne_Day) shot black-and-white photographs of her, styled by Melanie Ward, for The Face (/wiki/The_Face_(magazine)) when she was 16, in a shoot titled "The 3rd Summer of Love". Moss was presented as a young unknown, and Day described the pictures as "dirty realism" or " grunge (/wiki/Grunge) ". [18] (#cite_note-18) Moss then featured in the Levi's (/wiki/Levi%27s) campaign 'Levi's for Girls', [19] (#cite_note-19) with great success, set up by The Design Corporation and again shot by Corinne Day (/wiki/Corinne_Day) . A further shoot followed for The Face , by Tony Briggs, entitled "Haute Coiffure", [20] (#cite_note-20) Moss went on to become the "anti-supermodel" of the 1990s in contrast to the models of the moment, [21] (#cite_note-Kate-21) such as Cindy Crawford (/wiki/Cindy_Crawford) , Elle Macpherson (/wiki/Elle_Macpherson) , Claudia Schiffer (/wiki/Claudia_Schiffer) and Naomi Campbell (/wiki/Naomi_Campbell) , who were known [21] (#cite_note-Kate-21) for curvaceous and tall figures. Moss featured in the fashion look heroin chic (/wiki/Heroin_chic) in 1996 [22] (#cite_note-22) (which prompted speculation over her weight) with a campaign for Calvin Klein (/wiki/Calvin_Klein_Inc.) . Then-US President Bill Clinton (/wiki/Bill_Clinton) spoke out against the trend. [23] (#cite_note-23) Moss said, "It was just the time. It was a swing from more buxom girls like Cindy Crawford (/wiki/Cindy_Crawford) and people were shocked to see what they called a 'waif'. What can you say? How many times can you say 'I'm not anorexic (/wiki/Anorexia_nervosa) '?" [24] (#cite_note-24) Drug use Moss in 2005 On 20 September 2005, the Swedish fashion retailer H&M (/wiki/H%26M) dropped her from its campaign of autumn clothes designed by Stella McCartney (/wiki/Stella_McCartney) after pictures were published of Moss using cocaine (/wiki/Cocaine) . [25] (#cite_note-Thorpe-25) The contract was reportedly worth £4 million a year. [26] (#cite_note-26) A day later, Chanel (/wiki/Chanel) said it would not renew its contract with Moss, which was to expire that October, although its decision had nothing to do with the drug scandal. Burberry dropped Moss's campaign with them. [27] (#cite_note-27) Moss apologised, though stopped short of admitting drug use. [28] (#cite_note-28) In 2022, she commented "everybody I knew took drugs". [25] (#cite_note-Thorpe-25) Moss appeared in ad campaigns for Dior (/wiki/Christian_Dior_SA) . [21] (#cite_note-Kate-21) She was on the cover of the November 2005 W (/wiki/W_(magazine)) and also inside in a multi-page fashion shoot. She was defended by designer Alexander McQueen (/wiki/Alexander_McQueen) , who, during his walk-out after a fashion show, wore a T-shirt saying "We love you Kate". [29] (#cite_note-29) In March 2006, she appeared in the finale of his show The Widows of Culloden (/wiki/The_Widows_of_Culloden) , as a life-sized illusion (/wiki/Illusion_of_Kate_Moss) projected into a glass pyramid. [30] (#cite_note-:02-30) [31] (#cite_note-:21-31) Artist Stella Vine (/wiki/Stella_Vine) also supported Moss, and paintings by Vine, painted during the scandal, were exhibited and reproduced in the press. [32] (#cite_note-jane-32) On 5 January 2006, the London Metropolitan Police (/wiki/Metropolitan_Police) asked Moss to return from the US to Britain to answer questions about the September 2005 cocaine (/wiki/Cocaine) scandal. [33] (#cite_note-33) On 16 June 2006, British police dropped the charges for lack of evidence. [34] (#cite_note-34) Ultimately, Moss was cleared of all charges and resumed her modelling career. [21] (#cite_note-Kate-21) In 2015 Moss was escorted off an EasyJet (/wiki/EasyJet) flight by police after she became disruptive. [35] (#cite_note-35) Later work Moss has been featured in ad campaigns with Chanel (/wiki/Chanel) , Louis Vuitton (/wiki/Louis_Vuitton) , Balmain (/wiki/Balmain_(fashion_house)) , Versace (/wiki/Versace) , Balenciaga (/wiki/Balenciaga) , Burberry (/wiki/Burberry) , Stuart Weitzman (/wiki/Stuart_Weitzman) , Rag & Bone (/wiki/Rag_%26_Bone) , Alexander Wang (/wiki/Alexander_Wang_(designer)) , David Yurman (/wiki/David_Yurman) , Givenchy (/wiki/Givenchy) , Roberto Cavalli (/wiki/Roberto_Cavalli) , Kerastase (/wiki/Kerastase) , Isabel Marant (/wiki/Isabel_Marant) , Yves Saint Laurent (/wiki/Yves_Saint_Laurent_(brand)) , Dior (/wiki/Dior) , Gucci (/wiki/Gucci) , Dolce & Gabbana (/wiki/Dolce_%26_Gabbana) , Calvin Klein (/wiki/Calvin_Klein) , Alexander McQueen (/wiki/Alexander_McQueen) , Equipment (/wiki/Equipment_(clothing_brand)) , Rimmel (/wiki/Rimmel) , [36] (#cite_note-36) and Bulgari (/wiki/Bulgari) . She has been on the cover and in fashion spreads for most magazines including UK, US, and French Vogue (/wiki/Vogue_(magazine)) (as well as other international versions of Vogue ), Another Man (/wiki/Another_Man) , Harper's Bazaar (/wiki/Harper%27s_Bazaar) , Vanity Fair (/wiki/Vanity_Fair_(magazine)) , the Face (/wiki/The_Face_(magazine)) , and W (/wiki/W_(magazine)) . She has been on the cover of British (/wiki/Vogue_(British_magazine)) Vogue 30 times, shot the inaugural covers for both Russian Vogue with Amber Valletta (/wiki/Amber_Valletta) and Japanese Vogue , in addition to dozens of other international Vogue covers. [37] (#cite_note-37) Moss has been on the cover of 17 issues of W , including one with nine different covers that featured her. W named Moss its muse (/wiki/Muse) (September 2003 issue). Moss has also featured on the inaugural covers of Numéro (/wiki/Num%C3%A9ro) , Numéro Tokyo and Spanish L'Officiel (/wiki/L%27Officiel) . She has worked extensively with photographers such as Mario Testino (/wiki/Mario_Testino) , Mario Sorrenti (/wiki/Mario_Sorrenti) , Steven Klein (/wiki/Steven_Klein_(photographer)) , Juergen Teller (/wiki/Juergen_Teller) , Steven Meisel (/wiki/Steven_Meisel) and Peter Lindbergh (/wiki/Peter_Lindbergh) , and won the Vogue /CFDA award from the Fashion Designers of America in July 2005 as Fashion Inspiration. [21] (#cite_note-Kate-21) [38] (#cite_note-38) April 2005 saw the launch of a Rimmel (/wiki/Rimmel) London mascara TV ad featuring leather-clad Moss motorcycling through London to the rock song "Another Cold Beer" by Steven Crayn. Twelve months after her cocaine scandal, Moss signed 18 contracts for autumn-winter 2006 including Rimmel, Agent Provocateur (/wiki/Agent_Provocateur_(lingerie)) , Virgin Mobile (/wiki/Virgin_Mobile) , Calvin Klein and Burberry (/wiki/Burberry) . Moss designed a collection, with Katy England, for Topshop (/wiki/Topshop) . [39] (#cite_note-39) Moss launched a fragrance (/wiki/Fragrance) and body lotion range bearing her name in association with Coty (/wiki/Coty) in 2007. [40] (#cite_note-40) In November 2006, Moss was model of the year at the British Fashion Awards (/wiki/British_Fashion_Awards) , the top accolade in British fashion, but the award stirred fresh controversy. [41] (#cite_note-41) Moss with Mario Testino (/wiki/Mario_Testino) in 2007 On 1 May 2007, clothes designed by Moss for Topshop were launched in the chain's 225 UK stores. A Moss "countdown to launch" board filled a window of the company's Oxford Street (/wiki/Oxford_Street) store and on 30 April Moss launched the clothing there, briefly appearing in the window modelling a red dress from the collection just before the shop opened. [42] (#cite_note-Topshop-42) Topshop reportedly paid Moss £3 million. [42] (#cite_note-Topshop-42) The 50 designs included clothes, bags, shoes and belts, prices from £12 for a vest top to £150 for a cropped leather jacket. Clothes included skinny jeans (/wiki/Skinny_jeans) , one-shoulder minidresses (/wiki/Minidress) and T-shirts with K woven into the design. [43] (#cite_note-43) In a collaboration with Coty, Moss has released four fragrances. [44] (#cite_note-44) In early 2010, she designed handbags for Longchamp (/wiki/Longchamp_(company)) . [45] (#cite_note-45) In 2012, Moss modelled for the spring-summer collection for Supreme (/wiki/Supreme_(clothing)) . Moss has represented Mango (/wiki/Mango_(clothing)) since 2011. [46] (#cite_note-46) In November 2012, Australian model Miranda Kerr (/wiki/Miranda_Kerr) replaced Moss for spring/summer 2013. [47] (#cite_note-47) In January 2012, having seen Dutch illusionist Hans Klok (/wiki/Hans_Klok) on the BBC's The One Show (/wiki/The_One_Show) , Moss recommended Stella McCartney (/wiki/Stella_McCartney) book him for London Fashion Week (/wiki/London_Fashion_Week) the following month. [48] (#cite_note-Gabby-48) It was planned that Moss, a magic fan, would be Klok's assistant, and she rehearsed three illusions, a levitation, a sawing in half (/wiki/Sawing_a_woman_in_half) and a guillotine (/wiki/Guillotine_(magic_trick)) illusion. However, she dropped out with temporary paralysis of her right arm due to a trapped nerve, and her place was taken by Alexa Chung (/wiki/Alexa_Chung) . [48] (#cite_note-Gabby-48) [49] (#cite_note-49) Also in 2012, Moss appeared in the video of George Michael (/wiki/George_Michael) 's White Light , inspired by his pneumonia (/wiki/Pneumonia) . [50] (#cite_note-50) Moss performed with Naomi Campbell (/wiki/Naomi_Campbell) in the closing ceremony of the 2012 London Olympic Games (/wiki/2012_London_Olympic_Games) on 12 August 2012. [51] (#cite_note-51) Moss in 2015 Moss posed nude for the 60th-anniversary issue of Playboy (/wiki/Playboy) in December 2013. [52] (#cite_note-52) That same month, she received a Special Recognition award at the British Fashion Awards (/wiki/British_Fashion_Awards) to acknowledge her contribution to fashion during her 25-year career. [53] (#cite_note-53) At the 2014 Brit Awards (/wiki/2014_Brit_Awards) in February, Moss collected David Bowie (/wiki/David_Bowie) 's Brit Award for Best British Male, while wearing a one-piece printed "woodland creatures" costume, as worn originally by Bowie. [54] (#cite_note-54) On 30 April 2014, Moss's second collection for Topshop (/wiki/Topshop) was unveiled. Her first collection with Topshop resulted in a long-lasting relationship with the brand. [55] (#cite_note-55) In September 2016, Moss founded Kate Moss Agency (KMA). Her clients include Rita Ora (/wiki/Rita_Ora) , Jordan Barrett (/wiki/Jordan_Barrett) and Esmé Creed-Miles (/wiki/Esm%C3%A9_Creed-Miles) . [56] (#cite_note-56) Public image Moss was voted 9th of Maxim (/wiki/Maxim_(magazine)) 's "50 Sexiest Women of 1999" and 22nd in FHM (/wiki/FHM) ' s " 100 Sexiest Women of 1995 (/wiki/FHM%27s_100_Sexiest_Women_(UK)) ". Arena (/wiki/Arena_(magazine)) named her sexiest woman in its 150th issue. She was on the November 1999 Millennium cover of American Vogue (/wiki/Vogue_(magazine)) as one of the "Modern Muses". [57] (#cite_note-57) In March 2007, Moss won the Sexiest Woman NME Award (/wiki/NME_Awards) . [58] (#cite_note-58) In 2012 she was included on MODELS.com's 'The Supers' list. [59] (#cite_note-59) Moss on the cover of the May 2000 UK edition of Vogue (/wiki/Vogue_(magazine)) magazine, photographed by Sarah Morris While not officially confirmed by either, Noel Gallagher (/wiki/Noel_Gallagher) was speculated to have written the popular Oasis single " Sunday Morning Call (/wiki/Sunday_Morning_Call) " about her. The song reached number 4 in the UK (/wiki/UK) and number 3 in Scotland (/wiki/Scotland) . Moss has been the subject of portraits by artists such as Lucian Freud (/wiki/Lucian_Freud) and Chuck Close (/wiki/Chuck_Close) . In 2005, a painting of Moss by Freud sold for £3.93 million at Christie's (/wiki/Christie%27s) . [60] (#cite_note-60) Close has taken daguerreotypes (/wiki/Daguerreotype) of Moss, which he has also translated into Jacquard (/wiki/Jacquard_weaving) tapestry. [61] (#cite_note-61) In October 2010, she appeared on the cover of Bryan Ferry (/wiki/Bryan_Ferry) 's album Olympia (/wiki/Olympia_(Bryan_Ferry_album)) . The National Portrait Gallery, London (/wiki/National_Portrait_Gallery,_London) maintains seven portraits of Moss among its collections, shot by photographers including Mario Testino, Corinne Day and Sølve Sundsbø. [62] (#cite_note-62) A £1.5m ($2.8m) 18 carat gold statue of Moss in 2008 was part of a British Museum (/wiki/British_Museum) exhibition. [10] (#cite_note-Simpson-10) Entitled Siren , the 50 kg (110 lb) hollow statue was made by Marc Quinn (/wiki/Marc_Quinn) , [63] (#cite_note-BM-63) who described Moss as "the ideal beauty of the moment". The statue is said to be the largest gold statue to be created since the era of Ancient Egypt (/wiki/Ancient_Egypt) . [64] (#cite_note-64) Quinn had previously made a painted-bronze, life-size sculpture of Moss in a contorted yoga pose, titled Sphinx (/wiki/Sphinx_(Marc_Quinn_sculpture)) . [65] (#cite_note-65) The cello rock (/wiki/Cello_rock) group Rasputina (/wiki/Rasputina_(band)) had a song entitled "Kate Moss" on their 1996 album Thanks for the Ether (/wiki/Thanks_for_the_Ether) . Moss has earned awards for style, including the Council of Fashion Designers of America (/wiki/Council_of_Fashion_Designers_of_America) 's fashion influence award and a place on the Vanity Fair (/wiki/Vanity_Fair_(magazine)) international best-dressed list. [66] (#cite_note-66) [67] (#cite_note-67) In the early part of the 21st century, she was, together with actress Sienna Miller (/wiki/Sienna_Miller) , one of the main proponents of boho-chic (/wiki/Boho-chic) . [68] (#cite_note-68) She appeared on the cover of Vanity Fair ' s September 2006 style issue. In recent years, she has popularised denim cutoff shorts, [69] (#cite_note-69) Ugg boots (/wiki/Ugg_boots) and the Balenciaga (/wiki/Balenciaga) handbag. [70] (#cite_note-70) In 2008, Moss was added to PETA (/wiki/PETA) 's 'Worst-Dressed' Celebrities of 2008' [71] (#cite_note-71) because of her frequent use of fur. In 2012, Moss was among the British cultural icons (/wiki/Culture_of_the_United_Kingdom) selected by artist Sir Peter Blake (/wiki/Peter_Blake_(artist)) to appear in a new version of his most famous artwork – the Beatles' Sgt. Pepper's Lonely Hearts Club Band (/wiki/Sgt._Pepper%27s_Lonely_Hearts_Club_Band) album cover – to celebrate the British cultural figures of his life that he most admires. [72] (#cite_note-72) In 2013, the Belgian pop singer Stromae (/wiki/Stromae) wrote Kate Moss into the lyrics of the song " Tous les mêmes (/wiki/Tous_les_m%C3%AAmes) ", singing "il n'y a que Kate Moss qui est éternelle", translating into English as, "there's only Kate Moss who is eternal". [73] (#cite_note-73) Moss was interviewed by Women's Wear Daily (/wiki/Women%27s_Wear_Daily) in 2009 and was quoted saying the phrase " Nothing tastes as good as skinny feels (/wiki/Nothing_tastes_as_good_as_skinny_feels) ", which she described as a " motto (/wiki/Motto) ". She was heavily criticised for the phrase, being "accused of encouraging eating disorders". Moss later regretted saying it. [74] (#cite_note-74) Other ventures Alan McGee, Moss, and BP Fallon DJing at Death Disco NY in 2004 Moss appeared on Oasis (/wiki/Oasis_(band)) singles " Don't Go Away (/wiki/Don%27t_Go_Away) " (1998) and " Fade Away (/wiki/Cigarettes_%26_Alcohol) " (1994), and on the Be Here Now (/wiki/Be_Here_Now_(album)) album (1997), playing tambourine, Johnny Depp (/wiki/Johnny_Depp) playing a guitar. She has appeared in music videos such as " Kowalski (/wiki/Kowalski_(song)) " by Primal Scream (/wiki/Primal_Scream) , " I Just Don't Know What to Do with Myself (/wiki/I_Just_Don%27t_Know_What_to_Do_with_Myself) " by the White Stripes (/wiki/The_White_Stripes) , " Something About the Way You Look Tonight (/wiki/Something_About_the_Way_You_Look_Tonight) " by Elton John (/wiki/Elton_John) , "Sex with Strangers" by Marianne Faithfull (/wiki/Marianne_Faithfull) , "Love Don't Bother Me" by Stage Dolls (/wiki/Stage_Dolls) , " Delia's Gone (/wiki/Delia_Green) " and " God's Gonna Cut You Down (/wiki/God%27s_Gonna_Cut_You_Down) " by Johnny Cash (/wiki/Johnny_Cash) , and " Queenie Eye (/wiki/Queenie_Eye) " by Paul McCartney (/wiki/Paul_McCartney) . She has also provided vocals for songs by Primal Scream (the 2003 version of " Some Velvet Morning (/wiki/Some_Velvet_Morning) "), Babyshambles (/wiki/Babyshambles) ("La Belle et la Bête") and the Lemonheads (/wiki/The_Lemonheads) ("You're a Dirty Robot"). Prior to breaking up with Pete Doherty (/wiki/Pete_Doherty) , Moss co-wrote four songs on Babyshambles' second album Shotter's Nation (/wiki/Shotter%27s_Nation) —" You Talk (/wiki/You_Talk) ", "French Dog Blues", "Baddie's Boogie", and "Deft Left Hand". In 1999, Moss played a non musical role in the British screen comedy Blackadder: Back & Forth (/wiki/Blackadder:_Back_%26_Forth) , appearing both as Maid Marian (/wiki/Maid_Marian) and as a fictional Queen of England. Director and writer Richard Curtis (/wiki/Richard_Curtis) said in the "making of" video that they wanted "the best looking woman in England" to play the role. [75] (#cite_note-75) In 2014, she made an acting cameo as herself in The Boy in the Dress (/wiki/The_Boy_in_the_Dress_(film)) . [76] (#cite_note-76) Moss has put her name to four perfume lines. Her first one, the original, is named "Kate Moss". Other perfumes include Vintage Muse, Lila Belle and Love Blossoms. [77] (#cite_note-77) Philanthropy Moss's Paddington Bear (/wiki/Paddington_Bear) statue—"Goldie Bear"—in Selfridges (/wiki/Selfridges) department store in London, auctioned to raise funds for the NSPCC (/wiki/National_Society_for_the_Prevention_of_Cruelty_to_Children) Moss supported War Child (/wiki/War_Child_(charity)) . [78] (#cite_note-78) She also designed a charm in a necklace for Wallis in 2007 in aid of Cancer Research UK (/wiki/Cancer_Research_UK) and said "I am happy to give my support to help fund crucial research, as so many lives are affected by this terrible disease." [79] (#cite_note-79) She has also helped to launch the SamandRuby charity in March 2006. The charity was started to provide funding for the education and shelter of Thai children. The SamandRuby organisation is named after a friend of Moss's, Samantha Archer Fayet, and her 6-month-old daughter Ruby Rose who were killed by the tsunami (/wiki/Tsunami) while visiting Thailand (/wiki/Thailand) . [80] (#cite_note-80) Moss also supports the Elton John AIDS Foundation (/wiki/Elton_John_AIDS_Foundation) , the Hoping Foundation, the Lucie Blackman Trust, Make Poverty History (/wiki/Make_Poverty_History) , Comic Relief (/wiki/Comic_Relief) and Homes of Hope. [81] (#cite_note-81) On 22 November 2006, Moss recorded an appearance in a Little Britain (/wiki/Little_Britain_(sketch_show)) sketch for Comic Relief at the Hammersmith Apollo (/wiki/Hammersmith_Apollo) as a character called Katie Pollard, sister of Vicky Pollard (/wiki/Vicky_Pollard) played by Matt Lucas (/wiki/Matt_Lucas) . [82] (#cite_note-82) Moss made a short film with Misery Bear (/wiki/Misery_Bear) for the March 2011 Comic Relief (/wiki/Comic_Relief#2011_event) event entitled "Misery Bear's Comic Relief Starring Kate Moss". [83] (#cite_note-83) In November 2014, Moss designed a Paddington Bear (/wiki/Paddington_Bear) statue, one of fifty created by various celebrities which were located around London prior to the release of the film Paddington (/wiki/Paddington_(film)) , with the statues auctioned to raise funds for the National Society for the Prevention of Cruelty to Children (/wiki/National_Society_for_the_Prevention_of_Cruelty_to_Children) (NSPCC). [84] (#cite_note-84) [85] (#cite_note-85) Personal life Moss was in a relationship with actor Johnny Depp (/wiki/Johnny_Depp) between 1994 and 1998. [86] (#cite_note-86) She has a daughter, Lila Moss (/wiki/Lila_Moss) (born Lila Grace Moss Hack, and who is also a model), [87] (#cite_note-People-87) [88] (#cite_note-Vogue-88) [89] (#cite_note-KidName-89) [90] (#cite_note-90) born in September 2002, with Dazed & Confused (/wiki/Dazed_%26_Confused_(magazine)) editor Jefferson Hack (/wiki/Jefferson_Hack) , with whom she was in a relationship for a number of years in the early 2000s. [91] (#cite_note-91) She is godmother to Sadie Frost (/wiki/Sadie_Frost) and Jude Law (/wiki/Jude_Law) 's daughter Iris Law (/wiki/Iris_Law) . [92] (#cite_note-92) Moss had a relationship with Libertines (/wiki/The_Libertines) member Pete Doherty (/wiki/Pete_Doherty) , first meeting him at her 31st birthday party in January 2005. [93] (#cite_note-93) On 11 April 2007, Doherty announced Moss as his fiancée during one of his concerts in London, at which Moss also performed. [94] (#cite_note-94) [95] (#cite_note-95) In July 2007, Moss and Doherty split. [96] (#cite_note-96) Moss married Jamie Hince (/wiki/Jamie_Hince) , guitarist of The Kills (/wiki/The_Kills) , on 1 July 2011 at St Peter's Church (/wiki/St_Peter%27s_Church,_Southrop) , Southrop (/wiki/Southrop) in Gloucestershire; she wore a dress by John Galliano (/wiki/John_Galliano) . [97] (#cite_note-97) Moss and Hince split in 2015 and settled their divorce out of court in 2016. [98] (#cite_note-98) She has since been in a relationship with German aristocrat and photographer Count Nikolai von Bismarck (/wiki/Nikolai_von_Bismarck) . [99] (#cite_note-99) [100] (#cite_note-100) [101] (#cite_note-101) [102] (#cite_note-102) In 2011, Moss bought 3, The Grove, Highgate (/wiki/3,_The_Grove,_Highgate) , as her London home, selling it in 2022 to relocate to the Cotswolds (/wiki/Cotswolds) . [103] (#cite_note-103) According to Forbes , her 2004–2005 earnings were $5 million [104] (#cite_note-104) and her 2005–2006 earnings were $8 million. [105] (#cite_note-105) In 2007, with estimated earnings of $9 million, Forbes (/wiki/Forbes) magazine named her second on the list of the World's 15 top-earning models list. [106] (#cite_note-Forbes2007-106) She made her first appearance in the British women's Sunday Times Rich List (/wiki/Sunday_Times_Rich_List_2007) in 2007, where she was estimated to be worth £45 million. She ranked as the 99th richest woman in Britain. [107] (#cite_note-107) In the 2009 Rich List, she was ranked as the 1,348th richest person in the UK, with a net worth of £40 million. [108] (#cite_note-108) Moss is sober (/wiki/Sobriety) . [109] (#cite_note-109) [110] (#cite_note-110) Filmography Year Title Role 1999 Blackadder: Back & Forth (/wiki/Blackadder:_Back_%26_Forth) Maid Marian 2014 The Boy in the Dress (/wiki/The_Boy_in_the_Dress_(film)) Herself 2016 Ab Fab: The Movie (/wiki/Absolutely_Fabulous:_The_Movie) Zoolander 2 (/wiki/Zoolander_2) 2017 Red Nose Day Actually (/wiki/Red_Nose_Day_Actually) Biographic publications In 2012, Rizzoli Publications released, Kate: The Kate Moss Book. written by Moss in collaboration with creative director Jefferson Hack, Fabien Baron, and Jess Hallett. The book is a personal retrospective of her career, tracing her evolution from "new girl with potential" to one of the most iconic models of all time. Kate: The Kate Moss Book includes photography by Arthur Elgort, Corinne Day, Craig McDean, David Sims, Hedi Slimane, Inez & Vinoodh, Juergen Teller, Mario Sorrenti, Mario Testino, Mert & Marcus, Nick Knight, Patrick Demarchelier, Peter Lindbergh, Roxanne Lowit, Steven Klein, Terry Richardson and others. [111] (#cite_note-111) References ^ (#cite_ref-1) "An intimate conversation with the supermodel success story of 1993: kate moss" (https://i-d.vice.com/en_us/article/zmxeww/an-intimate-conversation-with-the-supermodel-success-story-of-1993-kate-moss) . i-D (/wiki/I-D) Magazine . 16 January 2014. ^ (#cite_ref-2) "Kate Moss - Model Profile - Photos & latest news" (https://models.com/models/Kate-Moss) . Models.com . Retrieved 9 July 2018 . ^ (#cite_ref-3) Imogen Fox. "Kate Moss at 40: supermodel still turning heads after 25 years | Fashion" (https://www.theguardian.com/fashion/2014/jan/03/kate-moss-at-40-supermodel-profile) . The Guardian . 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(http://findarticles.com/p/articles/mi_qn4159/is_20040321/ai_n12752940) Archived (https://web.archive.org/web/20151103201646/http://findarticles.com/p/articles/mi_qn4159/is_20040321/ai_n12752940) 3 November 2015 at the Wayback Machine (/wiki/Wayback_Machine) BNET (/wiki/BNET) Retrieved 28 January 2008. ^ (#cite_ref-90) "Jefferson Hack: Having a kid made me a man" (https://www.standard.co.uk/lifestyle/jefferson-hack-having-a-kid-with-kate-moss-made-me-a-man-6569283.html) . London Evening Standard . London. 21 February 2011 . Retrieved 28 June 2012 . ^ (#cite_ref-91) "Kate Moss gives birth to a girl" (https://www.telegraph.co.uk/news/1408715/Kate-Moss-gives-birth-to-a-girl.html) . The Telegraph . 30 September 2002. Archived (https://archive.today/20130421082755/http://www.telegraph.co.uk/news/1408715/Kate-Moss-gives-birth-to-a-girl.html) from the original on 21 April 2013 . Retrieved 1 January 2022 . ^ (#cite_ref-92) Lawrence, Vanessa (24 October 2016). "Jude Law and Sadie Frost's Teen Daughter Iris Law Is Just Starting to Figure Out This Modeling Thing" (http://www.wmagazine.com/story/jude-law-and-sadie-frosts-teen-daughter-iris-law-is-just-starting-to-figure-out-this-modeling-thing) . W (/wiki/W_(magazine)) . Retrieved 19 July 2017 . ^ (#cite_ref-93) Williams, Lowri (18 January 2005). "Babyshambles' Pete Doherty Scores With Kate Moss?" (http://www.gigwise.com/news/3946/Babyshambles-Pete-Doherty-Scores-With-Kate-Moss) . Gigwise (/wiki/Gigwise.com) . Retrieved 15 April 2007 . ^ (#cite_ref-94) McCartney, Jenny (15 April 2007). "Kate and Pete, babies and shambles" (https://web.archive.org/web/20070419174534/http://www.telegraph.co.uk/opinion/main.jhtml?xml=%2Fopinion%2F2007%2F04%2F15%2Fdo1509.xml) . The Sunday Telegraph (/wiki/The_Sunday_Telegraph) . London. Archived from the original (https://www.telegraph.co.uk/opinion/main.jhtml?xml=/opinion/2007/04/15/do1509.xml) on 19 April 2007 . Retrieved 15 April 2007 . ^ (#cite_ref-95) "Moss is now 'fiancee' (http://www.nzherald.co.nz/section/1501119/story.cfm?c_id=1501119&objectid=10434394) " (http://www.nzherald.co.nz/section/1501119/story.cfm?c_id=1501119&objectid=10434394) . The New Zealand Herald (/wiki/The_New_Zealand_Herald) . 16 May 2007 . Retrieved 15 May 2007 . ^ (#cite_ref-96) Jessica Salter (30 July 2008). "Pete Doherty 'still heartbroken' after split from Kate Moss" (https://www.telegraph.co.uk/news/celebritynews/2472166/Pete-Doherty-still-heartbroken-after-split-from-Kate-Moss.html) . The Daily Telegraph . Archived (https://ghostarchive.org/archive/20220111/https://www.telegraph.co.uk/news/celebritynews/2472166/Pete-Doherty-still-heartbroken-after-split-from-Kate-Moss.html) from the original on 11 January 2022 . Retrieved 28 June 2012 . ^ (#cite_ref-97) "Kate Moss and Jamie Hince wedding shuts roads" (https://www.bbc.co.uk/news/uk-england-13991995) . BBC News . 1 July 2011 . Retrieved 1 July 2011 . ^ (#cite_ref-98) "Kate Moss and Nikoli von Bismarck 'split' a week after her divorce from Jamie Hince is finalised | London Evening Standard" (https://www.standard.co.uk/showbiz/celebrity-news/kate-moss-and-nikoli-von-bismarck-split-a-week-after-her-divorce-from-jamie-hince-is-finalised-a3370651.html) . The Standard . 17 October 2016 . Retrieved 9 July 2018 . ^ (#cite_ref-99) Frey, Kaitlyn (9 November 2020). "Kate Moss Says Boyfriend Nikolai von Bismarck Gave Her a Diamond Ring for Her 'Empty' Finger" (https://people.com/style/kate-moss-boyfriend-nikolai-von-bismarck-bought-her-diamond-ring/) . people.com . Retrieved 27 May 2022 . ^ (#cite_ref-100) "A Look Back at Kate Moss's Greatest Loves" (http://www.vogue.com/article/living-kate-moss-relationships-love) . Vogue . 2 June 2016 . Retrieved 9 July 2018 . ^ (#cite_ref-101) Okwodu, Janelle (23 June 2016). "Kate Moss Is the First to Rock Louis Vuitton Pajamas at the Paris Menswear Shows" (http://www.vogue.com/article/kate-moss-louis-vuitton-menswear-pajamas) . Vogue . Retrieved 9 July 2018 . ^ (#cite_ref-102) Bayley, Leanne (3 October 2016). "Kate Moss Divorce With Jamie Hince: Settlement & New Boyfriend | Glamour UK" (https://www.glamourmagazine.co.uk/article/kate-moss-divorce-with-jamie-hince) . Glamourmagazine.co.uk . Retrieved 9 July 2018 . ^ (#cite_ref-103) Norris, Miranda (3 December 2021). "Kate Moss quits London for life in the Cotswolds" (https://www.oxfordmail.co.uk/leisure/19758707.kate-moss-quits-london-life-cotswolds/) . Oxford Mail. ^ (#cite_ref-104) "Kate Moss" (https://web.archive.org/web/20050619001946/http://www.forbes.com/lists/2005/53/BMGU.html) . Forbes . 2005. Archived from the original (https://www.forbes.com/lists/2005/53/BMGU.html) on 19 June 2005 . Retrieved 29 January 2007 . ^ (#cite_ref-105) "Kate Moss" (https://web.archive.org/web/20060622224938/http://www.forbes.com/lists/2006/53/BMGU.html) . Forbes . 2006. Archived from the original (https://www.forbes.com/lists/2006/53/BMGU.html) on 22 June 2006 . Retrieved 29 January 2007 . ^ (#cite_ref-Forbes2007_106-0) Blakeley, Kiri (16 July 2007). "The World's Top-Earning Models" (https://www.forbes.com/2007/07/19/models-media-bundchen-biz-media-cz_kb_0716topmodels.html) . Forbes . Retrieved 28 May 2009 . ^ (#cite_ref-107) Byers, David (2007). "Sunday Times – Rich List: Kate Moss" (http://www.timesonline.co.uk/richlist/person/0,,48301,00.html) . The Sunday Times . UK . Retrieved 28 May 2009 . [ dead link ] ^ (#cite_ref-108) "Rich List 2009: Kate Moss" (http://business.timesonline.co.uk/tol/business/specials/rich_list/rich_list_2009/article6154403.ece) . The Sunday Times . UK. 23 April 2009 . Retrieved 28 May 2009 . ^ (#cite_ref-109) "Sober thoughts: 18 celebrities who don't drink" (https://www.vogue.com.au/celebrity/news/celebrities-who-dont-drink/image-gallery/87bb43c29d247d1ac5a73932cdb2dab3) . Vogue Australia (/wiki/Vogue_Australia) . 31 January 2022. ^ (#cite_ref-110) "Kate Moss 'sick and angry' at being made a scapegoat for taking cocaine" (https://www.theguardian.com/fashion/2022/jul/24/kate-moss-desert-island-discs-cocaine-use-johnny-depp) . The Guardian (/wiki/The_Guardian) . 24 July 2022. ^ (#cite_ref-111) Hack, Jefferson; Baron, Fabien; Hallett, Jess. "Book" (https://www.rizzoliusa.com/book/9780847837908/) . Rizzoli New York . Further reading Buttolph, Angela (2008). Kate Moss: Style . London: Century. ISBN (/wiki/ISBN_(identifier)) 978-1-84605-429-7 . Collins, Laura (2008). Kate Moss: The Complete Picture . London: Sidgwick & Jackson Ltd. ISBN (/wiki/ISBN_(identifier)) 978-0-283-07063-1 . Fox, James (/wiki/James_Fox_(journalist)) (December 2012). "The riddle of Kate Moss" (https://www.vanityfair.com/hollywood/2012/12/kate-moss-naked-emotions) . Cover Story. Vanity Fair (/wiki/Vanity_Fair_(magazine)) . 628 . Retrieved 2 October 2015 . Kendall, Katherine (2005). Kate Moss: Model of Imperfection . New York: Penguin Group. ISBN (/wiki/ISBN_(identifier)) 1-59609-033-2 . Vermorel, Fred (2007). Addicted to Love: Kate Moss (2nd ed.). London: Omnibus Press. ISBN (/wiki/ISBN_(identifier)) 9781846097553 . External links Wikimedia Commons has media related to Kate Moss . Wikiquote has quotations related to Kate Moss (https://en.wikiquote.org/wiki/Special:Search/Kate_Moss) . 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This is the latest accepted revision (/wiki/Wikipedia:Pending_changes) , reviewed (https://en.wikipedia.org/w/index.php?title=Special:Log&type=review&page=Kathy_Ireland) on 16 July 2024 . American model, actress, and businesswoman (born 1963) Kathy Ireland Ireland in July 2012 Born Kathleen Marie Ireland ( 1963-03-20 ) March 20, 1963 (age 61) Glendale, California (/wiki/Glendale,_California) , U.S. Occupation(s) Model, actress, entrepreneur, businesswoman, author Height 5 ft 10 in (178 cm) Spouse Greg Olsen ( m. 1988) Children 3 [1] (#cite_note-1) Website www (http://www.KathyIreland.com) .kathyireland (http://www.KathyIreland.com) .com (http://www.KathyIreland.com) Signature Kathleen Marie Ireland (born March 20, 1963) is an American actress, author, entrepreneur, fashion designer, philanthropist, and former fashion model. [2] (#cite_note-MostEntrepreneurial-2) [3] (#cite_note-forbes-3) [4] (#cite_note-ForbesMoira-4) Ireland was a supermodel (/wiki/Supermodel) in the 1980s and 1990s, initially known for appearing in 13 consecutive Sports Illustrated (/wiki/Sports_Illustrated) swimsuit issues, including three covers. [4] (#cite_note-ForbesMoira-4) In 1993, she founded a brand licensing company, kathy ireland Worldwide (kiWW), which has made her one of the wealthiest former models in the world. [3] (#cite_note-forbes-3) [5] (#cite_note-Inc.-5) [6] (#cite_note-People-6) As a result of her career in business, she earned a $420 million personal fortune by 2015. [7] (#cite_note-Forbes420-7) In 2021 alone, her company generated retail sales of $3.1 billion. [8] (#cite_note-8) The brand became ranked number 15 in the world and Ireland entered the Licensing Hall of Fame. [9] (#cite_note-9) Early life [ edit ] Kathy Ireland was born in Glendale, California (/wiki/Glendale,_California) , the middle child of three daughters. Ireland's parents are John and Barbara Ireland, a labor relationships executive and a nurse, respectively. The family moved to Santa Barbara (/wiki/Santa_Barbara,_California) , where they continue to live today. [10] (#cite_note-10) Modeling, film and television career [ edit ] Modeling [ edit ] When Ireland was sixteen in 1979, she was scouted at her high school by Elite Model Management (/wiki/Elite_Model_Management) . [11] (#cite_note-BofM-11) She has appeared on covers for Vogue (/wiki/Vogue_(magazine)) , Cosmopolitan (/wiki/Cosmopolitan_(magazine)) , Shape Fitness (/wiki/Shape_(magazine)) , Harper's Bazaar (/wiki/Harper%27s_Bazaar) , Mademoiselle (/wiki/Mademoiselle_(magazine)) , Teen (/wiki/Teen_magazine) and Seventeen (/wiki/Seventeen_(American_magazine)) . [12] (#cite_note-eonline-12) Forbes , [3] (#cite_note-forbes-3) and Mademoiselle . [13] (#cite_note-13) According to Ireland, a photographer once "crossed the line" with her when she was a teenager and wanted her to pose topless. She did not feel comfortable and he did not respect her "no". He reportedly pushed her and got physical and she "decked him". [14] (#cite_note-14) During Sports Illustrated swimsuit's 50th Anniversary event, Ireland's 1989 cover was awarded "The Greatest Sports Illustrated Swimsuit Cover Of All Time" by its publisher. [15] (#cite_note-15) Ireland's successful transformation from a cover girl to a multimillion-dollar entrepreneur has been explicitly cited as inspiring by several active fashion models. After appearing on the cover of Sports Illustrated (/wiki/Sports_Illustrated) magazine in 2012, in a subsequent Today show interview, Kate Upton (/wiki/Kate_Upton) stated that she would like to follow in the footsteps of other cover girls, specifically Heidi Klum (/wiki/Heidi_Klum) and Ireland. [16] (#cite_note-16) Three years later, in an interview with Matt Lauer (/wiki/Matt_Lauer) , Hannah Jeter (/wiki/Hannah_Jeter) , the 2015 Sports Illustrated swimsuit cover model, likewise stated that she "would like to model [her] career after someone like Kathy Ireland." [17] (#cite_note-17) Film and television [ edit ] Ireland has appeared in a number of television and film roles. Her first film, 1988's Alien from L.A. (/wiki/Alien_from_L.A.) , was later featured during the fifth season of Mystery Science Theater 3000 (/wiki/Mystery_Science_Theater_3000) . [18] (#cite_note-18) Ireland's other appearances include Melrose Place (/wiki/Melrose_Place) , Boy Meets World (/wiki/Boy_Meets_World) , The Larry Sanders Show (/wiki/The_Larry_Sanders_Show) , Muppets Tonight (/wiki/Muppets_Tonight) , Side Out (/wiki/Side_Out) , Mr. Destiny (/wiki/Mr._Destiny) , Necessary Roughness (/wiki/Necessary_Roughness_(film)) , Mom and Dad Save the World (/wiki/Mom_and_Dad_Save_the_World) , National Lampoon's Loaded Weapon 1 (/wiki/Loaded_Weapon_1) , Once Upon a Christmas (/wiki/Once_Upon_a_Christmas_(film)) , and its sequel Twice Upon a Christmas (/wiki/Twice_Upon_a_Christmas) . She also participated in the ninth season of Dancing with the Stars (/wiki/Dancing_with_the_Stars_(U.S._season_9)) , where Ireland and her partner Tony Dovolani (/wiki/Tony_Dovolani) were the third couple eliminated in the second week of competition. Kathy has two TV series, Worldwide Business and Modern Living, which air on Fox Business and Bloomberg. [19] (#cite_note-19) In 2016, she made an appearance in the sixth episode of the fourth season of The Profit (/wiki/The_Profit_(TV_series)) , offering advice for the CEO of Murchison-Hume, Max Kater. [20] (#cite_note-ProfitYT-20) [21] (#cite_note-Profit-21) Entrepreneurship [ edit ] Kathy Ireland Worldwide [ edit ] Founded in 1993 as a brand marketing firm in an exclusive business relationship with Kmart (/wiki/Kmart_(United_States)) , Kathy Ireland Worldwide (or kiWW, for short) became a global licensor after cutting its ties to the department store chain (/wiki/Department_store_chain) in 2003. In 2019, it stood at No. 26 on License Global's "Top 150 Global Licensors" 2019 list with $2.6 billion in retail sales. [22] (#cite_note-LicenseGlobal-22) 1993–2003 [ edit ] In 1993, after a line of socks bearing Ireland's name sold 100 million pairs, Kmart (/wiki/Kmart_(United_States)) took notice and gave Ireland her own clothing line. [23] (#cite_note-ModelMogul-23) [24] (#cite_note-WWD-24) Buoyed by the initial success, Ireland founded Kathy Ireland Worldwide, at the beginning a brand marketing firm, which she and her related trusts own in its entirety. [25] (#cite_note-25) The company concentrated on building its business in home products after 2003, when it cut its exclusive ties to Kmart. [24] (#cite_note-WWD-24) 2003–2013 [ edit ] Warren Buffett, Ireland, and Bill Gates at the 2015 Berkshire Hathaway Shareholders Meeting At the advice of Warren Buffett (/wiki/Warren_Buffett) , Ireland's friend and mentor, [26] (#cite_note-Buffett-26) Kathy Ireland Worldwide entered into the home furnishings business. [27] (#cite_note-27) Forbes (/wiki/Forbes) described Ireland as a "prototype for model-turned-mogul" in a 2006 article about the trend of modelpreneurs . [28] (#cite_note-Slideshow-28) By 2004, Kathy Ireland Worldwide was marketing products from 16 manufacturers—including those of Nourison [29] (#cite_note-Nourison_partners_with_Kathy_Ireland_for_new_line_of_rugs-29) and Pacific Coast Lighting [2] (#cite_note-MostEntrepreneurial-2) [23] (#cite_note-ModelMogul-23) —selling them in over 34,000 retail locations in as many as 14 countries. [2] (#cite_note-MostEntrepreneurial-2) Between 2005 and 2012, products bearing Ireland's brand generated $2 billion in annual retail sales. [2] (#cite_note-MostEntrepreneurial-2) [3] (#cite_note-forbes-3) [30] (#cite_note-About_kiWW-30) In a May 2012 British Vogue (/wiki/British_Vogue) article, Ireland was called the world's richest model. [31] (#cite_note-31) Ireland launched her line of wedding gowns by presenting a runway fashion show at the Festival of Brides held in Disneyland Resort (/wiki/Disneyland_Resort) in 2012. [32] (#cite_note-32) American Legend (/wiki/American_Legend) launched a Kathy Ireland collection in 2011. [24] (#cite_note-WWD-24) Ireland is chief designer for Royal Footwear & Accessories (The RFA Group). [33] (#cite_note-33) She has established a relationship with manufacturer Gorham (/wiki/Gorham_Manufacturing_Company) designing dinnerware, glassware and flatware. [34] (#cite_note-34) Ireland designed collections of jewelry inspired by Elizabeth Taylor (/wiki/Elizabeth_Taylor) . [35] (#cite_note-35) Ireland launched a collection of pet products called Loved Ones. She teamed up with Worldwise Inc., a pet products company based in San Rafael, California, to create the pet collection. [36] (#cite_note-36) [37] (#cite_note-37) 2013–present [ edit ] In 2013, Kathy Ireland Worldwide entered into a licensing agreement with rug manufacturer Nourison, to create a new collection of area rugs. [29] (#cite_note-Nourison_partners_with_Kathy_Ireland_for_new_line_of_rugs-29) In 2015, Forbes (/wiki/Forbes_(magazine)) named Ireland one of America's 50 most successful self-made women (as measured by their net worth) in its first ever list of the kind. [7] (#cite_note-Forbes420-7) [38] (#cite_note-38) Lending her name to several thousands of different products, [39] (#cite_note-ABCNews-39) her company was listed as the 26th biggest licensor in the world in 2019 by License Global. [22] (#cite_note-LicenseGlobal-22) In 2016, in association with Paul Raps New York, [40] (#cite_note-FoxBusiness-40) Yaron Turgeman from Taly Diamonds and Roland Krainz from Krainz Creations, [41] (#cite_note-FashionNetwork-41) Kathy Ireland launched "Diamonds by Kathy Ireland", a collection of jewelry pieces. [41] (#cite_note-FashionNetwork-41) The collection premiered at the 2017 Luxury and JCK shows in Las Vegas (/wiki/Las_Vegas) . [42] (#cite_note-PRNews-42) [43] (#cite_note-43) In January 2017, Ireland teamed with Michael Amini to create a new home-furnishings line. [44] (#cite_note-44) The line debuted in October 2017, at the High Point Market (/wiki/High_Point_Market) trade show (/wiki/Trade_show) . [45] (#cite_note-45) Also in January 2017, American Family Insurance (/wiki/American_Family_Insurance) tapped Kathy Ireland for an ambassador role. To launch their relationship, Ireland was the keynote speaker for their Dream Fearlessly campaign. [46] (#cite_note-Amfam-46) In July 2018, Fox Business (/wiki/Fox_Business_Network) reported that Ireland had ventured into the shipping container (/wiki/Shipping_container) business, partnering with SG Blocks, a company which has been designing and constructing container-based buildings and structures in the United States. [47] (#cite_note-ShippingContainers-47) On May 8, 2019, singer and actress Vanessa Williams (/wiki/Vanessa_Williams) signed a management and partnership agreement with Kathy Ireland Worldwide. [48] (#cite_note-VanessaWilliams-48) In late 2019, Padlist launched with Kathy Ireland as the Chief Editor & Brand Strategist alongside Co-founders Blake Van Leer and Lindsay Van Leer. [49] (#cite_note-49) In 2020, Ireland's company entered into a partnership with Camping World (/wiki/Camping_World) to bring her collections of RV furniture to retail locations and online stores. [50] (#cite_note-50) [51] (#cite_note-Reuters:_Camping_World_raises_$251_million_in_IPO-51) In February 2022 Kathy Ireland teamed up with Bagatelle for Outerwear, Dresses and Denim [52] (#cite_note-52) Other projects [ edit ] Record label [ edit ] In April 2021, Marilyn McCoo (/wiki/Marilyn_McCoo) and Billy Davis Jr. (/wiki/Billy_Davis_Jr.) released a new album called Blackbird Lennon-McCartney Icons (/wiki/Blackbird_Lennon-McCartney_Icons) for the first time in 30 years under Ireland's record label EE1 in partnership with BMG (/wiki/BMG_Rights_Management) . It was produced by Nic Mendoza. [53] (#cite_note-53) The album hit No 1 on its first day on the iTunes R&B Album chart. [54] (#cite_note-54) Fitness videos [ edit ] Since 1994, Ireland has published several fitness videos that led to her design of athletic apparel and launched her brand licensing of fitness equipment. [55] (#cite_note-Kathy_Ireland_Biography-55) Writing [ edit ] Ireland has written numerous books, most of them for children. In 2020, Ireland released her first novel Fashion Jungle with author Rachel Van Dyken. The novel is based on events from her career in the modeling industry. [56] (#cite_note-56) Public speaking [ edit ] Ireland spoke at the fourth Youth Assembly at the United Nations Headquarters on August 13, 2007, encouraging young people to engage in activities aimed at ending poverty. [57] (#cite_note-un-57) She delivered the keynote at Licensing International Expo 2012 in Las Vegas. [58] (#cite_note-58) Ireland was a key speaker at the 2012 AIPAC (/wiki/AIPAC) policy conference in Washington, DC (/wiki/Washington,_DC) , [59] (#cite_note-59) [60] (#cite_note-60) where she expressed her support for the Israeli people (/wiki/Israeli_people) [61] (#cite_note-61) and warned against the dangers posed by the lack of knowledge about the history of the land of Israel (/wiki/History_of_Israel) . [62] (#cite_note-62) Philanthropy [ edit ] Kathy Ireland's charity work and philanthropic activities have included pro bono (/wiki/Pro_bono) work for the non-profit organizations March of Dimes (/wiki/March_of_Dimes) , PTA (/wiki/Parent-Teacher_Association) , Feed the Children (/wiki/Feed_the_Children) and City of Hope (/wiki/City_of_Hope_National_Medical_Center) . [63] (#cite_note-GreenTimes-63) In addition, Ireland has lent her estates to charitable organizations such as the US Marine Corps (/wiki/US_Marine_Corps) ' Toys for Tots (/wiki/Toys_for_Tots) to generate funds for charity. [64] (#cite_note-64) According to Major Bill Grein of the US Marine Corps, Ireland's company and her book business partner Bendon Publishing International (/wiki/Bendon_Publishing_International) donated $10 million to supplement the 2013 annual Toys for Tots gathering and distribution of Christmas gifts for millions of at-risk children and youths. [65] (#cite_note-65) On World AIDS Day (/wiki/World_AIDS_Day) 2017, Ireland donated $100,000 to the Elizabeth Taylor AIDS Foundation (ETAF). [66] (#cite_note-66) Activism and ambassador roles [ edit ] Ireland is an ambassador for 9-1-1 For Kids, a non-profit organization that specializes in making educational materials to assist emergency dispatchers in teaching children the proper use of 9-1-1 and other general emergency preparedness tips. [67] (#cite_note-67) In an effort to encourage equality in women's athletics, Ireland has hosted several LPGA (/wiki/LPGA) Golf Tournaments, including the Kathy Ireland Championship (/wiki/Kathy_Ireland_Championship) from 1999 to 2001 [68] (#cite_note-68) [69] (#cite_note-69) and the Kathy Ireland Greens.com LPGA Classic (/wiki/Kathy_Ireland_Greens.com_LPGA_Classic) in 2000. [70] (#cite_note-70) On October 15, 2009, Ireland became an international ambassador for the Friends of Sheba Medical Center (/wiki/Sheba_Medical_Center) . [71] (#cite_note-71) The following year, she traveled to Israel to film a promotional documentary for the center; titled Holy Land Heroes, the film aims to reveal the work done at Sheba with wounded soldiers and terror victims. [72] (#cite_note-Sheba-72) In 2019, Ireland was added as the first woman to the board of NFL Players Association. [73] (#cite_note-73) [74] (#cite_note-74) Ireland also joined the Women's National Basketball Players Association's (WNBPA) Board of Advocates that same year. [75] (#cite_note-75) Kathy Ireland joined the National Pediatric Cancer Foundation in 2020 as International Youth Chair. [76] (#cite_note-76) In March 2022, Ireland launched the National Pediatric Cancer Foundation's “Music Funds the Cure’ and joined NPCF's International Youth Chair. [77] (#cite_note-nationalpcf.org-77) Honors and awards [ edit ] On June 23, 2011, Ireland was honored by the Anti-Defamation League (/wiki/Anti-Defamation_League) with the American Heritage Award, presented by the National Home Furnishings Industry. [78] (#cite_note-78) In 2012, Ireland received the Messenger of Peace Award at the Jewish National Fund (/wiki/Jewish_National_Fund) Tree of Life Gala (/wiki/Jewish_National_Fund_Tree_of_Life_Award) . [ citation needed ] The same year, Ireland was presented with an honorary Doctorate of Humane Letters by the California State University (/wiki/California_State_University) , which stated that she "generously uses her power and influence to benefit others, supporting social causes including empowering women, supporting young girls through mentoring, and providing opportunities for girls and women at risk." [79] (#cite_note-79) Ireland has been nominated as one of 17 finalists for the first Global Business & Interfaith Peace Award given by the Religious Freedom & Business Foundation (a U.S.-based nonprofit), and the United Nations Global Compact (/wiki/United_Nations_Global_Compact) Business for Peace initiative. [ citation needed ] On October 13, 2017, at the "Meet Kathy Ireland Event" hosted by Amini, Ireland was presented with the key to the city (/wiki/List_of_Keys_to_the_City_in_the_United_States) of High Point, North Carolina (/wiki/High_Point,_North_Carolina) . [80] (#cite_note-80) On July 15, 2021, Kathy Ireland was awarded the inaugural Business IRF Champion Award at the IRF Summit in Washington DC. [81] (#cite_note-81) Personal life [ edit ] Ireland married physician Greg Olsen in 1988, and they have three children: Erik, Lily and Chloe. [24] (#cite_note-WWD-24) She is a devout Christian (/wiki/Christians) and an anti-abortion (/wiki/Anti-abortion) advocate. [82] (#cite_note-christian-82) Friendship with Elizabeth Taylor [ edit ] Elizabeth Taylor (/wiki/Elizabeth_Taylor) and Ireland had a close friendship and attended public events together. After Ireland received outspoken criticism for her uneven performance as an on-air host of ABC (/wiki/American_Broadcasting_Company) 's 2010 pre-Oscar special, Taylor publicly defended Ireland; "I have never seen anyone epitomize glamour and grace and professionalism like she did." [83] (#cite_note-83) [84] (#cite_note-84) Ireland publicly credits Taylor as her mentor and for part of her success in life, business, design and philanthropy. [85] (#cite_note-85) Taylor bequeathed her Jean Hersholt Humanitarian Award (/wiki/Jean_Hersholt_Humanitarian_Award) to Ireland, [86] (#cite_note-SWJJ2-86) in addition to leaving her a diamond jewelry collection, which Ireland wore at the 2018 American Heart Association (/wiki/American_Heart_Association) 's "Go Red for Women" Dress Show. [87] (#cite_note-87) Filmography [ edit ] Films [ edit ] Year Title Role Notes 1988 Alien from L.A. (/wiki/Alien_from_L.A.) Wanda Saknussemm The film was featured in an episode of Mystery Science Theater 3000 (/wiki/Mystery_Science_Theater_3000) 1989 Journey to the Center of the Earth (/wiki/Journey_to_the_Center_of_the_Earth_(1989_film)) Wanda Saknussemm 1989 Worth Winning (/wiki/Worth_Winning) Uncredited 1990 Side Out (/wiki/Side_Out) Marie 1990 Mr. Destiny (/wiki/Mr._Destiny) Gina 1991 Necessary Roughness (/wiki/Necessary_Roughness_(film)) Lucy Draper 1992 Mom and Dad Save the World (/wiki/Mom_and_Dad_Save_the_World) Semage, Raff's Daughter 1992 Danger Island (/wiki/Danger_Island_(film)) Laura Television film 1993 Loaded Weapon 1 (/wiki/Loaded_Weapon_1) Destiny Demeanor 1993 Amore! (/wiki/Amore!) Taylor Christopher 1993 A Perry Mason Mystery: The Case of the Wicked Wives (/wiki/Perry_Mason_(TV_movies)#A_Perry_Mason_Mystery) Dee Morrison Television film 1994 Beauty and the Bandit (/wiki/Bandit_(film_series)) Crystal Television film 1995 Backfire! Jessica Luvintryst 1996 Gridlock Michele Conner Television film 1996 Miami Hustle Marsha Thomas Television film 2000 Once Upon a Christmas (/wiki/Once_Upon_a_Christmas_(film)) Kristen Claus Television film 2001 Twice Upon a Christmas (/wiki/Twice_Upon_a_Christmas) Kristen Claus Television film Television [ edit ] Year Title Role Episodes 1985 Charles in Charge (/wiki/Charles_in_Charge) Woman in Line Episode: "Snowed In" 1990 Grand (/wiki/Grand_(TV_series)) Sheila Episode: "Carnegie Hall" 1992 Tales from the Crypt (/wiki/Tales_from_the_Crypt_(TV_series)) Joyce Episode: "Beauty Rest" 1993 Down the Shore (/wiki/Down_the_Shore) Rachel Episode: "Computer Date" 1993 The Larry Sanders Show (/wiki/The_Larry_Sanders_Show) Herself Episode: "The Breakdown: Part 1" 1994 Boy Meets World (/wiki/Boy_Meets_World) Alexis Episode: "Model Family" 1994 Melrose Place (/wiki/Melrose_Place) Brittany Maddocks 4 episodes 1995 The Watcher (/wiki/The_Watcher_(1995_TV_series)) Pilot 1995 Deadly Games (/wiki/Deadly_Games_(TV_series)) Amber 2 episodes 1995 Eek! the Cat (/wiki/Eek!_the_Cat) Andrea Heap Voice, main role 1995–1996 Fantastic Four (/wiki/Fantastic_Four_(1994_TV_series)) Crystal (/wiki/Crystal_(character)) Voice, 4 episodes 1997 Sabrina, the Teenage Witch (/wiki/Sabrina,_the_Teenage_Witch) Shelley Episode: "Trial by Fury" 1997 Suddenly Susan (/wiki/Suddenly_Susan) Terri 2 episodes 1997 Duckman (/wiki/Duckman:_Private_Dick/Family_Man) Susan Voice, 2 episodes 1996–1997 The Incredible Hulk (/wiki/The_Incredible_Hulk_(1996_TV_series)) Ogress Voice, 3 episodes 1998 The Lionhearts (/wiki/The_Lionhearts) Survive Voice 1998 King of the Hill (/wiki/King_of_the_Hill) Sylvia Voice, episode: "Peggy's Pageant Fever" 1999 Cosby (/wiki/Cosby_(TV_series)) Kara Episode: "He Who Hesitates is Lucas" 1999 Pensacola: Wings of Gold (/wiki/Pensacola:_Wings_of_Gold) Sarah Episode: "Tip of the Spear" 1999 Touched by an Angel (/wiki/Touched_by_an_Angel) Karla Episode: "The Last Day of the Rest of Your Life" 2002 Strong Medicine (/wiki/Strong_Medicine) Amber Hutton Episode: "Trauma" 2002 For Your Love (/wiki/For_Your_Love_(TV_series)) Rhonda Episode: "The Helpless Hand" 2002 Totally Spies! (/wiki/Totally_Spies!) Julia Hastings Voice, episode: "A Spy is Born: Part 1" References [ edit ] ^ (#cite_ref-1) Perry, Katie. "A Beautiful Life" (http://www.carmelmagazine.com/archive/09ho/kathy-ireland.shtml) . Carmel Magazine . Retrieved July 9, 2013 . ^ Jump up to: a b c d Blakeley, Kiri (December 6, 2006). "Most Entrepreneurial Supermodels" (https://web.archive.org/web/20080923071255/http://www.forbes.com/lifestyle/2006/02/02/fashion-supermodels-licensing-cz_kb_0203fashion2_ls.html) . Forbes . Archived from the original (https://www.forbes.com/lifestyle/2006/02/02/fashion-supermodels-licensing-cz_kb_0203fashion2_ls.html) on September 23, 2008 . Retrieved September 2, 2012 . ^ Jump up to: a b c d Pomerantz, Dorothy (February 8, 2012). "How Sports Illustrated Swimsuit Model Kathy Ireland Became a $350 Million Mogul" (https://www.forbes.com/sites/dorothypomerantz/2012/02/08/how-sports-illustrated-swimsuit-model-kathy-ireland-became-a-350-million-mogul/) . Forbes . Retrieved September 2, 2012 . ^ Jump up to: a b Forbes, Moira (February 13, 2012). "Kathy Ireland: Swimsuit Cover Girl Turned $2 Billion Business Model?" (https://www.forbes.com/sites/moiraforbes/2012/02/13/kathy-ireland-swimsuit-covergirl-turned-model-entrepreneur/) . Forbes . Retrieved July 7, 2013 . ^ (#cite_ref-Inc._5-0) Welch, Liz (December 1, 2009). "Ireland graced the cover of Sports Illustrated's" (http://www.inc.com/magazine/20091201/the-way-i-work-kathy-ireland.html) . Inc . Retrieved July 7, 2013 . ^ (#cite_ref-People_6-0) Rizzo, Monica. "Kathy Ireland's Shocking Weight Gain (and Loss)" (http://www.people.com/people/article/0,,20269449,00.html) . People . Retrieved July 6, 2012 . ^ Jump up to: a b Robehmed, Natalie (May 27, 2015). "How Kathy Ireland Built A $420 Million Fortune" (https://www.forbes.com/sites/natalierobehmed/2015/05/27/how-kathy-ireland-built-a-420-million-fortune/) . Forbes (/wiki/Forbes) . Retrieved August 31, 2017 . ^ (#cite_ref-8) Moraski, Lauren (February 24, 2012). "Kathy Ireland is a $2 billion 'model-preneur' (http://www.cbsnews.com/news/kathy-ireland-is-a-2-billion-model-preneur) " (http://www.cbsnews.com/news/kathy-ireland-is-a-2-billion-model-preneur) . CBS News . Retrieved August 31, 2017 . ^ (#cite_ref-9) "2021 Hall of Fame Inductee" (https://licensinginternational.org/about/hall-of-fame/kathy-ireland/) . March 24, 2021 . Retrieved March 24, 2021 . ^ (#cite_ref-10) "Kathy Ireland Biography (1963-)" (http://www.filmreference.com/film/48/Kathy-Ireland.html) . FilmReference.com. ^ (#cite_ref-BofM_11-0) Segal, Gillian Zoe (April 14, 2015). Getting There: A Book of Mentors . Abrams Image. ISBN (/wiki/ISBN_(identifier)) 9781419715709 . ^ (#cite_ref-eonline_12-0) "Kathy Ireland – Profile" (https://web.archive.org/web/20080423113319/http://www.eonline.com/celebrities/profile/index.jsp?uuid=67c3c82c-7d5a-4e66-8d20-7cfc12989337) . E!. Archived from the original (http://www.eonline.com/celebrities/profile/index.jsp?uuid=67c3c82c-7d5a-4e66-8d20-7cfc12989337) on April 23, 2008 . Retrieved September 2, 2012 . ^ (#cite_ref-13) Dawson, Mackenzie (February 8, 2020). "Kathy Ireland's new book reveals the ugly side of the fashion industry" (https://nypost.com/2020/02/08/kathy-irelands-new-book-reveals-the-ugly-side-of-the-fashion-industry/) . New York Post . Retrieved August 10, 2020 . ^ (#cite_ref-14) "Kathy Ireland Opens Up For the First Time About Her Uncomfortable Modeling Experience at 17" (http://www.etonline.com/news/147116_kathy_ireland_opens_up_for_the_first_time_about_her_uncomfortable_modeling_experience_at_17//) . Entertainment Tonight . June 4, 2014 . Retrieved June 6, 2014 . ^ (#cite_ref-15) " (http://www.huffingtonpost.com/2014/02/04/sports-illustrated-swimsuit-50-years-of-beautiful_n_4721807.html) 'Sports Illustrated Swimsuit: 50 Years Of Beautiful' Declares Kathy Ireland 1989 'Greatest Cover Of All Time' (http://www.huffingtonpost.com/2014/02/04/sports-illustrated-swimsuit-50-years-of-beautiful_n_4721807.html) " (http://www.huffingtonpost.com/2014/02/04/sports-illustrated-swimsuit-50-years-of-beautiful_n_4721807.html) . Huffington Post . February 4, 2014 . Retrieved August 31, 2017 . ^ (#cite_ref-16) Pomerantz, Dorothy (February 14, 2012). "Kate Upton Wants to Be The Next Kathy Ireland. Can She Do It?" (https://www.forbes.com/sites/dorothypomerantz/2012/02/14/can-kate-upton-become-the-next-kathy-ireland/) . Forbes . Retrieved June 17, 2015 . ^ (#cite_ref-17) Stump, Scott (February 9, 2015). "Hannah Davis on her Sports Illustrated swimsuit cover: It's not that naughty" (http://www.today.com/popculture/hannah-davis-her-sports-illustrated-swimsuit-cover-its-not-naughty-t1591) . Today . Retrieved June 17, 2015 . ^ (#cite_ref-18) "Mystery Science Theater 3000" (http://www.tv.com/mystery-science-theater-3000/alien-from-l.a./episode/46964/summary.html) . TV.com. November 20, 1993 . Retrieved July 31, 2008 . ^ (#cite_ref-19) "Watch this week's episode of Modern Living with kathy ireland®" (https://www.einnews.com/pr_news/546080141/watch-this-week-s-episode-of-modern-living-with-kathy-ireland) . July 13, 2021. ^ (#cite_ref-ProfitYT_20-0) Lemonis, Marcus (host) (/wiki/Marcus_Lemonis) (September 27, 2016). "Murchison-Hume" (https://www.youtube.com/watch?v=zG2MqRjZqXM) . The Profit (/wiki/The_Profit_(TV_series)) . Season 4. Episode 6. CNBC (/wiki/CNBC) . Archived (https://ghostarchive.org/varchive/youtube/20211212/zG2MqRjZqXM) from the original on December 12, 2021. ^ (#cite_ref-Profit_21-0) " (https://www.cnbc.com/2016/09/28/the-profit-5-questions-with-supermodel-entrepreneur-kathy-ireland.html) 'The Profit' Q&A: 5 questions with supermodel & entrepreneur Kathy Ireland" (https://www.cnbc.com/2016/09/28/the-profit-5-questions-with-supermodel-entrepreneur-kathy-ireland.html) . CNBC (/wiki/CNBC) . September 28, 2016 . Retrieved May 9, 2018 . ^ Jump up to: a b Cioletti, Amanda (August 2019). "Top 150 Global Licensors" (https://www.licenseglobal.com/sites/default/files/License%20Global%27s%20Top%20150%20Leading%20Licensors%20-%20August%202019.pdf) (PDF) . License Global . pp. T4. ^ Jump up to: a b Blakeley, Kiri (May 7, 2004). "The Model Mogul" (https://web.archive.org/web/20110604012658/http://www.forbes.com/forbes/2004/0705/116.html) . Forbes . Archived from the original (https://www.forbes.com/celebrities/forbes/2004/0705/116.html) on June 4, 2011 . Retrieved August 1, 2008 . ^ Jump up to: a b c d Brown, Rachel (May 7, 2012). "WWD In Person: Kathy Ireland" (https://web.archive.org/web/20170901025649/http://www.americanlegend.com/wp-content/uploads/WWD_KathyIreland-2012-05-07.pdf) (PDF) . WWD (/wiki/Women%27s_Wear_Daily) . Archived from the original (http://www.americanlegend.com/wp-content/uploads/WWD_KathyIreland-2012-05-07.pdf) (PDF) on September 1, 2017 . Retrieved August 31, 2017 . ^ (#cite_ref-25) Kurtz, David L. (2007). Contemporary Business (12 ed.). Thomson South-Western. p. 8. ISBN (/wiki/ISBN_(identifier)) 9780324359299 . ^ (#cite_ref-Buffett_26-0) Taylor, Chris (July 18, 2016). "Model-Turned-Entrepreneur Kathy Ireland Talks About Getting Advice From Warren Buffett" (http://fortune.com/2016/07/18/kathy-ireland-warren-buffett/) . Fortune (/wiki/Fortune_(magazine)) . Retrieved May 9, 2018 . ^ (#cite_ref-27) "Kathy Ireland: Model Mogul" (https://abcnews.go.com/Nightline/video/ireland-kathy-model-mogul-moms-business-16129447) . ABC News . Retrieved June 8, 2015 . ^ (#cite_ref-Slideshow_28-0) Blakeley, Kiri (December 6, 2006). "Models Turned Moguls" (https://archive.today/20130102191156/http://www.forbes.com/2008/07/17/supermodel-entrepreneur-gisele-ent-sales-cx_kb_0717modelpreneurs_slide_11.html?thisSpeed=20000) . Forbes . Archived from the original (https://www.forbes.com/2008/07/17/supermodel-entrepreneur-gisele-ent-sales-cx_kb_0717modelpreneurs_slide_11.html?thisSpeed=20000) on January 2, 2013 . Retrieved August 1, 2008 . ^ Jump up to: a b "Nourison partners with Kathy Ireland for new line of rugs" (http://www.furnituretoday.com/article/392678-nourison-partners-with-kathy-ireland-for-new-line-of-rugs) . Furniture Today (/wiki/Furniture_Today) . April 23, 2013 . Retrieved February 4, 2015 . ^ (#cite_ref-About_kiWW_30-0) "About Kathy Ireland at kiWW" (http://www.kathyireland.com/about-kathy) . KathyIreland.com . Retrieved August 31, 2017 . ^ (#cite_ref-31) "Meet Anne V" (https://www.vogue.co.uk/news/2012/05/24/anne-v---anne-vyalitsyna-model-victorias-secret-maroon-5) . British Vogue . May 24, 2012 . Retrieved May 25, 2012 . ^ (#cite_ref-32) "Festival of Brides 2012 at the Disneyland Hotel" (http://thisfairytalelife.com/festival-of-brides-2012-at-the-disneyland-hotel/) . ThisFairytaleLife.com . February 27, 2012 . Retrieved August 31, 2017 . ^ (#cite_ref-33) Alexander, Ella (June 13, 2013). "Want to Walk in Supermodel Shoes?" (https://www.vogue.co.uk/news/2013/06/13/kathy-ireland-launches-shoe-line-with-royal-footwear--accessories-group) . British Vogue . ^ (#cite_ref-34) "Gorham Catches a Wave with New Kathy Ireland Collection" (https://web.archive.org/web/20130328134013/http://www.hfnmag.com/tabletop-gifts/gorham-catches-wave-new-kathy-ireland-collection) . HFN Magazine . October 10, 2012. Archived from the original (http://www.hfnmag.com/tabletop-gifts/gorham-catches-wave-new-kathy-ireland-collection) on March 28, 2013 . Retrieved June 7, 2013 . ^ (#cite_ref-35) "Pretty Successful" (https://www.vogue.co.uk/news/2012/07/31/kathy-ireland-on-how-to-be-a-supermogul) . British Vogue . July 31, 2012 . Retrieved August 1, 2012 . ^ (#cite_ref-36) "Kathy Ireland launches pet line with Worldwise called Loved Ones - Bizwomen" (http://www.bizjournals.com/bizwomen/news/2014/03/kathy-ireland-wants-your-pet-to-have-style-and-she.html) . The Business Journals . Retrieved September 21, 2015 . ^ (#cite_ref-37) "Kathy Ireland Loved Ones... finding solutions for families, especially busy moms" (http://lovedonesproducts.com) . lovedonesproducts.com . Retrieved September 21, 2015 . ^ (#cite_ref-38) Kroll, Luisa (May 27, 2015). "Forbes Staff" (https://www.forbes.com/sites/luisakroll/2015/05/27/forbes-first-ever-ranking-of-americas-richest-self-made-women/) . Forbes . Retrieved June 8, 2015 . ^ (#cite_ref-ABCNews_39-0) Wright, David; Litoff, Alyssa (April 12, 2012). "Kathy Ireland, Model Turned Mogul" (https://abcnews.go.com/Business/kathy-ireland-model-turned-mogul/story?id=16127302) . ABC News (/wiki/ABC_News_(United_States)) . Retrieved November 8, 2018 . ^ (#cite_ref-FoxBusiness_40-0) Fernandez, Henry (May 2, 2016). "From Model to Mogul: Kathy Ireland's New Diamond Business" (http://www.foxbusiness.com/features/2016/05/02/from-model-to-mogul-kathy-ireland-s-new-diamond-business.html) . Fox Business Network (/wiki/Fox_Business_Network) . Retrieved August 5, 2017 . ^ Jump up to: a b Mantor, Cassidy (June 2, 2017). "Diamonds by Kathy Ireland debuts" (http://us.fashionnetwork.com/news/Diamonds-by-Kathy-Ireland-debuts,834388.html) . Fashion Network . Retrieved August 5, 2017 . ^ (#cite_ref-PRNews_42-0) "Diamonds by kathy ireland® to Debut at the 2017 Luxury and JCK Shows" (http://www.prnewswire.com/news-releases/diamonds-by-kathy-ireland-to-debut-at-the-2017-luxury-and-jck-shows-300467733.html) . PR News Wire . June 2, 2017 . Retrieved August 5, 2017 . ^ (#cite_ref-43) "Diamonds by kathy ireland® Debuted at the 2017 Luxury and JCK shows" (http://luxexpose.com/diamonds-by-kathy-ireland-debuted-at-the-2017-luxury-and-jck-shows/) . Lux Exposé . June 5, 2017 . Retrieved August 5, 2017 . ^ (#cite_ref-44) Hodnett, Cindy W. (January 23, 2017). "Michael Amini/Kathy Ireland Home Designs to launch in 2017" (http://www.furnituretoday.com/article/539508-michael-amini-kathy-ireland-home-designs-launch-2017) . Furniture Today (/wiki/Furniture_Today) . Retrieved December 19, 2017 . ^ (#cite_ref-45) "High Point Market Provides Experiential Learning Opportunities for HPU Students" (http://www.highpoint.edu/blog/2017/10/high-point-market-provides-experiential-learning-opportunities-for-hpu-students/) . High Point University (/wiki/High_Point_University) . October 18, 2017 . Retrieved December 19, 2017 . ^ (#cite_ref-Amfam_46-0) "American Family Insurance and Kathy launch Dream Fearlessly" (https://newsroom.amfam.com/american-family-insurance-one-saturday-to-dream-fearlessly-event-held-in-portland-oregon/) . American Family Insurance (/wiki/American_Family_Insurance) . November 12, 2017 . Retrieved November 12, 2017 . ^ (#cite_ref-ShippingContainers_47-0) Worner, Elka (July 2, 2018). "Kathy Ireland ventures into shipping container business" (https://www.foxbusiness.com/features/kathy-ireland-ventures-into-shipping-container-business) . Fox Business Network (/wiki/Fox_Business_Network) . Retrieved August 24, 2018 . ^ (#cite_ref-VanessaWilliams_48-0) "Vanessa Williams Joins kiWW" (https://www.licenseglobal.com/agency-appointments/vanessa-williams-joins-kiww) . License Global (/wiki/License_Global) . May 8, 2019 . Retrieved May 8, 2019 . ^ (#cite_ref-49) "Kathy Ireland signs on with real estate tech platform" (https://www.wraltechwire.com/2019/11/18/kathy-ireland-signs-on-with-charlotte-startup-real-estate-platform/) . Tech Wire. November 18, 2019 . Retrieved November 18, 2019 . ^ (#cite_ref-50) "Camping World Holdings and kathy ireland® Worldwide Enter into Licensing Agreement" (https://www.businesswire.com/news/home/20201009005067/en/Camping-World-Holdings-and-kathy-ireland%C2%AE-Worldwide-Enter-into-Licensing-Agreement) (Press release). October 9, 2020. ^ (#cite_ref-Reuters:_Camping_World_raises_$251_million_in_IPO_51-0) Hirsch, Lauren (October 6, 2016). "Camping World raises $251 million in IPO" (https://www.reuters.com/article/us-camping-world-ipo-idUSKCN1262LE) . Reuters . Retrieved November 10, 2016 . ^ (#cite_ref-52) "Kathy Ireland Teams Up With Bagatelle" (https://news.yahoo.com/kathy-ireland-teams-bagatelle-outerwear-050145952.html) . February 17, 2022. ^ (#cite_ref-53) "Sunday Conversation: Marilyn McCoo and Billy Davis Jr Return to the Studio After 30 Years with Beatles Tribute Album" (https://www.forbes.com/sites/stevebaltin/2021/05/02/sunday-conversation-marilyn-mccoo-and-billy-davis-jr-return-to-the-studio-after-30-years-with-beatles-tribute-album/?sh=3678e6c5365d) . Forbes (/wiki/Forbes) . ^ (#cite_ref-54) "Marilyn McCoo, Billy Davis Jr. Enter New Career Dimension with 'Blackbird,' 'Summer of Soul' & Second Hollywood Star" (https://www.billboard.com/articles/news/9601270/marilyn-mccoo-billy-davis-jr-blackbird-summer-of-soul-hollywood-star/) . Billboard (/wiki/Billboard_(magazine)) . July 15, 2021. ^ (#cite_ref-Kathy_Ireland_Biography_55-0) "Kathy Ireland Biography" (https://web.archive.org/web/20100401183859/http://www.20hotmodels.com/models/KathyIreland/biography.htm) . Archived from the original (http://www.20hotmodels.com/models/KathyIreland/biography.htm) on April 1, 2010 . Retrieved February 2, 2015 . ^ (#cite_ref-56) "Inside Kathy Ireland's iconic Sports Illustrated cover, new novel 'Fashion Jungle' (https://www.foxbusiness.com/lifestyle/kathy-ireland-fashion-jungle-sports-illustrated) " (https://www.foxbusiness.com/lifestyle/kathy-ireland-fashion-jungle-sports-illustrated) . Fox Business. January 28, 2020 . Retrieved January 28, 2020 . ^ (#cite_ref-un_57-0) "Kathy Ireland At The United Nations" (http://hfbusiness.com/News/Daily-News-Archive/ArticleId/8651/kathy-ireland-at-the-united-nations) . Home Furnishings Business . August 9, 2007 . Retrieved August 31, 2017 . ^ (#cite_ref-58) "kathy ireland Worldwide Delivers Keynote at Licensing Expo 2012" (http://ybltv.com/2012/06/kathy-ireland-worldwide-delivers-keynote-at-licensing-expo-2012/) . ybltv.com. June 13, 2012. ^ (#cite_ref-59) Collier, Marsha (/wiki/Marsha_Collier) (November 8, 2012). Social Media Commerce For Dummies . John Wiley & Sons. ISBN (/wiki/ISBN_(identifier)) 9781118461501 . ^ (#cite_ref-60) Bishara, Marwan (March 1, 2012). "The bully, the beauty and the beast" (http://www.aljazeera.com/indepth/opinion/2012/03/2012311901213166.html) . Al Jazeera . Retrieved August 5, 2017 . ^ (#cite_ref-61) Berrin, Danielle (August 22, 2012). "Super mogul Kathy Ireland the new super model for Israel" (http://jewishjournal.com/mobile_20111212/107431/super-mogul-kathy-ireland-the-new-super-model-for-israel/) . JewishJournal.com (/wiki/The_Jewish_Journal_of_Greater_Los_Angeles) . Retrieved August 5, 2017 . ^ (#cite_ref-62) Dovere, Maxine (March 5, 2012). "Kathy Ireland: Inspired in Paris, committed to Israel" (https://web.archive.org/web/20170805221248/http://www.jns.org/latest-articles/2012/3/5/kathy-ireland-inspired-in-paris-committed-to-israel.html) . Jewish News Syndicate. Archived from the original (https://www.jns.org/latest-articles/2012/3/5/kathy-ireland-inspired-in-paris-committed-to-israel.html) on August 5, 2017 . Retrieved August 5, 2017 . ^ (#cite_ref-GreenTimes_63-0) Schwab, Jennifer (October 6, 2010). "Kathy Ireland: Green Times Three" (https://www.huffingtonpost.com/jennifer-schwab/kathy-ireland-green-times_b_581853.html) . HuffPost (/wiki/HuffPost) . Retrieved August 23, 2018 . ^ (#cite_ref-64) "Kathy Ireland From Model to Mogul" (http://archives.midweek.com/content/story/midweek_coverstory/Kathy_Ireland_Toys_For_Tots/P1/) . MidWeek (/wiki/MidWeek) . December 15, 2010. ^ (#cite_ref-65) "A Real-Life Santa Role for Kathy Ireland" (http://www.prnewswire.com/news-releases/a-real-life-santa-role-for-kathy-ireland-234039851.html) (Press release). 2013 Marine Toys For Tots Campaign. PR Newswire. December 2, 2013 . Retrieved August 31, 2017 . ^ (#cite_ref-66) "Kathy Ireland Contributes $100,000 World AIDS Day Gift to the Elizabeth Taylor AIDS Foundation" (https://web.archive.org/web/20171222052755/https://elizabethtayloraidsfoundation.org/kathy-ireland-contributes-100000-world-aids-day-gift/) . Elizabeth Taylor AIDS Foundation. December 1, 2017. Archived from the original (https://elizabethtayloraidsfoundation.org/kathy-ireland-contributes-100000-world-aids-day-gift/) on December 22, 2017 . Retrieved December 19, 2017 . ^ (#cite_ref-67) Dedmon, Ryan (May 29, 2013). "Dispatchers and Children Honored as 9-1-1 Heroes at Celebrity Golf Tournament" (https://web.archive.org/web/20130723215857/http://www.9-1-1magazine.com/Dedmon-911-Heroes-Golf-Tourney) . 9-1-1 Magazine . Archived from the original (http://www.9-1-1magazine.com/Dedmon-911-Heroes-Golf-Tourney) on July 23, 2013. ^ (#cite_ref-68) "LPGA Tournament Chronology 1990–1999" (https://web.archive.org/web/20070920192212/http://www.lpga.com/content/Chronology90-99.pdf) (PDF) . Archived from the original (http://www.lpga.com/content/Chronology90-99.pdf) (PDF) on September 20, 2007. ^ (#cite_ref-69) "LPGA Tournament Chronology 2000–2008" (https://web.archive.org/web/20110304105055/http://www.lpga.com/content/Chronology2000-2008.pdf) (PDF) . Archived from the original (http://www.lpga.com/content/Chronology2000-2008.pdf) (PDF) on March 4, 2011. ^ (#cite_ref-70) "Kathy Ireland Greens.com Classic breakdown" (https://www.espn.com/golfonline/tours/s/breakdown/ireland.html) . ESPN. ^ (#cite_ref-71) Arfa, Orit (October 28, 2009). "Kathy Ireland Named Sheba Ambassador" (http://jewishjournal.com/news/los_angeles/community/73684/kathy-ireland-named-sheba-ambassador/) . JewishJournal.com . Retrieved August 31, 2017 . ^ (#cite_ref-Sheba_72-0) Evyatar, Ilan (February 12, 2010). "Born-Again Zionist Supermodel" (https://www.jpost.com/Magazine/Features/Born-again-Zionist-supermodel) . The Jerusalem Post (/wiki/The_Jerusalem_Post) . Retrieved August 24, 2018 . ^ (#cite_ref-73) "NFL Players, Inc. Adds Kathy Ireland and Jenny Abramson to Board of Directors" (https://www.nflpa.com/news/nflplayersinc-adds-kathy-ireland-jenny-abramson-to-board) . www.nflpa.com . January 30, 2019. ^ (#cite_ref-74) "Kathy Ireland Joins NFL Players Association, Lobbying for CBD" (https://www.tmz.com/2019/01/31/kathy-ireland-nfl-cbd-marijuana/) . TMZ . ^ (#cite_ref-75) "WNBA players' union creates board of advocates" (https://www.espn.com/wnba/story/_/id/27491558?) . www.ESPN.com . August 29, 2019. ^ (#cite_ref-76) "Supermodel-Turned-Supermogul Kathy Ireland Joins National Pediatric Cancer Foundation in Quest to Fast Track Cure" (https://nationalpcf.org/kathy-ireland-joins-npcf/) . www.nationalpcf.org . June 20, 2020. ^ (#cite_ref-nationalpcf.org_77-0) "Kathy Ireland Joins National Pediatric Cancer Foundation" (https://nationalpcf.org/kathy-ireland-joins-npcf/) . June 20, 2020. ^ (#cite_ref-78) Merritte, Tanya. "ADL to honor Pasquale Natuzzi, Gary Fazio, Kathy Ireland" (http://www.furnituretoday.com/article/536740-ADL_to_honor_Pasquale_Natuzzi_Gary_Fazio_Kathy_Ireland.php) . Furniture Today . Retrieved October 7, 2012 . ^ (#cite_ref-79) "Degrees of Distinction" (https://archive.today/20121202102250/http://www.calstate.edu/pa/News/2012/Story/honorary2012.shtml) . California State University. June 20, 2012. Archived from the original (http://www.calstate.edu/pa/News/2012/Story/honorary2012.shtml) on December 2, 2012. ^ (#cite_ref-80) "Meet Kathy Ireland at World's Largest Furniture Expo (High Point)" (https://web.archive.org/web/20171027024908/https://www.eventbrite.com/e/meet-kathy-ireland-at-worlds-largest-furniture-expo-high-point-tickets-38253525324) . October 13, 2017. Archived from the original (https://www.eventbrite.com/e/meet-kathy-ireland-at-worlds-largest-furniture-expo-high-point-tickets-38253525324) on October 27, 2017 . Retrieved October 26, 2017 – via Eventbrite (/wiki/Eventbrite) . ^ (#cite_ref-81) "Entrepreneur / Philanthropist Kathy Ireland to be Honored for Work Advancing International Religious Freedom (IRF) | RFBF" (https://religiousfreedomandbusiness.org/2/post/2021/07/entrepreneur-philanthropist-kathy-ireland-to-be-honored-for-work-advancing-international-religious-freedom-irf.html) . July 6, 2021. ^ (#cite_ref-christian_82-0) Blim, Julie (August 20, 2002). "Kathy Ireland: Designing Woman" (http://www.cbn.com/700club/features/kathy_ireland-interview.aspx) . CBN . Retrieved April 21, 2009 . ^ (#cite_ref-83) "Elizabeth Taylor 'Boiling' Over Criticism Of Kathy Ireland At Oscars" (http://www.accesshollywood.com/elizabeth-taylor-boiling-over-criticism-of-kathy-ireland-at-oscars_article_30043) . Access Hollywood . March 11, 2010. ^ (#cite_ref-84) "Elizabeth Taylor and Kathy Ireland" (http://www.zimbio.com/photos/Elizabeth+Taylor/Kathy+Ireland/Macy+s+Passport+Gala+Inside/p7FKQJsL6sY) . Zimbio (/wiki/Zimbio) . September 26, 2008. . ^ (#cite_ref-85) Bueno, Antoinette (March 26, 2013). "Kathy Ireland on Her Mentor Elizabeth Taylor" (http://www.etonline.com/news/132097_Kathy_Ireland_on_Her_Two_Billion_Empire) . Entertainment Tonight . Retrieved August 31, 2017 . ^ (#cite_ref-SWJJ2_86-0) Pomerantz, Dorothy (February 8, 2012). "The Surprising Link Between Kathy Ireland and Janet Jackson" (https://www.forbes.com/sites/dorothypomerantz/2012/02/08/the-surprising-link-between-kathy-ireland-and-janet-jackson/) . Forbes (/wiki/Forbes) . Retrieved August 31, 2017 . ^ (#cite_ref-87) Cronin, Travis (February 9, 2018). "NYFW Fall 2018 Front Row Report Day 1: What Cardi B Wore to the Jeremy Scott Show and More" (https://www.usmagazine.com/stylish/news/ny-fashion-week-fw-2018-day-1-celeb-front-row-looks-gossip/) . US Magazine (/wiki/Us_Weekly) . Retrieved March 6, 2018 . External links [ edit ] Kathy Ireland at Wikipedia's sister projects Media (https://commons.wikimedia.org/wiki/category:Kathy_Ireland) from Commons Quotations (https://en.wikiquote.org/wiki/Kathy_Ireland) from Wikiquote Data (https://www.wikidata.org/wiki/Q262490) from Wikidata Official website (http://kathyireland.com/) Kathy Ireland (https://www.imdb.com/name/nm0001387/) at IMDb (/wiki/IMDb_(identifier)) Kathy Ireland (https://web.archive.org/web/*/https://www.tcm.com/tcmdb/person/92322%7C*) at the TCM Movie Database (/wiki/Turner_Classic_Movies) Kathy Ireland (https://www.allmovie.com/artist/p34520) at AllMovie (/wiki/AllMovie) Kathy Ireland (https://www.wishtv.com/news/allindiana/kathy-ireland-to-receive-grit-grace-living-legend-award/) on WISH-TV (/wiki/WISH-TV) Kathy Ireland navigational boxes v t e Sports Illustrated (/wiki/Sports_Illustrated) Swimsuit Issue (/wiki/Sports_Illustrated_Swimsuit_Issue) cover models (/wiki/List_of_Sports_Illustrated_Swimsuit_Issue_cover_models) 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Shorts made to look like a skirt This article needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/Skort) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed. Find sources: "Skort" (https://www.google.com/search?as_eq=wikipedia&q=%22Skort%22) – news (https://www.google.com/search?tbm=nws&q=%22Skort%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Skort%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Skort%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Skort%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Skort%22&acc=on&wc=on) ( February 2010 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Golfer Zakiya Randall (/wiki/Zakiya_Randall) wearing a skort. A skort is a pair of shorts with an overlapping fabric panel made to resemble a skirt covering the front, or a skirt with a pair of integral shorts hidden underneath (also can be called sport skirts). [1] (#cite_note-1) Skort is a portmanteau (/wiki/Portmanteau) of skirt (/wiki/Skirt) and shorts (/wiki/Shorts) . History [ edit ] A field hockey player wearing a skort as part of her uniform While some garments sold as culottes (/wiki/Culottes) resemble short trousers (/wiki/Trousers) , to be skorts they need to look like skirts. They are distinguished from trousers or shorts by a fuller [ further explanation needed ] cut at the bottom ( hem (/wiki/Hem) ) than at the waist. Initially called "trouser skirts," skorts were developed to provide more freedom to do activities (such as sports, gardening, cleaning, or bike riding), and give the appearance of a skirt. At first, skorts were not deemed appropriate to be worn during any non-athletic activity. [2] (#cite_note-auto-2) Montgomery Ward (/wiki/Montgomery_Ward) claimed in their 1959 Spring/Summer catalog to have invented the garment they called a skort. It was a short knife or accordion pleated skirt with an attached bloomer (/wiki/Bloomers_(clothing)) underneath. Years later, the term was applied to a pair of shorts with a flap of fabric across the front (and often the back) making the garment appear to be a skirt. In recent years, the term skort has been given to any skirt with an attached pair of shorts. Predecessors [ edit ] The origins of skorts may be related back to earlier garments like bloomers and jupe-culottes which grew in popularity in the late 19th century and early 20th century, despite common public disapproval for women wearing pants. [3] (#cite_note-3) In 1911, Paul Poiret produced several designs that were a combination of skirts and trousers, and they became known as jupe-culottes or as harem pants (/wiki/Harem_pants) . [4] (#cite_note-4) Similar to skorts, culottes involve various styles that may appear as a hybrid between pants and skirts. [5] (#cite_note-5) Skorts are distinguished by their construction as a pair of shorts with material over it to make it appear as a skirt. Women's sports [ edit ] Skorts are popular in sports such as field hockey (/wiki/Field_hockey) , tennis (/wiki/Tennis) , golf (/wiki/Golf) , ten-pin bowling (/wiki/Ten-pin_bowling) and camogie (/wiki/Camogie) , and are often part of girls' athletic uniforms. The first noted skort-like clothing to be worn as tennis attire was done so by the Spanish player, Lilí Álvarez (/wiki/Lil%C3%AD_%C3%81lvarez) , who wore a pair of culottes which had been shaped to resemble a skirt during her Wimbledon match in 1931. Skorts continue to be popular in sports such as tennis, golf, and field hockey, but have also gained popularity in casual and athletic wear due to brands such as Lululemon. Lululemon's "Speed Up" skort, for example, has gained a following for its comfortable, moisture-wicking fabric and built-in shorts that provide coverage and protection during athletic activities. [ citation needed ] In addition to their practicality, skorts have also become a fashion statement, with many brands offering them in a variety of styles and designs. High-waisted skorts, skorts with ruffles or asymmetrical hems, and skorts made with patterned or textured fabrics have all become popular options. Overall, skorts have evolved from being a practical uniform option for girls in sports to a versatile and trendy clothing item that can be worn for a variety of activities. [2] (#cite_note-auto-2) See also [ edit ] Fashion portal (/wiki/Portal:Fashion) Clothing portal (/wiki/Portal:Clothing) Women and trousers (/wiki/Women_and_trousers) References [ edit ] Look up skort (https://en.wiktionary.org/wiki/Special:Search/skort) in Wiktionary, the free dictionary. ^ (#cite_ref-1) "Culottes Skirt is a Skort" (http://www.apparelsearch.com/Definitions/Clothing/culottes.htm) . www.apparelsearch.com . Retrieved 29 January 2019 . ^ Jump up to: a b Basu, Tanya (21 September 2017). "How the Skort Went From Rebellious Garment to Athleisure Staple" (http://www.atlasobscura.com/articles/skort-history) . Atlas Obscura . Retrieved 29 January 2019 . ^ (#cite_ref-3) "Women And Pants: A Timeline Of Fashion Liberation" (https://www.huffpost.com/entry/women-and-pants-fashion-liberation_l_5c7ec7f7e4b0e62f69e729ec) . HuffPost . 8 March 2019 . Retrieved 9 June 2021 . ^ (#cite_ref-4) Milbank, Caroline Rennolds. "Paul Poiret" (https://fashion-history.lovetoknow.com/fashion-clothing-industry/fashion-designers/paul-poiret) . LoveToKnow . Retrieved 9 June 2021 . ^ (#cite_ref-5) Borrelli-Persson, Laird (16 September 2019). "The Ups and Downs of Culottes" (https://www.vogue.com/article/the-ups-and-downs-of-culottes-a-brief-history-from-paul-poiret-to-hedi-slimane) . Vogue . 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Type of Chinese clothing Chinese tunic (/wiki/Tunic) suit ("Zhongshan"/"Mao suit") Sun Yat-sen (/wiki/Sun_Yat-sen) The modern Chinese tunic suit is a style of male attire originally known in China as the Zhongshan suit ( simplified Chinese (/wiki/Simplified_Chinese_characters) : 中山装 (https://en.wiktionary.org/wiki/%E4%B8%AD%E5%B1%B1%E8%A3%85) ; traditional Chinese (/wiki/Traditional_Chinese_characters) : 中山裝 (https://en.wiktionary.org/wiki/%E4%B8%AD%E5%B1%B1%E8%A3%9D) ; pinyin (/wiki/Pinyin) : Zhōngshān zhuāng ) after the republican leader Sun Yat-sen (Sun Zhongshan) (/wiki/Sun_Yat-sen) . Sun Yat-sen introduced the style shortly after the founding of the Republic of China (1912–1949) (/wiki/Republic_of_China_(1912%E2%80%931949)) as a form of national dress with distinct political overtones. The four pockets are said to represent the Four Virtues of propriety, justice, honesty, and shame; and the five buttons the branches of China's former government ( Executive (/wiki/Executive_Yuan) , Legislative (/wiki/Legislative_Yuan) , Judicial (/wiki/Judicial_Yuan) , Examination (/wiki/Examination_Yuan) , Control (/wiki/Control_Yuan) ), [1] (#cite_note-1) [2] (#cite_note-2) [3] (#cite_note-3) [4] (#cite_note-4) [5] (#cite_note-5) which still survive today in the Republic of China (/wiki/Republic_of_China) government of Taiwan (/wiki/Taiwan) . After the Communist (/wiki/Communist_Party_of_China) victory in the Chinese Civil War (/wiki/Chinese_Civil_War) and the establishment of the People's Republic of China (/wiki/People%27s_Republic_of_China) in 1949, such suits came to be worn widely by male citizens and government leaders as a symbol of proletarian unity and an Eastern counterpart to the Western business suit (/wiki/Business_suit) . The name " Mao suit " comes from Chinese Communist Mao Zedong (/wiki/Mao_Zedong) 's fondness for the style. The garment became closely associated with him and with Chinese Communism. Mao's cut of the suit was influenced by the Stalin tunic (/wiki/Stalin_tunic) then prevalent among Soviet (/wiki/Soviet_Union) officials. [6] (#cite_note-6) Although it declined in use among the general public in the 1980s and 1990s due to the increasing prominence of the business suit, it is still commonly worn by Chinese leaders during important state ceremonies and functions. [7] (#cite_note-7) [8] (#cite_note-8) The Mao suit was also worn in North Korea (/wiki/North_Korea) by party (/wiki/Workers%27_Party_of_Korea) elites. In the 1960s and 1970s, the Mao suit became fashionable among Western European, Australian, and New Zealander socialists and intellectuals. [9] (#cite_note-9) It was sometimes worn over a turtleneck (/wiki/Turtleneck) . Origins [ edit ] When the Republic was founded in 1912, the style of dress worn in China was based on Manchu (/wiki/Manchu) dress ( qipao (/wiki/Qipao) and changshan (/wiki/Changshan) ), which had been imposed by the Qing Dynasty (/wiki/Qing_Dynasty) as a form of social control. The majority- Han Chinese (/wiki/Han_Chinese) revolutionaries who overthrew the Qing were fueled by the failure of the Qing to defend China and a lack of scientific advancement compared to foreign colonial powers. Even before the founding of the Republic, older forms of Chinese dress were becoming unpopular among the elite and led to the development of Chinese dress which combined the changshan and the European hat to form a new dress. The Zhongshan suit is a parallel development that combined European-inspired Chinese fashion. Historical development [ edit ] Chiang Kai-shek and Mao Zedong both wearing Zhongshan suits, in Chongqing 1945 The Mao suit remained the standard formal dress for the first and second generations of PRC leaders (/wiki/Generations_of_Chinese_leadership) such as Deng Xiaoping (/wiki/Deng_Xiaoping) . During the 1990s, it began to be worn with decreasing frequency by leaders of CCP General Secretary (/wiki/General_Secretary_of_the_Communist_Party_of_China) Jiang Zemin (/wiki/Jiang_Zemin) 's generation as more and more Chinese politicians began wearing traditional European-style suits with neckties (/wiki/Neckties) . Jiang wore it only on special occasions, such as state dinners. General Secretary Hu Jintao (/wiki/Hu_Jintao) still wore the Mao suit on special occasions, such as the ceremony marking the 60th anniversary of the People's Republic (/wiki/60th_anniversary_of_the_People%27s_Republic_of_China) in 2009. [10] (#cite_note-10) Hu Jintao appeared at a black tie (/wiki/Black_tie) state dinner in the United States wearing a business suit, attracting some criticism for being underdressed at a formal occasion. [11] (#cite_note-11) [12] (#cite_note-12) In the Xi Jinping Administration (/wiki/Xi_Jinping_Administration) the Mao suit made a comeback as a diplomatic uniform (/wiki/Diplomatic_uniform) and evening dress (/wiki/Full_dress_uniform) . Symbol of national sovereignty [ edit ] The Mao suit is worn at the most formal ceremonies as a symbol of national sovereignty. China's paramount leaders (/wiki/Paramount_leader) always wear Mao suits for military parades in Beijing, even though other Politburo Standing Committee (/wiki/Politburo_Standing_Committee_of_the_Chinese_Communist_Party) members and other Politburo (/wiki/Politburo_of_the_Chinese_Communist_Party) officials wear European business suits. It is customary for Chinese leaders to wear Mao suits when attending state dinners (/wiki/State_dinner) . [13] (#cite_note-13) [14] (#cite_note-14) [15] (#cite_note-15) In this situation, the Mao suit serves as a form of evening dress (/wiki/Full_dress_uniform) , equivalent to a military uniform for a monarch, or a tuxedo for a paramount leader. The Mao suit also serves as a diplomatic uniform (/wiki/Diplomatic_uniform) . Although Chinese ambassadors usually wear European business suits, many Chinese ambassadors choose to wear a Mao suit when they present their credentials (/wiki/Letter_of_credence) to the head of state. [16] (#cite_note-16) [17] (#cite_note-17) [18] (#cite_note-18) The presentation ceremony is symbolic of the diplomatic recognition (/wiki/Diplomatic_recognition) that exists between the two countries, so it carries a higher level of formality than other diplomatic meetings. Chiang Kai-shek (/wiki/Chiang_Kai-shek) inspects Taiwan, 1946 Kim Il Sung (/wiki/Kim_Il_Sung) wearing a Mao suit Xi Jinping (/wiki/Xi_Jinping) wearing the suit at a black tie (/wiki/Black_tie) state dinner See also [ edit ] Socialism portal (/wiki/Portal:Socialism) Communism portal (/wiki/Portal:Communism) China portal (/wiki/Portal:China) Fashion portal (/wiki/Portal:Fashion) Abacost (/wiki/Abacost) Barong tagalog (/wiki/Barong_tagalog) Chinese clothing (/wiki/Chinese_clothing) Nehru jacket (/wiki/Nehru_jacket) Feldbluse (/wiki/Feldbluse) French (tunic) (/wiki/French_(tunic)) Gakuran (/wiki/Gakuran) Jodhpuri (/wiki/Jodhpuri) Kariba suit (/wiki/Kariba_suit) Madiba shirt (/wiki/Madiba_shirt) Mandarin collar (/wiki/Mandarin_collar) Safari jacket (/wiki/Safari_jacket) Stalin tunic (/wiki/Stalin_tunic) Waffenrock (/wiki/Waffenrock) References [ edit ] ^ (#cite_ref-1) M. S., Journalism; B. A., Humanities. "The History Behind the Chinese Version of a Business Suit" (https://www.thoughtco.com/chinese-clothing-mao-suit-687372) . ThoughtCo . Retrieved July 24, 2021 . ^ (#cite_ref-2) Gunde, Richard (2002). Culture and customs of China . Westport, Conn: Greenwood Press. ISBN (/wiki/ISBN_(identifier)) 978-0-313-30876-5 . OCLC (/wiki/OCLC_(identifier)) 610665365 (https://www.worldcat.org/oclc/610665365) . ^ (#cite_ref-3) Johansson, Perry (2015). The libidinal economy of China: gender, nationalism, and consumer culture . Lexington Books. ISBN (/wiki/ISBN_(identifier)) 978-0-7391-9262-7 . OCLC (/wiki/OCLC_(identifier)) 934516889 (https://www.worldcat.org/oclc/934516889) . ^ (#cite_ref-4) Barmé, Geremie (2016). Shades of Mao: the posthumous cult of the great leader . Routledge. ISBN (/wiki/ISBN_(identifier)) 978-1-315-28575-7 . OCLC (/wiki/OCLC_(identifier)) 999612140 (https://www.worldcat.org/oclc/999612140) . ^ (#cite_ref-5) Strittmatter, Kai (2012). China: an introduction to the culture and people . London: Armchair Traveller at the bookHaus. ISBN (/wiki/ISBN_(identifier)) 978-1-907973-17-8 . OCLC (/wiki/OCLC_(identifier)) 809224115 (https://www.worldcat.org/oclc/809224115) . ^ (#cite_ref-6) " (https://namednibook.ru/stalinka.html) "Сталинка" - Намедни. Наша Эра" (https://namednibook.ru/stalinka.html) . namednibook.ru . ^ (#cite_ref-7) "Mao suit continued choice of China's top leaders for National Day ceremony - People's Daily Online" (http://en.people.cn/90001/90776/90785/6775781.html) . en.people.cn . ^ (#cite_ref-8) Montefiore, Clarissa Sebag. "From Red Guards to Bond villains: Why the Mao suit endures" (https://www.bbc.com/culture/story/20151007-from-red-guards-to-bond-villains-why-the-mao-suit-endures) . www.bbc.com . ^ (#cite_ref-9) From Red Guards to Bond villains: Why the Mao suit endures (https://www.bbc.com/culture/article/20151007-from-red-guards-to-bond-villains-why-the-mao-suit-endures) , Clarissa Sebag Montefiore, 2 November 2015, BBC Culture ^ (#cite_ref-10) "Mao suit continued choice of China's top leaders for National Day ceremony" (http://english.people.com.cn/90001/90776/90785/6775781.html) , Xinhua, 1 October 2009. ^ (#cite_ref-11) Chow, Jason (January 20, 2011). "What to Wear to a State Dinner" (https://blogs.wsj.com/scene/2011/01/20/what-to-wear-to-a-state-dinner/) . Scene Asia . Wall Street Journal. But Wednesday night, Chinese President Hu Jintao did not wear a tuxedo. Instead, he opted for a dark suit and a conservative blue tie. On a sartorial level, the Chinese President was shown up by his American counterpart and the first lady. President Obama wore an elegant dinner jacket, and his wife, Michelle, a flowing red dress by Alexander McQueen. ^ (#cite_ref-12) Macartney, Jane (January 20, 2011). "Hu's lounge suit was wrong on all counts" (http://www.thetimes.co.uk/tto/news/world/americas/article2881685.ece) . The Times (London). Hu Jintao should have chosen a beautifully cut Mao suit instead of a blue-spotted tie for his first White House state dinner. ^ (#cite_ref-13) "China State Dinners" (http://www.whitehousehistory.org/galleries/china-state-dinners) . The White House Historical Association . Retrieved January 30, 2016 . Presidents Jimmy Carter and Richard Nixon speak with Vice Premier Deng Xiaoping of China during the State Dinner on January 29, 1979. ^ (#cite_ref-14) "White House State Dinner for the President of China" (https://web.archive.org/web/20170218082103/https://clinton2.nara.gov/WH/EOP/First_Lady/html/102997.html) . Archived from the original (https://clinton2.nara.gov/WH/EOP/First_Lady/html/102997.html) on February 18, 2017 . Retrieved January 30, 2016 . The President and Mrs. Clinton are hosting His Excellency President Jiang Zemin and Madame Wang Yeping at a White House State Dinner on Wednesday, October 29, 1997. President Jiang and Madame Wang will arrive at the North Portico at 7:15 p.m.. ^ (#cite_ref-15) Ramzy, Austin (March 25, 2014). "A Chinese-Style Suit for Xi Jinping's European Trip" (http://sinosphere.blogs.nytimes.com/2014/03/25/a-chinese-style-suit-for-xi-jinpings-european-trip/) . Sinosphere . The New York Times. President Xi Jinping wore a modified Mao suit to a state dinner hosted by the Dutch royal family in Amsterdam on Saturday, eliciting surprise from Chinese citizens who are used to their leaders' sartorial decisions being a model of suit-and-tie uniformity. ^ (#cite_ref-16) "H.E. Ambassador Zhang Weidong Presents Credentials to the President of Iceland" (http://is.china-embassy.org/eng/xwdt/t1197299.htm) . Embassy of the People's Republic of China in the Republic of Iceland . September 30, 2014. ^ (#cite_ref-17) "Ambassador to Sweden Chen Yuming Presents Credentials to His Majesty the King of Sweden" (http://www.fmprc.gov.cn/mfa_eng/wjb_663304/zwjg_665342/zwbd_665378/t1109701.shtml) . Ministry of Foreign Affairs of the People's Republic of China . December 10, 2013. ^ (#cite_ref-18) "Ambassador to Iran Pang Sen Presents Credentials to President Hassan Rouhani of Iran" (http://www.fmprc.gov.cn/mfa_eng/wjb_663304/zwjg_665342/zwbd_665378/t1169220.shtml) . Ministry of Foreign Affairs of the People's Republic of China . June 23, 2014. External links [ edit ] Wikimedia Commons has media related to Mao suit (https://commons.wikimedia.org/wiki/Category:Mao_suit) . 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Clothing item traditionally around the neck For the animated short film, see The Necktie (/wiki/The_Necktie) . A necktie with a tie clasp A necktie , or simply a tie , is a piece of cloth worn for decorative purposes around the neck (/wiki/Neck) , resting under the shirt collar (/wiki/Collar_(clothing)) and knotted at the throat, and often draped down the chest. Variants include the ascot (/wiki/Ascot_tie) , bow (/wiki/Bow_tie) , bolo (/wiki/Bolo_tie) , zipper tie, cravat (/wiki/Cravat_(early)) , and knit (/wiki/Knit_tie) . The modern necktie, ascot, and bow tie are descended from the cravat. Neckties are generally unsized but may be available in a longer size. In some cultures, men and boys wear neckties as part of office attire (/wiki/Office_attire) or formal wear (/wiki/Formal_wear) . Women wear them less often. Neckties can also be part of a uniform (/wiki/Uniform) . Neckties are traditionally worn with the top shirt button fastened, and the tie knot resting between the collar points. [1] (#cite_note-1) History [ edit ] Origins [ edit ] See also: Cravat (early) (/wiki/Cravat_(early)) The necktie that spread from Europe traces back to Croatian mercenaries (/wiki/Croats_(military_unit)) serving in France during the Thirty Years' War (/wiki/Thirty_Years%27_War) (1618–1648). These mercenaries from the Military Frontier (/wiki/Military_Frontier) , wearing their traditional small, knotted neckerchiefs (/wiki/Neckerchief) , aroused the interest of the Parisians (/wiki/Paris) . [2] (#cite_note-r1-2) Because of the difference between the Croatian (/wiki/Croatian_language) word for Croats, Hrvati , and the French word, Croates , the garment gained the name cravat (/wiki/Cravat_(early)) ( cravate (https://fr.wikipedia.org/wiki/Cravate) in French). [3] (#cite_note-3) Louis XIV (/wiki/Louis_XIV) began wearing a lace cravat around 1646 when he was seven and set the fashion for French nobility. This new article of clothing started a fashion craze in Europe; both men and women wore pieces of fabric around their necks. From its introduction by the French king, men wore lace (/wiki/Lace) cravats, or jabots (/wiki/Jabot_(neckwear)) , which took a large amount of time and effort to arrange. These cravats were often tied in place by cravat strings, arranged neatly and tied in a bow. International Necktie Day is celebrated on October 18 in Croatia (/wiki/Croatia) and in various cities around the world, including in Dublin (/wiki/Dublin) , Tübingen (/wiki/T%C3%BCbingen) , Como (/wiki/Como) , Tokyo (/wiki/Tokyo) , Sydney (/wiki/Sydney) and other towns. [4] (#cite_note-4) 1710–1800: stocks, solitaires, neckcloths, cravats [ edit ] In 1715, another kind of neckwear, called " stocks (/wiki/Stock_tie) " made its appearance. The term originally referred to a leather collar, laced at the back, worn by soldiers to promote holding the head high in a military bearing. The leather stock also afforded some protection to the major blood vessels of the neck from saber (/wiki/Saber) or bayonet (/wiki/Bayonet) attacks. General Sherman (/wiki/William_Tecumseh_Sherman) is seen wearing a leather stock in several American Civil War-era photographs. Stock ties were initially just a small piece of muslin (/wiki/Muslin) folded into a narrow band wound a few times around the shirt collar and secured from behind with a pin. It was fashionable for men to wear their hair long, past shoulder length. The ends were tucked into a black silk bag worn at the nape of the neck. This was known as the bag-wig hairstyle, and the neckwear worn with it was the stock. The solitaire was a variation of the bag wig. This form had matching ribbons stitched around the bag. After the stock was in place, the ribbons (/wiki/Ribbon) would be brought forward and tied in a large bow in front of the wearer. Sometime in the late 18th century, cravats began to make an appearance again. [ where? ] This can be attributed to a group of young men called the macaronis (/wiki/Macaroni_(fashion)) (as mentioned in the song " Yankee Doodle (/wiki/Yankee_Doodle) "). These were young Englishmen who returned from Europe and brought with them new ideas about fashion from Italy. The French contemporaries of the macaronis were the 'petits-maîtres' and incroyables (/wiki/Incroyables) . 1800–1850: cravat, stocks, scarves, bandanas [ edit ] Pleated (/wiki/Pleat) silk satin stock, Boston, c. 1830. Los Angeles County Museum of Art (/wiki/Los_Angeles_County_Museum_of_Art) , AC1998.78.1 At this time, there was also much interest in the way to tie a proper cravat and this led to a series of publications. This began in 1818 with the publication of Neckclothitania , a style manual that contained illustrated instructions on how to tie 14 different cravats. Soon after, the immense skill required to tie the cravat in certain styles quickly became a mark of a man's elegance and wealth. [5] (#cite_note-5) It was also the first book to use the word tie in association with neckwear. It was about this time that black stocks made their appearance. Their popularity eclipsed the white cravat, except for formal and evening wear. These remained popular through the 1850s. At this time, another form of neckwear worn was the scarf (/wiki/Scarf) . This was where a neckerchief or bandana (/wiki/Bandana) was held in place by slipping the ends through a finger or scarf ring at the neck instead of using a knot. This is the classic sailor neckwear and may have been adopted from them. 1860s–1945: bow ties, scarf/neckerchief, the ascot, the long tie [ edit ] Mathew Brady (/wiki/Mathew_Brady) wearing a tie in 1875 With the industrial revolution (/wiki/Industrial_revolution) , more people wanted neckwear that was easy to put on, was comfortable and would last an entire workday. Neckties were designed to be long, thin, and easy to knot, without accidentally coming undone. This is the necktie design still worn by millions. In 1903, Theodore Roosevelt became the first US president to wear the modern long necktie in a presidential portrait. [6] (#cite_note-6) [7] (#cite_note-7) By this time, the sometimes complicated array of knots and styles of neckwear gave way to neckties and bow ties (/wiki/Bow_tie) , the latter a much smaller, more convenient version of the cravat. Another type of neckwear, the ascot tie (/wiki/Ascot_tie) , was considered de rigueur for male guests at formal dinners and male spectators at races. These ascots had wide flaps that were crossed and pinned together on the chest. In 1922, a New York tie maker, Jesse Langsdorf (/w/index.php?title=Jesse_Langsdorf&action=edit&redlink=1) , came up with a method of cutting the fabric on the bias (/wiki/Bias_(textile)) and sewing it in three segments. [8] (#cite_note-8) This technique improved elasticity and facilitated the fabric's return to its original shape. Since that time, most men have worn the "Langsdorf" tie. [9] (#cite_note-9) Yet another development during that time was the method used to secure the lining and interlining (/wiki/Lining_(sewing)) once the tie had been folded into shape. 1945–1995 [ edit ] This section does not cite (/wiki/Wikipedia:Citing_sources) any sources (/wiki/Wikipedia:Verifiability) . Please help improve this section (/wiki/Special:EditPage/Necktie) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed (/wiki/Wikipedia:Verifiability#Burden_of_evidence) . ( July 2020 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) A collection of different colors of ties Two patterned neckties After the First World War (/wiki/First_World_War) , hand-painted ties became an accepted form of decoration in the U.S. [10] (#cite_note-10) The widths of some of these ties went up to 4.5 inches (11 cm). These loud, flamboyant ties sold very well through the 1950s. Diagonal ("regimental or "repp") stripes are a common necktie pattern. In Britain and other Commonwealth countries, these have been used to denote association with a particular military regiment, corps, or service since at least the 1920s, and are also used to represent civic and educational institutions. It is considered inappropriate for persons who are unaffiliated with a regiment, university, school, or other organization, to wear a necktie affiliated with that organization. In Commonwealth countries, necktie stripes commonly run from the left shoulder down to the right side but when Brooks Brothers (/wiki/Brooks_Brothers) introduced similar striped ties in the United States (/wiki/United_States) , around the beginning of the 20th century, they had their stripes run from the right shoulder to the left side, in part to distinguish them from British regimental striped neckties. Members of the British Royal Family (/wiki/British_Royal_Family) are frequently seen wearing regimental striped ties corresponding to the military unit in which they have served or been appointed to an honorary position such as colonel-in-chief (/wiki/Colonel-in-chief) . Before the Second World War (/wiki/Second_World_War) ties were typically worn shorter than they are today. This was due, in part, to men at that time more commonly wearing trousers (/wiki/Trousers) with a higher rise (at the natural waist, just above the belly button) and waistcoats; i.e., ties could be shorter because trousers sat higher up and, at any rate, the tip of the tie was almost always concealed. Around 1944, ties started to become not only wider but even wilder. This was the beginning of what was later labeled the Bold Look (/wiki/1945%E2%80%931960_in_fashion#Suits) : ties that reflected the returning GIs' desire to break with wartime uniformity. Widths reached 5 inches (13 cm), and designs included Art Deco (/wiki/Art_Deco) , hunting scenes, scenic "photographs", tropical themes, and even girlie prints, though more traditional designs were also available. The typical length was 48 inches (120 cm). The Bold Look lasted until about 1951 when the "Mister T" look (so termed by Esquire magazine (/wiki/Esquire_magazine) ) was introduced. The new style, characterized by tapered suits, slimmer lapels (/wiki/Lapel) , and smaller hat brims (/wiki/Brim_(hat)) , included thinner and not so wild ties. Tie widths slimmed to 3 inches (7.6 cm) by 1953 and continued getting thinner up until the mid-1960s; length increased to about 52 inches (130 cm) as men started wearing their trousers lower, closer to the hips. Through the 1950s, neckties remained somewhat colorful, yet more restrained than in the previous decade. Small geometric shapes were often employed against a solid background (i.e., foulards (/wiki/Foulard) ); diagonal stripes were also popular. By the early 1960s, dark, solid ties became very common, with widths slimming down to as little as 1 inch (2.5 cm). A policeman (/wiki/Hamburg_Police) in Hamburg (/wiki/Hamburg) , Germany (/wiki/Germany) , wearing a necktie The 1960s brought about an influx of pop art (/wiki/Pop_art) influenced designs. The first was designed by Michael Fish (/wiki/Michael_Fish_(fashion)) when he worked at Turnbull & Asser (/wiki/Turnbull_%26_Asser) , and was introduced in Britain in 1965; the term Kipper tie (/wiki/Kipper_tie) was a pun on his name, as well as a reference to the triangular shape of the front of the tie. The exuberance of the styles of the late 1960s and early 1970s gradually gave way to more restrained designs. Ties became wider, returning to their 4 + 1 ⁄ 2 -inch (11 cm) width, sometimes with garish colors and designs. The traditional designs of the 1930s and 1950s, such as those produced by Tootal (/wiki/Tootal) , reappeared, particularly Paisley (/wiki/Paisley_(design)) patterns. Ties began to be sold along with shirts, and designers slowly began to experiment with bolder colors. In the 1980s, narrower ties, some as narrow as 1 + 1 ⁄ 2 inches (3.8 cm) but more typically 3 to 3 + 1 ⁄ 4 inches (7.6 to 8.3 cm) wide, became popular again. Into the 1990s, as ties got wider again, increasingly unusual designs became common. Novelty (or joke) ties or deliberately kitschy (/wiki/Kitsch) ties designed to make a statement gained a certain popularity in the 1980s and 1990s. These included ties featuring cartoon characters, commercial products (/wiki/Commercial_products) , or pop culture (/wiki/Popular_culture) icons, and those made of unusual materials, such as plastic (/wiki/Plastic) or wood (/wiki/Wood) . During this period, with men wearing their trousers at their hips, ties lengthened to 57 inches (140 cm). The number of ties sold in the United States reached a peak of 110 million in the early 1990s. [11] (#cite_note-:1-11) 1995–Present [ edit ] During this period, the use of neckties in the workplace underwent a gradual decline. By 2001, the number of ties sold per year in the US had declined to 60 million. [11] (#cite_note-:1-11) At the start of the 21st century, ties widened to 3 + 1 ⁄ 2 to 3 + 3 ⁄ 4 inches (8.9 to 9.5 cm) wide, with a broad range of patterns available, from traditional stripes, foulards, and club ties (ties with a crest or design signifying a club, organization, or order) to abstract, themed, and humorous ones. The standard length remains 57 inches (140 cm), though other lengths vary from 117 cm to 152 cm. While ties as wide as 3 + 3 ⁄ 4 inches (9.5 cm) are still available, ties under 3 inches (7.6 cm) wide also became popular, particularly with younger men and the fashion-conscious. In 2008 and 2009 the world of fashion saw a return to narrower ties. Types [ edit ] A page from Neckclothitania showing different cravat knots Cravat [ edit ] This section does not cite (/wiki/Wikipedia:Citing_sources) any sources (/wiki/Wikipedia:Verifiability) . Please help improve this section (/wiki/Special:EditPage/Necktie) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed (/wiki/Wikipedia:Verifiability#Burden_of_evidence) . ( August 2023 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) In 1660, in celebration of its hard-fought victory over the Ottoman Empire (/wiki/Ottoman_Empire) , a crack regiment from Croatia (/wiki/Croatia) visited Paris (/wiki/Paris) . There, the soldiers were presented as glorious heroes to Louis XIV (/wiki/Louis_XIV_of_France) , a monarch well known for his eye for personal adornment. It so happened that the officers of this regiment were wearing brightly colored handkerchiefs fashioned of silk around their necks. These neckcloths struck the fancy of the king, and he soon made them an insignia of royalty as he created a regiment of Royal Cravattes. The word cravat is derived from the à la croate —'in the style of the Croats (/wiki/Croat) '. Four-in-hand [ edit ] This section does not cite (/wiki/Wikipedia:Citing_sources) any sources (/wiki/Wikipedia:Verifiability) . Please help improve this section (/wiki/Special:EditPage/Necktie) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed (/wiki/Wikipedia:Verifiability#Burden_of_evidence) . ( August 2023 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) The four-in-hand necktie (as distinct from the four-in-hand knot (/wiki/Four-in-hand_knot) ) was fashionable in Great Britain (/wiki/Great_Britain) in the 1850s. Early neckties were simple, rectangular cloth strips cut on the square, with square ends. The term four-in-hand originally described a carriage with four horses and a driver; later, it also was the name of a London (/wiki/London) gentlemen's club (/wiki/Gentlemen%27s_club) , The Four-in-Hand Driving Company founded in 1856. Some etymologic reports are that carriage drivers knotted their reins with a four-in-hand knot (see below (#Types_of_knot) ), whilst others claim the carriage drivers wore their scarves knotted 'four-in-hand', but, most likely, members of the club began wearing their neckties so knotted, thus making it fashionable. In the latter half of the 19th century, the four-in-hand knot and the four-in-hand necktie were synonymous. As fashion changed from stiff shirt collars to soft, turned-down collars, the four-in-hand necktie knot gained popularity; its sartorial dominance rendered the term four-in-hand redundant usage, shortened long tie and tie . In 1926, Jesse Langsdorf from New York City (/wiki/New_York_City) introduced ties cut on the bias (/wiki/Bias_(textile)) (US) or cross-grain (/wiki/Cross-grain) (UK), allowing the tie to evenly fall from the knot without twisting; this also caused any woven pattern (/wiki/Pattern) such as stripes to appear diagonally across the tie. Today, four-in-hand ties are part of men's dress clothing in both Western (/wiki/Western_world) and non-Western societies, particularly for business. Four-in-hand ties are generally made from silk (/wiki/Silk) or polyester (/wiki/Polyester) and occasionally with cotton (/wiki/Cotton) . Another material used is wool (/wiki/Wool) , usually knitted, common before World War II (/wiki/World_War_II) but not as popular nowadays. More recently, [ when? ] microfiber (/wiki/Microfiber) ties have also appeared; in the 1950s and 1960s, other manmade fabrics, such as Dacron (/wiki/Dacron) and rayon (/wiki/Rayon) , were also used, but have fallen into disfavor. Modern ties appear in a wide variety of colors and patterns, notably striped (usually diagonally); club ties (with a small motif repeated regularly all over the tie); foulards (/wiki/Foulard) (with small geometric shapes on a solid background); paisleys (/wiki/Paisley_(design)) ; and solids. Novelty ties featuring icons (/wiki/Icon_(semiotics)) from popular culture (such as cartoons, actors, or holiday images), sometimes with flashing lights, have enjoyed some popularity since the 1980s. Six- and seven-fold ties [ edit ] A seven-fold tie is an unlined construction variant of the four-in-hand necktie which pre-existed the use of interlining. Its creation at the end of the 19th century is attributed to the Parisian shirtmaker Washington Tremlett for an American customer. [12] (#cite_note-12) A seven-fold tie is constructed completely out of silk. A six-fold tie is a modern alteration of the seven-fold tie. This construction method is more symmetrical than the true seven-fold. It has an interlining which gives it a little more weight and is self-tipped. [ citation needed ] Skinny tie [ edit ] A skinny tie is a necktie that is narrower than the standard tie and often all-black. Skinny ties have widths of around 2 + 1 ⁄ 2 inches (6.4 cm) at their widest, compared to usually 3–4 inches (7.6–10.2 cm) for regular ties. [13] (#cite_note-13) Skinny ties were first popularized in the late 1950s and early 1960s by British bands such as the Beatles (/wiki/The_Beatles) and the Kinks (/wiki/The_Kinks) , alongside the subculture that embraced such bands, the mods (/wiki/Mod_(subculture)) . This is because clothes of the time evolved to become more form-fitting and tailored. [2] (#cite_note-r1-2) They were later repopularized in the late 1970s and early 1980s by new wave (/wiki/New_wave_music) and power pop (/wiki/Power_pop) bands such as the Knack (/wiki/The_Knack) , Blondie (/wiki/Blondie_(band)) and Duran Duran (/wiki/Duran_Duran) . [14] (#cite_note-14) "Pre-tied" ties and development of clip-ons [ edit ] Main article: Clip-on tie (/wiki/Clip-on_tie) Early illustration of a pre-tied clip-on tie. [15] (#cite_note-p1-15) A solid black clip-on tie The "pre-tied" necktie, or more commonly, the clip-on necktie, is a permanently knotted four-in-hand or bow tie affixed by a clip or hook. The clip-on tie sees use with children, and in occupations where a traditional necktie might pose a safety hazard to mechanical equipment operators, etc. [16] (#cite_note-16) (see § Health and safety hazards (#Health_and_safety_hazards) below). The perceived utility of this development in the history of the style is evidenced by the series of patents issued for various forms of these ties, beginning in the late 19th century, [15] (#cite_note-p1-15) [17] (#cite_note-p2-17) and by the businesses filing these applications and fulfilling a market need for them. For instance, a patent filed by Joseph W. Less of the One-In-Hand Tie Company of Clinton, Iowa for "Pre-tied neckties and methods for making the same" noted that: [M]any efforts [...] in the past to provide a satisfactory four-in-hand tie so [...] that the wearer [...] need not tie the knot [...] had numerous disadvantages and [...] limited commercial success. Usually, such ties have not accurately simulated the Windsor knot, and have often had a[n] [...] unconventional made-up appearance. Frequently, [...] [they were] difficult to attach and uncomfortable when worn [...] [and] unduly expensive [...] [offering] little advantage over the conventional. [18] (#cite_note-google.sc-18) The inventor proceeded to claim for the invention—the latest version of the 1930s–1950s product line from former concert violinist Joseph Less, Iowan brothers Walter and Louis, and son-in-law W. Emmett Thiessen evolved to be identifiable as the modern clip-on [19] (#cite_note-b1-19) —"a novel method for making up the tie [...] [eliminating] the neckband of the tie, which is useless and uncomfortable in warm weather [...] [and providing] means of attachment which is effective and provides no discomfort to the wearer", and in doing so achieves "accurate simulation of the Windsor knot, and extremely low material and labor costs". [18] (#cite_note-google.sc-18) Notably, the company made use of ordinary ties purchased from the New York garment industry and was a significant employer of women in the pre-war and World War II years. [19] (#cite_note-b1-19) Knots [ edit ] This section needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/Necktie) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) in this section. Unsourced material may be challenged and removed. ( August 2023 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) See also: Category:Necktie knots (/wiki/Category:Necktie_knots) A demonstration of tying a tie A half Windsor knot with a dimple An Atlantic knot, which is notable for being tied backwards There are four main knots (/wiki/Knot) used to knot neckties. In rising order of difficulty, they are: the four-in-hand knot (/wiki/Four-in-hand_knot) . The four-in-hand knot may be the most common. the Pratt knot (/wiki/Pratt_knot) (the Shelby knot) the half-Windsor knot (/wiki/Half-Windsor_knot) the Windsor knot (/wiki/Windsor_knot) (also redundantly called the "full Windsor" and the "Double Windsor"). Although he did not invent it, the Windsor knot is named after the Duke of Windsor (/wiki/Edward_VIII_of_the_United_Kingdom) . The Duke did favor a voluminous knot; however, he achieved this by having neckties specially made of thicker cloths. In the late 1990s, two researchers, Thomas Fink (/wiki/Thomas_Fink) and Yong Mao (/w/index.php?title=Yong_Mao&action=edit&redlink=1) of Cambridge's (/wiki/University_of_Cambridge) Cavendish Laboratory (/wiki/Cavendish_Laboratory) , used mathematical modeling to discover that 85 knots are possible with a conventional tie (limiting the number "moves" used to tie the knot to nine; longer sequences of moves result in too large a knot or leave the hanging ends of the tie too short). The models were published in academic journals, while the results and the 85 knots were published in layman's terms in a book entitled The 85 Ways to Tie a Tie (/wiki/The_85_Ways_to_Tie_a_Tie) . [20] (#cite_note-85ways-20) Of the 85 knots, Fink and Mao selected 13 knots as "aesthetic" knots, using the qualities of symmetry and balance. Based on these mathematical principles, the researchers came up with not only the four necktie knots in common use, but nine more, some of which had seen limited use, and some that are believed to have been codified for the first time. Other types of knots include: Small knot (/wiki/Small_knot) (also "oriental knot", "Kent knot"): the smallest possible necktie knot. It forms an equilateral triangle, like the half-Windsor, but much more compact (Fink–Mao notation: Lo Ri Co T, Knot 1). It is also the smallest knot to begin inside-out. Nicky knot : an alternative version of the Pratt knot (/wiki/Pratt_knot) , but better-balanced and self-releasing (Lo Ci Ro Li Co T, Knot 4). Supposedly named for Nikita Khrushchev (/wiki/Nikita_Khrushchev) , it tends to be equally referred to as the Pratt knot in men's style literature. This is the version of the Pratt knot favored by Fink and Mao. Atlantic knot : a reversed Pratt knot, highlighting the structure of the knot normally hidden on the back. For the wide blade to remain in front and right-side-out, the knot must begin right-side-out, and the thin end must be wrapped around the wide end. (Ri Co Ri Lo Ci T; not cataloged by Fink and Mao, but would be numbered 5 r according to their classification.) Prince Albert knot (also "double knot", "cross Victoria knot"): A variant of the four-in-hand with an extra pass of the wide blade around the front, before passing the wide blade through both of the resultant loops (Li Ro Li Ro Li Co T T, Knot 6 2 ). A version knotted through only the outermost loop is known as the Victoria knot (Li Ro Li Ro Li Co T, Knot 6). Christensen knot (also "cross knot"): An elongated, symmetrical knot, whose main feature is the cruciform structure made by knotting the necktie through the double loop made in the front (Li Ro Ci Lo Ri Lo Ri Co T T, Knot 25 2 ). While it can be made with modern neckties, it is most effective with thinner ties of consistent width, which fell out of common use after the 19th century. Ediety knot (also "Merovingian knot"): a doubled Atlantic knot, best known as the tie knot worn by the character " the Merovingian (/wiki/List_of_minor_characters_in_the_Matrix_series#Merovingian) " in the 2003 film The Matrix Reloaded (/wiki/The_Matrix_Reloaded) . This tie can be knotted with the thin end over the wide end, as with the Atlantic knot, or with the wide end over the thin end to mimic the look seen in the film, with the narrow blade in front. (Ri Co Ri Lo Ci Ri Co Ri Lo Ci T – not cataloged by Fink and Mao, as its 10 moves exceed their parameters.) Trinity knot : This knot was first created by Christopher Johnson in Watertown, WI in 2004. He was inspired by the 2003 film The Matrix Reloaded (/wiki/The_Matrix_Reloaded) . It is relatively easy to tie in spite of its complex look. It is best with a tie that is without taper or flare on the narrow blade, and is best worn with a suit or tuxedo because of its formal appearance. Herringbone knot (also "Eldredge knot"): This knot is tied in almost the same process as the Trinity knot, but tends to create more volume to the sides, and is thus great with spread or cutaway collars. Like the Trinity knot it is best worn with a suit or tuxedo. Victoria knot Tulip knot Vidalia knot Caped Eldredge knot Trinity-Eldredge knot St. Andrew knot Balthus knot Hanover knot Grantchester knot Plattsburgh knot Ties as a sign of membership [ edit ] Further information: School tie (/wiki/School_tie) The two variants of the school tie for Phillips Academy (/wiki/Phillips_Academy) The use of coloured and patterned neckties indicating the wearer's membership in a club, military regiment, school, professional association (Royal Colleges, Inns of Courts) et cetera, dates only from the late-19th century England (/wiki/England) . [21] (#cite_note-Club_tie-21) The immediate forerunners of today's college neckties were in 1880 the oarsmen (/wiki/Sport_rowing) of Exeter College, Oxford (/wiki/Exeter_College_Boat_Club) , who tied the bands of their straw hats around their necks. [21] (#cite_note-Club_tie-21) [22] (#cite_note-22) In the United Kingdom (/wiki/United_Kingdom) and many Commonwealth (/wiki/Commonwealth_of_Nations) countries, neckties are commonly an essential component of a school uniform and are either worn daily, seasonally or on special occasions with the school blazer. In Hong Kong (/wiki/Hong_Kong) , Australia (/wiki/Australia) and New Zealand (/wiki/New_Zealand) , neckties are worn as the everyday uniform, usually as part of the winter uniform. In countries with no winter such as Sri Lanka (/wiki/Sri_Lanka) , Singapore (/wiki/Singapore) , Malaysia (/wiki/Malaysia) , and many African countries, the necktie is usually worn as part of the formal uniform on special occasions or functions. Neckties may also denote membership in a house (/wiki/House_system) or a leadership role (i.e. school prefect, house captain, etc.). The most common pattern for such ties in the UK and most of Europe consists of diagonal stripes of alternating colors running down the tie from the wearer's left. Since neckties are cut on the bias (diagonally), the stripes on the cloth are parallel or perpendicular to the selvage, not diagonal. The colors themselves may be particularly significant. The dark blue and red regimental tie of the Household Division (/wiki/Household_Division) is said to represent the blue blood (i.e. nobility (/wiki/Nobility) ) of the Royal Family, and the red blood of the Guards. [ citation needed ] In the United States, diagonally striped ties are commonly worn with no connotation of a group membership. Typically, American striped ties have the stripes running downward from the wearer's right (the opposite of the European style). [23] (#cite_note-23) (However, when Americans wear striped ties as a sign of membership, the European stripe style may be used.) In some cases, American "repp stripe" ties may simply be reverse images of British regimental ties. Striped ties are strongly associated with the Ivy League (/wiki/Ivy_League) and preppy (/wiki/Preppy) style of dress. An alternative membership tie pattern to diagonal stripes is either a single emblem or a crest centered and placed where a tie pin (/wiki/Tie_pin) normally would be, or a repeated pattern of such motifs. Sometimes, both types are used by an organization, either simply to offer a choice or to indicate a distinction among levels of membership. Occasionally, a hybrid design is used, in which alternating stripes of color are overlaid with repeated motif patterns. Use by women and girls [ edit ] Ethnic Mizo (/wiki/Mizo_people) schoolgirls in Mizoram (/wiki/Mizoram) , India wearing neckties as part of the school uniform (/wiki/School_uniform) Biologist Gertrude Van Wagenen (/wiki/Gertrude_Van_Wagenen) wearing a suit and tie Neckties are sometimes part of uniforms (/wiki/Uniform) worn by women, which nowadays might be required in professions such as in the restaurant industry or in police forces. In many countries, girls are nowadays required to wear ties as part of primary and secondary school uniforms (/wiki/School_uniform) . Ties may also be used by women as a fashion statement. During the late 1970s and 1980s, it was not uncommon for young women in the United States (/wiki/United_States) to wear ties as part of a casual outfit. [24] (#cite_note-24) [25] (#cite_note-25) This trend was popularized by Diane Keaton (/wiki/Diane_Keaton) who wore a tie as the titular character in Annie Hall (/wiki/Annie_Hall) in 1977. [26] (#cite_note-26) [27] (#cite_note-27) In 1993, neckties reappeared as prominent fashion accessories for women in both Europe and the U.S. [28] (#cite_note-28) Canadian recording artist Avril Lavigne (/wiki/Avril_Lavigne) wore neckties with tank tops (/wiki/Sleeveless_shirt) early in her career. Occasions for neckties [ edit ] Traditionally, ties are a staple of office attire, especially for professionals. Proponents of the tie's place in the office assert that ties neatly demarcate work and leisure time. [29] (#cite_note-:0-29) The theory is that the physical presence of something around your neck serves as a reminder to knuckle down and focus on the job at hand. Conversely, loosening the tie after work signals that one can relax. [29] (#cite_note-:0-29) Outside of these environments, ties are usually worn especially when attending traditionally formal or professional events, including weddings, important religious ceremonies, funerals, job interviews, court appearances, and fine dining. [30] (#cite_note-30) Opposition to neckties [ edit ] The debate between proponents and opponents of the necktie center on social conformity, plainness, professional expectation, and personal, sartorial expression. Quoting architect Louis Sullivan (/wiki/Louis_Sullivan) , Frank Lloyd Wright (/wiki/Frank_Lloyd_Wright) said: " Form follows function (/wiki/Form_follows_function) ". Applied sartorially, the necktie's decorative function is so criticized. [ citation needed ] Christian denominations teaching plain dress [ edit ] Among many Christian denominations (/wiki/Christian_denomination) teaching the doctrine of plain dress (/wiki/Plain_dress) , long neckties are not worn by men; this includes many Anabaptist (/wiki/Anabaptist) communities (such as the Conservative Mennonite (/wiki/Conservative_Mennonites) churches), traditional Quakers (/wiki/Conservative_Friends) (who view neckties as contravening their testimony of simplicity (/wiki/Testimony_of_simplicity) ), and some Holiness Methodists (/wiki/Holiness_movement) (such as the Reformed Free Methodists (/wiki/Reformed_Free_Methodist) who view neckties as conflicting with the belief in outward holiness (/wiki/Outward_holiness) ). [31] (#cite_note-Scott2008-31) [32] (#cite_note-Kraus2001-32) [33] (#cite_note-Holmes2013-33) [34] (#cite_note-Jones1974-34) Men belonging to the Bible Holiness Church (/wiki/Bible_Holiness_Church) (formerly called the Fire Baptized Holiness Church), another holiness denomination with a Methodist background, historically have not worn neckties as they are taught to fall under the category of adornment (cf. 1 Peter 3:3–7 (https://en.wikisource.org/wiki/Bible_(King_James)/1_Peter#3:3) ). [35] (#cite_note-Black2003-35) Other Holiness Methodist denominations, such as the Evangelical Wesleyan Church (/wiki/Evangelical_Wesleyan_Church) , allow a long necktie that is black. While Reformed Mennonites (/wiki/Reformed_Mennonite) , among some other Anabaptist communities, reject the long necktie, the wearing of the bow tie (/wiki/Bow_tie) is customary. [31] (#cite_note-Scott2008-31) Certain denominations of Holiness Pentecostalism (/wiki/Holiness_Pentecostalism) reject the wearing of the necktie as they teach that it falls under adornment (cf. 1 Peter 3:3–7 (https://en.wikisource.org/wiki/Bible_(King_James)/1_Peter#3:3) ); the Pentecostal Fire-Baptized Holiness Church (/wiki/Fire-Baptized_Holiness_Church) is an example. [36] (#cite_note-Kalvelage1993-36) [37] (#cite_note-Melton1978-37) Anti-necktie sentiment [ edit ] Alexis Tsipras (/wiki/Alexis_Tsipras) and Abolhassan Banisadr (/wiki/Abolhassan_Banisadr) , two male politicians who typically do not wear ties. In the early 20th century, the number of office workers began increasing. Many such men and women were required to wear neckties because it was perceived as improving work attitudes, morale, and sales. Removing the necktie as a social and sartorial business requirement (and sometimes forbidding it) is a modern trend often attributed to the rise of popular culture. Although it was common as everyday wear as late as 1966, over the years 1967–69, the necktie fell out of fashion almost everywhere, except where required. There was a resurgence in the 1980s, but in the 1990s, ties again fell out of favor, with many technology-based companies having casual dress requirements, including Apple (/wiki/Apple_Inc.) , Amazon (/wiki/Amazon_(company)) , eBay (/wiki/EBay) , Genentech (/wiki/Genentech) , Microsoft (/wiki/Microsoft) , Monsanto (/wiki/Monsanto) , and Google (/wiki/Google) . [38] (#cite_note-38) In western business culture, a phenomenon known as Casual Friday (/wiki/Casual_Friday) has arisen, in which employees are not required to wear ties on Fridays, and then—increasingly—on other, announced, special days. Some businesses have extended casual dress days to Thursday, and even Wednesday; others require neckties only on Monday (to start the workweek). At the furniture company IKEA (/wiki/IKEA) , neckties are not allowed. [39] (#cite_note-KillelaMirror2016-39) An example of anti-necktie sentiment is found in Iran (/wiki/Iran) , where the government of the Islamic Republic (/wiki/Islamic_Republic) considers neckties to be "decadent, un-Islamic and viewed as "symbols of the Cross" and the oppressive West." [40] (#cite_note-bbc-40) To date, most Iranian men in Iran have retained the Western-style long-sleeved collared shirt and three-piece suit (/wiki/Three-piece_suit) , while excluding the necktie. While ties are viewed as "highly politicised clothing" in Iran, some Iranian men continue to wear them, as do many Westerners who visit the country. [40] (#cite_note-bbc-40) Neckties are viewed by various sub- and counter-culture movements as being a symbol of submission and slavery (i.e., having a symbolic chain around one's neck) to the corrupt elite of society, as a " wage slave (/wiki/Wage_slave) ". [41] (#cite_note-41) For 60 years, designers and manufacturers of neckties in the United States were members of the Men's Dress Furnishings Association (/wiki/Men%27s_Dress_Furnishings_Association) but the trade group shut down in 2008 as a result of declining membership due to the declining numbers of men wearing neckties. [42] (#cite_note-42) In 2019, US presidential candidate Andrew Yang (/wiki/Andrew_Yang) drew attention when he appeared on televised presidential debates (/wiki/2020_Democratic_Party_presidential_debates) without a tie. [43] (#cite_note-newyorker-43) Yang dismissed media questions about it, saying that voters should be focused on more important issues. [44] (#cite_note-rcp-44) New Zealand Member of Parliament (/wiki/Member_of_Parliament) Rawiri Waititi (/wiki/Rawiri_Waititi) has been vocal in his opposition to neckties, calling them a "colonial noose". In February 2021, he was ejected from Parliament for refusing to wear a tie, [45] (#cite_note-45) drawing attention and parliamentary debate, which ultimately resulted in the requirement being dropped from NZ parliament's appropriate business attire requirements for males. [46] (#cite_note-46) Richard Branson (/wiki/Richard_Branson) , founder of Virgin Group, believes ties are a symbol of oppression and slavery. [47] (#cite_note-47) Tyrone Blade, the marketing department manager of Henry Bucks, a men's clothing store in Australia (/wiki/Australia) , said that neckties continue to be a well-sold item at his store, but stated that the reason men were buying them has changed. He described the necktie as "more of a 'want' item instead of a 'need' item". [48] (#cite_note-48) Health and safety hazards [ edit ] A symbol for not wearing a tie A trainee machinist (/wiki/Machinist) and his supervisor wear neckties while at work in a machine shop (/wiki/Machine_shop) in 1917. In a modern setting, "professional" dress (/wiki/Informal_wear) would likely be superseded by more practical clothing due to the risk of a dangling necktie becoming entangled in moving machinery. Necktie wearing presents some risks for entanglement, infection, and vasoconstriction (/wiki/Vasoconstriction) . A 2018 study published in the medical journal Neuroradiology found that a Windsor knot (/wiki/Windsor_knot) tightened to the point of "slight discomfort" could interrupt as much as 7.5 percent of cerebral blood flow. [49] (#cite_note-49) [50] (#cite_note-50) A 2013 study published in the British Journal of Ophthalmology (/wiki/British_Journal_of_Ophthalmology) found increased intraocular pressure in such cases, which can aggravate the condition of people with weakened retinas. [51] (#cite_note-Teng-51) There may be additional risks for people with glaucoma (/wiki/Glaucoma) . Entanglement is a risk when working with machinery or in dangerous, possibly violent, jobs such as police officers and prison guards, and certain medical fields. [52] (#cite_note-52) Paramedics performing life support (/wiki/Basic_life_support) remove an injured man's necktie as a first step to ensure it does not block his airway. Neckties might also be a health risk for persons other than the wearer. They are believed to be vectors of disease transmission in hospitals. Notwithstanding such fears, many doctors and dentists wear neckties for a professional image. Hospitals take seriously the cross-infection of patients by doctors wearing infected neckties, [53] (#cite_note-53) because neckties are less frequently cleaned than most other clothes. On September 17, 2007, British hospitals published rules banning neckties. [54] (#cite_note-54) In such a context, some instead prefer to use bow ties due to their short length and relative lack of hindrance. Police officers, traffic wardens, and security guards in the UK wear clip-on ties which instantly unclip when pulled to prevent any risk of strangulation during a confrontation. They are part of the National Framework Contract for the police uniform. See also [ edit ] Fashion portal (/wiki/Portal:Fashion) Ascot tie (/wiki/Ascot_tie) Bolo tie (/wiki/Bolo_tie) Bow tie (/wiki/Bow_tie) Cravat (/wiki/Cravat_(early)) History of Western fashion (/wiki/History_of_Western_fashion) Panama hat (/wiki/Panama_hat) Prince Claus of the Netherlands (/wiki/Prince_Claus_of_the_Netherlands) and the "Declaration of the Tie" Knit tie (/wiki/Knit_tie) School tie (/wiki/School_tie) Tie chain (/wiki/Tie_chain) Tie clip (/wiki/Tie_clip) Tie press (/wiki/Tie_press) , a device used to combat creasing in ties without heat-related damage. References [ edit ] ^ (#cite_ref-1) Agins, Teri (August 1, 2012). "When Is it Time to Loosen the Tie?" (https://www.wsj.com/articles/SB10000872396390444405804577561292978777290) . Wall Street Journal. ^ Jump up to: a b "The Evolution of the Necktie" (http://www.tie-a-tie.net/the-evolution-of-the-necktie/) . tie-a-tie.net. August 14, 2013. ^ (#cite_ref-3) "Academia Cravatica" (https://web.archive.org/web/20120215202724/http://academia-cravatica.hr/interesting-facts/history) . Academia-cravatica.hr. Archived from the original (http://academia-cravatica.hr/interesting-facts/history/) on February 15, 2012 . Retrieved January 6, 2012 . ^ (#cite_ref-4) 18TH OCTOBER – THE CRAVAT DAY! (http://academia-cravatica.hr/news/detaljnije/18th_october_the_cravat_day/) Archived (https://web.archive.org/web/20130730074434/http://academia-cravatica.hr/news/detaljnije/18th_october_the_cravat_day/) July 30, 2013, at the Wayback Machine (/wiki/Wayback_Machine) . Academia-cravatica.hr (October 18, 2003). Retrieved on 2013-08-08. ^ (#cite_ref-5) Chenoune, Farid (1993). A History of Men's Fashion . Paris: Flammarion. pp. 37–40. ISBN (/wiki/ISBN_(identifier)) 978-2-08-013536-0 . ^ (#cite_ref-6) "Presidential Portraits" (https://www.whitehousehistory.org/galleries/presidential-portraits) . WHHA (en-US) . Retrieved December 26, 2023 . ^ (#cite_ref-7) Bailey, Thomas A. (1966). Presidential Greatness . New York: Appleton-Century Crofts. ^ (#cite_ref-8) J.E. Langsdorf, 1923, Necktie, US patent 1448453 (https://worldwide.espacenet.com/textdoc?DB=EPODOC&IDX=US1448453) ^ (#cite_ref-9) Gallagher, Nancy (2002). Delta's key to the TOEFL® test basic course . McHenry, IL: Delta Pub. Co. p. 223. ISBN (/wiki/ISBN_(identifier)) 1887744649 . ^ (#cite_ref-10) Johnson, Frances (May 1998). "Collecting men's neckties". Antiques and Collecting Magazine . 103 (3): 36-37. ^ Jump up to: a b Colman, David (October 11, 2007). "After Years of Being Out, the Necktie Is In" (https://www.nytimes.com/2007/10/11/fashion/11CODES.html) . The New York Times . ISSN (/wiki/ISSN_(identifier)) 0362-4331 (https://www.worldcat.org/issn/0362-4331) . Retrieved December 26, 2023 . ^ (#cite_ref-12) Gemma, Pierre (1983). Da quando? Le origini degli oggetti della vita quotidiana (in Italian). Edizione Dedalo. p. 88. ISBN (/wiki/ISBN_(identifier)) 978-88-220-4502-7 . Retrieved October 11, 2010 . ^ (#cite_ref-13) Murphy, H. Lee (January 2, 2012). "In a bind about tie widths? Skinny is in, but anything goes" (http://www.chicagobusiness.com/article/20111231/ISSUE03/312319991/in-a-bind-about-tie-widths-skinny-is-in-but-anything-goes) . Crain's Chicago Business. ^ (#cite_ref-14) Pareles, Jon (/wiki/Jon_Pareles) (April 5, 2005). "Nostalgia for the Skinny Tie as Duran Duran Returns" (https://www.nytimes.com/2005/04/15/arts/music/15dura.html?scp=10&sq=%22hungry%20like%20the%20wolf%22%20&st=cse) . The New York Times (/wiki/The_New_York_Times) . Retrieved February 4, 2009 . ^ Jump up to: a b Waehner, Johann (1875) U.S. patent 170,651 (https://patents.google.com/patent/US170651) "Improvement in neck-tie fasteners" (hook-type of clip-on) ^ (#cite_ref-16) "Agricultural Safety: Preventing Injuries" (https://web.archive.org/web/20120606005445/http://www.caes.uga.edu/publications/pubDetail.cfm?pk_ID=7337) . caes.uga.edu . University of Georgia College of Agricultural & Environmental Sciences. May 25, 2012. Archived from the original (http://www.caes.uga.edu/publications/pubDetail.cfm?pk_ID=7337) on June 6, 2012 . Retrieved January 2, 2023 . ^ (#cite_ref-p2_17-0) Jacobowitz, Mayer (1896) U.S. patent 569,498 (https://patents.google.com/patent/US569498) "Necktie" (band-toe attachment) ^ Jump up to: a b Less, Joseph W (1957) U.S. patent 2,804,627 (https://patents.google.com/patent/US2804627) "Pre-tied neckties and methods for making the same". ^ Jump up to: a b Clinton County Historical Society (January 1, 2003). Clinton, Iowa . Arcadia Publishing. p. 117. ISBN (/wiki/ISBN_(identifier)) 978-0-7385-2349-1 . ^ (#cite_ref-85ways_20-0) Fink, Thomas (/wiki/Thomas_Fink) ; Yong Mao (November 5, 2001) [October 3, 2000]. The 85 Ways to Tie a Tie: the science and aesthetics of tie knots (1st Paperback ed.). New York, NY (/wiki/New_York,_NY) : HarperCollins (/wiki/HarperCollins) . ISBN (/wiki/ISBN_(identifier)) 1-84115-568-3 . ^ Jump up to: a b "The Finest Neckties" (https://web.archive.org/web/20040612071708/http://www.forbes.com/collecting/2004/05/26/cx_ns_0526feat.html) . Forbes. November 26, 2016. Archived from the original (https://www.forbes.com/collecting/2004/05/26/cx_ns_0526feat.html) on June 12, 2004. ^ (#cite_ref-22) Roetzel, Bernhard (1999). Gentleman: a timeless fashion . Könemann. p. 72 (https://archive.org/details/gentlemantimeles00bern/page/72) . ISBN (/wiki/ISBN_(identifier)) 3-8290-2029-5 . ^ (#cite_ref-23) Dickinson, Rachel J. (June 18, 2004). "Ties have a history of hanging around." The Cincinnati Post (/wiki/The_Cincinnati_Post) . ^ (#cite_ref-24) Sagert, Kelly Boyer (2007). The 1970s . Greenwood. p. 101 (https://archive.org/details/s00sage/page/n121) . ISBN (/wiki/ISBN_(identifier)) 978-0-313-33919-6 . ^ (#cite_ref-25) Peterson, Amy T. (2008). The Greenwood Encyclopedia of Clothing Through American History 1900 to the present . Greenwood Press. p. 360 (https://archive.org/details/greenwoodencyclo00pete/page/n380) . ISBN (/wiki/ISBN_(identifier)) 978-0-313-33395-8 . ^ (#cite_ref-26) "Calender." Seventeen Nov. 2002: 24. ^ (#cite_ref-27) Pendergast, Sara; Tom Pendergast; Sarah Hermsen (2004). Fashion, Costume, and Culture. Clothing, Headwear, Body Decorations, and Footwear Through the Ages . Detroit: UXL. pp. 950 (https://archive.org/details/fashioncostumecu0000pend/page/n353) –951. ISBN (/wiki/ISBN_(identifier)) 0-7876-5422-1 . ^ (#cite_ref-28) Kirkham, Pat (1999). The Gendered Object (2nd ed.). Manchester University Press. p. 164. ISBN (/wiki/ISBN_(identifier)) 0-7190-4475-8 . ^ Jump up to: a b "Why every man should wear a tie to work" (https://www.telegraph.co.uk/men/fashion-and-style/11895730/Why-every-man-should-wear-a-tie-to-work.html) . Telegraph.co.uk . Archived (https://ghostarchive.org/archive/20220112/https://www.telegraph.co.uk/men/fashion-and-style/11895730/Why-every-man-should-wear-a-tie-to-work.html) from the original on January 12, 2022 . Retrieved December 2, 2016 . ^ (#cite_ref-30) "Should I Wear A Tie? | Eminence Cufflinks" (http://cufflinks.sg/should-i-wear-a-tie/) . Eminence Cufflinks . May 15, 2016 . Retrieved December 2, 2016 . ^ Jump up to: a b Scott, Stephen (2008). Why Do They Dress That Way?: People's Place Book . Simon and Schuster. ISBN (/wiki/ISBN_(identifier)) 9781680992786 . ^ (#cite_ref-Kraus2001_32-0) Kraus, C. Norman (June 13, 2001). Evangelicalism and Anabaptism . Wipf and Stock Publishers. p. 49. ^ (#cite_ref-Holmes2013_33-0) Holmes, Scott (2013). "Taking off My Tie: The Adventures in Fashion of a Quaker/Lawyer" (http://goodnewsassoc.org/wp-content/uploads/2013/11/Holmes-22Taking-Off-My-Tie22.pdf) (PDF) . Journal of North Carolina Yearly Meeting (Conservative) . Retrieved July 31, 2019 . ^ (#cite_ref-Jones1974_34-0) Jones, Charles Edwin (1974). A guide to the study of the holiness movement . Scarecrow Press. p. 685 (https://archive.org/details/guidetostudyoft00char/page/685) . ISBN (/wiki/ISBN_(identifier)) 9780810807037 . ^ (#cite_ref-Black2003_35-0) Black, Brian (2003). The Holiness Heritage . Allegheny Publications. p. 245. ^ (#cite_ref-Kalvelage1993_36-0) Kalvelage, David (1993). The Living Church, Volume 206 . Morehouse-Gorham Company. p. 2. ^ (#cite_ref-Melton1978_37-0) Melton, J. Gordon (1978). The Encyclopedia of American Religions . McGrath Publishing Company. p. 263. ^ (#cite_ref-38) "Are ties an outdated fashion or do they still show that you mean business? – Mirror Online" (https://web.archive.org/web/20160302215755/http://www.mirror.co.uk/news/uk-news/ties-outdated-fashion-still-show-7444049) . Daily Mirror (/wiki/Daily_Mirror) . March 2, 2016. Archived from the original (http://www.mirror.co.uk/news/uk-news/ties-outdated-fashion-still-show-7444049) on March 2, 2016 . Retrieved September 18, 2019 . ^ (#cite_ref-KillelaMirror2016_39-0) Killela, Amanda (February 26, 2016). "Are ties an outdated fashion or do they still show that you mean business?" (https://web.archive.org/web/20160302215755/http://www.mirror.co.uk/news/uk-news/ties-outdated-fashion-still-show-7444049) . Mirror . Archived from the original (https://www.mirror.co.uk/news/uk-news/ties-outdated-fashion-still-show-7444049) on March 2, 2016 . Retrieved August 13, 2016 . ^ Jump up to: a b "Why don't Iranians wear ties?" (http://news.bbc.co.uk/2/hi/6528881.stm) . BBC (/wiki/BBC) . April 6, 2007. ^ (#cite_ref-41) Bragg, Roy (May 24, 2003). "Tying one on in the office." San Antonio Express (/wiki/San_Antonio_Express-News) . ^ (#cite_ref-42) Smith, Ray A. (June 4, 2008). "Tie Association, a Fashion Victim, Calls It Quits as Trends Change" (https://www.wsj.com/articles/SB121253690573743197?mod=googlenews_wsj) . Wall Street Journal . pp. A1 . Retrieved June 7, 2008 . ^ (#cite_ref-newyorker_43-0) Patterson, Troy (June 27, 2019). "Democratic Debate 2019: Andrew Yang's Bold Lack of a Tie" (https://www.newyorker.com/news/current/democratic-debate-2019-andrew-yangs-bold-lack-of-a-tie) . New Yorker . New York . Retrieved June 27, 2019 . ^ (#cite_ref-rcp_44-0) Harris, Tim (August 2, 2019). "Andrew Yang Rips Presidential Election Process: "We're Like Characters In A Play And We Have To Follow It" (https://www.realclearpolitics.com/video/2019/08/02/andrew_yang_rips_presidential_election_process_were_like_characters_in_a_play_and_we_have_to_follow_it.html) " (https://www.realclearpolitics.com/video/2019/08/02/andrew_yang_rips_presidential_election_process_were_like_characters_in_a_play_and_we_have_to_follow_it.html) . New Yorker . New York . Retrieved August 2, 2019 . ^ (#cite_ref-45) "Maori MP ejected from NZ parliament for refusing to wear tie" (https://www.bbc.com/news/world-asia-55996688) . BBC (/wiki/BBC) . February 9, 2021 . Retrieved February 9, 2021 . ^ (#cite_ref-46) "New Zealand male MPs no longer have to wear ties after Māori MP ejected" (https://www.theguardian.com/world/2021/feb/11/new-zealand-male-mps-no-longer-have-to-wear-ties-after-maori-mp-ejected) . The Guardian (/wiki/The_Guardian) . February 11, 2021 . Retrieved February 11, 2021 . ^ (#cite_ref-47) "Why Richard Branson Won't Wear a Tie" (https://www.bloomberg.com/news/articles/2012-03-07/why-richard-branson-wont-wear-a-tie) . Bloomberg News (/wiki/Bloomberg_News) . Retrieved December 2, 2016 . ^ (#cite_ref-48) "The tie is over: How men are re-thinking formal wear" (https://thenewdaily.com.au/entertainment/style/2017/02/03/why-do-men-wear-ties/) . The New Daily . Retrieved January 12, 2022 . ^ (#cite_ref-49) Cameron, Christopher (July 23, 2018). "The war against neckties is heating up" (https://nypost.com/2018/07/23/wearing-a-tie-is-making-you-stupid-and-sick/) . New York Post . Retrieved August 17, 2019 . ^ (#cite_ref-50) Lüddecke, Robin; Lindner, Thomas; Forstenpointner, Julia; Baron, Ralf; Jansen, Olav; Gierthmühlen, Janne (June 30, 2018). "Should you stop wearing neckties?—wearing a tight necktie reduces cerebral blood flow". Neuroradiology . 60 (8): 861–64. doi (/wiki/Doi_(identifier)) : 10.1007/s00234-018-2048-7 (https://doi.org/10.1007%2Fs00234-018-2048-7) . PMID (/wiki/PMID_(identifier)) 29961088 (https://pubmed.ncbi.nlm.nih.gov/29961088) . S2CID (/wiki/S2CID_(identifier)) 49543949 (https://api.semanticscholar.org/CorpusID:49543949) . ^ (#cite_ref-Teng_51-0) Teng, C; R Gurses-Ozden; J M Liebmann; C Tello; R Ritch (August 2003). "Effect of a tight necktie on intraocular pressure" (http://bjo.bmjjournals.com/cgi/content/full/87/8/946) . British Journal of Ophthalmology . 87 (8): 946–948. doi (/wiki/Doi_(identifier)) : 10.1136/bjo.87.8.946 (https://doi.org/10.1136%2Fbjo.87.8.946) . PMC (/wiki/PMC_(identifier)) 1771792 (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1771792) . PMID (/wiki/PMID_(identifier)) 12881330 (https://pubmed.ncbi.nlm.nih.gov/12881330) . Retrieved June 8, 2006 . ^ (#cite_ref-52) Kuhn, W. (January 1999). "Violence in the emergency department: Managing aggressive patients in a high-stress environment" (https://web.archive.org/web/20060530080044/http://www.postgradmed.com/issues/1999/01_99/kuhn.htm) . Postgraduate Medicine . 105 (1): 143–148. doi (/wiki/Doi_(identifier)) : 10.3810/pgm.1999.01.504 (https://doi.org/10.3810%2Fpgm.1999.01.504) . PMID (/wiki/PMID_(identifier)) 9924500 (https://pubmed.ncbi.nlm.nih.gov/9924500) . Archived from the original (http://www.postgradmed.com/issues/1999/01_99/kuhn.htm) on May 30, 2006 . Retrieved June 8, 2006 . ^ (#cite_ref-53) Nurkin, Steven; Carl Urban; Ed Mangini; Norielle Mariano; Louise Grenner; James Maurer; Edmond Sabo; James Rahal (May 2004). "Is the Clinicians' Necktie a Potential Fomite for Hospital Acquired Infections?". Paper presented at the 104th General Meeting of the American Society for Microbiology May 23–27, 2004, New Orleans, Louisiana . p. 204. ^ (#cite_ref-54) Satter, Raphael; Lindsey Tanner (September 17, 2007). "U.K. Hospitals Issue Doctors' Dress Code" (http://www.artvictus.com/uk-hospitals-issue-doctors-dress-code) . Retrieved September 19, 2007 . Further reading [ edit ] Chaille, François (1994). La grande histoire de la cravate . Paris: Flammarion. ISBN (/wiki/ISBN_(identifier)) 2-08-201851-2 . Dyer, Rod; Spark, Ron (1987). Fit to be Tied: Vintage ties of the Forties and Early Fifties . photography by Steve Sakai (1st ed.). New York: Abbeville Press. ISBN (/wiki/ISBN_(identifier)) 0-89659-756-3 . Keers, Paul (1987). A Gentleman's Wardrobe: Classic Clothes and the Modern Man . London: Weidenfeld & Nicolson (/wiki/Weidenfeld_%26_Nicolson) . ISBN (/wiki/ISBN_(identifier)) 978-0-297-79191-1 . External links [ edit ] Wikibooks has a book on the topic of: How To Tie A Tie (https://en.wikibooks.org/wiki/How_To_Tie_A_Tie) Look up necktie (https://en.wiktionary.org/wiki/Special:Search/necktie) in Wiktionary, the free dictionary. Wikimedia Commons has media related to Necktie . Necktie knots (https://curlie.org/Reference/Knots/Neckties/) at Curlie (/wiki/Curlie) v t e Necktie knots (/wiki/List_of_knots) Necktie knots Four-in-hand knot (/wiki/Four-in-hand_knot) (simple or schoolboy) Grantchester knot (/wiki/Grantchester_knot) Half-Windsor knot (/wiki/Half-Windsor_knot) Pratt knot (/wiki/Pratt_knot) (Shelby) Small knot (/wiki/Small_knot) (Oriental or Kent) Windsor knot (/wiki/Windsor_knot) (full Windsor) See also The 85 Ways to Tie a Tie (/wiki/The_85_Ways_to_Tie_a_Tie) 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 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Man overly concerned with his appearance For other uses, see FOP (disambiguation) (/wiki/FOP_(disambiguation)) . Colley Cibber (/wiki/Colley_Cibber) as Lord Foppington in John Vanbrugh (/wiki/John_Vanbrugh) 's The Relapse (/wiki/The_Relapse) (1696) A foppish medical student smoking a cigarette, denoting a cavalier attitude Fop became a pejorative (/wiki/Pejorative) term for a man excessively concerned with his appearance and clothes in 17th-century England. Some of the many similar alternative terms are: coxcomb , [1] (#cite_note-1) fribble , popinjay (meaning 'parrot'), dandy (/wiki/Dandy) , fashion-monger , and ninny . Macaroni (/wiki/Macaroni_(fashion)) was another term of the 18th century more specifically concerned with fashion. The pejorative term today carries the connotation of a person, usually male, who is overly concerned with trivial matters (especially matters of fashion) and who affects elite social standing. The term also appears in reference to deliberately camp (/wiki/Camp_(style)) styles based on eighteenth-century looks. Origins [ edit ] The word "fop" is first recorded in 1440 and for several centuries just meant a fool of any kind; the Oxford English Dictionary (/wiki/Oxford_English_Dictionary) notes first use with the meaning of "one who is foolishly attentive to and vain of his appearance, dress, or manners; a dandy (/wiki/Dandy) , an exquisite" in 1672. [2] (#cite_note-2) An early example of the usage is in the Restoration drama (/wiki/Restoration_literature) The Soldier's Fortune , in which a woman dismisses a potential suitor by saying "Go, you are a fop." [3] (#cite_note-3) In literature and culture [ edit ] The fop was a stock character (/wiki/Stock_character) in English literature (/wiki/English_literature) and especially comic drama, as well as satirical prints. He is a "man of fashion" who overdresses, aspires to wit (/wiki/Wit) , and generally puts on airs, which may include aspiring to a higher social station than others think he has. He may be somewhat effeminate, although this rarely affects his pursuit of an heiress. He may also overdo being fashionably French by wearing French clothes and using French vocabulary. An example of the so-called Frenchified fop is Sir Novelty Fashion in Colley Cibber (/wiki/Colley_Cibber) 's Love's Last Shift (/wiki/Love%27s_Last_Shift) (1696). Fop characters appear in many Restoration comedies (/wiki/Restoration_comedies) , including sir Fopling Flutter in George Etherege (/wiki/George_Etherege) 's The Man of Mode, or Sir Fopling Flutter (/wiki/The_Man_of_Mode) (1676), Aphra Behn (/wiki/Aphra_Behn) 's diatribe against politic marriages, The Town Fop (1676, published 1677), and Lord Foppington in The Relapse (/wiki/The_Relapse) (1696) by John Vanbrugh (/wiki/John_Vanbrugh) . Vanbrugh planned The Relapse around particular actors at the Drury Lane Theatre (/wiki/Theatre_Royal,_Drury_Lane) , including Colley Cibber (/wiki/Colley_Cibber) , who played Lord Foppington. A fop is also referred to as a " beau (https://en.wiktionary.org/wiki/beau) ", as in the Restoration comedies The Beaux' Stratagem (/wiki/The_Beaux%27_Stratagem) (1707) by George Farquhar (/wiki/George_Farquhar) , The Beau Defeated (/wiki/The_Beau_Defeated) (1700) by Mary Pix (/wiki/Mary_Pix) , or the real-life Beau Nash (/wiki/Beau_Nash) , master of ceremonies at Bath (/wiki/Bath,_Somerset) , or Regency (/wiki/British_Regency) celebrity Beau Brummell (/wiki/Beau_Brummell) . The sexual recklessness of "beau" may imply homosexuality (/wiki/Homosexuality) . [4] (#cite_note-4) Shakespeare's (/wiki/William_Shakespeare) King Lear (/wiki/King_Lear) contains the word, in the general sense of a fool (/wiki/Stupidity) , and before him Thomas Nashe (/wiki/Thomas_Nashe) , in Summer's Last Will and Testament (/wiki/Summer%27s_Last_Will_and_Testament) (1592, printed 1600): "the Idiot, our Playmaker. He, like a Fop & an Ass must be making himself a public laughing-stock." Osric (/wiki/Characters_in_Hamlet#Osric) , in Hamlet (/wiki/Hamlet) has a great deal of the fop's affected manner, and much of the plot of Twelfth Night (/wiki/Twelfth_Night) revolves around tricking the puritan (/wiki/Puritan) Malvolio (/wiki/Malvolio) into dressing as a fop. "Fop" was widely used as a derogatory epithet for a broad range of people by the early years of the 18th century; many of these might not have been considered showy lightweights (/wiki/Lightweight) at the time, and it is possible that its meaning had been blunted by this time. [5] (#cite_note-5) Media of the twentieth century [ edit ] Pulp fiction (/wiki/Pulp_magazine) in the first decade of the twentieth century introduced the secretive action hero (/wiki/Hero) who poses as a fop to conceal his identity. In 1903 The Scarlet Pimpernel (/wiki/The_Scarlet_Pimpernel) , protagonist (/wiki/Protagonist) of the novels by Emma Orczy (/wiki/Emma_Orczy) , set the prototype. Sir Percy poses as an overdressed and empty-headed socialite (/wiki/Socialite) who is the last person anyone would imagine rescuing people from the feared guillotine (/wiki/Guillotine) of the French Revolution (/wiki/French_Revolution) . A similar image is cultivated by Don Diego de la Vega, who rights wrongs as Zorro (/wiki/Zorro) (1919) in stories by Johnston McCulley (/wiki/Johnston_McCulley) . The trend continued with the pulp fiction (/wiki/Pulp_magazine) and radio heroes of the 1920s and 1930s and expanded with the arrival of comic books (/wiki/Comic_books) . The original characterisation of Bruce Wayne in the Batman (/wiki/Batman) series carried the trend forward. In Thomas Mann (/wiki/Thomas_Mann) 's 1912 novella Death in Venice (/wiki/Death_in_Venice) (as well as the opera (/wiki/Death_in_Venice_(opera)) by Benjamin Britten (/wiki/Benjamin_Britten) and the film (/wiki/Death_in_Venice_(film)) by Luchino Visconti (/wiki/Luchino_Visconti) ) a fop is derided by the main character, Gustave von Aschenbach; ironically so, as Aschenbach ultimately dresses in this manner himself. Some of the " bright young things (/wiki/Bright_young_things) " of the 1920s were decidedly "foppish" in manner and appearance, while, towards the late 1960s, male fashion became notably foppish in style, evocative loosely of the Georgian and Victorian eras. Pop stars often dressed in what might be termed foppish clothing, with the Kinks (/wiki/The_Kinks) ' song " Dedicated Follower of Fashion (/wiki/Dedicated_Follower_of_Fashion) " (1966) capturing well the spirit of the time. While many characters from popular culture had a tendency to foppish appearance, e.g. , Adam Adamant Lives! (/wiki/Adam_Adamant_Lives!) , the third incarnation of Doctor Who (/wiki/Third_Doctor) and Jason King (/wiki/Jason_King_(TV_series)) , they tended not to exhibit mannerisms associated with fops. In Mel Brooks' History of the World, Part I (/wiki/History_of_the_World,_Part_I) , in the French Revolution sequence, one of the king's court is referred to as "Popinjay". In popular series Blackadder the Third, Hugh Laurie portrayed George, Prince Regent as a distinctly childish fop in contrast to his shrewd and sarcastic butler E. Blackadder (played by Rowan Atkinson). The British Fops (/wiki/The_British_Fops) , or Lucien Callow ( Mark McKinney (/wiki/Mark_McKinney) ) and Fagan ( David Koechner (/wiki/David_Koechner) ), appeared in several episodes during the Saturday Night Live (/wiki/Saturday_Night_Live) 1995–1996 seasons. The characters first appeared on Weekend Update as the presidents of the Norm Macdonald (/wiki/Norm_Macdonald) fan-club, but later appeared in several other sketches, namely monologues. The Fops would appear in late Restoration period clothing and used a silly take on the period's language, mannerisms, culture, and sexual attitudes. Media of the twenty-first century [ edit ] Early examples of the fop in media of the twenty-first century include the hair-obsessed Ulysses Everett McGill (played by George Clooney (/wiki/George_Clooney) ) in the Coen brothers (/wiki/Coen_brothers) film O Brother Where Art Thou (/wiki/O_Brother_Where_Art_Thou) (2001) and the character of Jack Sparrow (/wiki/Jack_Sparrow) (played by Johnny Depp (/wiki/Johnny_Depp) ) in the Pirates of the Caribbean (/wiki/Pirates_of_the_Caribbean) film series. Depp's style has been termed "grunge fop". [ citation needed ] The actor's mannerisms caused concerns among executives at the Walt Disney Company (/wiki/The_Walt_Disney_Company) but prevailed, thereby creating a new generation of fans of the fop. In Channel 4's Vic Reeves Big Night Out (/wiki/Vic_Reeves_Big_Night_Out) , character Graham Lister regularly refers to Reeves as "the Fop". In Quentin Tarantino (/wiki/Quentin_Tarantino) 's 2012 slavery epic Django Unchained (/wiki/Django_Unchained) , Jamie Foxx (/wiki/Jamie_Foxx) 's title character, when allowed to choose his own clothing for the first time in his life, chose a decidedly foppish outfit which immediately earned him the nickname "Fancypants". In the 2007 video game Apollo Justice: Ace Attorney (/wiki/Apollo_Justice:_Ace_Attorney) , Detective Ema Skye constantly refers to the prosecutor Klavier Gavin as a "glimmerous fop" due to the bling that he would typically wear and his obsession with his appearance. The term fop is also used occasionally to refer to other characters, particularly being picked up by Apollo Justice due to the detective's habit of saying it. Other examples include Patrick Bateman (/wiki/Patrick_Bateman) , the protagonist (/wiki/Protagonist) of the novel American Psycho (/wiki/American_Psycho) , and the clothes-obsessed Prince Kai (/w/index.php?title=Prince_Kai&action=edit&redlink=1) in the book Firebood by Elly Blake (/w/index.php?title=Elly_Blake&action=edit&redlink=1) (2017). Fop rock [ edit ] The Upper Crust (/wiki/The_Upper_Crust_(band)) , October 2007, in New York City A more recent and minor trend is "fop rock", a form of camp (/wiki/Camp_(style)) in which the performers don 18th-century wigs, lace (/wiki/Lace) cravats (/wiki/Cravat_(early)) , and similar costume elements to perform. The style appears to owe something to glam rock (/wiki/Glam_rock) , visual kei (/wiki/Visual_kei) , and the New Romantic (/wiki/New_Romantic) movement. The look was pioneered in the 1960s by Paul Revere & the Raiders (/wiki/Paul_Revere_%26_the_Raiders) . Adam Ant (/wiki/Adam_Ant) of Adam and the Ants (/wiki/Adam_and_the_Ants) picked up the trend, occasionally performing in elaborate highwayman (/wiki/Highwayman) outfits. Other notable examples would be Falco (/wiki/Falco_(musician)) 's performance as Wolfgang Amadeus Mozart (/wiki/Wolfgang_Amadeus_Mozart) in the song " Rock Me Amadeus (/wiki/Rock_Me_Amadeus) " (a No. 1 hit in the US, the UK and Canada in 1986), Japanese rock group Malice Mizer (/wiki/Malice_Mizer) , and Boston (/wiki/Boston) -based band The Upper Crust (/wiki/The_Upper_Crust_(band)) . [6] (#cite_note-6) [7] (#cite_note-7) Mid-2000s glam rock revivalists White Hot Odyssey (/wiki/White_Hot_Odyssey) also affected 18th century-style wigs and clothing for their live performances. Prince (/wiki/Prince_(musician)) was known for his foppish clothing in the mid-1980s, with ruffled shirts (/wiki/Poet_shirt) , tight pants and high-heeled boots. [8] (#cite_note-8) See also [ edit ] Hipster (/wiki/Hipster_(contemporary_subculture)) Metrosexual (/wiki/Metrosexual) Superfluous man (/wiki/Superfluous_man) References [ edit ] ^ (#cite_ref-1) The Regency era (/wiki/Regency_era) dandy, Lord William Pitt Lennox (/wiki/William_Pitt_Lennox) , even described someone's public manner as "too coxcombical": Venetia Murray (1998) A Social History of the Regency 1788–1830 . ^ (#cite_ref-2) OED, "Fop, 3." The original sense could also be used of women. ^ (#cite_ref-3) Otway, The Soldier's Fortune , iii.1. ^ (#cite_ref-4) John Franceschina, Homosexualities in the English Theatre: From Lyly to Wilde (Greenwood Press, 1997) ch. 6 "Beaux and buggers". ^ (#cite_ref-5) Robert B. Heilman, "Some Fops and Some Versions of Foppery" ELH 49 .2 (Summer 1982:363–395) offers a long and varied list, p 363f. ^ (#cite_ref-6) "Listen to songs from the album Cream Of The Crust of the artist The Upper Crust" (https://web.archive.org/web/20150206083256/http://the-upper-crust.musikear.com/cream-of-the-crust) . the-upper-crust.musikear.com. Archived from the original (http://the-upper-crust.musikear.com/cream-of-the-crust) on 6 February 2015 . Retrieved 3 December 2014 . ^ (#cite_ref-7) "They Speak the Vulgar Tongue" (http://www.juvalamu.com/crust/band.html) . www.juvalamu.com . Retrieved 3 December 2014 . ^ (#cite_ref-8) "PRINCE IN PRINT" (http://princetext.tripod.com/i_esquire95.html) . princetext.tripod.com . Retrieved 3 December 2014 . v t e Restoration comedy (/wiki/Restoration_comedy) Playwrights (/wiki/Playwrights) Aphra Behn (/wiki/Aphra_Behn) Susanna Centlivre (/wiki/Susanna_Centlivre) Colley Cibber (/wiki/Colley_Cibber) William Congreve (/wiki/William_Congreve) John Dryden (/wiki/John_Dryden) Thomas D'Urfey (/wiki/Thomas_D%27Urfey) George Etherege (/wiki/George_Etherege) George Farquhar (/wiki/George_Farquhar) Edward Howard (/wiki/Edward_Howard_(playwright)) James Howard (/wiki/James_Howard_(dramatist)) Robert Howard (/wiki/Robert_Howard_(playwright)) Thomas Otway (/wiki/Thomas_Otway) Charles Sedley (/wiki/Sir_Charles_Sedley,_5th_Baronet) Thomas Shadwell (/wiki/Thomas_Shadwell) Thomas Southerne (/wiki/Thomas_Southerne) Richard Steele (/wiki/Richard_Steele) John Vanbrugh (/wiki/John_Vanbrugh) George Villiers (/wiki/George_Villiers,_2nd_Duke_of_Buckingham) William Wycherley (/wiki/William_Wycherley) Notable plays (/wiki/Play_(theatre)) The Cutter of Coleman Street (/wiki/The_Cutter_of_Coleman_Street) (1661) The Adventures of Five Hours (/wiki/The_Adventures_of_Five_Hours) (1663) The Comical Revenge (/wiki/The_Comical_Revenge) (1664) The Mulberry-Garden (/wiki/The_Mulberry-Garden) (1668) She Would If She Could (/wiki/She_Would_If_She_Could) (1668) An Evening's Love (/wiki/An_Evening%27s_Love) (1668) Sir Solomon Single (/wiki/Sir_Solomon_Single) (1670) Love in a Wood (/wiki/Love_in_a_Wood_(play)) (1671) The Rehearsal (/wiki/The_Rehearsal_(play)) (1671) Epsom Wells (/wiki/Epsom_Wells) (1672) Marriage à la mode (/wiki/Marriage_%C3%A0_la_mode_(play)) (1672) The Country Wife (/wiki/The_Country_Wife) (1675) Love in the Dark (/wiki/Love_in_the_Dark_(play)) (1675) The Country Wit (/wiki/The_Country_Wit) (1676) The Plain-Dealer (/wiki/The_Plain_Dealer_(play)) (1676) The Man of Mode (/wiki/The_Man_of_Mode) (1676) Tom Essence (/wiki/Tom_Essence) (1676) A Fond Husband (/wiki/A_Fond_Husband) (1677) Friendship in Fashion (/wiki/Friendship_in_Fashion) (1678) Squire Oldsapp (/wiki/Squire_Oldsapp) (1678) Tunbridge Wells (/wiki/Tunbridge_Wells_(play)) (1678) A True Widow (/wiki/A_True_Widow) (1678) The Woman Captain (/wiki/The_Woman_Captain) (1679) The London Cuckolds (/wiki/The_London_Cuckolds) (1681) Sir Barnaby Whigg (/wiki/Sir_Barnaby_Whigg) (1681) The Royalist (/wiki/The_Royalist) (1682) City Politiques (/wiki/City_Politiques) (1683) Dame Dobson (/wiki/Dame_Dobson) (1683) A Commonwealth of Women (/wiki/A_Commonwealth_of_Women) (1685) Sir Courtly Nice (/wiki/Sir_Courtly_Nice) (1685) Bellamira (/wiki/Bellamira_(Sedley_play)) (1687) A Fool's Preferment (/wiki/A_Fool%27s_Preferment) (1688) The Squire of Alsatia (/wiki/The_Squire_of_Alsatia) (1688) Bury Fair (/wiki/Bury_Fair) (1689) The Fortune Hunters (/wiki/The_Fortune_Hunters) (1689) The English Friar (/wiki/The_English_Frier) (1690) Sir Anthony Love (/wiki/Sir_Anthony_Love) (1690) Love for Money (/wiki/Love_for_Money) (1691) The Wives Excuse (/wiki/The_Wives_Excuse) (1691) Greenwich Park (/wiki/Greenwich_Park_(play)) (1691) The Marriage-Hater Matched (/wiki/The_Marriage-Hater_Matched) (1692) The Volunteers (/wiki/The_Volunteers_(play)) (1692) The Canterbury Guests (/wiki/The_Canterbury_Guests) (1694) The Married Beau (/wiki/The_Married_Beau) (1694) Love for Love (/wiki/Love_for_Love) (1695) Love's Last Shift (/wiki/Love%27s_Last_Shift) (1696) The Relapse (/wiki/The_Relapse) (1696) The Campaigners (/wiki/The_Campaigners) (1698) Love and a Bottle (/wiki/Love_and_a_Bottle) (1698) The Constant Couple (/wiki/The_Constant_Couple) (1699) The Way of the World (/wiki/The_Way_of_the_World) (1700) Sir Harry Wildair (/wiki/Sir_Harry_Wildair) (1701) The Lying Lover (/wiki/The_Lying_Lover) (1703) The Careless Husband (/wiki/The_Careless_Husband) (1704) The Recruiting Officer (/wiki/The_Recruiting_Officer) (1706) The Beaux' Stratagem (/wiki/The_Beaux%27_Stratagem) (1707) Characters (/wiki/Character_(arts)) Fop Spark (/wiki/Mentorship) Rake (/wiki/Rake_(stock_character)) Related people Charles II (/wiki/Charles_II_of_England) Jeremy Collier (/wiki/Jeremy_Collier) Thomas Hobbes (/wiki/Thomas_Hobbes) Marquis de Sade (/wiki/Marquis_de_Sade) Molière (/wiki/Moli%C3%A8re) James II and VII (/wiki/James_II_of_England) Georg Monck (/wiki/George_Monck,_1st_Duke_of_Albemarle) John Wilmot, 2nd Earl of Rochester (/wiki/John_Wilmot,_2nd_Earl_of_Rochester) Related articles Bedlam (/wiki/Bethlem_Royal_Hospital) Chocolate houses (/wiki/Coffeehouse#Coffee_in_Europe) Comedy of manners (/wiki/Comedy_of_manners) Court (/wiki/Court_(royal)) Dorset Garden (/wiki/Dorset_Garden_Theatre) Drury Lane (/wiki/Theatre_Royal,_Drury_Lane) Fleet Prison (/wiki/Fleet_Prison) Hedonism (/wiki/Hedonism) The Libertine (1994) (/wiki/Stephen_Jeffreys) The Libertine (film) (/wiki/The_Libertine_(2004_film)) Libertinism (/wiki/Libertinism) Lincoln's Inn Fields (/wiki/Lisle%27s_Tennis_Court) Mode (/wiki/Fashion) Restoration of Charles II (/wiki/Restoration_(England)) Second Anglo-Dutch War (/wiki/Second_Anglo-Dutch_War) Short View of the Immorality and Profaneness of the English Stage (/wiki/Short_View_of_the_Immorality_and_Profaneness_of_the_English_Stage) Wit (/wiki/Wit) Portals (/wiki/Wikipedia:Contents/Portals) : Society (/wiki/Portal:Society) England (/wiki/Portal:England) Fashion (/wiki/Portal:Fashion) Fop at Wikipedia's sister projects : Definitions (https://en.wiktionary.org/wiki/Special:Search/Fop) from Wiktionary Quotations (https://en.wikiquote.org/wiki/Foppery) from Wikiquote NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐jftpp Cached time: 20240719053529 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.318 seconds Real time usage: 0.474 seconds Preprocessor visited node count: 988/1000000 Post‐expand include size: 29406/2097152 bytes Template argument size: 1416/2097152 bytes Highest expansion depth: 12/100 Expensive parser function count: 8/500 Unstrip recursion depth: 1/20 Unstrip 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Italian fashion designer (1946–1997) This article is about the fashion designer. For his company, see Versace (/wiki/Versace) . Gianni Versace Versace in 1990 Born Giovanni Versace ( 1946-12-02 ) 2 December 1946 Reggio, Calabria (/wiki/Reggio_Calabria) , Italy Died 15 July 1997 (1997-07-15) (aged 50) Jackson Memorial Hospital (/wiki/Jackson_Memorial_Hospital) , Miami (/wiki/Miami) , Florida (/wiki/Florida) , U.S. Cause of death Murder (/wiki/Murder) (gunshot wounds) Resting place near Cernobbio (/wiki/Cernobbio) , Italy Occupation Luxury fashion designer Label Versace (/wiki/Versace) Partner Antonio D'Amico (/wiki/Antonio_D%27Amico) (1982–1997) Relatives Santo Versace (/wiki/Santo_Versace) (brother) Donatella Versace (/wiki/Donatella_Versace) (sister) Allegra Versace (/wiki/Allegra_Versace) (niece) Website versace (http://versace.com) .com (http://versace.com) Giovanni Maria " Gianni " Versace ( Italian: [dʒoˈvanni (/wiki/Help:IPA/Italian) maˈriːa (/wiki/Help:IPA/Italian) verˈsaːtʃe] (/wiki/Help:IPA/Italian) ; [a] (#cite_note-4) 2 December 1946 – 15 July 1997) was an Italian fashion designer, socialite and businessman. He was the founder of Versace (/wiki/Versace) , an international luxury-fashion house that produces accessories, fragrances, make-up, home furnishings and clothes. He also designed costumes for theatre and films. As a friend of Eric Clapton (/wiki/Eric_Clapton) , Princess Diana (/wiki/Diana,_Princess_of_Wales) , Naomi Campbell (/wiki/Naomi_Campbell) , Kate Moss (/wiki/Kate_Moss) , Madonna (/wiki/Madonna) , Elton John (/wiki/Elton_John) , Tupac Shakur (/wiki/Tupac_Shakur) , Joan Collins (/wiki/Joan_Collins) and many other celebrities, he was one of the first designers to link fashion to the music world. [4] (#cite_note-5) He and his partner Antonio D'Amico (/wiki/Antonio_D%27Amico) were regulars on the international party scene. [5] (#cite_note-6) The place where he was born and raised, Reggio di Calabria (/wiki/Reggio_di_Calabria) , greatly influenced his career. On 15 July 1997, he was murdered outside his Miami Beach (/wiki/Miami_Beach,_Florida) mansion, Casa Casuarina (/wiki/Casa_Casuarina) , by serial killer Andrew Cunanan (/wiki/Andrew_Cunanan) . [6] (#cite_note-Gibson138-7) [7] (#cite_note-8) [8] (#cite_note-9) [9] (#cite_note-10) Early life [ edit ] Giovanni Maria Versace was born in the city of Reggio Calabria (/wiki/Reggio_Calabria) on 2 December 1946 and grew up with his elder brother Santo Versace (/wiki/Santo_Versace) and younger sister Donatella Versace (/wiki/Donatella_Versace) , along with their father and dressmaker mother, Francesca. [10] (#cite_note-Ball-11) An older sister, Tina, died at age 12 because of an improperly treated tetanus (/wiki/Tetanus) infection. [11] (#cite_note-12) Versace was strongly influenced by ancient Greek (/wiki/Ancient_Greece) history, which dominates the historical landscape of his birthplace. He attended Liceo Classico Tommaso Campanella, where he studied Latin and ancient Greek, without completing the course. He was also influenced by Andy Warhol (/wiki/Andy_Warhol) . [12] (#cite_note-13) Versace began his apprenticeship at a young age at his mother's sewing business, which employed up to a dozen seamstresses (/wiki/Seamstress) . [10] (#cite_note-Ball-11) He became interested in architecture before moving to Milan (/wiki/Milan) at the age of 26 to work in fashion design. In 1973, he became the designer of "Byblos", a successful Genny (/wiki/Genny) 's youthful line, and in 1977, he designed Complice, another, more experimental, line for Genny. [13] (#cite_note-agazine-14) A few years later, encouraged by his success, Versace presented his first signature collection for women at the Palazzo Della Permanente Art Museum of Milan. [14] (#cite_note-15) His first fashion show followed in September of the same year. His first boutique (/wiki/Boutique) was opened in Milan's Via della Spiga (/wiki/Via_della_Spiga) in 1978. [15] (#cite_note-16) Fashion empire [ edit ] After opening his Milan boutique in 1978, Versace quickly became a sensation on the international fashion scene. His designs employed vivid colors, bold prints and sexy cuts, which were a refreshing contrast to the prevailing taste for muted colors and simplicity. His aesthetic, which "combined luxurious classicism with overt sexuality", attracted much criticism in addition to praise. [16] (#cite_note-autogenerated2003-17) He is quoted as saying, "I don't believe in good taste", which was reflected in his "brazen defiance of the rules of fashion". [16] (#cite_note-autogenerated2003-17) A saying referencing Versace's rivalry with Giorgio Armani (/wiki/Giorgio_Armani) was: "Armani dresses the wife, Versace dresses the mistress." [17] (#cite_note-townandcountrymag1-18) From 1978, Versace built the company with the support of his family, employing his sister Donatella (/wiki/Donatella_Versace) as vice president and his brother Santo (/wiki/Santo_Versace) as president of the company. [18] (#cite_note-19) Donatella's purview extended to creative oversight, where she acted as a key consultant to Versace. Gianni would also come to employ Donatella's husband, Paul Beck, as menswear director. [19] (#cite_note-nytimes1997-20) Among Versace's most famous innovations was his 1982 invention of a type of super-light chainmail (/wiki/Chainmail) called 'Oroton', which became a signature material in his outfits. His suits were inspired more by his experience in female tailoring, departing from masculine Savile Row (/wiki/Savile_Row) models by crafting suits that accentuated the male form and "insisted on men as sex objects." [20] (#cite_note-21) Versace was very proud of his southern Italian heritage and infused his designs with motifs inspired by historical fashion and art movements, especially Graeco-Roman art. [19] (#cite_note-nytimes1997-20) This is evident in the company's logo, the Medusa (/wiki/Medusa) Head, and recurring motifs like the Greek key (/wiki/Greek_key_(art)) . He also allowed his love for contemporary art to inspire his work, creating graphic prints based on the art of Roy Lichtenstein (/wiki/Roy_Lichtenstein) and Andy Warhol (/wiki/Andy_Warhol) . [16] (#cite_note-autogenerated2003-17) In 1982, Versace expanded the business into jewelry and housewares, designing luxury furnishings, china and textiles for the home. He was unusual in retaining complete creative control over all aspects of his company. [21] (#cite_note-22) In 1984 and '85, he contributed a specially appointed Gianni Versace Edition to the Mark VII (/wiki/Lincoln_Continental_Mark_VII) line of US luxury automaker Lincoln (/wiki/Lincoln_Motor_Company) . [22] (#cite_note-23) [23] (#cite_note-24) In 1989, the firm expanded into haute couture (/wiki/Haute_couture) with the launch of Atelier Versace. Versace became known for employing celebrities in his marketing campaigns and seating them in the front rows of his fashion shows, the first to do so. He is also credited with inventing the supermodel vogue of the 1990s, by discovering and featuring major supermodels like Naomi Campbell (/wiki/Naomi_Campbell) , Christy Turlington (/wiki/Christy_Turlington) and Linda Evangelista (/wiki/Linda_Evangelista) , all of whom he featured both on the runway and in advertisement campaigns. [17] (#cite_note-townandcountrymag1-18) Inside of Versace store featuring multiple designer handbags At the time of his death, Versace's empire was valued at $807 million and included 130 boutiques across the world. [19] (#cite_note-nytimes1997-20) Stage designs [ edit ] Throughout his career, Versace was a prolific costume designer for stage productions and performing artists. [24] (#cite_note-autogenerated1-25) He stated, "for me the theatre is liberation", and his designs were well served by his penchant for bold colors, drapery, embellishment, and an encyclopedic knowledge of fashion history. [16] (#cite_note-autogenerated2003-17) He was a collaborator at the La Scala Theatre Ballet (/wiki/La_Scala_Theatre_Ballet) in Milan and designed the costumes for the Strauss (/wiki/Richard_Strauss) ballet Josephslegende (/wiki/Josephslegende) in 1982 and Donizetti (/wiki/Gaetano_Donizetti) 's Don Pasquale (/wiki/Don_Pasquale) . [16] (#cite_note-autogenerated2003-17) He also designed the costumes for five Béjart Ballet (/wiki/B%C3%A9jart_Ballet) productions: Dionysos (1984), Leda and the Swan (1987), Malraux ou la Métamorphoses des Dieux (1986), Chaka Zulu (1989) and the Ballet du XXme Siècle . [16] (#cite_note-autogenerated2003-17) [24] (#cite_note-autogenerated1-25) In 1990, he designed the costumes for the San Francisco Opera (/wiki/San_Francisco_Opera) 's production of Capriccio (/wiki/Capriccio_(opera)) . [25] (#cite_note-26) Versace designed Michael Jackson (/wiki/Michael_Jackson) and Paul McCartney (/wiki/Paul_McCartney) on their 1983 " Say Say Say (/wiki/Say_Say_Say) " video and Elton John (/wiki/Elton_John) 's costumes for his The One Tour (/wiki/The_One_Tour_(Elton_John_tour)) . [16] (#cite_note-autogenerated2003-17) Personal life [ edit ] Versace met his partner Antonio D'Amico (/wiki/Antonio_D%27Amico) , a model, in 1982. Their relationship lasted until Versace's murder. During this time, Versace was diagnosed with ear cancer (/wiki/Cancer) . [26] (#cite_note-Levy-27) [27] (#cite_note-ear_cancer-28) Versace was known for adoration towards his nieces and nephews: Santo's two children, Francesca and Antonio, and Donatella's two children, Allegra (/wiki/Allegra_Versace) and Daniel. [26] (#cite_note-Levy-27) Death [ edit ] On the morning of 15 July 1997, Versace exited his mansion and walked on Ocean Drive (/wiki/Ocean_Drive_(South_Beach)) to retrieve his morning magazines. Usually, Versace would have an assistant walk from his home to the nearby News Cafe to get his magazines, but on this occasion he decided to go himself. Versace had returned and was climbing the steps of his Miami Beach mansion when a man dressed in a gray T-shirt, black shorts, a white hat, and carrying a backpack shot him in the head at point-blank range with a .40 (/wiki/.40) caliber Taurus PT100 (/wiki/Taurus_PT92) . [28] (#cite_note-29) Versace was pronounced dead at Jackson Memorial Hospital (/wiki/Jackson_Memorial_Hospital) in Miami (/wiki/Miami) , at 9:21 a.m. He was 50 years old at the time of his death. Versace's murder was witnessed by his former UK senior stylist, Dean Aslett, who was on vacation in South Beach, Miami, and had partied with Versace a few days prior. [29] (#cite_note-30) Versace was the last victim of Andrew Cunanan (/wiki/Andrew_Cunanan) , a Serial killer (/wiki/Serial_killer) [30] (#cite_note-31) who had earlier murdered four other men (including real estate developer Lee Miglin (/wiki/Lee_Miglin) ). Cunanan died by suicide (/wiki/Suicide) on a houseboat eight days after Versace's murder. [31] (#cite_note-32) [32] (#cite_note-33) Cunanan was obsessed with the designer and often bragged about his close "friendship" with Versace, although this was symptomatic of Cunanan's delusions of grandeur (/wiki/Delusions_of_grandeur) : he often falsely claimed to have met celebrities. [33] (#cite_note-vanityfair1997-34) However, FBI (/wiki/FBI) agents firmly believe that Versace and Cunanan had previously met in San Francisco, although what their relationship entailed is still a mystery. [34] (#cite_note-35) Maureen Orth (/wiki/Maureen_Orth) published a 2008 article in Vanity Fair (/wiki/Vanity_Fair_(magazine)) reporting that Cunanan and Versace had met briefly at a San Francisco nightclub in 1990 (according to several eyewitness claims) and that they could have interacted on further occasions because both were involved in sex-for-hire circles in Miami and San Francisco. [33] (#cite_note-vanityfair1997-34) [35] (#cite_note-36) However, Versace's family has always steadfastly denied that the two ever met. [33] (#cite_note-vanityfair1997-34) Police have said that they do not know why Versace was killed. "I don't know that we are ever going to know the answers", said Miami Beach Police (/wiki/Miami_Beach_Police_Department) Chief Richard Barreto. [36] (#cite_note-KCVersace-37) Memorial [ edit ] Versace's body was cremated (/wiki/Cremation) and his ashes returned to the family's estate near Cernobbio (/wiki/Cernobbio) and buried in the family vault at Moltrasio cemetery near Lake Como (/wiki/Lake_Como) . Versace's funeral liturgy, held at Milan Cathedral (/wiki/Milan_Cathedral) , was attended by over 2,000 people, including Carolyn Bessette-Kennedy (/wiki/Carolyn_Bessette-Kennedy) , Naomi Campbell (/wiki/Naomi_Campbell) , Elton John (/wiki/Elton_John) , and Diana, Princess of Wales (/wiki/Diana,_Princess_of_Wales) , who was killed in a car accident (/wiki/Death_of_Diana,_Princess_of_Wales) less than a month later. [37] (#cite_note-38) [38] (#cite_note-39) Legacy [ edit ] In September 1997, the estate announced that Versace's brother, Santo (/wiki/Santo_Versace) , would serve as the new CEO (/wiki/Chief_executive_officer) of Gianni Versace S.p.A. while Versace's sister, Donatella (/wiki/Donatella_Versace) , would become the new head of design. In his will, Versace left 50% of his fashion empire to his niece, Allegra Versace (/wiki/Allegra_Versace) . She and her younger brother, Daniel, inherited Versace's rare artwork collection. Allegra inherited her stake, worth approximately $500 million, when she turned 18 in 2004. [27] (#cite_note-ear_cancer-28) [39] (#cite_note-40) Filmography [ edit ] Versace was involved in numerous film projects. [40] (#cite_note-movies.nytimes.com-41) Actor [ edit ] Spice World (/wiki/Spice_World_(film)) (1997) – Scenes were deleted because of his death before the premiere Catwalk (a 1996-released documentary filmed in 1993) VH1 Fashion and Music Awards (1995, film) Look (1994, television show) [40] (#cite_note-movies.nytimes.com-41) Costume designer, costume and wardrobe [ edit ] A Life Less Swagy (1997, film) – costumes provider Ballet for Selena (1997, ballet) VH1 Fashion Awards (1997, television) – wardrobe The Pled (1996, film) John Baylor Time (1996, film) – special thanks Shakespeare Shorts (1996, TV series) Judge Dredd (/wiki/Judge_Dredd_(film)) (1995, film) Magic of David Copperfield XVI: Unexplained Forces (/wiki/David_Copperfield_(illusionist)) (1995, television) – costume designer Showgirls (/wiki/Showgirls) (1995, film) – other [b] (#cite_note-43) To Wong Foo, Thanks for Everything! Julie Newmar (/wiki/To_Wong_Foo,_Thanks_for_Everything!_Julie_Newmar) (1995) – special thanks Kika (/wiki/Kika_(film)) (1993, film) – costume designer Born Yesterday (/wiki/Born_Yesterday_(1993_film)) (1993, film) – wardrobe Cin Cin (/wiki/A_Fine_Romance_(film)) , also known as A Fine Romance (1992, film) – costumes Once Upon a Crime (/wiki/Once_upon_a_Crime_(1992_film)) (1992, film) – wardrobe Vacanze di Natale (/wiki/Vacanze_di_Natale) , also known as Christmas Vacations (1991, film) Crystal or Ash, Fire or Wind, as Long as It's Love (/wiki/Crystal_or_Ash,_Fire_or_Wind,_as_Long_as_It%27s_Love) (1989, film) – costumes 24 Nights (/wiki/24_Nights) (1991, concert film) – wardrobe Hard to Kill (/wiki/Hard_to_Kill) (1990, film) – wardrobe Miami Vice (/wiki/Miami_Vice) (1989, TV series) Production designer [ edit ] Elton John Live in Barcelona (/wiki/Live_in_Barcelona_(Elton_John_DVD)) (1992, video documentary) Awards and tributes [ edit ] This section needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/Gianni_Versace) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) in this section. Unsourced material may be challenged and removed. Find sources: "Gianni Versace" (https://www.google.com/search?as_eq=wikipedia&q=%22Gianni+Versace%22) – news (https://www.google.com/search?tbm=nws&q=%22Gianni+Versace%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Gianni+Versace%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Gianni+Versace%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Gianni+Versace%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Gianni+Versace%22&acc=on&wc=on) ( July 2020 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Versace was awarded the American Fashion Oscar on 1 February 1993 at the council's annual awards ceremony. [42] (#cite_note-44) [43] (#cite_note-45) President of the Italian Republic Francesco Cossiga (/wiki/Francesco_Cossiga) conferred the decoration of Commendatore della Repubblica Italiana (/wiki/Italian_orders_of_merit) on him on 24 January 1986. Elton John dedicated his 1997 album The Big Picture (/wiki/The_Big_Picture_(Elton_John_album)) to Versace. In July 2007, a specially written ballet (/wiki/Ballet) was performed in La Scala (/wiki/La_Scala) , Milan to mark the 10th anniversary of the fashion designer's death. Thanks Gianni, With Love was put together by French choreographer Maurice Béjart (/wiki/Maurice_B%C3%A9jart) , for whom Versace designed many stage costumes. In 2009 the Russian Versace fan club was founded. There are 1,500 members (July 2012). The fan club is known for its lectures, excursions and actions dedicated to Gianni Versace. The staff of the club is situated in St. Petersburg, Russia. He received the America Award in memory from the Italy–USA Foundation (/wiki/Italy%E2%80%93USA_Foundation) in 2017. [44] (#cite_note-46) In popular culture [ edit ] The second season of the American drama series American Crime Story (/wiki/American_Crime_Story) is subtitled The Assassination of Gianni Versace (/wiki/The_Assassination_of_Gianni_Versace:_American_Crime_Story) and revolves around the lead-up to and aftermath of Versace's assassination. Versace is played by Venezuelan actor Édgar Ramírez (/wiki/%C3%89dgar_Ram%C3%ADrez) . [45] (#cite_note-47) In an episode of the Irish sitcom Father Ted (/wiki/Father_Ted) , one of the main characters, Dougal, refers to Versace's death by saying, "God, Ted, do you remember that fella who was so good at fashion they had to shoot him?" Eminem (/wiki/Eminem) makes references to Versace's murder and his homosexuality in the song "Criminal" (the closing song on his 2000 album The Marshall Mathers LP (/wiki/The_Marshall_Mathers_LP) ) through the lyrics "Hey, it's me, Versace! Whoops, somebody shot me! And I was just checkin' the mail. Get it? Checkin' the male?" Notes [ edit ] ^ (#cite_ref-4) According to a January 2018 Vogue (/wiki/Vogue_(magazine)) interview with Donatella Versace (/wiki/Donatella_Versace) , Versace is correctly pronounced / (/wiki/Help:IPA/English) v ər ˈ s ɑː tʃ eɪ / (/wiki/Help:IPA/English) vər- SAH -chay in English, closer to the native Italian pronunciation, as opposed to the popular pronunciation of / (/wiki/Help:IPA/English) v ər ˈ s ɑː tʃ i / (/wiki/Help:IPA/English) vər- SAH -chee . [1] (#cite_note-1) [2] (#cite_note-2) [3] (#cite_note-3) ^ (#cite_ref-43) It has said / (/wiki/Help:IPA/English) v ər ˈ s eɪ s / (/wiki/Help:IPA/English) vər- SAYS in the movie instead of the correct pronunciation. [41] (#cite_note-42) References [ edit ] ^ (#cite_ref-1) Vogue (31 January 2018), 73 Questions With Donatella Versace | Vogue , retrieved 2 March 2018 ^ (#cite_ref-2) "You've probably been pronouncing 'Versace' wrong, according to Donatella" (https://www.harpersbazaar.com/uk/fashion/fashion-news/a16023857/youve-probably-been-pronouncing-versace-wrong-according-to-donatella/) . Harper's Bazaar . 2 February 2018 . Retrieved 2 March 2018 . ^ (#cite_ref-3) Bruno Mars (13 August 2017), Bruno Mars – Versace On The Floor [Official Video] , retrieved 2 March 2018 ^ (#cite_ref-5) Horyn, Cathy (6 October 2013). "Why Fashion Films Are Usually Cartoons" (https://web.archive.org/web/20131123110211/https://runway.blogs.nytimes.com/2013/10/04/why-fashion-films-are-usually-cartoons/) . The New York Times (/wiki/The_New_York_Times) . p. 13. Archived from the original (https://runway.blogs.nytimes.com/2013/10/04/why-fashion-films-are-usually-cartoons/) on 23 November 2013 . Retrieved 14 June 2021 . ^ (#cite_ref-6) Mulvagh, Jane (15 July 1997). "Obituary: Gianni Versace" (https://www.independent.co.uk/news/people/obituary-gianni-versace-1250904.html) . The Independent (/wiki/The_Independent) . ^ (#cite_ref-Gibson138_7-0) Gibson, Dirk C. (2006). Serial Murder and Media Circuses . Greenwood Publishing Group (/wiki/Greenwood_Publishing_Group) . p. 138. ISBN (/wiki/ISBN_(identifier)) 978-0-2759-9064-0 . ^ (#cite_ref-8) "This Day in History: July 15: Gianni Versace Killed" (https://web.archive.org/web/20120318060459/http://www.maxim.co.uk/features/articles/17299/this_day_in_history.html) . Maxim (/wiki/Maxim_(magazine)) . July 2009. Archived from the original (http://www.maxim.co.uk/features/articles/17299/this_day_in_history.html) on 18 March 2012. ^ (#cite_ref-9) Smith, Tyler Stoddard (2012). Whore Stories: A Revealing History of the World's Oldest Profession . Adams Media (/wiki/Adams_Media) . p. 172. ISBN (/wiki/ISBN_(identifier)) 978-1-4405-3605-2 . ^ (#cite_ref-10) "FBI.gov" (https://vault.fbi.gov/andrew-phillip-cunanan) . ^ Jump up to: a b Ball, Deborah (2010). House of Versace: The Untold Story of Genius, Murder, and Survival . Crown. pp. 27, 31–32. ISBN (/wiki/ISBN_(identifier)) 978-0-307-46240-4 . ^ (#cite_ref-12) The New Yorker . F-R Publishing Corporation. 15 July 2017 – via Google Books. ^ (#cite_ref-13) "How Warhol's Work Influenced Our Wardrobes" (https://www.bbc.com/culture/story/20150427-soup-cans-that-changed-fashion) . BBC News (/wiki/BBC_News) . 27 April 2015. ^ (#cite_ref-agazine_14-0) Gross, Michael (11 March 1991). "A portrait of Jenny" (https://books.google.com/books?id=K-kCAAAAMBAJ&q=Genny++++++ancona&pg=PA18) . New York Magazine (/wiki/New_York_Magazine) . pp. 18–19 . Retrieved 4 September 2015 . ^ (#cite_ref-15) Deeny, Godfrey (18 February 2017). "Remembering Gianni Versace: 20 years after the designer's death, we celebrate his enduring legacy" (https://www.telegraph.co.uk/luxury/womens-style/remembering-gianni-versace-20-years-designers-death-celebrate/) . The Telegraph . ISSN (/wiki/ISSN_(identifier)) 0307-1235 (https://www.worldcat.org/issn/0307-1235) . Archived (https://ghostarchive.org/archive/20220111/https://www.telegraph.co.uk/luxury/womens-style/remembering-gianni-versace-20-years-designers-death-celebrate/) from the original on 11 January 2022 . Retrieved 27 September 2017 . ^ (#cite_ref-16) Roberts, Paul G. (2015). Masters of Fashion Vol 35 Heels Part 1 . Fashion Industry Broadcast. ISBN (/wiki/ISBN_(identifier)) 9781625906670 . ^ Jump up to: a b c d e f g "Gianni Versace" (http://www.vam.ac.uk/content/articles/g/gianni-versace/) . V&A Museum . 17 October 2003 . Retrieved 29 January 2018 . ^ Jump up to: a b Bilyaeu, Nancy (15 January 2018). "The True Story of Gianni Versace's Murder" (http://www.townandcountrymag.com/style/fashion-trends/a15045343/gianni-versace-murder-death-true-story/) . Town & Country Magazine . Retrieved 29 January 2018 . ^ (#cite_ref-19) Kautz, Justin. "Donatella Versace" (https://www.britannica.com/biography/Donatella-Versace#ref1247626) . Encyclopaedia Britannica . Retrieved 8 February 2018 . ^ Jump up to: a b c Spindler, Amy M. (16 July 1997). "Obituary: Gianni Versace, 50, the Designer Who Infused Fashion With Life and Art" (https://www.nytimes.com/1997/07/16/style/gianni-versace-50-the-designer-who-infused-fashion-with-life-and-art.html) . The New York Times . Retrieved 29 January 2018 . ^ (#cite_ref-21) "Gianni Versace" (http://www.vam.ac.uk/content/articles/g/gianni-versace/) . V&A Museum . 17 October 2003 . Retrieved 29 January 2018 . ^ (#cite_ref-22) Davis, Daniel (2011). Versace . p. 29. ^ (#cite_ref-23) Lincoln Division, Ford Motor Company (1 August 1983). 1984 Continental Mark VII, Continental, Lincoln Town Car . USA. p. 15 . Retrieved 12 June 2022 . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) ^ (#cite_ref-24) Lincoln Division, Ford Motor Company (1 August 1984). 1985 Continental Mark VII, Continental, Lincoln Town Car . USA. p. 13 . Retrieved 12 June 2022 . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) ^ Jump up to: a b "Gianni Versace" (https://web.archive.org/web/20141024095032/http://www.abt.org/education/archive/designers/versace.html) . American Ballet Theatre . Archived from the original (http://www.abt.org/education/archive/designers/versace.html) on 24 October 2014 . Retrieved 29 January 2018 . ^ (#cite_ref-26) Fashion Staff (19 October 1990). "Versace Has Designs on 'Capriccio' (http://articles.latimes.com/1990-10-19/news/vw-2871_1_italian-designer) " (http://articles.latimes.com/1990-10-19/news/vw-2871_1_italian-designer) . Los Angeles Times . Retrieved 8 February 2018 . ^ Jump up to: a b Levy, Ariel (2006). "Summer for the Sun Queen" (http://nymag.com/fashion/06/fall/19388/) . New York (/wiki/New_York_(magazine)) . Retrieved 24 June 2014 . ^ Jump up to: a b Cunningham, Jennifer (19 June 2004). "Is there a Versace in the house?; Allegra Beck; Aged 11, she watched TV reports flash up news that her beloved uncle, Gianni Versace, had been shot. Now she stands to inherit a 50% share of the Versace empire. But who is this girl with the power at her fingertips?" (https://web.archive.org/web/20160225131942/https://www.highbeam.com/doc/1P2-23570407.html) . The Herald (/wiki/The_Herald_(Plymouth)) . Plymouth, England (/wiki/Plymouth,_England) . Archived from the original (http://www.highbeam.com/doc/1P2-23570407.html) on 25 February 2016 . Retrieved 2 November 2015 – via HighBeam Research (/wiki/HighBeam_Research) . ^ (#cite_ref-29) Lecayo, Richard (21 June 2001). "Tagged for Murder" (https://web.archive.org/web/20101003063145/http://www.time.com/time/magazine/article/0,9171,138062,00.html) . Time (/wiki/Time_(magazine)) . New York City. Archived from the original (http://www.time.com/time/magazine/article/0,9171,138062,00.html) on 3 October 2010 . Retrieved 2 March 2018 . ^ (#cite_ref-30) Janofsky, Michael (25 July 1997). "Suspect's Suicide Brings Relief and Normality (Published 1997)" (https://www.nytimes.com/1997/07/25/us/suspect-s-suicide-brings-relief-and-normality.html) . The New York Times . ISSN (/wiki/ISSN_(identifier)) 0362-4331 (https://www.worldcat.org/issn/0362-4331) . Retrieved 14 December 2020 . ^ (#cite_ref-31) "FBI.gov" (https://vault.fbi.gov/andrew-phillip-cunanan) . ^ (#cite_ref-32) "FBI – Serial Killers, Part 6: Andrew Cunanan murders a fashion icon" (https://web.archive.org/web/20160702022814/https://www.fbi.gov/news/stories/2014/march/serial-killers-part-6-andrew-cunanan-murders-a-fashion-icon) . FBI. Archived from the original (https://www.fbi.gov/news/stories/2014/march/serial-killers-part-6-andrew-cunanan-murders-a-fashion-icon) on 2 July 2016. ^ (#cite_ref-33) Michael H. Stone & Gary Brucato. The New Evil: Understanding the Emergence of Modern Violent Crime (Amherst, New York: Prometheus Books, 2019), pp. 99–104. ^ Jump up to: a b c Orth, Maureen (5 August 2008). "The Killer's Trail" (https://www.vanityfair.com/magazine/1997/09/cunanan199709) . Vanity Fair . Retrieved 25 January 2018 . ^ (#cite_ref-35) "Time magazine article" (http://content.time.com/time/magazine/article/0,9171,138062,00.html) . Time . 24 June 2001. ^ (#cite_ref-36) Miller, Julie (17 January 2018). "Versace: The truth about Gianni Versace and Andrew Cunanan's relationship" (https://www.vanityfair.com/hollywood/2018/01/versace-american-crime-story-andrew-cunanan) . Vanity Fair . Retrieved 24 January 2018 . ^ (#cite_ref-KCVersace_37-0) "Cunanan: More questions than answers" (http://edition.cnn.com/US/9707/25/cunanan/index.html) . CNN (/wiki/CNN) . 25 July 1997 . Retrieved 29 June 2007 . ^ (#cite_ref-38) Wilson, Scott. Resting Places: The burial sites of more than 14,000 famous persons (3rd ed.). McFarland & Company, Inc. (Kindle Edition). Kindle Location 48735. ^ (#cite_ref-39) Hallemann, Caroline (22 January 2018). "Here's what Gianni Versace's funeral was really like" (http://www.townandcountrymag.com/society/a10340697/gianni-versace-funeral/) . Town & Country Magazine . Retrieved 29 January 2018 . ^ (#cite_ref-40) Pisa, Nick (7 December 2010). "Versace murdered because of debts to Mafia" (https://www.telegraph.co.uk/news/worldnews/europe/italy/8182388/Versace-murdered-because-of-debts-to-Mafia.html) . The Telegraph . Archived (https://ghostarchive.org/archive/20220111/https://www.telegraph.co.uk/news/worldnews/europe/italy/8182388/Versace-murdered-because-of-debts-to-Mafia.html) from the original on 11 January 2022 . Retrieved 7 December 2010 . ^ Jump up to: a b "Movies and TV: Gianni Versaci: Filmography" (https://web.archive.org/web/20121104104757/http://movies.nytimes.com/person/1258494/Gianni-Versace/filmography) . Movies & TV Dept. The New York Times (/wiki/The_New_York_Times) . 2012. Archived from the original (https://movies.nytimes.com/person/1258494/Gianni-Versace/filmography) on 4 November 2012 . Retrieved 11 April 2011 . ^ (#cite_ref-42) Fitzpatrick, Erin (16 July 2018). "You've Been Pronouncing Versace All Wrong" (https://www.whowhatwear.com/how-to-pronounce-versace) . Who What Wear . Retrieved 27 June 2022 . ^ (#cite_ref-44) "Gianni Versace" (https://www.biography.com/history-culture/gianni-versace) . Biography . July 2020 . Retrieved 12 May 2023 . ^ (#cite_ref-45) "Who Was Gianni Versace? Fashion Designer's Life and Death Chronicled in FX's 'American Crime Story' (https://www.newsweek.com/who-was-gianni-versace-fashion-designers-life-and-death-chronicled-fxs-781702) " (https://www.newsweek.com/who-was-gianni-versace-fashion-designers-life-and-death-chronicled-fxs-781702) . Newsweek . 15 January 2018 . Retrieved 12 May 2023 . ^ (#cite_ref-46) "America Award 2017" (http://www.italiausa.org/index.php?c=premio_america&id=26) . 12 October 2017. ^ (#cite_ref-47) Goldberg, Lesley (20 March 2017). "Penelope Cruz to Star in 'Versace: American Crime Story' (http://www.hollywoodreporter.com/live-feed/penelope-cruz-star-versace-american-crime-story-987324) " (http://www.hollywoodreporter.com/live-feed/penelope-cruz-star-versace-american-crime-story-987324) . The Hollywood Reporter (/wiki/The_Hollywood_Reporter) . Retrieved 20 March 2017 . External links [ edit ] Official website (https://www.versace.com) Media related to Gianni Versace (https://commons.wikimedia.org/wiki/Category:Gianni_Versace) at Wikimedia Commons v t e Members of the Fédération de la Haute Couture et de la Mode (/wiki/F%C3%A9d%C3%A9ration_de_la_Haute_Couture_et_de_la_Mode) Members Adeline André (/wiki/Adeline_Andr%C3%A9) Alexandre Vauthier (/wiki/Alexandre_Vauthier) Alexis Mabille (/wiki/Alexis_Mabille) Bouchra Jarrar (/wiki/Bouchra_Jarrar) Chanel (/wiki/Chanel) Dior (/wiki/Dior) Frank Sorbier (/wiki/Frank_Sorbier) Giambattista Valli (/wiki/Giambattista_Valli) Givenchy (/wiki/Givenchy) Jean Paul Gaultier (/wiki/Jean_Paul_Gaultier) Julien Fournié (/wiki/Julien_Fourni%C3%A9) Maison Margiela (/wiki/Maison_Margiela) Maurizio Galante Schiaparelli (/wiki/Maison_Schiaparelli) Stéphane Rolland (/wiki/St%C3%A9phane_Rolland) Invited, foreign and guest members See: List of grands couturiers (/wiki/List_of_grands_couturiers) Authority control databases (/wiki/Help:Authority_control) International FAST (http://id.worldcat.org/fast/226044/) ISNI (https://isni.org/isni/0000000080847404) VIAF (https://viaf.org/viaf/5133380) WorldCat (https://id.oclc.org/worldcat/entity/E39PBJymBH9wJDFCr84qCcJYyd) National Norway (https://authority.bibsys.no/authority/rest/authorities/html/2081887) France (https://catalogue.bnf.fr/ark:/12148/cb14042813k) BnF data (https://data.bnf.fr/ark:/12148/cb14042813k) Catalonia (https://cantic.bnc.cat/registre/981058515402706706) Germany (https://d-nb.info/gnd/119216604) Israel (http://olduli.nli.org.il/F/?func=find-b&local_base=NLX10&find_code=UID&request=987007432976805171) United States (https://id.loc.gov/authorities/n88621302) Sweden (https://libris.kb.se/vs68c99d1z5s8qn) Latvia (https://kopkatalogs.lv/F?func=direct&local_base=lnc10&doc_number=000143058&P_CON_LNG=ENG) Japan (https://id.ndl.go.jp/auth/ndlna/00715887) Czech Republic (https://aleph.nkp.cz/F/?func=find-c&local_base=aut&ccl_term=ica=jn20000701892&CON_LNG=ENG) Netherlands (http://data.bibliotheken.nl/id/thes/p126181756) Poland (https://dbn.bn.org.pl/descriptor-details/9810673015305606) Academics CiNii (https://ci.nii.ac.jp/author/DA08248815?l=en) Artists KulturNav (http://kulturnav.org/c178882d-46c7-49e6-9f3a-af96e0714527) Victoria (https://www.ngv.vic.gov.au/explore/collection/artist/8635/) RKD Artists (https://rkd.nl/en/explore/artists/115171) ULAN (https://www.getty.edu/vow/ULANFullDisplay?find=&role=&nation=&subjectid=500100898) Other SNAC (https://snaccooperative.org/ark:/99166/w6gx4wcp) IdRef (https://www.idref.fr/050245090) Te Papa (New Zealand) (https://collections.tepapa.govt.nz/agent/29483) Portals (/wiki/Wikipedia:Contents/Portals) : Biography (/wiki/Portal:Biography) Fashion (/wiki/Portal:Fashion) Italy (/wiki/Portal:Italy) LGBT (/wiki/Portal:LGBT) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐xrd7t Cached time: 20240721202404 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.825 seconds Real time usage: 1.054 seconds Preprocessor visited node count: 4375/1000000 Post‐expand include size: 113390/2097152 bytes Template argument size: 5022/2097152 bytes Highest expansion depth: 17/100 Expensive parser function count: 33/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 184344/5000000 bytes Lua time usage: 0.553/10.000 seconds Lua memory usage: 17853438/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 943.921 1 -total 30.25% 285.491 2 Template:Reflist 17.69% 166.957 1 Template:Infobox_fashion_designer 10.96% 103.458 1 Template:IPA-it 10.82% 102.129 1 Template:IPA 9.84% 92.860 2 Template:Citation 7.97% 75.272 1 Template:Short_description 7.46% 70.416 1 Template:Grands_couturiers 7.29% 68.830 1 Template:Navbox 6.99% 65.987 4 Template:Br_separated_entries Saved in parser cache with key enwiki:pcache:idhash:318870-0!canonical and timestamp 20240721202404 and revision id 1234574753. Rendering was triggered because: page-view esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Gianni_Versace&oldid=1234574753 (https://en.wikipedia.org/w/index.php?title=Gianni_Versace&oldid=1234574753) " Categories (/wiki/Help:Category) : 1946 births (/wiki/Category:1946_births) 1997 deaths (/wiki/Category:1997_deaths) Italian company founders (/wiki/Category:Italian_company_founders) Fashion designers from Milan (/wiki/Category:Fashion_designers_from_Milan) Italian fashion designers (/wiki/Category:Italian_fashion_designers) People from Reggio Calabria (/wiki/Category:People_from_Reggio_Calabria) 1997 murders in the United States (/wiki/Category:1997_murders_in_the_United_States) July 1997 crimes (/wiki/Category:July_1997_crimes) Deaths by firearm in Florida (/wiki/Category:Deaths_by_firearm_in_Florida) Italian people murdered abroad (/wiki/Category:Italian_people_murdered_abroad) LGBT fashion designers (/wiki/Category:LGBT_fashion_designers) Italian gay artists (/wiki/Category:Italian_gay_artists) Menswear designers (/wiki/Category:Menswear_designers) Murder–suicides in Florida (/wiki/Category:Murder%E2%80%93suicides_in_Florida) People murdered in Florida (/wiki/Category:People_murdered_in_Florida) People of Calabrian descent (/wiki/Category:People_of_Calabrian_descent) Versace (/wiki/Category:Versace) Italian murder victims (/wiki/Category:Italian_murder_victims) Victims of serial killers (/wiki/Category:Victims_of_serial_killers) LGBT history in Italy (/wiki/Category:LGBT_history_in_Italy) Hidden categories: CS1 maint: location missing publisher (/wiki/Category:CS1_maint:_location_missing_publisher) Articles with short description (/wiki/Category:Articles_with_short_description) Short description matches Wikidata (/wiki/Category:Short_description_matches_Wikidata) Use dmy dates from October 2021 (/wiki/Category:Use_dmy_dates_from_October_2021) Articles with hCards (/wiki/Category:Articles_with_hCards) Pages with Italian IPA (/wiki/Category:Pages_with_Italian_IPA) Articles needing additional references from July 2020 (/wiki/Category:Articles_needing_additional_references_from_July_2020) All articles needing additional references (/wiki/Category:All_articles_needing_additional_references) Commons category link is on Wikidata (/wiki/Category:Commons_category_link_is_on_Wikidata) Articles with FAST identifiers (/wiki/Category:Articles_with_FAST_identifiers) 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 BIBSYS identifiers (/wiki/Category:Articles_with_BIBSYS_identifiers) Articles with BNF identifiers (/wiki/Category:Articles_with_BNF_identifiers) Articles with BNFdata identifiers (/wiki/Category:Articles_with_BNFdata_identifiers) Articles with CANTICN identifiers (/wiki/Category:Articles_with_CANTICN_identifiers) Articles with GND identifiers (/wiki/Category:Articles_with_GND_identifiers) Articles with J9U identifiers (/wiki/Category:Articles_with_J9U_identifiers) Articles with LCCN identifiers (/wiki/Category:Articles_with_LCCN_identifiers) Articles with Libris identifiers (/wiki/Category:Articles_with_Libris_identifiers) Articles with LNB identifiers (/wiki/Category:Articles_with_LNB_identifiers) Articles with NDL identifiers (/wiki/Category:Articles_with_NDL_identifiers) Articles with NKC identifiers (/wiki/Category:Articles_with_NKC_identifiers) Articles with NTA identifiers (/wiki/Category:Articles_with_NTA_identifiers) Articles with PLWABN identifiers (/wiki/Category:Articles_with_PLWABN_identifiers) Articles with CINII identifiers (/wiki/Category:Articles_with_CINII_identifiers) Articles with KULTURNAV identifiers (/wiki/Category:Articles_with_KULTURNAV_identifiers) Articles with NGV identifiers (/wiki/Category:Articles_with_NGV_identifiers) Articles with RKDartists identifiers (/wiki/Category:Articles_with_RKDartists_identifiers) Articles with ULAN identifiers (/wiki/Category:Articles_with_ULAN_identifiers) Articles with SNAC-ID identifiers (/wiki/Category:Articles_with_SNAC-ID_identifiers) Articles with SUDOC identifiers (/wiki/Category:Articles_with_SUDOC_identifiers) Articles with TePapa identifiers (/wiki/Category:Articles_with_TePapa_identifiers) |
Type of hat with narrow or no brim For the modern headwear known in Canada as a "toque", see Knit cap (/wiki/Knit_cap) . For other uses, see Toque (disambiguation) (/wiki/Toque_(disambiguation)) and La Tuque (disambiguation) (/wiki/La_Tuque_(disambiguation)) . Toque King Philip II of Spain (/wiki/Philip_II_of_Spain) , wearing the Spanish tocado , late 16th century. Painting by Sofonisba Anguissola (/wiki/Sofonisba_Anguissola) Type Narrow-brimmed or brimless hat Material Knitted yarn, starched cloth, or velvet A toque ( / (/wiki/Help:IPA/English) t oʊ k / (/wiki/Help:IPA/English) [1] (#cite_note-1) or / (/wiki/Help:IPA/English) t ɒ k / (/wiki/Help:IPA/English) ) is a type of hat (/wiki/Hat) with a narrow brim (/wiki/Brim_(hat)) or no brim at all. [2] (#cite_note-merriam-2) Toques were popular from the 13th to the 16th century in Europe, especially France. They were revived in the 1930s; nowadays, they are primarily known as the traditional headgear for professional cooks (/wiki/Cook_(profession)) , except in Canada, where the term toque is used for knit caps (/wiki/Knit_cap) . [2] (#cite_note-merriam-2) Name [ edit ] Woman's toque from England, c. 1860 at the collection of Los Angeles County Museum of Art (/wiki/Los_Angeles_County_Museum_of_Art) Young ladies wearing toques in a fashion drawing from 1800. Tasseled toque from 1917 New York. The word toque has been known in English since around 1500. It is a loan word (/wiki/Loan_word) from the French (/wiki/French_language) tuque (15th century), presumably by the way of the Spanish (/wiki/Spanish_language) toca 'woman's headdress', from Arabic (/wiki/Arabic) * taqa طاقة, itself from Old Persian (/wiki/Old_Persian) taq 'veil, shawl'. [3] (#cite_note-Harper-3) The word toque in Breton (/wiki/Breton_language) means 'hat'. The spelling with ⟨que⟩ is Middle Breton, and the Modern Breton spelling is tok . Old Breton spells the word toc . The word was borrowed into the French language for both the chef's uniform and the knit cap. [ citation needed ] [ contradictory ] History and uses [ edit ] A tall, black toque made of silk (/wiki/Silk) or velvet (/wiki/Velvet) , often ornamented with an aigrette (/wiki/Aigrette) , was fashionable among the Spanish nobility (/wiki/Spanish_nobility) during the 1500s. This style is seen in a 1584 portrait of Isabella Clara Eugenia (/wiki/Isabella_Clara_Eugenia) as well as Sofonisba Anguissola (/wiki/Sofonisba_Anguissola) 's 1573 portrait of Philip II of Spain (/wiki/Philip_II_of_Spain) , both in the Museo del Prado (/wiki/Museo_del_Prado) . The style spread across Europe, being adopted in France, England, Germany, and Italy. The toque diminished in popularity in the 1600s as wide-brimmed and cocked hats (/wiki/Cocked_hat) became fashionable, but reappeared as a predominantly young women's fashion in the 1800s, accompanying long dresses and chignon (/wiki/Chignon_(hairstyle)) hairstyles. [4] (#cite_note-Chico-4) Culinary [ edit ] See also: Chef's uniform (/wiki/Chef%27s_uniform) Le Chef de l'Hôtel Chatham, Paris (c. 1921), oil on canvas (/wiki/Oil_on_canvas) by William Orpen (/wiki/William_Orpen) A toque blanche ( French (/wiki/French_language) for 'white hat'), often shortened to toque, is a tall, round, pleated, starched white hat worn by chefs (/wiki/Chef) . [5] (#cite_note-5) The toque most likely originated as the result of the gradual evolution of head coverings worn by cooks throughout the centuries. [6] (#cite_note-6) Their roots are sometimes traced to the casque à meche (stocking cap) worn by 18th-century French chefs. The colour of the casque à meche denoted the rank of the wearer. Boucher, the personal chef of the French statesman Talleyrand (/wiki/Talleyrand) , was the first to insist on white toques for sanitary reasons. The modern toque is popularly believed to have originated with the French chef Marie-Antoine Carême (/wiki/Marie-Antoine_Car%C3%AAme) (1784–1833), who stiffened the casque à meche with cardboard [7] (#cite_note-7) . Judicial [ edit ] A toque, or sometimes touge, was the traditional headgear of various French magistrates (/wiki/Magistrate) . A low type in black velvet, called mortier (/wiki/Mortar_board) (also rendered in English as mortarboard (/wiki/Mortarboard) ), was used by the président à mortier (/wiki/Pr%C3%A9sident_%C3%A0_mortier) , president of a parlement (/wiki/Parlement) (the royal highest court in a French province), and of the members of two of the highest central courts, cour de cassation (/wiki/Court_of_Cassation_(France)) and cour des comptes (/wiki/Cour_des_Comptes) . A red toque is sometimes worn by German judges, primarily by justices on the Federal Constitutional Court (/wiki/Federal_Constitutional_Court) . Academic [ edit ] The pleated, low, round hat worn in French universities – the equivalent of the mortarboard (/wiki/Mortarboard) or tam (/wiki/Tam_(cap)) at British and American universities – is also called a toque. Heraldic [ edit ] See also: French heraldry (/wiki/French_heraldry) This section does not cite (/wiki/Wikipedia:Citing_sources) any sources (/wiki/Wikipedia:Verifiability) . Please help improve this section (/wiki/Special:EditPage/Toque) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed (/wiki/Wikipedia:Verifiability#Burden_of_evidence) . ( December 2013 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) In the Napoleonic era (/wiki/Napoleonic_era) , the French first empire replaced the coronets (/wiki/Coronet) of traditional ("royal") heraldry (/wiki/Heraldry) with a rigorously standardized system (as other respects of "Napoleonic" coats of arms (/wiki/Coats_of_arms) ) of toques, reflecting the rank of the bearer. Thus a Napoleonic duke (/wiki/Duke) used a toque with seven ostrich (/wiki/Ostrich) feathers and three lambrequins (/wiki/Mantling) , a count (/wiki/Count) a toque with five feathers and two lambrequins, a baron (/wiki/Baron) three feathers and one lambrequin, a knight (/wiki/Knight) only one ostrich feather (see Nobility of the First French Empire (/wiki/Nobility_of_the_First_French_Empire) ). Athletic [ edit ] Toque is also used for a hard-type hat or helmet (/wiki/Helmet) , worn for riding, especially in equestrian (/wiki/Equestrianism) sports, often black and covered with black velvet (/wiki/Velvet) . Knit cap [ edit ] Further information: Knit cap § Canadian toque, tuque or touque (/wiki/Knit_cap#Canadian_toque,_tuque_or_touque) In Canada (/wiki/Canadian_English) , toque or tuque / (/wiki/Help:IPA/English) t uː k / (/wiki/Help:IPA/English) is the common name for a knitted winter cap (/wiki/Knit_cap) . While the spelling toque has become the most formally accepted in Canada, as recognized by the Canadian Oxford Dictionary (/wiki/Canadian_Oxford_Dictionary) and the Dictionary of Canadianisms on Historical Principles (/wiki/A_Dictionary_of_Canadianisms_on_Historical_Principles) , the alternate spelling of tuque is most commonly used in French Canada and often occurs in Canadian media. The spelling touque , although not recognized by the Canadian Oxford Dictionary (/wiki/Canadian_Oxford_Dictionary) , is also sometimes seen in written English. [8] (#cite_note-cbc-8) In 2013, CBC (/wiki/CBC_News) Edmonton launched a poll to ask viewers how they spelled the word. The options given were toque , tuque or touque . Nearly 6,500 people voted, with Edmontonians remaining divided on the issue. [8] (#cite_note-cbc-8) Though touque was voted most popular in that instance, there is almost no formal usage to support its popularity. The Canadian English (/wiki/Canadian_English) term was borrowed from Canadian French (/wiki/Canadian_French_language) word tuque (https://en.wiktionary.org/wiki/tuque#French) , and first documented in Canadian English (/wiki/Canadian_English) in that form in 1865; by 1880 the spelling toque is documented. [9] (#cite_note-9) The fashion is said to have originated with the coureurs de bois (/wiki/Coureurs_de_bois) , French and Métis (/wiki/M%C3%A9tis) fur traders, who kept their woollen nightcaps on for warmth during cold winter days. This spelling is attributed to a number of different sources, one being the Breton toc or tok , "meaning simply 'hat'"; another suggesting that it is a Francization of the Spanish tocar, to touch, as the long "end of the sock cap" of the Voyageurs hung down and touched their shoulders; [10] (#cite_note-10) and another source adamant that the word is borrowed from "the old Languedoc dialect word tuc " meaning "summit" or "the head of a mountain". [11] (#cite_note-11) The spelling of toque , on the other hand, is borrowed from the original usage as described elsewhere in this article. Toque also appears in the 1941 Dictionary of Mississippi Valley French as a "style of hair-dressing among the Indians" which was a tall, conical fashion not unlike the shape of the Voyageur-style cap described above. [12] (#cite_note-12) Dictionaries are divided on the matter of spelling, with the Gage Canadian preferring toque [13] (#cite_note-13) and the Nelson Canadian listing tuque [14] (#cite_note-14) (the Nelson Gage of a few years later would settle on toque ). The first Dictionary of Canadianisms on Historical Principles (/wiki/A_Dictionary_of_Canadianisms_on_Historical_Principles) lists separate entries and definitions for both toque and tuque which cross-reference each other, though an illustrative line drawing is presented with the latter. [15] (#cite_note-15) Perhaps most importantly, the Canadian Oxford (/wiki/Canadian_Oxford_Dictionary) chose toque , [16] (#cite_note-16) and as the Canadian Press Stylebook (/w/index.php?title=Canadian_Press_Stylebook&action=edit&redlink=1) bows to the Canadian Oxford as the final word in spelling, most Canadian publications have followed suit. Though the requirement of the toque to have a pom-pom or no can be a hard line for some Canadians, for the most part the country agrees: one of these three spellings must be "correct" no matter what the specifics of shape. As the Canadian Encyclopedia (/wiki/The_Canadian_Encyclopedia) claims, "We all know a tuque when we see one, [we just] can't agree on how to spell the word." [17] (#cite_note-17) In recent years knit toques have resurfaced as an extremely popular fashion item. They are used all year round, seen not only used outdoors for weather but as an indoor fashion accessory. Such hats are known in other English-speaking countries by a variety of names, including beanie , watch cap or stocking cap ; the terms toque and tuque are unique to Canada and northern areas of the United States close to the Canada–United States border (/wiki/Canada%E2%80%93United_States_border) . See also [ edit ] Fashion portal (/wiki/Portal:Fashion) List of hats (/wiki/List_of_hats) List of headgear (/wiki/List_of_headgear) Similar hats Capotain (/wiki/Capotain) Fez (hat) (/wiki/Fez_(hat)) Kalimavkion (/wiki/Kalimavkion) Kofia (hat) (/wiki/Kofia_(hat)) Kolpik (/wiki/Kolpik) Kufi (/wiki/Kufi) Skufia (/wiki/Skufia) Smoking cap (/wiki/Smoking_cap) Tam (/wiki/Tam_(women%27s_hat)) Taqiyah (cap) (/wiki/Taqiyah_(cap)) Notes [ edit ] ^ (#cite_ref-1) "Dictionary.com; Meanings & Definitions of English Words" (https://www.dictionary.com/browse/toque) . Retrieved 11 January 2014 . ^ Jump up to: a b Definition of Toque . Retrieved 11 January 2014 . ^ (#cite_ref-Harper_3-0) Harper, Douglas. "toque" (https://www.etymonline.com/?term=toque) . Online Etymology Dictionary (/wiki/Online_Etymology_Dictionary) . Retrieved 1 October 2021 . ^ (#cite_ref-Chico_4-0) Chico, Beverly (2013). "Toque". Hats and Headwear Around the World: A Cultural Encyclopedia . ABC-CLIO. pp. 449–451. ISBN (/wiki/ISBN_(identifier)) 978-1-6106-9063-8 . ^ (#cite_ref-5) "Definitions for: Toque" (http://blogmybrain.com/scrabble-word-finder/word/toque.htm) . Retrieved 11 January 2014 . ^ (#cite_ref-6) Bedell, Jane (2013). So, You Want to Be a Chef?: How to Get Started in the World of Culinary Arts . Simon & Schuster (/wiki/Simon_%26_Schuster) . p. 69. ISBN (/wiki/ISBN_(identifier)) 978-1582704364 . ^ (#cite_ref-7) Engber, Daniel (28 March 2014). "Who Made That Chef's Toque?" (https://www.nytimes.com/2014/03/30/magazine/who-made-that-chefs-toque.html) . The New York Times . ^ Jump up to: a b "Thousands vote on correct spelling of Canadian knit cap" (http://www.cbc.ca/news/canada/edmonton/thousands-vote-on-correct-spelling-of-canadian-knit-cap-1.2457737) . CBC News (/wiki/CBC_News) . 10 December 2013 . Retrieved 22 December 2015 . ^ (#cite_ref-9) Dollinger, Stefan; Fee, Margery (2017). "toque" (http://apps.plotandscatter.com:8080/dchp2/entries/view/toque) . Dictionary of Canadianisms on Historical Principles, Second Edition . Vancouver – via UBC. ^ (#cite_ref-10) Casselman, Bill (1999). Casselman's Canadian words : a comic browse through words and folk sayings invented by Canadians . McArthur. ISBN (/wiki/ISBN_(identifier)) 1-55278-034-1 . OCLC (/wiki/OCLC_(identifier)) 40940496 (https://www.worldcat.org/oclc/40940496) . ^ (#cite_ref-11) Grady, Wayne (1999). Chasing the chinook : on the trail of Canadian words and culture . Penguin. ISBN (/wiki/ISBN_(identifier)) 0-14-027787-0 . OCLC (/wiki/OCLC_(identifier)) 937943426 (https://www.worldcat.org/oclc/937943426) . ^ (#cite_ref-12) " (https://chinookjargon.com/2019/01/05/toque-in-mississippi-valley-french-eh/) "toque" in Mississippi Valley French, eh?" (https://chinookjargon.com/2019/01/05/toque-in-mississippi-valley-french-eh/) . Chinook Jargon . 5 January 2019 . Retrieved 8 April 2023 . ^ (#cite_ref-13) De Wolf, Gaelan T. (1998). Gage Canadian dictionary . Gage Educational Pub. Co. ISBN (/wiki/ISBN_(identifier)) 978-0-7715-1981-9 . OCLC (/wiki/OCLC_(identifier)) 734052878 (https://www.worldcat.org/oclc/734052878) . ^ (#cite_ref-14) Nelson Canadian dictionary of the English language : an encyclopedic reference . Scarborough, Ont.: ITP Nelson. 1997. ISBN (/wiki/ISBN_(identifier)) 0-17-604726-3 . OCLC (/wiki/OCLC_(identifier)) 39032668 (https://www.worldcat.org/oclc/39032668) . ^ (#cite_ref-15) A dictionary of Canadianisms on historical principles . W.J. Gage. 1967. OCLC (/wiki/OCLC_(identifier)) 60266 (https://www.worldcat.org/oclc/60266) . ^ (#cite_ref-16) The Canadian Oxford Dictionary . 1 January 2004. doi (/wiki/Doi_(identifier)) : 10.1093/acref/9780195418163.001.0001 (https://doi.org/10.1093%2Facref%2F9780195418163.001.0001) . ISBN (/wiki/ISBN_(identifier)) 978-0-19-541816-3 . ^ (#cite_ref-17) Tuque | The Canadian Encyclopedia . Retrieved 8 April 2023 . References [ edit ] EtymologyOnLine (http://www.etymonline.com/index.php?search=toque&searchmode=none) Heraldry.org Napoleonic heraldry (http://www.heraldica.org/topics/france/napolher.htm) External links [ edit ] Wikimedia Commons has media related to Toques (headgear) (https://commons.wikimedia.org/wiki/Category:Toques_(headgear)) . 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Short uniform military jacket An officer of the Lancers of the Imperial Guard (/wiki/Imperial_Guard_(Napoleon_III)) during the Second French Empire (/wiki/Second_French_Empire) , 1852 to 1870. He is wearing a white kurtka with a blue plastron and red epaulettes (/wiki/Epaulette) . A kurtka ( куртка ) is the generic word for a jacket (/wiki/Jacket) in a number of European languages, most notably in Polish (/wiki/Polish_language) and Russian (/wiki/Russian_language) . Etymology [ edit ] The word itself is a Slavic diminutive of the original Hungarian word kurta , which in turn was derived of the Latin word curtus , "excurtus", meaning short (see Alejandro Cioranescu: Diccionario Etimologico Rumano). Military uniforms [ edit ] In terms of military uniforms (/wiki/Military_uniform) , the kurtka was a type of close fitting double breasted (/wiki/Double_breasted) jacket, cut to the waist and often worn with a plastron, a contrasting-coloured panel of cloth covering the chest. It was worn by lancers (/wiki/Lancer) and uhlans (/wiki/Uhlan) , a type of light cavalry (/wiki/Light_cavalry) which had its origins in the Lipka Tatars (/wiki/Lipka_Tatars) who served the kings of Poland (/wiki/Poland) , but were widely copied by the armies of many western nations from the start of the 19th century along with their distinctive style of dress. The lancer's kurtka developed from a jacket called a kontusz , which during the late 18th century became shortened into the kurtka. [1] (#cite_note-1) Wearing a blue kurtka, Damba Radnaev was the World Sambo Champion (/wiki/World_Sambo_Championships) in 2015. Martial arts [ edit ] In addition to the general meaning of "jacket", the word kurtka refers to the garment normally worn by Sambo (/wiki/Sambo_(martial_art)) practitioners, similar to the keikogi (/wiki/Keikogi) in style and function, although it is tighter fitting and has epaulettes and belt loops. [2] (#cite_note-2) A kurtka should be made of canvas or other heavy material, should be tight-fitting, should not extend more than eight inches below the belt (roughly equal to the bottom of the sleeve) and the sleeves must be long enough to cover the arms to the wrists, and wide enough at the end to fit the wrist and four fingers. See also [ edit ] Sports portal (/wiki/Portal:Sports) Fashion portal (/wiki/Portal:Fashion) Sportswear (activewear) (/wiki/Sportswear_(activewear)) References [ edit ] ^ (#cite_ref-1) Rospond, Vincent W. (2013), Polish Armies of the Partitions 1770–94 , Osprey Publishing, ISBN (/wiki/ISBN_(identifier)) 978-1-84908855-8 (/wiki/Special:BookSources/978-1-84908855-8) (p. 15) ^ (#cite_ref-2) Green, Thomas A. (editor) 2001, Martial Arts of the World: An Encyclopedia - Volume One: A-Q , ABC-CLIO Inc. 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Christian clerical coat Not to be confused with Cossacks (/wiki/Cossacks) . This article needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/Cassock) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed. Find sources: "Cassock" (https://www.google.com/search?as_eq=wikipedia&q=%22Cassock%22) – news (https://www.google.com/search?tbm=nws&q=%22Cassock%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Cassock%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Cassock%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Cassock%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Cassock%22&acc=on&wc=on) ( November 2022 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) First native Catholic priest in the Belgian Congo (/wiki/Belgian_Congo) , wearing a Roman cassock with the standard 33 buttons. Early 1900s. Part of a series (/wiki/Category:Formal_wear) on Western dress codes (/wiki/Western_dress_codes) and corresponding attires (/wiki/Clothing) Formal (/wiki/Formal_wear) ( full dress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) ) White tie (/wiki/White_tie) Morning dress (/wiki/Morning_dress) Full dress uniform (/wiki/Full_dress_uniform) Frock coat (/wiki/Frock_coat) Evening gown (/wiki/Evening_gown) Ball gown (/wiki/Ball_gown) Semi-formal (/wiki/Semi-formal_wear) ( half dress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) ) Black tie (/wiki/Black_tie) Black lounge suit (/wiki/Black_lounge_suit) Mess dress uniform (/wiki/Mess_dress_uniform) Evening gown (/wiki/Evening_gown) Cocktail dress (/wiki/Cocktail_dress) Informal (/wiki/Informal_wear) ( undress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) , "dress clothes") Suit (/wiki/Suit) Service dress uniform (/wiki/Service_dress_uniform) Cocktail dress (/wiki/Cocktail_dress) Pantsuit (/wiki/Pantsuit) Casual (/wiki/Casual_wear) (anything not above) Business casual (/wiki/Business_casual) Casual Friday (/wiki/Casual_Friday) Combat uniform (/wiki/Combat_uniform) Smart casual (/wiki/Smart_casual) Workwear (/wiki/Workwear) Streetwear (/wiki/Streetwear) Sportswear (/wiki/Sportswear) known as Sportswear (fashion) (/wiki/Sportswear_(fashion)) and Athleisure (/wiki/Athleisure) Undress (/wiki/Undress_code) Supplementary alternatives Ceremonial dress (/wiki/Ceremonial_dress) law courts (/wiki/Court_dress) royal courts (/wiki/Court_uniform_and_dress_in_the_United_Kingdom) diplomatic (/wiki/Diplomatic_uniform) academic (/wiki/Academic_dress) , etc. Religious clothing (/wiki/Religious_clothing) cassock , habit (/wiki/Religious_habit) , etc. Folk costume (/wiki/Folk_costume) Distinctions Orders (/wiki/Order_(distinction)) medals (/wiki/Medal) , etc. Legend: = Day (before 6 p.m.) = Evening (after 6 p.m.) = Bow tie (/wiki/Bow_tie) colour = Ladies = Gentlemen Fashion portal (/wiki/Portal:Fashion) v t e The cassock or soutane is a Christian (/wiki/Christianity) clerical clothing (/wiki/Clerical_clothing) coat (/wiki/Coat) used by the clergy (/wiki/Clergy) and male religious (/wiki/Consecrated_life) of the Oriental Orthodox Churches (/wiki/Oriental_Orthodox_Churches) , Eastern Orthodox Church (/wiki/Eastern_Orthodox_Church) and the Catholic Church (/wiki/Catholic_Church) , in addition to some clergy in certain Protestant denominations (/wiki/List_of_Protestant_denominations) such as Anglicans (/wiki/Anglicanism) and Lutherans (/wiki/Lutheranism) . "Ankle-length garment" is the literal meaning of the corresponding Latin (/wiki/Latin) term, vestis talaris . It is related to the habits (/wiki/Religious_habit) traditionally worn by nuns (/wiki/Nun) , monks (/wiki/Monk) , and friars (/wiki/Friar) . The cassock derives historically from the tunic (/wiki/Tunic) of classical antiquity (/wiki/Classical_antiquity) that in ancient Rome (/wiki/Ancient_Rome) was worn underneath the toga (/wiki/Toga) , and the chiton (/wiki/Chiton_(garment)) that was worn beneath the himation (/wiki/Himation) in ancient Greece (/wiki/Ancient_Greece) . In religious services, it has traditionally been worn underneath vestments (/wiki/Vestment) , such as the alb (/wiki/Alb) . In the West (/wiki/Western_world) , the cassock is little used today except for religious services, save for traditionalist (/wiki/Traditionalist_Catholicism) and those other Catholic clergy and religious who continue to wear the cassock as their standard attire. However, in many countries it was the normal everyday wear of the clergy until the 1960s (/wiki/1960s) , when it was largely replaced by clerical suits, distinguished from lay (/wiki/Laity) dress by being generally black and by a black shirt incorporating a clerical collar (/wiki/Clerical_collar) . In Japan (/wiki/Japan) , male gakuran (/wiki/Gakuran) school uniform were inspired by cassocks. [ citation needed ] Etymology [ edit ] The word cassock comes from Middle French (/wiki/Middle_French) casaque , meaning a long coat. In turn, the Old French (/wiki/Old_French) word may come ultimately from Turkish (/wiki/Turkish_language) kazak (nomad, adventurer – the source of the word Cossack (/wiki/Cossack) ), an allusion to their typical riding coat, or from Persian (/wiki/Persian_language) کژاغند kazhāgand (padded garment) – کژ kazh (raw silk) + آغند āgand (stuffed). [1] (#cite_note-1) The name was originally specially applied to the dress worn by soldiers and horsemen, and later to the long garment worn in civil life by both men and women. As an ecclesiastical term, the word cassock came into use somewhat late (as a translation of the old names of subtanea , vestis talaris , toga talaris , or tunica talaris ), being mentioned in Canon LXXIV (74) of the Anglican (/wiki/Anglicanism) 1604 Canons ; [2] (#cite_note-2) and it is in this sense alone that it now survives. The word soutane (https://en.wiktionary.org/wiki/soutane#English) is a French (/wiki/French_language) word, coming from Latin (/wiki/Latin) subtana , the adjectival form of subtus (beneath). [3] (#cite_note-3) Western Christian practice [ edit ] Latin Catholic [ edit ] Cardinal Prospero Caterini (/wiki/Prospero_Caterini) 1795–1881 Cardinal Tarcisio Bertone (/wiki/Tarcisio_Bertone) wearing a tropical white cassock trimmed in cardinalatial scarlet in Santo Domingo (/wiki/Santo_Domingo) , Dominican Republic (/wiki/Dominican_Republic) During procession the cassock is prescribed for high clergy The cassock (or soutane) comes in a number of styles or cuts (/wiki/Cut_(clothing)) , though no particular symbolism attaches to these. A Roman (/wiki/Rome) cassock often has a series of buttons down the front. In some English-speaking countries these buttons may be merely ornamental, with a concealed fly-front buttoning, known as a Chesterfield front, used to fasten the garment. A French (/wiki/France) cassock also has buttons sewn to the sleeves after the manner of a suit (/wiki/Suit_(clothes)) , and a slightly broader skirt. An Ambrosian (/wiki/Ambrosian_Rite) cassock has a series of only five buttons under the neck, with a sash on the waist. A Jesuit (/wiki/Society_of_Jesus) cassock, in lieu of buttons, has a fly fastened with hooks at the collar and is bound at the waist with a cincture knotted on the right side. The ordinary Roman cassock worn by Roman Catholic clerics (as distinct from that worn as choir dress) is black except in tropical (/wiki/Tropics) countries, where because of the heat it is white and usually without shoulder cape ( pellegrina (/wiki/Pellegrina) ). Coloured piping (/wiki/Piping_(sewing)) and buttons are added in accordance with rank: black for priests, purple for chaplains of His Holiness (/wiki/Chaplain_of_His_Holiness) ; amaranth red (/wiki/Amaranth_(color)) for bishops (/wiki/Bishop_(Catholicism)) , protonotaries apostolic (/wiki/Protonotary_apostolic) and Honorary Prelates (/wiki/Honorary_Prelate) ; and scarlet red (/wiki/Scarlet_(color)) for cardinals (/wiki/Cardinal_(Catholicism)) . [4] (#cite_note-4) The 1969 Instruction on the dress of prelates stated that for all of them, even cardinals, the dress for ordinary use may be a simple black cassock without coloured trim. [5] (#cite_note-5) A band cincture or sash, known also as a fascia (/wiki/Fascia_(vestment)) , may be worn with the cassock. The Instruction on the dress of prelates specifies that the two ends that hang down by the side have silk fringes, abolishing the sash with tassels. [6] (#cite_note-6) A black faille fascia is worn by priests, deacons, and major seminarians, while a purple faille fascia is used by bishops, protonotaries apostolic, honorary prelates, and chaplains of His Holiness, when wearing a cassock with coloured trim. A black watered-silk fascia is permitted for priests attached to the papal household (/wiki/Papal_household) , a purple watered-silk fascia for bishops attached to the papal household (for example, Apostolic Nuncios (/wiki/Apostolic_Nuncio) ), and a scarlet watered-silk fascia for cardinals. The Pope wears a white watered-silk fascia, sometimes with his coat of arms on the ends. In choir dress (/wiki/Choir_dress) , chaplains of His Holiness wear their purple-trimmed black cassocks with a cotta (/wiki/Surplice) , but bishops, protonotaries apostolic, and honorary prelates use (with a cotta or, in the case of bishops, a rochet (/wiki/Rochet) and mozzetta (/wiki/Mozzetta) ) cassocks that are fully purple (this purple corresponds more closely with a Roman purple and is approximated as fuchsia) with scarlet trim, while those of cardinals are fully scarlet with scarlet trim. Cardinals have the additional distinction of having both choir cassock sleeves and the fascia made of scarlet watered-silk. The cut of the choir cassock is still a Roman-cut or French-cut Roman cassock. In the past, a cardinal's cassock was made entirely of watered silk, with a train that could be fastened at the back of the cassock. This train was abolished by the motu proprio (/wiki/Motu_proprio) Valde solliciti of Pope Pius XII (/wiki/Pope_Pius_XII) with effect from 1 January 1953. [7] (#cite_note-7) With the same motu proprio , the Pope ordered that the violet cassock (then used in penitential periods and in mourning) be made of wool, not silk, [8] (#cite_note-8) and in February 1965, under Pope Paul VI, a circular of the Sacred Ceremonial Congregation abolished the use of watered silk also for the red cassock. [9] (#cite_note-9) An elbow-length shoulder cape, open in front, is sometimes worn with the cassock, either fixed to it or detachable. It is known as a pellegrina (/wiki/Pellegrina) . It is distinct from the mozzetta, which is buttoned in front and is worn over a rochet (/wiki/Rochet) . The general rule of the Roman Catholic Church is that the pellegrina may be worn with the cassock by cardinals and bishops. [10] (#cite_note-pellegrina-10) In 1850, the year in which he restored the Catholic hierarchy (/wiki/Universalis_Ecclesiae) in England and Wales, Pope Pius IX (/wiki/Pope_Pius_IX) was understood to grant to all priests there the privilege of wearing a replica in black of his own white caped cassock. [11] (#cite_note-11) Since then, the wearing of the pellegrina with the cassock has been a sign of a Roman Catholic priest in England and Wales, Scotland, Ireland, Australia, and New Zealand, although sometimes imitated by Anglican priests. In his 1909 book, Costume of Prelates of the Catholic Church , John Abel Felix Prosper Nainfa proposed [12] (#cite_note-google-12) the use of the English word " simar (/wiki/Simar) ", instead of the word "cassock", for the garment with shoulder cape, which he treated as distinct from the cassock proper. Others too have made the same distinction between the "simar" (with pellegrina) and the "cassock" (without), but many scholars disagree with Nainfa's distinction. [13] (#cite_note-McNamara-13) More particularly, documents of the Holy See (/wiki/Holy_See) make no such distinction, using the term cassock or vestis talaris whether a pellegrina is attached or is not. Thus the 1969 instruction states that, for cardinals and bishops, "the elbow-length cape, trimmed in the same manner as this cassock , may be worn over it". [10] (#cite_note-pellegrina-10) Cassock , rather than simar , is the term that is usually applied to the dress of Popes and other Catholic ecclesiastics. The instruction also gives no support to Nainfa's claim that the cassock with shoulder cape should not be worn in church services, which moreover would be of difficult application, since the cassock with pellegrina is generally made as a single garment, with a non-detachable pellegrina. Nainfa wrote that at that time the garment with shoulder cape was in Italian called a zimarra , a term, however, that in that language is today used rather of a historical loose-fitting overgown, quite unlike the close-fitting cassock with pellegrina worn by Catholic clergy, [14] (#cite_note-14) [15] (#cite_note-15) and similar to the fur-lined Schaube (/w/index.php?title=Schaube&action=edit&redlink=1) [ de (https://de.wikipedia.org/wiki/Schaube) ] that was used in northern Europe. [16] (#cite_note-16) [17] (#cite_note-17) Images of the historical zimarra as worn by women can be seen at "Dressing the Italian Way" [18] (#cite_note-18) and "The Italian Showcase". [19] (#cite_note-19) In cold weather, the manto, an ankle-length cape with or without shoulder cape, or the greca (/wiki/Greca_(clothing)) , also known as the douillette, an ankle-length double-breasted overcoat, is traditionally worn over the cassock. For bishops and priests both the manto and greca are solid black in colour, while for the pope the manto is red and the greca is white. Pope (Often with pellegrina (/wiki/Pellegrina) . His coat of arms is embroidered at the bottom of his fascia.) Cardinal (Often with pellegrina.) Bishop (Often with pellegrina.) (Also worn by Protonotaries Apostolic and Honorary Prelates, but without pellegrina and zucchetto (/wiki/Zucchetto) .) Chaplain of His Holiness Priest/Deacon/ Seminarian Anglican and Methodist [ edit ] An Anglican priest (/wiki/Priest) wearing the standard double-breasted Sarum cassock The Anglican church (/wiki/Church_of_England) uses single and double-breasted cassocks. For many this is to indicate tradition (single-breasted in the Anglo-Catholic (/wiki/Anglo-Catholicism) tradition and double-breasted in the evangelical (/wiki/Evangelicalism) end of the church). The double-breasted cassock fastens at the shoulders on the opposing side of the breast and at the waist with one concealed button. The latter usually has a single small stem-button sewn at centre front about 12–15 centimetres ( 4 + 1 ⁄ 2 –6 in) below the centre-front neck line which is used to secure the academic hood (/wiki/Academic_hood) , worn for Choir Dress. The single-breasted cassock worn by Anglicans traditionally has thirty-nine buttons as signifying the Thirty-Nine Articles (/wiki/Thirty-Nine_Articles) , or as some would prefer " Forty stripes save one (/wiki/2_Corinthians_11) " – the punishment Saint Paul the Apostle (/wiki/Saint_Paul_the_Apostle) says he received from the Jews. Cassocks are often worn without a cincture (/wiki/Cincture) and some opt for a buckled belt. [20] (#cite_note-20) Black is the most common colour for priests ( presbyters (/wiki/Presbyter) ), readers (/wiki/Lay_reader) , vergers, and server cassocks. Lighter colours, such as white are used in tropical countries and some cathedrals have colours specific for their location. Piping is also used in the Anglican church to indicate position held with red being used for Deans, Archdeacons and Cathedral Canons. Bishops (/wiki/Bishop) and Archbishops (/wiki/Archbishop) often wear purple cassocks. This has been practise since the 19th century. More recently the Archbishops have chosen to wear black, this can be seen in the ministries of Rowan Williams (/wiki/Rowan_Williams) and Justin Welby (/wiki/Justin_Welby) . A comparatively recent custom - since the reign of Edward VII (/wiki/Edward_VII) - is that scarlet cassocks are properly worn only by Chaplains to the King (/wiki/Chaplain_to_the_King) and by members of Royal foundations such as Westminster Abbey (/wiki/Westminster_Abbey) and some Cambridge college chapels. [21] (#cite_note-21) They are also worn by the Head Master and Master of the King's Scholars of Westminster School (/wiki/Westminster_School) . [22] (#cite_note-22) Nonetheless, many cathedral canons wear full crimson cassocks rather than with mere piping, [ citation needed ] as do many servers guilds and choirs due to longstanding practice. A school choir wearing cassocks under surplices (/wiki/Surplice) Cassocks are sometimes also worn by readers (/wiki/Reader_(liturgy)) , altar servers (/wiki/Altar_server) , and choir (/wiki/Choir) members, when they do this is the double-breasted style. Readers and altar servers usually wear black cassocks, but those worn by choirs are usually coloured. [ citation needed ] Ministers (presbyters) of the Methodist Church of Great Britain (/wiki/Methodist_Church_of_Great_Britain) also traditionally wear a double-breasted cassock (as in the evangelical Anglican tradition). [23] (#cite_note-23) Bishop Canon (cassock colour may vary) Presbyter/Deacon/Layperson cassock colour may vary if worn by, for instance, a chorister Lutheran [ edit ] In the Evangelical Lutheran Churches of Denmark (/wiki/Church_of_Denmark) , the Faroe Islands (/wiki/Church_of_the_Faroe_Islands) , Iceland (/wiki/Church_of_Iceland) , and the North German Hanseatic (/wiki/Hanseatic_League) cities of Hamburg (/wiki/Hamburg) and Lübeck (/wiki/L%C3%BCbeck) , clergy wear the cassock with the ruff (/wiki/Ruff_(clothing)) as vestments (/wiki/Vestment) . The Cassock is also worn occasionally in American Lutheran churches. In previous years, the cassock was worn in combination with a white surplice which almost entirely covered it. It is customary for a minority of clergy to wear it on special high holidays such as Good Friday and Ash Wednesday. Most commonly, Lutheran pastors wear an alb (/wiki/Alb) over a clerical shirt (with clergy collar). Vestments (/wiki/Vestment) , most commonly a stole (/wiki/Stole_(vestment)) , are worn over the alb. Presbyterian [ edit ] This section does not cite (/wiki/Wikipedia:Citing_sources) any sources (/wiki/Wikipedia:Verifiability) . Please help improve this section (/wiki/Special:EditPage/Cassock) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed (/wiki/Wikipedia:Verifiability#Burden_of_evidence) . ( November 2022 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) In the Church of Scotland (/wiki/Church_of_Scotland) , and Presbyterian churches which trace their heritage back to the Scottish church, they typically use the Anglican style of cassock. In addition, it is not uncommon to see full-length cassocks worn in the blue of the Flag of Scotland (/wiki/Flag_of_Scotland) , which is also tied to the academic dress of the University of St Andrews (/wiki/University_of_St_Andrews) . As is the custom within the Church of England, ministers of the Church of Scotland who are chaplains to the royal family also wear a scarlet cassock. Over this is typically worn a preaching gown (/wiki/Geneva_gown) or the academic gown (/wiki/Academic_gown) of the minister. During the Edwardian (/wiki/Edwardian_era) and Victorian (/wiki/Victorian_fashion) era, it was common to see a shortened, double-breasted black silk cassock worn under the gown. It generally reached to the knees and was tied with a simple cincture (/wiki/Cincture) . However, with the liturgical movement (/wiki/Liturgical_movement) of the 20th century, the classic cassock came back into fashion. Presbyterians in Canada tend to follow the custom of the Church of Scotland, whereas Presbyterians in the United States typically wear an American Geneva gown over a sleeveless cassock or a non-cuffed gown over an Anglican or Roman style cassock. The American Geneva gown (/wiki/Geneva_gown) is often supplied with a cuff sewn into the double-bell sleeve (this innovation is a remnant of the cassock sleeve that was formerly worn underneath). As is the practice in the Anglican churches, cassocks may be worn by others who are not ministers. Ordained elders and deacons, as they serve as worship leaders, readers, and administer communion may also wear cassocks which tend to be black. Those worn by choirs and other worship leaders are usually coloured (for instance, The Shadyside Presbyterian Church (U.S.A.) choir is dressed in red cassocks under white surplices). Eastern Christian practice [ edit ] See also: Cowl (/wiki/Cowl) A Greek Orthodox (/wiki/Greek_Orthodox) clergyman wearing outer cassock ( exorason ) and kalimavkion (/wiki/Kalimavkion) Inner cassock worn by a Polish Orthodox Church (/wiki/Polish_Orthodox_Church) cleric Syriac Orthodox Patriarch of Antioch (/wiki/Syriac_Orthodox_Patriarch_of_Antioch) , Ignatius Zakka I Iwas (/wiki/Ignatius_Zakka_I_Iwas) (in red cassock) and a priest (in black) In Eastern Christianity there are two types of cassock: the Inner Cassock and the Outer Cassock or Rason. Monastics always wear a black cassock. There is no rule about colouration for non-monastic clergy, but black is the most common. Blue or grey are also seen frequently, while white is sometimes worn for Pascha (/wiki/Easter) . In the Eastern Churches, cassocks are not dress for any lay ministry. Generally, one has to be blessed to wear a cassock usually in the case of exercising a clerical duty. Types of Eastern cassocks [ edit ] The inner cassock (more often simply cassock ) is an ankle length garment worn by all major and minor clergy, monastics, and often by male seminarians (/wiki/Seminary) . The Slavic, or "Russian" style ( Russian (/wiki/Russian_language) : подрясник podryasnik , Ukrainian (/wiki/Ukrainian_language) : підрясник pidryasnyk ) is double-breasted, closely fitted through the torso and flaring out to the skirt, with a high collar buttoned off-center, and may be cinctured with either a leather or wide cloth belt. [24] (#cite_note-24) The Greek (/wiki/Greece) version, called an anteri (αντερί), rason (ράσον), or zostiko (ζωστικό) is somewhat fuller, gathered at the waist with a narrow cloth belt, and with a high collar buttoned in the front. [25] (#cite_note-25) The inner cassock is usually worn by all clergy members under their liturgical vestments. The outer cassock ( Russian (/wiki/Russian_language) : ряса ryasa , Ukrainian (/wiki/Ukrainian_language) : ряса ryasa , Ancient Greek (/wiki/Ancient_Greek_language) : εξώρασον, ράσον exorason ) is a voluminous garment worn over the inner cassock by bishops, priests, deacons, and monastics as their regular outerwear. [26] (#cite_note-nikitatailor-26) It is not worn by seminarians, readers (/wiki/Reader_(liturgy)) or subdeacons (/wiki/Subdeacon) in the Russian tradition. In the Greek tradition, however, chanters may wear it in church, usually with no inner cassock beneath but directly over secular clothing. The outer cassock should be worn by a priest celebrating a service such as Vespers (/wiki/Vespers) where the rubrics call for him to be less than fully vested, but it is not worn by any clergy beneath the sticharion (/wiki/Sticharion) . It may be worn with the bottoms of the sleeves turned back, which are sometimes faced in a contrasting colour. The Greek version tends to be somewhat lighter weight and more fully cut than the Russian. It is originally a monastic garment, and in the Russian tradition a man must be explicitly blessed by the bishop (/wiki/Bishop) to wear it following his ordination to the diaconate (/wiki/Deacon) . A cassock vest ("kontorasson" (κοντόρασον), "amaniko" (αμάνικο), "gileko" (γιλέκο)) is sometimes worn over the inner cassock. This is a closely fitted collarless vest (/wiki/Vest) , usually falling slightly below the waist. The vest has its origins in the outer cassock and therefore should be worn only by clergy and monastics who would, in formal or liturgical settings, wear the outer cassock. [27] (#cite_note-nikitatailor2-27) [28] (#cite_note-kwvestments-28) A cassock coat may be worn on very cold days, with the same cut as the outer cassock but slightly larger and of heavier material. It may or may not have a fur-lined collar. [29] (#cite_note-nikitatailor3-29) The coat is worn over the outer cassock, although many clerics may wear it in lieu of a coat on colder days. Eastern Catholic and Orthodox examples [ edit ] Bishop Priest with grey Zostikon, a Kontorasson, and a Skufia. Priest (married) Hieromonk (celibate Priest) Monk Chanter/Subdeacon/Deacon dressed in the Zostikon Oriental Orthodox examples [ edit ] Syriac Patriarch Syriac Bishop Coptic Priest Syriac Priest Coptic & Syriac Priest (monk) Non-clerical 17th-century garment [ edit ] The term cassock can also refer to a loose-fitting, pullover, hip-length jacket (/wiki/Jacket) worn by ordinary soldiers (/wiki/Soldier) in the 17th century. [ citation needed ] A cassock has attached sleeves (/wiki/Sleeve) and is open down the sides, similar to a mandilion (/wiki/Mandilion) . Such garments are popularly recognized as the formal uniform of the Musketeers of the Guard (/wiki/Musketeers_of_the_Guard) in The Three Musketeers (/wiki/The_Three_Musketeers) – though this is suspect historically. References [ edit ] ^ (#cite_ref-1) " (http://dictionary.reference.com/browse/cassock) Online Etymology Dictionary and (http://dictionary.reference.com/browse/cassock) American Heritage Dictionary of the English Language " (http://dictionary.reference.com/browse/cassock) . Archived (https://web.archive.org/web/20100304071012/http://dictionary.reference.com/browse/cassock) from the original on 4 March 2010 . Retrieved 14 March 2010 . ^ (#cite_ref-2) "Decency in Apparel enjoined to Ministers" (https://www.anglican.net/doctrines/1604-canon-law/) . Constitutions and Canons Ecclesiastical Of the Church of England . Archived (https://web.archive.org/web/20210126151858/https://www.anglican.net/doctrines/1604-canon-law/) from the original on 26 January 2021 . Retrieved 21 February 2021 . ^ (#cite_ref-3) "Collins English Dictionary" (https://www.collinsdictionary.com/dictionary/english/soutane) . Collins English Dictionary. Archived (https://web.archive.org/web/20140821045856/http://www.collinsdictionary.com/dictionary/english/soutane) from the original on 21 August 2014 . Retrieved 25 August 2014 . ^ (#cite_ref-4) "Instruction on the Dress, Titles and Coats-of-Arms of Cardinals, Bishops and Lesser Prelates, 28 March 1969" (http://www.fiu.edu/~mirandas/instruction69.htm) . Fiu.edu. Archived (https://web.archive.org/web/20170602003150/http://www.fiu.edu/~mirandas/instruction69.htm) from the original on 2 June 2017 . Retrieved 25 August 2014 . ^ (#cite_ref-5) Instruction, 5 and 14 [ full citation needed ] ^ (#cite_ref-6) Instruction, 3, 15, 18, 19 [ full citation needed ] ^ (#cite_ref-7) " (https://web.archive.org/web/20160304060557/http://www2.fiu.edu/~mirandas/valde.htm) Valde solliciti , I" (https://web.archive.org/web/20160304060557/http://www2.fiu.edu/~mirandas/valde.htm) . .fiu.edu. Archived from the original (http://www2.fiu.edu/~mirandas/valde.htm) on 4 March 2016 . Retrieved 25 August 2014 . ^ (#cite_ref-8) Valde solliciti , III ^ (#cite_ref-9) "The Cardinals of the Holy Roman Church: Guide to documents and events" (https://web.archive.org/web/20151026202321/http://www2.fiu.edu/~mirandas/guide-xx.htm) . .fiu.edu. Archived from the original (http://www2.fiu.edu/~mirandas/guide-xx.htm) on 26 October 2015 . Retrieved 25 August 2014 . ^ Jump up to: a b Instruction on the Dress, Titles and Coats-of-Arms of Cardinals, Bishops and Lesser Prelates, 28 March 1969, 2 and 14 ^ (#cite_ref-11) "England & Wales 1550–1850, s.v. "Clerical dress" (https://web.archive.org/web/20131021024031/http://www.catholic-history.org.uk/nwchs/plumb/glossary.html) " (https://web.archive.org/web/20131021024031/http://www.catholic-history.org.uk/nwchs/plumb/glossary.html) . Catholic History. 12 November 1918. Archived from the original (http://www.catholic-history.org.uk/nwchs/plumb/glossary.html) on 21 October 2013 . Retrieved 25 August 2014 . ^ (#cite_ref-google_12-0) Nainfa, John Abel (1909). Costume of Prelates of the Catholic Church: According to Roman Etiquette . John Murphy. ISBN (/wiki/ISBN_(identifier)) 9785881504113 . Archived (https://web.archive.org/web/20240420122002/https://books.google.com/books?id=ILddVVSkGx8C&dq=nainfa+%22adopting+the+English+word+simar%22&pg=PA47#v=onepage&q=nainfa%20%22adopting%20the%20English%20word%20simar%22&f=false) from the original on 20 April 2024 . Retrieved 30 March 2023 . ^ (#cite_ref-McNamara_13-0) "Edward McNamara, "Birettas and Academic Hats at Mass" (http://www.ewtn.com/library/liturgy/zlitur444.htm) " (http://www.ewtn.com/library/liturgy/zlitur444.htm) . Ewtn.com. Archived (https://web.archive.org/web/20140714182248/http://www.ewtn.com/library/liturgy/zlitur444.htm) from the original on 14 July 2014 . Retrieved 25 August 2014 . ^ (#cite_ref-14) "Italy in the 16th century" (https://web.archive.org/web/20120325011613/http://threadwalker.net/16c-italian-intro.html) . Threadwalker.net. Archived from the original (http://threadwalker.net/16c-italian-intro.html#timeline) on 25 March 2012 . Retrieved 25 August 2014 . ^ (#cite_ref-15) zimarra (https://it.wikipedia.org/wiki/Zimarra) [ circular reference ] ^ (#cite_ref-16) Zimarra (https://de.wikipedia.org/wiki/Zimarra) [ circular reference ] ^ (#cite_ref-17) images in Wikimedia Commons (https://commons.wikimedia.org/wiki/Category:Schaube) ^ (#cite_ref-18) "Dressing the Italian way" (https://web.archive.org/web/20110404062750/http://aneafiles.webs.com/renaissancegallery/italian.html) . Aneafiles.webs.com. Archived from the original (http://aneafiles.webs.com/renaissancegallery/italian.html) on 4 April 2011 . Retrieved 25 August 2014 . ^ (#cite_ref-19) "The Italian Showcase - Chris at the Realm of Venus" (http://realmofvenus.renaissanceitaly.net/yourgarb/2008/Chris.htm) . Realmofvenus.renaissanceitaly.net. Archived (https://web.archive.org/web/20150312090421/http://realmofvenus.renaissanceitaly.net/yourgarb/2008/Chris.htm) from the original on 12 March 2015 . Retrieved 25 August 2014 . ^ (#cite_ref-20) Edwards, Nina (15 December 2011). On The Button . I.B.Tauris. p. 178. ISBN (/wiki/ISBN_(identifier)) 9781848855847 . In the Roman Catholic version the 33 buttons are said to represent the years of Jesus's life; in the Anglican the 39 buttons are thought by some to represent the 39 Articles of Faith. The Ambrosian cassock has only five buttons, with a broad sash at the waist; the French cassock has buttons elegantly up the sleeves as in a modern lounge suit; Jesuits prefer a fly fastening and no buttons on show whatsoever. ^ (#cite_ref-21) "Out of the question: Peculiar colour of cassocks" (https://www.churchtimes.co.uk/articles/2010/26-november/features/features/out-of-the-question-peculiar-colour-of-cassocks) . Church Times (/wiki/Church_Times) . 26 November 2010. Archived (https://web.archive.org/web/20211028143553/https://www.churchtimes.co.uk/articles/2010/26-november/features/features/out-of-the-question-peculiar-colour-of-cassocks) from the original on 28 October 2021 . Retrieved 5 April 2021 . ^ (#cite_ref-22) Charles, Robert HG (2015). "Odds & Ends of Westminster School" (http://oldwestminsterslodge.org/Westminster%20School%20Odds%20and%20Ends.pdf) (PDF) . OldWestMinstersLodge.org . Archived (https://web.archive.org/web/20220212051230/http://oldwestminsterslodge.org/Westminster%20School%20Odds%20and%20Ends.pdf) (PDF) from the original on 12 February 2022 . Retrieved 19 November 2020 . [ circular reporting? ] ^ (#cite_ref-23) Wallwork, Norman (1986). Blackbirds and Budgerigars: Critical History of Methodist Liturgical Dress 1786-1986 (PDF) . Stoke-on-Trent, England: Methodist Sacramental Society. ISBN (/wiki/ISBN_(identifier)) 978-0951259917 . Archived (https://web.archive.org/web/20221128201642/http://www.sacramental.org.uk/uploads/5/0/0/9/50096105/blackbirds_and_budgerigars_-_norman_wallwork.pdf) (PDF) from the original on 28 November 2022 . Retrieved 28 November 2022 . ^ (#cite_ref-24) "See for example" (http://www.nikitatailor.com/shop/photographs/cassock/20rw.jpg) . Archived (https://web.archive.org/web/20131023201829/http://www.nikitatailor.com/shop/photographs/cassock/20rw.jpg) from the original on 23 October 2013 . Retrieved 25 August 2014 . ^ (#cite_ref-25) "See for example" (http://www.nikitatailor.com/shop/photographs/cassock/embrod.jpg) . Archived (https://web.archive.org/web/20160303233409/http://www.nikitatailor.com/shop/photographs/cassock/embrod.jpg) from the original on 3 March 2016 . Retrieved 25 August 2014 . ^ (#cite_ref-nikitatailor_26-0) "Image: r20w.jpg, (111 × 252 px)" (http://www.nikitatailor.com/shop/photographs/reassas/r20w.jpg) . nikitatailor.com. Archived (https://web.archive.org/web/20061016225410/http://www.nikitatailor.com/shop/photographs/reassas/r20w.jpg) from the original on 16 October 2006 . Retrieved 23 September 2015 . ^ (#cite_ref-nikitatailor2_27-0) "Image: v1w.jpg, (135 × 252 px)" (http://www.nikitatailor.com/shop/photographs/vest/v1w.jpg) . nikitatailor.com. Archived (https://web.archive.org/web/20050912032450/http://www.nikitatailor.com/shop/photographs/vest/v1w.jpg) from the original on 12 September 2005 . Retrieved 23 September 2015 . ^ (#cite_ref-kwvestments_28-0) "Image: 106ant_exot.jpg, (480 × 640 px)" (https://web.archive.org/web/20110713174915/http://kwvestments.com/images/106ant_exot.jpg) . kwvestments.com. Archived from the original (http://kwvestments.com/images/106ant_exot.jpg) on 13 July 2011 . Retrieved 23 September 2015 . ^ (#cite_ref-nikitatailor3_29-0) "Image: furw.jpg, (121 × 252 px)" (http://www.nikitatailor.com/shop/photographs/coat/furw.jpg) . nikitatailor.com. Archived (https://web.archive.org/web/20070615205546/http://www.nikitatailor.com/shop/photographs/coat/furw.jpg) from the original on 15 June 2007 . Retrieved 23 September 2015 . 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Fictional character from the American sitcom Friends This article is about the fictional character from Friends. For people with a similar name, see Rachel Green (disambiguation) (/wiki/Rachel_Green_(disambiguation)) . Fictional character Rachel Green Friends (/wiki/Friends) character Jennifer Aniston (/wiki/Jennifer_Aniston) as Rachel Green First appearance " The Pilot (/wiki/The_Pilot_(Friends)) " (1994) Last appearance " The Last One (/wiki/The_Last_One_(Friends)) " (2004) Created by David Crane (/wiki/David_Crane_(producer)) Marta Kauffman (/wiki/Marta_Kauffman) Portrayed by Jennifer Aniston (/wiki/Jennifer_Aniston) In-universe information Gender Female Occupation Waitress (/wiki/Waitress) at Central Perk Assistant at Fortunata Fashions Buyer (/wiki/Buyer) and personal shopper (/wiki/Personal_shopper) at Bloomingdale's (/wiki/Bloomingdale%27s) Executive (/wiki/Senior_management) at Ralph Lauren (/wiki/Ralph_Lauren_Corporation) Louis Vuitton (/wiki/Louis_Vuitton) Family Leonard Green (/wiki/Leonard_Green_(Friends)) (father) Sandra Green (/wiki/Sandra_Green) (mother) Jill Green (/wiki/Jill_Green_(Friends)) (sister) Amy Green (/wiki/Amy_Green) (sister) Ida Green (grandmother) Spouse Ross Geller (/wiki/Ross_Geller) ( m. 1999; div. 1999) Children Emma Geller-Green (/wiki/Emma_Geller-Green) (b. 2002) Home Monica's apartment (seasons 1–6) Phoebe's apartment (seasons 6–7) Joey's apartment (seasons 7–8, 9–10) Ross' apartment (seasons 8–9, 10) Nationality American Rachel Karen Green [1] (#cite_note-1) [2] (#cite_note-2) [3] (#cite_note-:15-3) is a fictional character, one of the six main characters (/wiki/List_of_Friends_and_Joey_characters) who appeared in the American sitcom Friends (/wiki/Friends) . Portrayed by Jennifer Aniston (/wiki/Jennifer_Aniston) , the character was created by David Crane (/wiki/David_Crane_(producer)) and Marta Kauffman (/wiki/Marta_Kauffman) , and appeared in all of the show's 236 episodes (/wiki/List_of_Friends_episodes) during its decade-long run, from its premiere (/wiki/Pilot_(Friends)) on September 22, 1994, to its finale (/wiki/The_Last_One_(Friends)) on May 6, 2004. Introduced in the show's pilot (/wiki/Pilot_(Friends)) as a naïve runaway bride who reunites with her childhood best friend Monica Geller (/wiki/Monica_Geller) and relocates to New York City, Rachel gradually evolves from a spoiled, inexperienced "daddy's girl" into a successful businesswoman. During the show's second season (/wiki/Friends_(season_2)) , the character becomes romantically involved with Monica's brother, Ross (/wiki/Ross_Geller) , with whom she maintains a complicated on-off relationship (/wiki/On-again,_off-again_relationship) throughout the series. Together, Ross and Rachel have a daughter, Emma (/wiki/Emma_Geller-Green) . The role of Rachel was originally offered to Téa Leoni (/wiki/T%C3%A9a_Leoni) , the producer's first choice, and Courteney Cox (/wiki/Courteney_Cox) , both of whom declined, Leoni in favor of starring in the sitcom The Naked Truth (/wiki/The_Naked_Truth_(TV_series)) , and Cox in favor of playing Rachel's best friend Monica in Friends . [4] (#cite_note-4) A virtually unknown actress at the time, who had previously starred in five short-lived sitcoms, Aniston auditioned for the role of Rachel after turning down an offer as a cast member (/wiki/List_of_Saturday_Night_Live_cast_members) on the sketch comedy show (/wiki/Sketch_comedy_show) Saturday Night Live (/wiki/Saturday_Night_Live) . After acquiring the role and before Friends aired, Aniston was temporarily at risk of being recast because she had also been involved with another sitcom, Muddling Through (/wiki/Muddling_Through) , at the time, which was ultimately cancelled and allowed Aniston to remain on Friends . Critical reception towards Rachel has remained consistently positive throughout Friends ' decade-long run, with The A.V. Club (/wiki/The_A.V._Club) attributing much of the show's early success to the character. However, some of her storylines have been criticized, specifically her romantic relationship with her friend Joey Tribbiani (/wiki/Joey_Tribbiani) during season 10 (/wiki/Friends_(season_10)) . Rachel's popularity established her as the show's breakout character (/wiki/Breakout_character) , who has since been named one of the greatest television characters of all time, while the character's second season haircut spawned an international phenomenon of its own. Named the " Rachel (/wiki/Rachel_haircut) " after her, the character's shag (/wiki/Shag_(hairstyle)) continues to be imitated by millions of women around the world and remains one of the most popular hairstyles in history, in spite of Aniston personally disliking it. Rachel is also regarded as a style icon due to her influence on womenswear during the 1990s. Meanwhile, the character's relationship with Ross is often cited among television's most beloved. Rachel is considered to be Aniston's breakout role (/wiki/Breakthrough_role) , credited with making her the show's most famous cast member and for spawning her successful film career. Praised for her performance as Rachel, Aniston won both an Emmy Award for Outstanding Lead Actress in a Comedy Series (/wiki/Primetime_Emmy_Award_for_Outstanding_Lead_Actress_in_a_Comedy_Series) and a Golden Globe Award for Best Performance by an Actress In A Television Series – Comedy Or Musical (/wiki/Golden_Globe_Award_for_Best_Actress_%E2%80%93_Television_Series_Musical_or_Comedy) . Role Rachel debuts in the pilot episode (/wiki/Pilot_(Friends)) of Friends as a runaway bride who is distraught after abandoning her fiancé Barry Farber (/wiki/List_of_Friends_characters#Barry_Farber) ( Mitchell Whitfield (/wiki/Mitchell_Whitfield) ) at the altar (/wiki/Altar) . She locates her high school best friend Monica Geller (/wiki/Monica_Geller) ( Courteney Cox (/wiki/Courteney_Cox) ), the only person she knows in New York City (/wiki/New_York_City) , who agrees to let Rachel reside with her while she attempts to reorganize her life. Rachel meets and befriends Monica's friends Phoebe Buffay (/wiki/Phoebe_Buffay) ( Lisa Kudrow (/wiki/Lisa_Kudrow) ), Joey Tribbiani (/wiki/Joey_Tribbiani) ( Matt LeBlanc (/wiki/Matt_LeBlanc) ), and Chandler Bing (/wiki/Chandler_Bing) ( Matthew Perry (/wiki/Matthew_Perry) ), while reuniting with Monica's older brother Ross Geller (/wiki/Ross_Geller) ( David Schwimmer (/wiki/David_Schwimmer) ), who has harbored unrequited romantic feelings for her since high school. Having previously relied on her parents' money her entire life with a sole goal of marrying wealthy (/wiki/Trophy_wife) , Rachel attempts to reinvent herself as an independent young woman by waitressing (/wiki/Waitress) at Central Perk (/wiki/Central_Perk) , a coffeehouse (/wiki/Coffeehouse) where her new friends regularly socialize. [5] (#cite_note-5) She is terrible at the job, but remains employed because the manager, Gunther (/wiki/Gunther_(Friends)) ( James Michael Tyler (/wiki/James_Michael_Tyler) ), is in love with her. As season one concludes, Rachel finds out that Ross is in love with her, and realizes that she loves him, too. When she goes to tell him, however, she finds that he has begun a relationship with a woman named Julie (/wiki/Julie_(Friends)) ( Lauren Tom (/wiki/Lauren_Tom) ). [6] (#cite_note-6) However, Ross eventually chooses Rachel over Julie, [7] (#cite_note-7) and the couple dates for the remainder of the second season (/wiki/Friends_(season_2)) . [8] (#cite_note-:44-8) However, their relationship begins to deteriorate during the middle of the third season (/wiki/Friends_(season_3)) [9] (#cite_note-:47-9) after Rachel quits her job at the coffeehouse in favor of working in fashion. [8] (#cite_note-:44-8) While Rachel becomes increasingly preoccupied with her new job, Ross grows jealous of her companionship with her coworker Mark (/wiki/Mark_Robinson_(Friends)) ( Steven Eckholdt (/wiki/Steven_Eckholdt) ), [10] (#cite_note-10) culminating in Rachel deciding that they should "take a break" from their relationship. Ross interprets this as a sign of their breakup and sleeps with another woman after calling Rachel and learning Mark is with her. Ross and Rachel reunite the following day, but she breaks up with him after finding out about his infidelity. [11] (#cite_note-11) In the episodes following the break up, Rachel and Ross are initially hostile towards each other, but continue to harbor feelings for each other. During a beach house vacation with their friends, Rachel and Ross briefly reconcile when he ends his relationship with Bonnie (/wiki/List_of_Friends_characters#Bonnie) ( Christine Taylor (/wiki/Christine_Taylor) ), [12] (#cite_note-12) only to break up once again due to a disagreement shortly after returning to New York. During season four, Rachel dates her customer Joshua Burgin (/wiki/Joshua_Burgin) ( Tate Donovan (/wiki/Tate_Donovan) ), while Ross dates her boss' niece Emily (/wiki/List_of_Friends_characters#Emily_Waltham) ( Helen Baxendale (/wiki/Helen_Baxendale) ), to whom he eventually gets engaged. Competitively, Rachel proposes to Joshua, frightening him off as his divorce is not yet finalized. Rachel realizes she still loves Ross and comes to London to stop their wedding. She decides not to act upon it when seeing how happy he is with Emily, but Ross accidentally utters Rachel's name while exchanging their wedding vows (/wiki/Wedding_vow) . [13] (#cite_note-13) Ross ultimately divorces Emily after she demands that he end his friendship with Rachel. [14] (#cite_note-14) At the end of season five (/wiki/Friends_(season_5)) , Ross and Rachel drunkenly get married while vacationing with their friends in Las Vegas (/wiki/Las_Vegas) . [15] (#cite_note-15) In season six (/wiki/Friends_(season_6)) , Ross initially wants to remain married to Rachel, but she persuades him to get the annulment. He tells Rachel he's done so but confesses to Phoebe that they're still married. Rachel eventually finds out and fills in the annulment form, but their annulment request is denied because of Rachel having leveled unfounded allegations against Ross and because of their past relationship, forcing the two to file for a divorce instead. After signing the papers, they admit that if they ever got married properly, it would be the one that lasted. In season seven (/wiki/Friends_(season_7)) , Ross and Rachel have sex, and Rachel gets pregnant. [16] (#cite_note-16) Rachel gives birth to a girl in season eight (/wiki/Friends_(season_8)) , naming the baby Emma Geller-Green (/wiki/List_of_Friends_characters#Emma_Geller-Green) ; [17] (#cite_note-17) the name Emma is a gift from Monica, who had previously been reserving the name for her own child. In a misunderstanding, Rachel believes that Joey had proposed to her, Joey having told her he loved her a few months earlier, whereas he had simply picked up Ross' engagement ring. Rachel and Ross live together as non-romantic roommates during the first half of season nine (/wiki/Friends_(season_9)) . After an argument following Rachel kissing her colleague Gavin ( Dermot Mulroney (/wiki/Dermot_Mulroney) ) and giving her phone number to a man she met at a bar, Rachel leaves Ross and moves back in with Joey. At the end of season nine, Rachel begins to develop feelings for Joey. Joey confesses that he still has feelings for Rachel, and they decide to try dating. [18] (#cite_note-18) They break up in season ten (/wiki/Friends_(season_10)) , however, both because their romance upsets Ross and because they realize that they do not work as a couple. [19] (#cite_note-19) Rachel eventually finds a job opportunity in France, but has second thoughts when Ross tells her he still loves her. Rachel ultimately decides to stay and reignite her relationship with Ross, getting off the plane at the last minute. [20] (#cite_note-20) In the first episode of the spin-off/sequel Joey (/wiki/Joey_(TV_series)) , it is implied that Ross and Rachel remarried shortly after the events of the Friends finale, as Joey tells his sister Gina ( Drea de Matteo (/wiki/Drea_de_Matteo) ) that all of his friends have gotten married. In the episode "Joey and the Breakup", while discussing his relationship with Sarah ( Mädchen Amick (/wiki/M%C3%A4dchen_Amick) ), Joey mentions Rachel to Gina, though not by name, as the only woman he ever confessed his love to, which led to brief heartbreak when Rachel did not reciprocate his feelings, as Joey says, "We were living together, she was pregnant with my best friend's baby and she ended up with him." During the 2021 reunion special (/wiki/Friends:_The_Reunion) , David Schwimmer and Jennifer Aniston both said they imagined that Ross and Rachel had remarried after the end of the series. Development Conception and writing After their short-lived television series Family Album (/wiki/Family_Album_(1993_TV_series)) was canceled, [21] (#cite_note-:2-21) television writers David Crane (/wiki/David_Crane_(producer)) and Marta Kauffman (/wiki/Marta_Kauffman) pitched Friends to then- NBC (/wiki/NBC) president Warren Littlefield (/wiki/Warren_Littlefield) as a sitcom about "that special time in your life when your friends are your family," [22] (#cite_note-:1-22) basing the show on their own experiences as young people living in New York; [23] (#cite_note-:5-23) the main characters themselves were inspired by their own friends. [24] (#cite_note-24) Conceived as a young woman who is unprepared for adulthood, [25] (#cite_note-:23-25) the character Rachel Green (occasionally spelled Greene [26] (#cite_note-26) ) was originally named Rachel Robbins in the pilot. [27] (#cite_note-27) [28] (#cite_note-28) Although critics and audiences initially perceived Monica as the show's main character (/wiki/Main_character) when Friends premiered, [29] (#cite_note-29) [30] (#cite_note-:29-30) [31] (#cite_note-31) the writers had actually given Rachel the pilot's most prominent storyline. [32] (#cite_note-:12-32) Before deciding that Rachel and Ross would be an item for the entire series, the writers had originally intended for the show's defining couple to be Joey and Monica. [21] (#cite_note-:2-21) However, after the success of the pilot, in which Rachel and Ross' developing romance is first hinted at, [22] (#cite_note-:1-22) and witnessing Aniston and co-star David Schwimmer (/wiki/David_Schwimmer) 's on-screen chemistry (/wiki/Chemistry_(relationship)) for the first time, [33] (#cite_note-:14-33) Crane and Kauffman determined that the entire series relied on "finding all the wonderful roadblocks for them to be with each other". [22] (#cite_note-:1-22) Audiences began rooting for Rachel and Ross' union from the very beginning of Friends , openly voicing their frustration with Rachel's obliviousness to Ross' feelings for her. [34] (#cite_note-:48-34) The episode that would ultimately transform the friends' relationship for the remainder of the series was the first-season finale " The One Where Rachel Finds Out (/wiki/The_One_Where_Rachel_Finds_Out) ", in which Rachel finally learns of Ross' true feelings for her, at the same time discovering she actually feels the same. However, the episode nearly went unwritten because, at the time, few Friends writers were expecting the couple's relationship to morph into the phenomenon that it ultimately became. [35] (#cite_note-:49-35) The episode was first suggested by director James Burrows (/wiki/James_Burrows) ; the writers felt that it was time to alter the couple's dynamic in order to avoid the repetitive "he's pining, she's oblivious" pattern, using the work of author Jane Austen (/wiki/Jane_Austen) as inspiration on how to finally shift the pining arc from Ross to Rachel. Because stakes for the episode were unprecedentedly high, " The One Where Rachel Finds Out (/wiki/The_One_Where_Rachel_Finds_Out) " became Friends ' most reworked episode. [35] (#cite_note-:49-35) The couple's first kiss at the end of season two's "The One Where Ross Finds Out" was met with deafening applause from the studio audience (/wiki/Studio_audience) . [34] (#cite_note-:48-34) Crane admitted that keeping viewers interested in their relationship for ten years was challenging. [22] (#cite_note-:1-22) Jonathan Bernstein of The Daily Telegraph believes that they accomplished this by "dangl[ing] the possibility of a Ross and Rachel recoupling through several cliffhangers (/wiki/Cliffhanger) without ever putting them back together". [34] (#cite_note-:48-34) According to Encyclopedia of Television author Horace Newcomb, Ross and Rachel's ever-changing relationship "converted the traditional amnesic (/wiki/Amnesic) plotlines of the situation comedy into ones akin to episodic drama (/wiki/TV_drama) ". [36] (#cite_note-:22-36) Meanwhile, writing for The New York Review of Books (/wiki/The_New_York_Review_of_Books) , Elaine Blair agreed that Friends created "a sense of chemistry between two characters while also putting obstacles in their way, setting us up for a long-deferred union". [37] (#cite_note-37) After Rachel and Ross drunkenly get married while on vacation in Las Vegas (/wiki/Las_Vegas) during season five, Schwimmer had initially objected to the idea of having Ross divorce her – his third divorce – because he felt that it was taking it "too far". [38] (#cite_note-:6-38) The actor explained that "The whole arc of the relationship was weird then ... because for [Ross] to be able to move on enough to marry someone else and then go back to being in love with Rachel later just went a bit too far." [38] (#cite_note-:6-38) Rachel and Joey's romantic storyline was conceived because the writers wanted to delay Ross and Rachel's reunion further. [38] (#cite_note-:6-38) Crane felt that pairing Rachel and Joey during season ten "was for the greater good" because "it was inappropriate". [22] (#cite_note-:1-22) However, the cast initially protested the idea, fearing that Rachel, Joey, and Ross would ultimately become unlikeable characters and audiences would either "resent Joey for going after a pregnant woman, or resent Rachel for rejecting him, or resent Ross for standing between the two of them". [39] (#cite_note-:8-39) Meanwhile, the writers also approached the concept of Rachel's pregnancy and baby tentatively, worrying about how they would include it in the show because they did not want Friends "to become a show about a baby" while "On the other hand, we don't want to pretend that there isn't one." [39] (#cite_note-:8-39) According to Robert Bianco of USA Today (/wiki/USA_Today) , the critical success and popularity of Rachel's pregnancy is ultimately responsible for "propel[ling] the show to the top of the ratings". [40] (#cite_note-:53-40) When it finally came time to write the series finale, "The only thing [Crane and Kauffman] absolutely knew from very early on was that we had to get Ross and Rachel together," deciding, "We had dicked the audience around for 10 years with their 'will they or won't they,' and we didn't see any advantage in frustrating them" any longer. [41] (#cite_note-41) However, at one point the writers had deliberated ending the series with Ross and Rachel in "a gray area of where they aren't together, but we hint there's a sense that they might be down the road". [42] (#cite_note-:9-42) Ultimately, Crane and Kauffman relented in favor of giving the audience what they wanted. [42] (#cite_note-:9-42) Casting The final character to be cast, [33] (#cite_note-:14-33) Rachel is portrayed by actress Jennifer Aniston (/wiki/Jennifer_Aniston) , who auditioned for the role shortly after declining a position as a cast member on the sketch comedy (/wiki/Sketch_comedy) show Saturday Night Live (/wiki/Saturday_Night_Live) . [43] (#cite_note-43) Her decision was initially ridiculed by both her friends as well as actor Adam Sandler (/wiki/Adam_Sandler) , a Saturday Night Live (/wiki/List_of_Saturday_Night_Live_cast_members) alum (/wiki/List_of_Saturday_Night_Live_cast_members) . [44] (#cite_note-44) Actress Téa Leoni (/wiki/T%C3%A9a_Leoni) , who at the time was being referred to by the media as "the next Lucille Ball (/wiki/Lucille_Ball) ", [45] (#cite_note-45) was offered the role of Rachel as the studio's first choice, [23] (#cite_note-:5-23) but she declined in favor of starring in the sitcom The Naked Truth (/wiki/The_Naked_Truth_(TV_series)) . [46] (#cite_note-46) Actress Elizabeth Berkley (/wiki/Elizabeth_Berkley) also auditioned for the role. [47] (#cite_note-47) Other actresses who auditioned for Rachel include Denise Richards (/wiki/Denise_Richards) , Melissa Rivers (/wiki/Melissa_Rivers) , Nicollette Sheridan (/wiki/Nicollette_Sheridan) , Parker Posey (/wiki/Parker_Posey) , and Jami Gertz (/wiki/Jami_Gertz) . [32] (#cite_note-:12-32) Originally, the producers wanted to cast actress Courteney Cox (/wiki/Courteney_Cox) as Rachel, [48] (#cite_note-48) who Crane and Kauffman were particularly drawn to because of her "cheery, upbeat energy". [21] (#cite_note-:2-21) Additionally, Cox was the most famous cast member at the time amidst an ensemble of relatively unknown actors. [23] (#cite_note-:5-23) [32] (#cite_note-:12-32) [49] (#cite_note-:3-49) [50] (#cite_note-:10-50) However, the actress lobbied for the role of Rachel's best friend Monica, as whom she was ultimately cast, [21] (#cite_note-:2-21) because she felt that she was not "quirky" enough to play Rachel. [51] (#cite_note-51) At the same time, although unbeknownst to each other, [52] (#cite_note-52) Aniston was being considered for the role of Monica, [53] (#cite_note-:54-53) but fought to play Rachel because she felt that the character suited her better. [54] (#cite_note-54) [55] (#cite_note-:25-55) At one point, Cox had begun to regret her decision to play Monica until her own character's storylines started improving. [32] (#cite_note-:12-32) Upon being cast as Rachel in Friends – her sixth sitcom effort – actress Jennifer Aniston was nearly recast due to her involvement with another developing sitcom, Muddling Through (/wiki/Muddling_Through) , at the time. The producers had originally wanted Aniston to audition for the role of Monica (/wiki/Monica_Geller) . Friends was Aniston's sixth sitcom; [56] (#cite_note-56) each of her previous ventures had been canceled prematurely. [57] (#cite_note-57) Feeling vulnerable, Aniston had begun to doubt herself as an actress [58] (#cite_note-:45-58) and personally approached Littlefield for reassurance on her career, who encouraged her to audition for Friends , [59] (#cite_note-59) which was being referred to as Friends Like These at the time. [60] (#cite_note-60) Crane and Kauffman had worked with Aniston prior to this. [22] (#cite_note-:1-22) However, casting her as Rachel posed a challenge for the network because, at the time, Aniston was simultaneously starring in a developing CBS (/wiki/CBS) sitcom called Muddling Through (/wiki/Muddling_Through) , [61] (#cite_note-61) in which she plays a young woman whose mother is returning home from jail after two years. [62] (#cite_note-62) CBS was initially reluctant to release Aniston from her contract, [32] (#cite_note-:12-32) which required the actress to balance both roles simultaneously, [63] (#cite_note-63) traveling back-and-forth between Muddling Through and Friends for two weeks. [64] (#cite_note-64) Meanwhile, NBC risked having to recast the role of Rachel, replace Aniston, and reshoot several episodes if CBS' series proved successful, which would have potentially cost the network millions of dollars. [22] (#cite_note-:1-22) However, Littlefield remained confident that Muddling Through would fail. [65] (#cite_note-65) Essentially, the producers of Friends hoped that Muddling Through would be canceled before Friends premiered, [66] (#cite_note-:7-66) while Aniston feared that Muddling Through would be the more successful of the two sitcoms in spite of her preference for Friends . [32] (#cite_note-:12-32) [67] (#cite_note-67) During this time of uncertainty, Aniston was forced not to participate in several Friends -related promotions and photo shoots (/wiki/Photoshoots) ; [68] (#cite_note-68) the network excluded her from these in case she would be replaced. [69] (#cite_note-:52-69) Aniston explained, "When we were shooting the first grouping of cast photos ... I was asked to step out of a bunch because they didn't know if I was going to be still playing Rachel." [69] (#cite_note-:52-69) Director James Burrows (/wiki/James_Burrows) admitted that Aniston had been cast in second position. [70] (#cite_note-70) [71] (#cite_note-:51-71) The producers had already begun auditioning other actresses for the part, [72] (#cite_note-:13-72) while Aniston also received phone calls from her own friends warning her, "I'm auditioning for your part in Friends ." [73] (#cite_note-73) Ultimately, Muddling Through was canceled after only three months and 10 episodes, [74] (#cite_note-74) [75] (#cite_note-75) two weeks before the pilot of Friends aired, [76] (#cite_note-76) thus allowing Aniston to keep her role on the show, [77] (#cite_note-77) becoming its second youngest cast member at the age of 25. [3] (#cite_note-:15-3) [32] (#cite_note-:12-32) Crane appreciated Aniston's interpretation of Rachel because "in the wrong hands Rachel is kind of annoying and spoiled and unlikable," commending the actress for "breathing life into a difficult character". [32] (#cite_note-:12-32) Crane and Kauffman strongly envisioned Friends as an ensemble comedy (/wiki/Ensemble_cast) , [22] (#cite_note-:1-22) and Warner Bros (/wiki/Warner_Bros.) . initially marketed the show as such by having the cast appear in their entirety for all press, interviews and photo shoots. [78] (#cite_note-:4-78) One of few sitcoms at the time to be neither a workplace comedy, family sitcom (/wiki/Family_sitcom) or star a famous comedian, [34] (#cite_note-:48-34) Elizabeth Kolbert of The New York Times (/wiki/The_New_York_Times) explained that each of the show's main characters are "of equal importance". [50] (#cite_note-:10-50) As a writer, Crane preferred it this way because "utilizing six equal players, rather than emphasizing one or two, would allow for myriad story lines". [79] (#cite_note-:11-79) Kauffman echoed that " Friends worked best when the entire ensemble was onstage." [80] (#cite_note-80) The only reason Aniston is credited (/wiki/Opening_credits) first during the show's title sequence (/wiki/Title_sequence) is because the cast is listed alphabetically. [32] (#cite_note-:12-32) The show's ensemble format is also believed to have prevented jealous conflicts among the cast. [34] (#cite_note-:48-34) [79] (#cite_note-:11-79) Famously, the Friends cast became the first in television history to negotiate as a group for equal salaries, [78] (#cite_note-:4-78) refusing to work until their demands of $100,000 per episode were met during season three, [49] (#cite_note-:3-49) which eventually increased to $1 million per episode by seasons nine and ten – [58] (#cite_note-:45-58) approximately $25 million per year. [71] (#cite_note-:51-71) Alongside Cox and actress Lisa Kudrow (/wiki/Lisa_Kudrow) , who portrays Phoebe, Aniston became the highest-paid television actress of all time. [81] (#cite_note-81) By then, Aniston had surpassed Cox as the show's most famous cast member due to having launched an international hair trend with the "Rachel" and successfully transitioning into a film career, [32] (#cite_note-:12-32) combined with her high-profile relationship with her then-husband, actor Brad Pitt (/wiki/Brad_Pitt) , [21] (#cite_note-:2-21) who had once guest starred in an episode of the show. [82] (#cite_note-82) At times the producers would use the actress' popularity to boost the show's ratings, notably her character's seventh season kiss with actress Winona Ryder (/wiki/Winona_Ryder) and pregnancy arc. [83] (#cite_note-:50-83) [84] (#cite_note-:36-84) Aniston had been telling the press that the show's ninth season would be her last, [83] (#cite_note-:50-83) and was initially hesitant to return to Friends to film its tenth and final season. [21] (#cite_note-:2-21) She explained to NBC's Matt Lauer (/wiki/Matt_Lauer) , "I wanted it to end when people still loved us and we were on a high. And then I was also feeling like, 'How much more of Rachel do I have in me?'" [49] (#cite_note-:3-49) However, the actress ultimately agreed to complete the tenth season of Friends , [49] (#cite_note-:3-49) which was reduced from 24 to 18 episodes to accommodate Aniston's busy film schedule. [85] (#cite_note-85) Characterization and themes Rachel is the youngest of Friends six main characters. [86] (#cite_note-86) She was brought up in Long Island, New York (/wiki/Long_Island,_New_York) . The term "spoiled" is often used to describe the character's personality during her early appearances. [36] (#cite_note-:22-36) [87] (#cite_note-:28-87) [88] (#cite_note-:31-88) [89] (#cite_note-:41-89) Encyclopædia Britannica (/wiki/Encyclop%C3%A6dia_Britannica) describes Rachel as a spoiled and funny character. [90] (#cite_note-90) According to Rachel's original character description, written by Crane and Kauffman themselves for the show's pilot, the character is a spoiled yet courageous young woman who "has worked for none of what she has", unlike best friend Monica, and is initially "equipped to do nothing". [88] (#cite_note-:31-88) James Endrst of the Hartford Courant (/wiki/Hartford_Courant) identified her as "a spoiled rich kid", [91] (#cite_note-91) while the Daily News (/wiki/Daily_News_(New_York)) dubbed Rachel an "endearingly spoiled Daddy's girl". [92] (#cite_note-92) Author Kim Etingoff wrote about Rachel in her book Jennifer Aniston: From Friends to Films that the character is "spunky and sometimes spoiled", [55] (#cite_note-:25-55) while TV Land (/wiki/TV_Land) called her "naive". [93] (#cite_note-:32-93) Citing the differences between Rachel and her two female friends, The Guardian (/wiki/The_Guardian) ' s Ryan Gilbey observed that the character "wasn't insulated by self-regard, like Monica, or swaddled in gormlessness, like Phoebe". [94] (#cite_note-:24-94) Frequently identified as fitting the " girl next door (/wiki/Girl_next_door) " archetype (/wiki/Archetype) , [95] (#cite_note-95) [96] (#cite_note-:55-96) [97] (#cite_note-:30-97) [98] (#cite_note-98) Anne Bilson of The Telegraph (/wiki/The_Telegraph_(Calcutta)) described Rachel as "funny but not too funny, pretty but not too pretty, sexy but not too sexy, scatterbrained but not too scatterbrained". [99] (#cite_note-99) TalkTalk (/wiki/TalkTalk_TV) 's Dominic Wills described the character as "smart but ditzy, determined but undisciplined." [84] (#cite_note-:36-84) Meanwhile, Liat Kornowski, writing for The Huffington Post (/wiki/The_Huffington_Post) , wrote that Rachel is a "beautiful, coveted, slightly neurotic, borderline egocentric" character. [100] (#cite_note-100) Observing that the show's main characters are each based on a stereotype (/wiki/Stereotype) , Jonathan Bernstein of The Daily Telegraph (/wiki/The_Daily_Telegraph) identified Rachel as "the self-absorbed one who goes from riches to rags". [34] (#cite_note-:48-34) According to Reign Magazine , Rachel is "a human being full of vulnerability, humor and strength while aesthetically donning an undeniable beauty and allure". [101] (#cite_note-:37-101) Originally depicted as a character who is unprepared for "the world as an adult", Rachel's personality was gradually tailored to suit Aniston as the series progressed, becoming "more self-sufficient and sympathetic". [25] (#cite_note-:23-25) According to Shining in the Shadows: Movie Stars of the 2000s author Murray Pomerance (/wiki/Murray_Pomerance) , "The more boundary collapsed between the 'real' Jennifer Aniston and Rachel, the more 'authentic' Aniston became." [25] (#cite_note-:23-25) Pomerance also noted that the character's "well-roundedness, normalcy and relatability" is similar to Aniston's, while both the character and the actress herself are very expressive, talking "with [their] hands a good deal." [25] (#cite_note-:23-25) In her book How To Write For Television , author Madeline Dimaggio wrote that although "Rachel grew within the context of the series ... she would always struggle with the spoiled, image-conscious Daddy's girl who fled from her wedding in the pilot." [102] (#cite_note-102) Similarly, BuddyTV (/wiki/BuddyTV) wrote that although Rachel "eventually evolves into being less absorbed in later series, she [remains] the most image-centric among the six", [103] (#cite_note-103) while Vogue (/wiki/Vogue_(magazine)) 's Edward Barsamian opined, "She might have been self-centered and bratty, but Rachel Green was perhaps the most stylish and unabashedly fashion-obsessed character on the show." [104] (#cite_note-:33-104) TV Land summarized the character's arc and development in the website's biography of her, writing, "Rachel is a born shopper, but... she's not necessarily a born worker. In fact, before moving in with Monica, she's never had to work at all, thanks to the generosity of her parents. Luckily, Rachel is smart, resourceful and chic (/wiki/Chic) , so her future is bright, both as a member of the workforce and with her newfound tribe." [93] (#cite_note-:32-93) Examining the character's sexuality, Splitsider (/wiki/Splitsider) 's Mike D'Avria determined that Rachel has had the third most sexual partners (/wiki/Sexual_partners) , 14, as well as the highest percentage of serious (/wiki/Serious_relationship) monogamous relationships (/wiki/Monogamous_relationships) at 71%. D'Avria opined, "Throughout the whole series Rachel is continually meeting men she wants to impress. Her flirtations typically fail, but she somehow winds up in a serious relationship with them." [105] (#cite_note-:40-105) Additionally, Rachel is also the only female character to admit to having had a homosexual experience (Chandler having likewise admitted to kissing a man on season 7, episode 4). [105] (#cite_note-:40-105) In an interview with the Jewish Telegraph (/wiki/Jewish_Telegraph) , Kauffman confirmed that Rachel is Jewish. [106] (#cite_note-:18-106) On the character's "Jewish ties", Kauffman told J. The Jewish News of Northern California (/wiki/J._The_Jewish_News_of_Northern_California) that Rachel had always been Jewish "in our minds", explaining, "You can't create a character with the name 'Rachel Green' and not from the get-go make some character choices". [107] (#cite_note-107) Prior to this, critics and fans had long speculated whether or not Rachel is Jewish. [106] (#cite_note-:18-106) Vulture's (/wiki/Vulture.com) Lindsey Weber, who identifies herself as Jewish, observed several similarities and Jewish stereotypes (/wiki/Jewish_stereotypes) she shares with the character, citing the facts that Rachel refers to her grandmother Ida Green as " Bubbe (/wiki/Bubbe) ", [108] (#cite_note-108) Long Island (/wiki/Long_Island) origin, and engagement to a Jewish doctor as allusions to the character's Jewish culture (/wiki/Jewish_culture) . [109] (#cite_note-109) In her book Changed for Good: A Feminist History of the Broadway Musical , author Stacy Wolf identified Rachel as one of several popular female television characters who embodied Jewish stereotypes during the 1990s and often served as "the butt of the shows' jokes". [110] (#cite_note-110) Meanwhile, JDate (/wiki/JDate) 's Rebecca Frankel cited Rachel as one of the earliest and most prominent examples of the Jewish American Princess (/wiki/Jewish_American_Princess) stereotype on screen. [111] (#cite_note-111) Writing for the University of North Carolina at Chapel Hill (/wiki/University_of_North_Carolina_at_Chapel_Hill) , Alicia R. Korenman also acknowledged Rachel's initial Jewish American Princess qualities, describing her as "spoiled, dependent on her father's money and her fiance's, is horrified at the thought of working for a living and generally inept in her attempts to do so, and is eventually revealed to have had a nose job (/wiki/Nose_job) ", which she eventually overcomes as they become less "evident in later seasons of the show". [112] (#cite_note-112) In his article "Princesses, Schlemiels, Punishers and Overbearing Mothers", Evan Cooper described Rachel as a "de-semitized" Jew because, aside from her name, "there is never any discussion of experiences of growing up in a Jewish culture, no use of Yiddish (/wiki/Yiddish) , and few, if any, references to family members with distinctively Jewish surnames". [113] (#cite_note-:26-113) Cooper continued to write that although Rachel possesses some Jewish American Princess traits, she is more similar to the "little woman" stereotype. [113] (#cite_note-:26-113) The New York Post (/wiki/New_York_Post) ' s Robert Rorke labeled Rachel "a rehabilitated Jewish American Princess", in contrast to her sister Amy (/wiki/Amy_Green) ( Christina Applegate (/wiki/Christina_Applegate) ) who remains "selfish, condescending and narcissistic". [114] (#cite_note-114) Critical reception Critical response towards Rachel remained mostly positive throughout the show's ten-season run. [55] (#cite_note-:25-55) Writing for The A.V. Club (/wiki/The_A.V._Club) , John Reid believes that Rachel is responsible for the success of the pilot, explaining, "The story of this group of friends must start with a stranger coming to town," describing Rachel as "the perfect stranger for this plot". [115] (#cite_note-:21-115) Reid also holds Rachel responsible for spurring character development (/wiki/Character_arc) in the show's five other main characters, calling her arrival "a catalyst for all of them to grow, because unlike the rest of them, Rachel is interested in finding meaning for her life". [115] (#cite_note-:21-115) Also writing for The A.V. Club , Sonia Saraiya enjoyed Rachel's first awkward encounter with Ross because, for the first time, "Rachel displays a moment of true empathy for another human being". [115] (#cite_note-:21-115) Saraiya went on to hail Rachel as "a model for women coming of age (/wiki/Coming-of-age_story) in the 1990s—the popular, pretty girl dissatisfied with where those illusions have taken her but also unwilling to embrace the more aggressively 'feminist' career-woman strategy". [115] (#cite_note-:21-115) The New York Times (/wiki/The_New_York_Times) ' Joseph Hanania enjoyed Rachel's telephone conversation with her father during the pilot, describing it as "hilarious". [116] (#cite_note-116) The Los Angeles Times (/wiki/Los_Angeles_Times) Bob Shayne admitted his attraction towards Rachel, joking, "my feelings for Rachel, I say with some embarrassment, mirror those of Gunther (/wiki/Gunther_(Friends_character)) ". [117] (#cite_note-117) Cosmopolitan (/wiki/Cosmopolitan_(magazine)) touted Rachel "the best fictional gal pal we've ever had". [118] (#cite_note-118) While People (/wiki/People_(magazine)) called her "spoiled-but-lovable", [89] (#cite_note-:41-89) TV Guide (/wiki/TV_Guide) described Rachel as "neurotic and adorable". [119] (#cite_note-:46-119) Writing for Heat (/wiki/Heat_(magazine)) , Ellen Kerry hailed Rachel's gradual transformation from waitress to businesswoman as arguably "the best thing on tv". [120] (#cite_note-:57-120) USA Today (/wiki/USA_Today) 's Robert Bianco credits Rachel's pregnancy storyline with saving Friends , observing that the arc increased the show's ratings while ultimately "reversing the show's decline in ways ... that no one watching ' The One with Monica and Chandler's Wedding (/wiki/The_One_with_Monica_and_Chandler%27s_Wedding) ' could ever have imagined." [40] (#cite_note-:53-40) Bianco concluded, "Indeed, without that fortune-altering twist, Friends probably would have ended sooner". [40] (#cite_note-:53-40) BDCwire (/wiki/Boston.com) ranked " The One with the Ball (/wiki/The_One_with_the_Ball) ", " The One with Rachel's Inadvertent Kiss (/wiki/The_One_with_Rachel%27s_Inadvertent_Kiss) ", " The One With The Football (/wiki/The_One_with_the_Football) ", " The One with the Fake Party (/wiki/The_One_with_the_Fake_Party) " and " The One In Vegas, Part One (/wiki/The_One_In_Vegas,_Part_One) " Rachel's five strongest episodes. [121] (#cite_note-121) Meanwhile, TVLine (/wiki/TVLine) criticized Rachel for sleeping with ex-fiancé Barry in season one's "The One With the Evil Orthodontist", panning the episode as "cringeworthy". [122] (#cite_note-122) TVLine similarly criticized the character's role in season four's "The One With The Fake Party". [123] (#cite_note-123) At times the character would generate mild controversy, specifically the second-season episode " The One Where Dr. Ramoray Dies (/wiki/The_One_Where_Dr._Ramoray_Dies) ", during which Rachel and Monica argue over who will get to use the last remaining condom (/wiki/Condom) in the apartment, [22] (#cite_note-:1-22) which Rachel ultimately wins via a game of rock-paper-scissors (/wiki/Rock-paper-scissors) . [124] (#cite_note-124) [125] (#cite_note-125) Additionally, fans would often approach Aniston and scold her for decisions that Rachel makes within the show that they do not particularly agree with. [126] (#cite_note-126) Within the first two seasons of Friends , the character became extremely popular among women. [53] (#cite_note-:54-53) Viewers' perpetual desire to see Rachel succeed helped her remain a fan favorite throughout all ten seasons of the show. [55] (#cite_note-:25-55) Writing for TalkTalk (/wiki/TalkTalk_TV) , Dominic Wills agreed that while Rachel established herself as "the general favourite ... No one had a bad word to say about Jennifer Aniston", [84] (#cite_note-:36-84) with whose performance audiences instantly fell in love. [127] (#cite_note-:34-127) Aniston's performance has been consistently praised since her debut in the pilot, about which Entertainment Weekly's (/wiki/Entertainment_Weekly) Ken Tucker wrote that the actress portrays Rachel with "prickly intelligence" . [30] (#cite_note-:29-30) Writing for The Baltimore Sun (/wiki/The_Baltimore_Sun) , David Zurawik (/wiki/David_Zurawik) cited Aniston among the show's "very strong cast", [128] (#cite_note-128) while Variety (/wiki/Variety_(magazine)) 's Tony Scott agreed that "All six of the principals ... appear resourceful and display sharp sitcom skills"; [87] (#cite_note-:28-87) Robert Bianco of the Pittsburgh Post-Gazette (/wiki/Pittsburgh_Post-Gazette) praised the work of show's female cast equally. [129] (#cite_note-129) TV Guide wrote that Aniston "instantly charmed audiences with her perfect looks and endearingly flawed persona", [119] (#cite_note-:46-119) while Kevin Fallon of The Daily Beast (/wiki/The_Daily_Beast) referred to Aniston's tenure on Friends as not "a leading lady performance" but instead "the work of a brilliant character actress". [127] (#cite_note-:34-127) The Guardian's (/wiki/The_Guardian) Ryan Gilbey highlighted Aniston as the cast member "least reliant on goofball (/wiki/Goofball_comedy) caricature", observing that "Playing the only character with whom a sane viewer might reasonably identify also meant that she got the lion's share of attention". [94] (#cite_note-:24-94) Writing that the actress "quickly stole our hearts as the daddy's girl and aspiring fashionista," Andrew Collins of Radio Times (/wiki/Radio_Times) hailed Aniston as a "natural comic performer, as adept with a subtle nose wrinkle as a full-on pratfall, and fluent in quick-fire patter". [130] (#cite_note-:27-130) In 2002, Aniston won the Emmy Award for Outstanding Lead Actress in a Comedy Series (/wiki/Primetime_Emmy_Award_for_Outstanding_Lead_Actress_in_a_Comedy_Series) . [131] (#cite_note-131) In 2003, the actress won the Golden Globe Award for Best Performance by an Actress In A Television Series – Comedy Or Musical (/wiki/Golden_Globe_Award_for_Best_Actress_in_a_Motion_Picture_%E2%80%93_Comedy_or_Musical) . [132] (#cite_note-132) Dominic Willis of TalkTalk believes that Aniston won these awards because of "her brilliant comic performances in the show". [84] (#cite_note-:36-84) Relationships Rachel has had several romantic relationships throughout Friends decade-long run, the most famous and prominent of which remains her on-again, off-again relationship (/wiki/On-again,_off-again_relationship) with friend Ross. Although wildly popular among audiences, [22] (#cite_note-:1-22) [34] (#cite_note-:48-34) the couple has been met with mixed reviews from critics. Katherine Hassel of the Daily Express (/wiki/Daily_Express) described the characters' relationship as "the heart of the show". [23] (#cite_note-:5-23) China Daily (/wiki/China_Daily) cited Ross and Rachel's reunion during the series finale "The Last One" among the episode's highlights, [133] (#cite_note-133) while Gary Susman of Rolling Stone (/wiki/Rolling_Stone) believes that audiences would not have been happy had the couple not ultimately reunited. [134] (#cite_note-134) Contrastingly, The Wire's (/wiki/Thewire.com) Joe Reid is of the opinion that the show's second season is "the only time Ross/Rachel was truly great". [135] (#cite_note-135) Virgin Media (/wiki/Virgin_Media) wrote that the couple's dynamics "had grown mightily tedious" by season ten. [136] (#cite_note-:19-136) E! (/wiki/E!) cable network ranked Rachel and Ross the ninth greatest Friends couple, writing that their relationship gave " Friends fans enough iconic quotes to fill a book", [137] (#cite_note-137) considering Phoebe's line "See? [Ross is] her lobster!" to be among show's most iconic. [138] (#cite_note-:17-138) Ross and Rachel's season three breakup has spawned a debate among Friends fans, who continue to argue over which of the two was at fault: Rachel for suggesting that they take a break from their relationship, or Ross for sleeping with another woman immediately afterwards. Writing for E! (/wiki/E!) , Jenna Mullins ruled in favor of Rachel, elaborating, "there is no excuse for Ross sleeping with someone else after his lobster suggested taking a break", concluding that Ross "blew it". [138] (#cite_note-:17-138) The Jewish community was particularly receptive to the fact that a Jewish-American couple existed on prime time television, described by Lilith (/wiki/Lilith_(magazine)) magazine as "a televisual first". [139] (#cite_note-139) Rachel and Ross are considered to be among television's greatest and most beloved couples. [9] (#cite_note-:47-9) [140] (#cite_note-:39-140) Ninemsn (/wiki/Ninemsn) referred to them as "everyone's favourite on ... off ... on (a break!) duo," [141] (#cite_note-141) while Us Weekly (/wiki/Us_Weekly) and BuzzFeed (/wiki/BuzzFeed) ranked them the first and second best television couple, respectively. [142] (#cite_note-142) [143] (#cite_note-143) TV Guide (/wiki/TV_Guide_(magazine)) ranked Ross and Rachel the third greatest television couple, dubbing them "the most iconic TV couple in recent memory". [144] (#cite_note-144) Extra (/wiki/Extra_(U.S._TV_program)) placed the couple at number eight, writing, "Never did we want two people to get together more than Ross ... and Rachel". [145] (#cite_note-145) Refinery29 (/wiki/Refinery29) included Rachel and Ross in the website's "16 TV Couples We Want To Be Together Forever" list. [146] (#cite_note-146) The pair is also often ranked among television's greatest "will they or won't they" couples. [147] (#cite_note-147) [148] (#cite_note-148) [149] (#cite_note-149) Naming Ross and Rachel the greatest "will they, won't they" couple, Network Ten (/wiki/Network_Ten) believes they defined the term, [150] (#cite_note-150) while Suggest dubbed them the "quintessential will they/won't they couple". [151] (#cite_note-151) According to Sarah Doran of Radio Times (/wiki/Radio_Times) , the couple "became synonymous with the phrase 'we're on a break'". [152] (#cite_note-152) Phoebe's line, in which she refers to the couple as each other's lobsters, has become one of the show's most popular and oft-quoted. [140] (#cite_note-:39-140) [153] (#cite_note-153) [154] (#cite_note-154) Kaitlin Reilly of Bustle (/wiki/Bustle_(magazine)) magazine defined the term as "the person of whom another is meant to be with forever". [155] (#cite_note-155) Tara Aquino of Complex (/wiki/Complex_(magazine)) magazine believes that "Every other person can tell you what exactly a 'Ross and Rachel' relationship means". [156] (#cite_note-156) Ultimately, Rachel's season eight pregnancy arc is credited with reviving the show's ratings and reviews. [83] (#cite_note-:50-83) During season ten, Rachel's brief romance with friend Joey drew strong criticism from both critics and fans, [138] (#cite_note-:17-138) although the contested relationship did not harm viewership. [55] (#cite_note-:25-55) Joshua Kurp of Splitsider (/wiki/Splitsider) believes that the Rachel/Joey/Ross love triangle (/wiki/Love_triangle) is the main reason the show's final two seasons continued to perform well despite mediocre reviews. [157] (#cite_note-157) Eric Goldman of IGN (/wiki/IGN) referred to the Rachel-Joey storyline as "questionable". [158] (#cite_note-158) Entertainment Tonight Canada (/wiki/Entertainment_Tonight_Canada) ranked "The One After Rachel and Joey Kiss" among the show's ten worst episodes at number five, with author I. P. Johnson panning it as "desperate", concluding, "Jeers for even conceiving this romantic plot; cheers for abandoning it". [159] (#cite_note-159) Contrarily, E! enjoyed Rachel and Joey as a couple because they brought out positive aspects in each other's personalities and share a similar sense of humor. [160] (#cite_note-160) Their relationship also spawned a debate among fans, who argued over whether making Rachel and Joey a couple was a bad idea. Jenna Mullins of E! determined that it is because "It was too far into the series to throw these two together. They didn't make sense and their romantic scenes felt forced". [138] (#cite_note-:17-138) After Ross and Rachel's break up, there were many hints that they would eventually reunite forever, especially seasons 8–10. In the final season, Rachel wants to sleep with Ross when her father has a heart attack and wants "sympathy sex", which he turns down, not wanting to take advantage of her in the state she is in. However, Ross and Rachel do sleep together again the night before she leaves for Paris, which results in him admitting he still loves her and wants to get back together in the series finale (/wiki/The_Last_One_(Friends)) . Rachel turns down the Paris job in order to be with Ross when she realizes she still loves him too, and the two agree "this is it", getting back together for good. Jennifer Aniston, who played Rachel, confirmed that after the series finale, Ross and Rachel got remarried, happily and had at least one more child. [161] (#cite_note-161) Impact and legacy Rachel's popularity would establish her as the show's breakout character (/wiki/Breakout_character) ; [101] (#cite_note-:37-101) [162] (#cite_note-162) she is often ranked among the greatest characters in television history. Us Weekly (/wiki/Us_Weekly) ranked Rachel the most beloved television character of the past two decades, citing her as "one of TV's most endearing personalities". [163] (#cite_note-163) Entertainment Weekly (/wiki/Entertainment_Weekly) ranked the character sixth on a similar countdown, [164] (#cite_note-:0-164) while AOL TV (/wiki/AOL_TV) included Rachel among television's hundred "Greatest Women" at number 23, with author Kim Potts observing that "Rachel became one of viewers' favorite Friends because she grew from what could have been a one-note character ... into a more independent, caring pal". [165] (#cite_note-165) BuddyTV (/wiki/BuddyTV) ranked Rachel the 15th funniest female character in sitcom history, [166] (#cite_note-166) while ChaCha (/wiki/ChaCha.com) collectively ranked Rachel, Monica and Phoebe 11th, 12th and 13th on the website's list of the "Top 16 Female TV Characters of All Time". [167] (#cite_note-167) According to The Hollywood Reporter (/wiki/The_Hollywood_Reporter) , Hollywood professionals voted Rachel the 29th best female character in 2016. [168] (#cite_note-168) In 2019, Harper's Bazaar (/wiki/Harper%27s_Bazaar) ranked Rachel the third most influential "female character who changed our TV screens". Author Olivia Blair wrote that Rachel "promote ideals of female independence, unashamedly discuss sex and female pleasure, educate the men in their lives on how to treat women throughout the ten seasons." [169] (#cite_note-169) Writing for Entertainmentwise (/wiki/Entertainmentwise) , Georgina Littlejohn believes Rachel inspired the character Penny (/wiki/Penny_(The_Big_Bang_Theory)) in the sitcom The Big Bang Theory (/wiki/The_Big_Bang_Theory) , noting that the characters, both waitresses, are "blonde, cute, funny, likeable girls-next-door". [97] (#cite_note-:30-97) Several baby name books and websites commonly associate the name "Rachel" with the character. [170] (#cite_note-170) [171] (#cite_note-171) [172] (#cite_note-172) [173] (#cite_note-173) Both Rachel and Aniston became fashion icons due to their combined influence on womenswear (/wiki/Womenswear) during the 1990s, [174] (#cite_note-:20-174) [175] (#cite_note-175) [176] (#cite_note-176) particularly among British women. [177] (#cite_note-:38-177) Vogue (/wiki/Vogue_(magazine)) 's Edward Barsamian credits Rachel with inspiring "the cool New York look". [104] (#cite_note-:33-104) According to Stylist (/wiki/Stylist_(magazine)) , Rachel "revived [a] love of denim shirts and dungarees", [177] (#cite_note-:38-177) while Mahogany Clayton of StyleBlazer believes that the character "managed to dominate every fashion trend that passed by her radar in the most stylish ways possible". [178] (#cite_note-178) Hailing her as the "Fash Queen", Heat (/wiki/Heat_(magazine)) magazine observed the character's influence on plaid skirts (/wiki/Plaid_(pattern)) , denim and overalls (/wiki/Overalls) . [120] (#cite_note-:57-120) Citing every costume the character wore during the first season of Friends , BuzzFeed (/wiki/BuzzFeed) determined that Rachel popularized the mullet dress (/wiki/High-low_skirt) . [179] (#cite_note-179) TV Guide published a list of "The 17 Ways Rachel from Friends Changed '90s Fashion". [180] (#cite_note-180) Rachel is often considered to be one of television's best dressed characters. [181] (#cite_note-181) Elle (/wiki/Elle_(magazine)) included Rachel in the magazine's "50 Best Dressed Women on TV" list. [182] (#cite_note-182) PopSugar (/wiki/PopSugar) ranked Friends 15th on the website's list of "50 TV Shows That Changed the Way We Dress", citing Rachel's "impressive" wardrobe. [183] (#cite_note-183) InStyle (/wiki/InStyle) ranked Friends the 36th most fashionable television show of all time, praising Rachel, Monica and Phoebe's costumes. [184] (#cite_note-184) StyleCaster (/wiki/StyleCaster) ranked Rachel among "The 50 Most Stylish TV Characters Of All Time" at number 28. [185] (#cite_note-185) Cosmopolitan (/wiki/Cosmopolitan_(magazine)) magazine compiled a list of "16 things Rachel Green wore to work that we'd totally wear today", [186] (#cite_note-186) while Virgin Media (/wiki/Virgin_Media) ranked the character among television's sexiest. [136] (#cite_note-:19-136) Brides (/wiki/Brides_(magazine)) magazine ranked Rachel's wedding dress among "The Best TV Wedding Dresses", with contributor Jane Frankfort commending the dress with "set[ting] the tone for the following 10 years together and the many milestones our favorite friends will bring". [187] (#cite_note-187) Like her character, Aniston became the show's breakout star. [188] (#cite_note-:56-188) Karen Thomas of USA Today (/wiki/USA_Today) dubbed Aniston "our favorite Friend". [189] (#cite_note-189) According to Turner Classic Movies (/wiki/Turner_Classic_Movies) , Aniston ultimately became "One of the most popular television actresses of her era". [190] (#cite_note-190) According to Jennifer Aniston: From Friends to Films author Kim Etingoff, the actress' own fame "outshone" those of her co-stars, [55] (#cite_note-:25-55) becoming the first cast member to "rise to prominence"; [84] (#cite_note-:36-84) the actress continues to experience the most post- Friends success. [191] (#cite_note-191) [192] (#cite_note-192) [193] (#cite_note-193) Aniston's performance in Friends led to a successful film career. [194] (#cite_note-194) According to The Inquisitr News , Rachel is "the role that would end up launching [Aniston's] success", [72] (#cite_note-:13-72) while Bradford Evans of Splitsider (/wiki/Splitsider) believes "that Jennifer Aniston likely wouldn't have become a major movie star without Friends ". [195] (#cite_note-:16-195) While ranking Aniston the most attractive sitcom star of the 1990s, Josh Robertson of Complex magazine wrote that "With the haircut, the TV fame, and a true gift for comedy ... combined, Aniston became a big star", replacing Cox as the show's "established hottie". [196] (#cite_note-:42-196) According to Steve Charnock of Yahoo! Movies (/wiki/Yahoo!_Movies) , Aniston is "the series' only main cast member to become a bona fide movie star since the end of the show". [197] (#cite_note-197) While agreeing that Aniston's film career has been successful, several critics believe that the actress' filmography (/wiki/Filmography) remains limited to playing Rachel-like roles in romantic comedies (/wiki/Romantic_comedies) , [84] (#cite_note-:36-84) [127] (#cite_note-:34-127) [198] (#cite_note-198) save for some exceptions. [199] (#cite_note-199) Ryan Gilbey of The Guardian noted that "Consequently, many of Aniston's movie roles ... have been Rachel in all but name." [94] (#cite_note-:24-94) Andrew Collins of Radio Times (/wiki/Radio_Times) agreed, writing that Aniston "seems trapped, perpetually playing variations of Rachel". [130] (#cite_note-:27-130) According to TV Guide , Aniston is "usually called upon to play a variation of her neurotic and adorable Friends character". [119] (#cite_note-:46-119) Aniston cites Rachel as one of three roles for which she is most grateful, to whom she "owe[s] everything". [200] (#cite_note-200) On being typecast in the aftermath of Rachel, Aniston admits that at times it "gives you more of a challenge, to shape people's perceptions of you". [201] (#cite_note-201) as audiences struggle "to lose the Rachel tag that has made her one of the world's most recognisable faces". [202] (#cite_note-202) Hair Main article: Rachel haircut (/wiki/Rachel_haircut) Named after the character (/wiki/Eponymous_hairstyle) , [203] (#cite_note-203) the "Rachel" refers to a bouncy layered [204] (#cite_note-204) shag (/wiki/Shag_(hairstyle)) inspired by the way in which Aniston wore her hair on Friends between 1994 and 1996, during the first and second seasons of the series. [174] (#cite_note-:20-174) The "Rachel" debuted in the show's 20th episode, " The One with the Evil Orthodontist (/wiki/The_One_with_the_Evil_Orthodontist) ". [205] (#cite_note-:43-205) Aniston believes that her hair stylist, Chris McMillan, created the haircut while he was under the influence of marijuana. [206] (#cite_note-206) The "Rachel" immediately became popular among women, launching an international hair trend. [207] (#cite_note-people-207) The popularity of the "Rachel" coincided with the popularity of Friends during the mid-to-late-1990s. [208] (#cite_note-208) Marie Claire (/wiki/Marie_Claire) estimates that 11 million women donned the hairstyle throughout the decade, [209] (#cite_note-209) while the Daily Express (/wiki/Daily_Express) determined that the hairstyle was most popular among British women, [210] (#cite_note-roche20100526-210) who went to hair salons (/wiki/Hair_salon) "clutching magazine pictures of Aniston" and asking hairdressers to give them the look. [211] (#cite_note-:35-211) Jennifer Aniston portraying her character while donning the famous "Rachel" haircut during the second-season episode " The One with Phoebe's Husband (/wiki/The_One_with_Phoebe%27s_Husband) ". The hairstyle would go on to become one of the most popular of all time. According to Vanity Fair (/wiki/Vanity_Fair_(magazine)) , the hairstyle's "widespread popularity ... in the show's very first year cemented the sitcom early on as heavily influential when it came to style". [212] (#cite_note-212) The "Rachel" remains one of the most popular hairstyles in history, [23] (#cite_note-:5-23) and became the most popular hairstyle in the United States since actress Farrah Fawcett's (/wiki/Farrah_Fawcett) . [174] (#cite_note-:20-174) [188] (#cite_note-:56-188) Hair stylists credit its appeal and popularity to its medium length and volume, combined with its tendency to frame the face flatteringly. [174] (#cite_note-:20-174) Hairdresser Mark Woolley described it as "a cut that flatters almost everyone, designed to make women look beautiful". [130] (#cite_note-:27-130) The "Rachel" is often ranked among the greatest and most iconic hairstyles of all time, [213] (#cite_note-:58-213) [214] (#cite_note-214) [215] (#cite_note-215) with Redbook (/wiki/Redbook) placing it at number four and Time (/wiki/Time_(magazine)) ranking it ninth. [216] (#cite_note-216) [217] (#cite_note-217) The Huffington Post (/wiki/The_Huffington_Post) determined that the hairstyle is one of "The Most Famous TV Hairstyles Of All Time". [218] (#cite_note-218) US Weekly (/wiki/US_Weekly) ranked the "Rachel" the 17th most iconic hairstyle. [219] (#cite_note-219) Glamour (/wiki/Glamour_(magazine)) magazine ranked the "Rachel" fourth on the magazine's list of "The 100 Best Hairstyles of All Time". [220] (#cite_note-220) The magazine also cited it among "The very best hair to have graced the small screen", [221] (#cite_note-:59-221) while ranking it the most memorable hairstyle in television history. [222] (#cite_note-222) The Sydney Morning Herald (/wiki/The_Sydney_Morning_Herald) ranked it the second greatest television hairstyle, [211] (#cite_note-:35-211) while Metro ranked the "Rachel" the character's second-best hairstyle. [223] (#cite_note-223) Ranked sixth on Entertainment Weekly (/wiki/Entertainment_Weekly) 's list of the "25 Fashion Moments That Changed Entertainment", the haircut was declared the most "desired" hairstyle of the Clinton era (/wiki/Bill_Clinton) . [224] (#cite_note-224) Zahra Barnes of Self (/wiki/Self_(magazine)) joked that Rachel's hair has always been the "true star of the show". [205] (#cite_note-:43-205) Lauding the "Rachel" as one of television's greatest hairstyles, Sarah Carrillo of Elle (/wiki/Elle_(magazine)) magazine believed that its popularity "helped make Friends the phenomenon it was". [225] (#cite_note-225) Opining that Friends spawned few memorable catchphrases (/wiki/Catchphrases) in comparison to its contemporaries, Tom Jicha of The Baltimore Sun (/wiki/The_Baltimore_Sun) attributes much of the show's legacy to the hairstyle, calling it the show's "only cultural trend (/wiki/Cultural_trend) ". [79] (#cite_note-:11-79) Josh Robertson of Complex magazine felt that "With the haircut, the TV fame, and a true gift for comedy ... combined, Aniston became a big star", replacing Courteney Cox. [196] (#cite_note-:42-196) Hannah Lyons Powell of Glamour agreed that the hairstyle made Aniston "the definitive hair icon of the '90s and the proud owner of arguably the most infamous and influential hairstyle of all time". [221] (#cite_note-:59-221) According to Jim Vorel of Paste (/wiki/Paste_(magazine)) magazine, "'the Rachel' hairstyle became the decade's defining 'do, calling it "the definition of influence". [226] (#cite_note-226) However, Rebecca Cox of Glamour is grateful that the hairstyle remained in the 1990s. [213] (#cite_note-:58-213) In the second-season episode " The One with the Lesbian Wedding (/wiki/The_One_with_the_Lesbian_Wedding) ", Rachel references the popularity of her haircut when she complains that her own overbearing mother is trying to reinvent her life after hers, lamenting, "Couldn't she just copy my haircut?" Despite her association with the cut, Aniston disliked the hairstyle. [227] (#cite_note-oldenburg20110118-227) She found maintaining the hairstyle without McMillan's help difficult, [228] (#cite_note-messer20140514-228) stating "I'd curse Chris every time I had to blowdry. It took three brushes—it was like doing surgery!" [229] (#cite_note-chao20130613-229) and that she would rather shave her head than have to wear it for the rest of her life. [230] (#cite_note-burton20130813-230) Since Aniston, several other celebrities have worn variations of the "Rachel", among them actresses Cameron Diaz (/wiki/Cameron_Diaz) , [231] (#cite_note-231) Rachel McAdams (/wiki/Rachel_McAdams) , [232] (#cite_note-10_Celebs_Who_Rocked_The_Rachel-232) Emma Watson (/wiki/Emma_Watson) , [233] (#cite_note-233) Reese Witherspoon (/wiki/Reese_Witherspoon) , [234] (#cite_note-234) Julia Roberts (/wiki/Julia_Roberts) , [235] (#cite_note-235) comedian Tina Fey (/wiki/Tina_Fey) , [236] (#cite_note-236) model Tyra Banks (/wiki/Tyra_Banks) , [237] (#cite_note-237) and singer Lily Allen (/wiki/Lily_Allen) . [232] (#cite_note-10_Celebs_Who_Rocked_The_Rachel-232) See also List of (/wiki/List_of_Friends_and_Joey_characters) Friends and (/wiki/List_of_Friends_and_Joey_characters) Joey characters (/wiki/List_of_Friends_and_Joey_characters) References ^ (#cite_ref-1) Tholmer, Jessica (August 12, 2013). "Everything I Need to Know, I Learned From Rachel Green" (http://hellogiggles.com/everything-i-need-to-know-i-learned-from-rachel-green/) . HelloGiggles (/wiki/HelloGiggles) . Archived (https://web.archive.org/web/20150402095446/http://hellogiggles.com/everything-i-need-to-know-i-learned-from-rachel-green/) from the original on April 2, 2015 . Retrieved March 27, 2015 . ^ (#cite_ref-2) Snetiker, Marc (February 8, 2012). "Jennifer Aniston still watches 'Friends' reruns. She IS just like us!" (https://www.ew.com/article/2012/02/28/jennifer-aniston-watches-friends) . Entertainment Weekly (/wiki/Entertainment_Weekly) . Archived (https://web.archive.org/web/20150402155530/http://www.ew.com/article/2012/02/28/jennifer-aniston-watches-friends) from the original on April 2, 2015 . Retrieved March 27, 2015 . ^ Jump up to: a b Galindo, Brian (April 7, 2013). "25 Fascinating Facts You Might Not Know About "Friends" (https://www.buzzfeed.com/briangalindo/25-fascinating-facts-you-might-not-know-about-friends#.agpVbNm4k) " (https://www.buzzfeed.com/briangalindo/25-fascinating-facts-you-might-not-know-about-friends#.agpVbNm4k) . BuzzFeed (/wiki/BuzzFeed) . Archived (https://web.archive.org/web/20150315102917/http://www.buzzfeed.com/briangalindo/25-fascinating-facts-you-might-not-know-about-friends) from the original on March 15, 2015 . Retrieved April 2, 2015 . ^ (#cite_ref-4) "The Oral History of Friends: Jennifer Aniston Almost Didn't Play Rachel Green" (https://web.archive.org/web/20140525080635/http://www.vanityfair.com/online/oscars/2012/04/friends-oral-history-jennifer-aniston-rachel-green) . Vanity Fair (/wiki/Vanity_Fair_(magazine)) . April 4, 2012. Archived from the original on May 25, 2014 . 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Style of formal dressing Dolores del Río (/wiki/Dolores_del_R%C3%ADo) in ball gown (/wiki/Ball_gown) and Fred Astaire (/wiki/Fred_Astaire) in white tie in Flying Down to Rio (/wiki/Flying_Down_to_Rio) (1933) Part of a series (/wiki/Category:Formal_wear) on Western dress codes (/wiki/Western_dress_codes) and corresponding attires (/wiki/Clothing) Formal (/wiki/Formal_wear) ( full dress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) ) White tie Morning dress (/wiki/Morning_dress) Full dress uniform (/wiki/Full_dress_uniform) Frock coat (/wiki/Frock_coat) Evening gown (/wiki/Evening_gown) Ball gown (/wiki/Ball_gown) Semi-formal (/wiki/Semi-formal_wear) ( half dress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) ) Black tie (/wiki/Black_tie) Black lounge suit (/wiki/Black_lounge_suit) Mess dress uniform (/wiki/Mess_dress_uniform) Evening gown (/wiki/Evening_gown) Cocktail dress (/wiki/Cocktail_dress) Informal (/wiki/Informal_wear) ( undress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) , "dress clothes") Suit (/wiki/Suit) Service dress uniform (/wiki/Service_dress_uniform) Cocktail dress (/wiki/Cocktail_dress) Pantsuit (/wiki/Pantsuit) Casual (/wiki/Casual_wear) (anything not above) Business casual (/wiki/Business_casual) Casual Friday (/wiki/Casual_Friday) Combat uniform (/wiki/Combat_uniform) Smart casual (/wiki/Smart_casual) Workwear (/wiki/Workwear) Streetwear (/wiki/Streetwear) Sportswear (/wiki/Sportswear) known as Sportswear (fashion) (/wiki/Sportswear_(fashion)) and Athleisure (/wiki/Athleisure) Undress (/wiki/Undress_code) Supplementary alternatives Ceremonial dress (/wiki/Ceremonial_dress) law courts (/wiki/Court_dress) royal courts (/wiki/Court_uniform_and_dress_in_the_United_Kingdom) diplomatic (/wiki/Diplomatic_uniform) academic (/wiki/Academic_dress) , etc. Religious clothing (/wiki/Religious_clothing) cassock (/wiki/Cassock) , habit (/wiki/Religious_habit) , etc. Folk costume (/wiki/Folk_costume) Distinctions Orders (/wiki/Order_(distinction)) medals (/wiki/Medal) , etc. Legend: = Day (before 6 p.m.) = Evening (after 6 p.m.) = Bow tie (/wiki/Bow_tie) colour = Ladies = Gentlemen Fashion portal (/wiki/Portal:Fashion) v t e White tie , also called full evening dress or a dress suit , is the most formal (/wiki/Formal_wear) evening Western dress code (/wiki/Western_dress_codes) . [1] (#cite_note-1) For men, it consists of a black tail coat (/wiki/Tailcoat#Dress_coat) (alternatively referred to as a dress coat, usually by tailors) worn over a white dress shirt (/wiki/Dress_shirt) with a starched or pique bib, white piqué (/wiki/Piqu%C3%A9_(weaving)) waistcoat (/wiki/Waistcoat) and the white bow tie (/wiki/Bow_tie) worn around a standing wing collar (/wiki/Wing_collar) . Mid or high-waisted black trousers (/wiki/Trousers) with galon (/wiki/Galloon) , a braid of trim consisting of two silk stripes to conceal the outer seams of the trousers, along with court shoes (/wiki/Court_shoe) ( British English (/wiki/British_English) ) (pumps in American English (/wiki/American_English) ) to complete the outfit. Orders (/wiki/Order_(distinction)) , decorations and medals (/wiki/Medal) may be worn. Acceptable accessories include a black top hat (/wiki/Top_hat) , white gloves (/wiki/Gloves) , a white scarf (/wiki/Scarf) , a pocket watch (/wiki/Pocket_watch) , a white pocket square, and a boutonnière (/wiki/Boutonni%C3%A8re) . Women wear full-length ball (/wiki/Ball_gown) or evening gowns (/wiki/Evening_gown) with evening gloves (/wiki/Evening_gloves) and, optionally, tiaras (/wiki/Tiara) , jewellery (/wiki/Jewellery) , and a small handbag (/wiki/Handbag) . [2] (#cite_note-2) The dress code's origins can be traced back to the end of the 18th century. New fully black-coloured justaucorps (/wiki/Justaucorps) styles emerged around the Age of Revolution (/wiki/Age_of_Revolution) , notably adopted by the bourgeois (/wiki/Bourgeoisie) third estate (/wiki/Estates_of_the_realm#Third_Estate) of the Estates General (/wiki/Estates_General_(France)) of the Kingdom of France (/wiki/Kingdom_of_France) . Increasingly following the French Revolution (/wiki/French_Revolution) , high society men abandoned the richly decorated justaucorps coats for more austere cutaway dress coats (/wiki/Dress_coat) in dark colours, with cuts perhaps further inspired by the frocks (/wiki/Frock) and riding coats (/wiki/Riding_coat) of country gentlemen. Gradually replacing also breeches (/wiki/Breeches) , lacy (/wiki/Lace) dress shirts and jabots (/wiki/Jabot_(neckwear)) with plain white dress shirts (/wiki/Dress_shirt) , shorter waistcoats, white cravats (/wiki/Cravat_(early)) and pantaloons (https://en.wiktionary.org/wiki/pantaloons) , this became known as directoire style (/wiki/Directoire_style) . By the early 19th-century Regency era (/wiki/Regency_era) , dark dress tailcoats with light trousers became standard daywear, while black and white became the standard colours for evening wear. Although the directoire style was replaced for daytime by black frock coats (/wiki/Frock_coat) and bowties by mid-19th century, cutaway black dress tailcoats with white bowtie has remained established for formal evening wear ever since. Despite the emergence of the more comfortable semi-formal black tie (/wiki/Black_tie) dress code in the 1880s, full evening dress tailcoats remained the staple. Towards the end of the Victorian era (/wiki/Victorian_era) , white bow ties and waistcoats became the standard for full evening dress, contrasting with black bow ties and waistcoats or cummerbunds (/wiki/Cummerbund) for black tie. Following the social changes after the First World War (/wiki/First_World_War) and especially with the counterculture of the 1960s (/wiki/Counterculture_of_the_1960s) , white tie was increasingly replaced by black tie as default evening wear for more formal events. Since the late 20th century, white tie tends to be reserved for the most formal evening occasions, such as at banquets following investitures (/wiki/Investiture) , state dinners (/wiki/State_dinner) and audiences (/wiki/Audience_(meeting)) , in addition to formal balls (/wiki/Ball_(dance_party)) and galas (/wiki/Festival) such as the Vienna Opera Ball (/wiki/Vienna_Opera_Ball) in Austria (/wiki/Austria) , the Nobel Prize (/wiki/Nobel_Prize) banquet in Stockholm (/wiki/Stockholm) , Mardi Gras balls in New Orleans (/wiki/Mardi_Gras_in_New_Orleans) , Commemoration balls (/wiki/Commemoration_ball) at Oxford (/wiki/University_of_Oxford) and May balls (/wiki/May_ball) at Cambridge (/wiki/University_of_Cambridge) , and the Al Smith Memorial Dinner (/wiki/Alfred_E._Smith_Memorial_Foundation_Dinner) in New York (/wiki/New_York_City) . White tie still also occurs at traditional weddings (/wiki/Wedding) and church celebrations, at certain societies (/wiki/Society) and fraternities (/wiki/Fraternity) , as well as occasionally around some traditional European universities and colleges (/wiki/List_of_oldest_universities_in_continuous_operation) . History [ edit ] See also: Tailcoat § History (/wiki/Tailcoat#History) Fashion plate from Costume Parisien (1823) 19th century: origins and development [ edit ] Throughout the Early Modern period (/wiki/Early_Modern_period) , western European male courtiers and aristocrats donned elaborate clothing at ceremonies and dinners: coats (often richly decorated), frilly and lacy shirts and breeches formed the backbone of their most formal attire. As the 18th century drew to a close, high society began adopting more austere clothing which drew inspiration from the dark hues and simpler designs adopted by country gentlemen. [3] (#cite_note-:26-3) By the end of the 18th century, two forms of tail coat were in common use by upper-class men in Britain and continental Europe: the more formal dress coat (cut away horizontally at the front) and the less formal morning coat (/wiki/Morning_coat) , which curved back from the front to the tails. From around 1815, a knee-length garment called the frock coat (/wiki/Frock_coat) became increasingly popular and was eventually established, along with the morning coat, as smart daywear in Victorian England. The dress coat, meanwhile, became reserved for wear in the evening. [4] (#cite_note-4) The dandy (/wiki/Dandy) Beau Brummell (/wiki/Beau_Brummell) adopted a minimalistic approach to evening wear—a white waistcoat, dark blue tailcoat, black pantaloons and striped stockings. [5] (#cite_note-5) Although Brummell felt black an ugly colour for evening dress coats, it was adopted by other dandies, like Charles Baudelaire (/wiki/Charles_Baudelaire) , and black and white had become the standard colours by the 1840s. [6] (#cite_note-6) [7] (#cite_note-7) Over the course of the 19th century, the monotone colour scheme became a codified standard for evening events after 6 p.m. in upper class circles. [3] (#cite_note-:26-3) The styles evolved and evening dress consisted of a black dress coat and trousers, white or black waistcoat, and a bow tie by the 1870s. The dinner jacket (/wiki/Dinner_jacket) (black tie/tuxedo) emerged as a less formal and more comfortable alternative to full evening dress in the 1880s. By the early 20th century, full evening dress meant wearing a white waistcoat and tie with a black tailcoat and trousers; white tie had become distinct from black tie. [8] (#cite_note-8) Despite its growing popularity, the dinner jacket remained the reserve of family dinners and gentlemen's clubs during the late Victorian period. [3] (#cite_note-:26-3) 20th century [ edit ] By the turn of the 20th century, full evening dress consisted of a black tailcoat made of heavy fabric weighing 500 to 560 grams per metre (16 to 18 oz/yd). Its lapels were medium width and the white shirt worn beneath it had a heavily starched, stiff front, fastened with pearl or black studs and either a winged collar or a type called a "poke", consisting of a high band with a slight curve at the front. [9] (#cite_note-9) After World War I, the dinner jacket became more popular, especially in the US, and informal variations sprang up, like the soft, turn-down collar shirt and later the double-breasted jacket; [10] (#cite_note-10) relaxing social norms in Jazz Age (/wiki/Jazz_Age) America meant white tie was replaced by black tie as the default evening wear for young men, especially at nightclubs. [3] (#cite_note-:26-3) According to The Delineator (/wiki/The_Delineator) , the years after World War I (/wiki/World_War_I) saw white tie "almost abandoned". [11] (#cite_note-:0-11) But it did still have a place: the American etiquette writer Emily Post (/wiki/Emily_Post) stated in 1922 that "A gentleman must always be in full dress, tail coat, white waistcoat, white tie and white gloves" when at the opera, yet she called the tuxedo "essential" for any gentleman, writing that "It is worn every evening and nearly everywhere, whereas the tail coat is necessary only at balls, formal dinners, and in a box at the opera." [12] (#cite_note-12) Artistic depiction of a man in white tie dress ( The New Yorker (/wiki/The_New_Yorker) , March 17, 1928) It also continued to evolve. White tie was worn with slim-cut trousers in the early 1920s; by 1926, wide-lapelled tailcoats and double-breasted waistcoats were in vogue. [13] (#cite_note-13) The Duke of Windsor (/wiki/Edward_VIII) (then Prince of Wales and later Edward VIII) wore a midnight blue (/wiki/Midnight_blue) tailcoat, trousers and waistcoat in the 1920s and 1930s both to "soften" the contrast between black and white and allow for photographs to depict the nuances of his tailoring. [14] (#cite_note-14) The late 1920s and 1930s witnessed a resurgence in the dress code's popularity, [11] (#cite_note-:0-11) [15] (#cite_note-15) but by 1953, one etiquette writer stressed that "The modern trend is to wear 'tails' only for the most formal and ceremonious functions, such as important formal dinners, balls, elaborate evening weddings, and opening night at the opera". [16] (#cite_note-16) It was the dress code for the Lord Mayor of London (/wiki/Lord_Mayor_of_London) 's Mansion House (/wiki/Mansion_House,_London) dinner until 1996. [17] (#cite_note-17) The last president to have worn white tie at a United States presidential inauguration (/wiki/United_States_presidential_inauguration) was President John F. Kennedy (/wiki/John_F._Kennedy) in 1961, who wore morning dress (/wiki/Morning_dress) for his inauguration (/wiki/Inauguration_of_John_F._Kennedy) , and a white tie ensemble for his inauguration ball (/wiki/United_States_presidential_inaugural_balls) . 21st century [ edit ] While rare in the early 21st century, it survives as the formal dress code for royal and public ceremonies and audiences (/wiki/Audience_(meeting)) , weddings (/wiki/Wedding) , balls (/wiki/Ball_(dance_party)) , and a select group of other social events in some countries. Notable international recurrent white tie events include the Nobel Prize (/wiki/Nobel_Prize) ceremony in Sweden [18] (#cite_note-18) and the Vienna Opera Ball (/wiki/Vienna_Opera_Ball) in Austria. [19] (#cite_note-19) In Scandinavia (/wiki/Scandinavia) and the Netherlands, white tie is the traditional attire for doctoral (/wiki/Doctoral) conferments and is prescribed at some Swedish and Finnish universities, where it is worn with a top hat (/wiki/Top_hat) variant called a doctoral hat (/wiki/Doctoral_hat) . At the universities in Uppsala (/wiki/Uppsala_University) and Lund (/wiki/Lund_University) in Sweden, it is still common for students to wear white tie at formal events. In Sweden and Finland, a black waistcoat is worn with white tie for academic occasions in the daytime. [20] (#cite_note-20) [21] (#cite_note-21) [22] (#cite_note-22) [23] (#cite_note-23) [24] (#cite_note-24) In the Netherlands, the attendants of the graduate student, called paranymphs (/w/index.php?title=Paranymphs&action=edit&redlink=1) , will also wear white tie. Some fraternities (/wiki/Fraternity) such as Freemasons (/wiki/Freemason) and Odd Fellows (/wiki/Odd_Fellows) wear dress coats to their meetings. [25] (#cite_note-25) [26] (#cite_note-26) United Kingdom [ edit ] This section needs expansion . You can help by adding to it (https://en.wikipedia.org/w/index.php?title=White_tie&action=edit§ion=) . ( June 2019 ) In Britain, it is worn at certain formal occasions such as state banquets (/wiki/State_dinner) , [27] (#cite_note-27) [28] (#cite_note-28) City of London livery dinners [29] (#cite_note-29) [30] (#cite_note-30) and certain balls at Oxford (/wiki/University_of_Oxford) , Cambridge (/wiki/University_of_Cambridge) , Durham (/wiki/Durham_University) , Edinburgh (/wiki/University_of_Edinburgh) and St Andrews (/wiki/University_of_St_Andrews) universities. [31] (#cite_note-31) [32] (#cite_note-32) [33] (#cite_note-33) [34] (#cite_note-34) The president and officers of the Oxford Union (/wiki/Oxford_Union) are still required to wear white tie at every debate but since the 1930s, other speakers are only required to wear black tie. [35] (#cite_note-35) United States [ edit ] President John F. Kennedy (/wiki/John_F._Kennedy) , wearing white tie, and First Lady Jacqueline Kennedy (/wiki/Jacqueline_Kennedy) , wearing a gown designed by Ethel Franken of Bergdorf Goodman (/wiki/Bergdorf_Goodman) , arrive at the D.C. Armory (/wiki/D.C._Armory) in Washington D.C. for an inaugural ball held on the evening of Inauguration Day (/wiki/Federal_holidays_in_the_United_States) , 20 January 1961. A few state dinners at the White House (/wiki/White_House) apply white tie, such as the one held for Queen Elizabeth II (/wiki/Queen_Elizabeth_II) in 2007. [36] (#cite_note-36) Other notable examples include the Gridiron Club Dinner (/wiki/Gridiron_Club_Dinner) in Washington, D.C. (/wiki/Washington,_D.C.) , the Alfred E. Smith Memorial Foundation Dinner (/wiki/Alfred_E._Smith_Memorial_Foundation_Dinner) in New York City (/wiki/New_York_City) , in additions to a few debutante balls (/wiki/List_of_d%C3%A9butante_balls_in_the_United_States) such as the International Debutante Ball (/wiki/International_Debutante_Ball) in New York City, and the Veiled Prophet Ball (/wiki/Veiled_Prophet_Ball) in St. Louis (/wiki/St._Louis) . In the southern United States, white tie is sometimes referred to as "costume de rigueur", adapted from French language (/wiki/French_language) due to the historical background of New France (/wiki/New_France) . It is sometimes used in invitations to masquerade balls (/wiki/Masquerade_ball) and Mardi Gras (/wiki/Mardi_Gras) celebrations, such as the Mardi Gras in Mobile (/wiki/Mardi_Gras_in_Mobile) in Alabama (/wiki/Alabama) , [37] (#cite_note-MBC-37) [38] (#cite_note-KB-38) or New Orleans Mardi Gras (/wiki/New_Orleans_Mardi_Gras) in Louisiana (/wiki/Louisiana) , emphasising the white tie expectations for men and full-length evening gowns (/wiki/Evening_gown) for ladies. [38] (#cite_note-KB-38) When the Metropolitan Museum of Art (/wiki/Metropolitan_Museum_of_Art) 's Costume Institute Gala (/wiki/Met_Gala) in New York City announced a white tie dress code in 2014, a number of media outlets pointed out the difficulty and expense of obtaining traditional white tie, even for the celebrity guests. [39] (#cite_note-39) [40] (#cite_note-40) Composition [ edit ] See also: Tailcoat § Dress coat (/wiki/Tailcoat#Dress_coat) According to the British etiquette guide Debrett's (/wiki/Debrett%27s) , the central components of full evening dress for men are a white marcella (/wiki/Piqu%C3%A9_(weaving)) shirt with a wing collar (/wiki/Collar_(clothing)) and single cuffs (/wiki/Cuff) , fastened with studs and cufflinks (/wiki/Cufflink) ; the eponymous white marcella bow tie (/wiki/Bow_tie) is worn around the collar, while a low-cut marcella waistcoat (/wiki/Waistcoat) is worn over the shirt. Over this is worn a black double-breasted barathea (/wiki/Barathea) wool or ultrafine herringbone (/wiki/Herringbone_(cloth)) tailcoat with silk faced peak lapels (/wiki/Lapel) . The trousers have two galon down the outside of both legs. The correct shoes are patent leather (/wiki/Patent_leather) court shoes (/wiki/Court_shoe) . Although a white scarf and evening overcoat remains popular in winter, the traditional white gloves, top hats (/wiki/Top_hats) , canes and cloaks are now rare. Women wear a full-length evening dress (/wiki/Evening_gown) , with the option of jewellery, a tiara, a pashmina, coat or wrap, and long white gloves (/wiki/Long_white_gloves) . The waistcoat should not be visible below the front of the tailcoat, which necessitates a medium or high waistline and often suspenders (braces) for the trousers. As one style writer for GQ (/wiki/GQ) magazine summarises "The simple rule of thumb is that you should only ever see black and white not black, white and black again". [41] (#cite_note-41) [42] (#cite_note-42) While Debrett's accepts double cuffs for shirts worn with white tie, [43] (#cite_note-debretts-43) most tailors and merchants suggest that single, linked cuffs are the most traditional and formal variation acceptable under the dress code. [44] (#cite_note-44) Double cuffs are not frequently worn or recommended with white tie. Decorations may also be worn and, unlike Debrett's , Cambridge University (/wiki/Cambridge_University) 's Varsity (/wiki/Varsity_(Cambridge)) student newspaper suggests a top hat, opera cloak and silver-topped cane are acceptable accessories. [45] (#cite_note-45) Gallery [ edit ] Official portrait of Brazilian President Getúlio Vargas (/wiki/Get%C3%BAlio_Vargas) (1930) Fred Astaire (/wiki/Fred_Astaire) portrait for film You'll Never Get Rich (/wiki/You%27ll_Never_Get_Rich) (1941) President John F. Kennedy (/wiki/John_F._Kennedy) and Mrs. Jacqueline Kennedy (/wiki/Jacqueline_Kennedy) with President Félix Houphouët-Boigny (/wiki/F%C3%A9lix_Houphou%C3%ABt-Boigny) and Madame Marie-Thérèse Houphouët-Boigny (/wiki/Marie-Th%C3%A9r%C3%A8se_Houphou%C3%ABt-Boigny) of the Ivory Coast (/wiki/Ivory_Coast) (1962) President Richard Nixon (/wiki/Richard_Nixon) with the Duchess of Windsor (/wiki/Duchess_of_Windsor) alongside the Duke of Windsor (/wiki/Duke_of_Windsor) in 1970 President of the United States (/wiki/President_of_the_United_States) Gerald Ford (/wiki/Gerald_Ford) , First Lady Betty Ford (/wiki/Betty_Ford) , Japanese Emperor Hirohito (/wiki/Emperor_Hirohito) and Empress Nagako (/wiki/Empress_K%C5%8Djun) during a state dinner, 1975 King Juan Carlos I (/wiki/King_Juan_Carlos_I) and President of Estonia Toomas Hendrik Ilves (/wiki/Toomas_Hendrik_Ilves) (2009) Swedish diplomat Sven Hirdman (/wiki/Sven_Hirdman) in diplomatic uniform (/wiki/Diplomatic_uniform) with ambassador Jaak Jõerüüt (/wiki/Jaak_J%C3%B5er%C3%BC%C3%BCt) of Estonia (/wiki/Estonia) in white tie and top hat (/wiki/Top_hat) (2011) Brazilian President Jair Bolsonaro (/wiki/Jair_Bolsonaro) at the enthronement ceremony of Japanese Emperor Naruhito (/wiki/Naruhito) (2019) References [ edit ] Citations [ edit ] ^ (#cite_ref-1) "White Tie Dress Code" (https://www.debretts.com/expertise/etiquette/dress-codes/white-tie-dress-code/) . Debrett's (/wiki/Debrett%27s) . Archived (https://web.archive.org/web/20200323101518/https://www.debretts.com/expertise/etiquette/dress-codes/white-tie-dress-code/) from the original on 23 March 2020 . Retrieved 5 April 2020 . ^ (#cite_ref-2) "Dress Code For Wedding Guests" (https://infinitybridesmaids.com.au/blog/dress-code-for-wedding-guests/) . infinitybridesmaids.com.au . 16 February 2021. ^ Jump up to: a b c d Marshall, Peter. "A Field Guide to Tuxedos" (http://www.slate.com/articles/arts/culturebox/2014/02/tuxedos_at_the_oscars_a_guide_to_appreciating_the_best_and_worst_menswear.html) . Slate . Archived (https://web.archive.org/web/20151001172525/http://www.slate.com/articles/arts/culturebox/2014/02/tuxedos_at_the_oscars_a_guide_to_appreciating_the_best_and_worst_menswear.html) from the original on 1 October 2015 . Retrieved 30 September 2015 . ^ (#cite_ref-4) Jenkins 2003, p. 886 ^ (#cite_ref-5) Carter 2011 ^ (#cite_ref-6) Williams 1982, p. 122 ^ (#cite_ref-7) Jenkins 2003, p. 887 ^ (#cite_ref-8) Jenkins 2003, pp. 888, 890 ^ (#cite_ref-9) Schoeffler 1973, p. 166 ^ (#cite_ref-10) Schoeffler 1973, p. 168 ^ Jump up to: a b The Delineator (https://books.google.com/books?id=c6EeAQAAMAAJ) , vol. 128 (1936), p. 57 ^ (#cite_ref-12) Emily Post (1922). Etiquette in Society, in Business, in Politics and at Home (https://www.gutenberg.org/files/14314/14314-h/14314-h.htm) Archived (https://web.archive.org/web/20160119140552/http://www.gutenberg.org/files/14314/14314-h/14314-h.htm) 19 January 2016 at the Wayback Machine (/wiki/Wayback_Machine) . New York and London: Funk and Wagnalls co. chap. vi, xxxiv ^ (#cite_ref-13) Schoeffler 1973, pp. 169–170 ^ (#cite_ref-14) "Evening suit" (http://www.metmuseum.org/collection/the-collection-online/search/82170) . The Metropolitan Museum of Art . Archived (https://web.archive.org/web/20151002151210/http://www.metmuseum.org/collection/the-collection-online/search/82170) from the original on 2 October 2015 . Retrieved 1 October 2015 . ^ (#cite_ref-15) Schoeffler 1973, p. 170 ^ (#cite_ref-16) Lillian Eichler Watson (/wiki/Lillian_Eichler_Watson) (1953). New Standard Book of Etiquette . New York: Garden Publishing Company. p. 358 ^ (#cite_ref-17) Willcock, John (6 June 1996). "A black day for white tie at the Lord Mayor's banquet" (https://www.independent.co.uk/news/business/a-black-day-for-white-tie-at-lord-mayors-banquet-1335722.html) . The Independent . Archived (https://web.archive.org/web/20151001225000/http://www.independent.co.uk/news/business/a-black-day-for-white-tie-at-lord-mayors-banquet-1335722.html) from the original on 1 October 2015 . Retrieved 30 September 2015 . ^ (#cite_ref-18) "The Dress Code at the Nobel Banquet" (https://www.nobelprize.org/ceremonies/dresscode/) . Nobel Prize . Nobel Foundation. 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Archived (https://web.archive.org/web/20181117140213/https://www.masons.org.au/) from the original on 17 November 2018 . Retrieved 20 November 2018 . ^ (#cite_ref-27) "President Obama hosts star-studded farewell dinner" (https://www.bbc.co.uk/news/uk-13554520) . BBC News. 25 May 2011. Archived (https://web.archive.org/web/20141027024441/http://www.bbc.co.uk/news/uk-13554520) from the original on 27 October 2014 . Retrieved 30 September 2015 . ^ (#cite_ref-28) Gammell, Caroline (31 October 2007). "Protests, pomp and a PM in white tie" (https://www.telegraph.co.uk/news/uknews/1567920/Protests-pomp-and-a-PM-in-white-tie.html) . Daily Telegraph . Archived (https://web.archive.org/web/20151005213246/http://www.telegraph.co.uk/news/uknews/1567920/Protests-pomp-and-a-PM-in-white-tie.html) from the original on 5 October 2015 . 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The Oxford Student (/wiki/The_Oxford_Student) . Archived (https://web.archive.org/web/20151001164355/http://oxfordstudent.com/2014/04/01/mr-shan-menswear-on-white-tie/) from the original on 1 October 2015 . Retrieved 30 September 2015 . ^ (#cite_ref-33) "Review: White Tie Reeling Ball" (http://thetab.com/uk/stand/2014/11/14/review-white-tie-reeling-ball-11659) . The Tab . 14 November 2014. Archived (https://web.archive.org/web/20170304194006/http://thetab.com/uk/stand/2014/11/14/review-white-tie-reeling-ball-11659) from the original on 4 March 2017 . Retrieved 4 March 2017 . ^ (#cite_ref-34) https://www.eusa.ed.ac.uk/activities/view/reelingclub (https://www.eusa.ed.ac.uk/activities/view/reelingclub) ^ (#cite_ref-35) "Academic dress | University of Oxford" (https://www.ox.ac.uk/students/academic/dress) . www.ox.ac.uk . Retrieved 16 March 2023 . ^ (#cite_ref-36) Stolberg, Sheryl Gay (8 May 2007). "A White-Tie Dinner for Queen's White House Visit" (https://www.nytimes.com/2007/05/08/washington/08queen.html?_r=0) . The New York Times (/wiki/The_New_York_Times) . Archived (https://web.archive.org/web/20130429001507/http://www.nytimes.com/2007/05/08/washington/08queen.html?_r=0) from the original on 29 April 2013 . Retrieved 30 September 2015 . ^ (#cite_ref-MBC_37-0) "Mardi Gras Terminology", Mobile Bay Convention and Visitors Bureau, 2009, webpage: MG-terms (http://www.mobile.org/vis_mardigras_terms.php) Archived (https://web.archive.org/web/20071209165238/http://www.mobile.org/vis_mardigras_terms.php) 9 December 2007 at the Wayback Machine (/wiki/Wayback_Machine) . ^ Jump up to: a b KbD "Le Krewe de Bienville" (http://www.krewedebienville.com/tickets.html) . KrewedeBienville.com . 2011. 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Archived from the original (https://www.varsity.co.uk/fashion/archives/fix-up-look-sharpe-dress-codes) on 12 September 2015 . Retrieved 29 September 2015 . Bibliography [ edit ] Philip Carter (January 2011). "Brummell, George Bryan (Beau Brummell) (1778–1840)" (http://www.oxforddnb.com/view/article/3771) . Oxford Dictionary of National Biography , online ed. (subscription or UK public library membership required). Retrieved 28 September 2015. doi (/wiki/Doi_(identifier)) : 10.1093/ref:odnb/3771 (https://doi.org/10.1093%2Fref%3Aodnb%2F3771) D. T. Jenkins (2003). Cambridge History of Western Textiles (https://books.google.com/books?id=ZljldSpV28UC) , vol. 1. Cambridge: Cambridge University Press. ISBN (/wiki/ISBN_(identifier)) 978-0521341073 (/wiki/Special:BookSources/978-0521341073) O. E. Schoeffler (1973). Esquire's encyclopedia of 20th century men's fashions . New York: McGraw-Hill ISBN (/wiki/ISBN_(identifier)) 978-0070554801 (/wiki/Special:BookSources/978-0070554801) Rosalind H. Williams (/wiki/Rosalind_H._Williams) (1982). Dream Worlds: Mass Consumption in Late Nineteenth-century France (https://books.google.com/books?id=Q9tTSLJ7EXQC) . Berkeley and Los Angeles, CA: University of California Press. ISBN (/wiki/ISBN_(identifier)) 978-0520043558 (/wiki/Special:BookSources/978-0520043558) External links [ edit ] Wikimedia Commons has media related to White tie (https://commons.wikimedia.org/wiki/Category:White_tie) . 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Style of clothes prescribed for courts of law This article is about dress for courts of law. For dress for royal courts, see Court uniform and dress (/wiki/Court_uniform_and_dress_(disambiguation)) . For the racehorse, see Court Dress (horse) (/wiki/Court_Dress_(horse)) . This article needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/Court_dress) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed. Find sources: "Court dress" (https://www.google.com/search?as_eq=wikipedia&q=%22Court+dress%22) – news (https://www.google.com/search?tbm=nws&q=%22Court+dress%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Court+dress%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Court+dress%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Court+dress%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Court+dress%22&acc=on&wc=on) ( June 2011 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) An example of court wig and gown worn by Judge George William Paul of the Colony of Queensland (/wiki/Colony_of_Queensland) , 1874 Part of a series (/wiki/Category:Formal_wear) on Western dress codes (/wiki/Western_dress_codes) and corresponding attires (/wiki/Clothing) Formal (/wiki/Formal_wear) ( full dress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) ) White tie (/wiki/White_tie) Morning dress (/wiki/Morning_dress) Full dress uniform (/wiki/Full_dress_uniform) Frock coat (/wiki/Frock_coat) Evening gown (/wiki/Evening_gown) Ball gown (/wiki/Ball_gown) Semi-formal (/wiki/Semi-formal_wear) ( half dress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) ) Black tie (/wiki/Black_tie) Black lounge suit (/wiki/Black_lounge_suit) Mess dress uniform (/wiki/Mess_dress_uniform) Evening gown (/wiki/Evening_gown) Cocktail dress (/wiki/Cocktail_dress) Informal (/wiki/Informal_wear) ( undress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) , "dress clothes") Suit (/wiki/Suit) Service dress uniform (/wiki/Service_dress_uniform) Cocktail dress (/wiki/Cocktail_dress) Pantsuit (/wiki/Pantsuit) Casual (/wiki/Casual_wear) (anything not above) Business casual (/wiki/Business_casual) Casual Friday (/wiki/Casual_Friday) Combat uniform (/wiki/Combat_uniform) Smart casual (/wiki/Smart_casual) Workwear (/wiki/Workwear) Streetwear (/wiki/Streetwear) Sportswear (/wiki/Sportswear) known as Sportswear (fashion) (/wiki/Sportswear_(fashion)) and Athleisure (/wiki/Athleisure) Undress (/wiki/Undress_code) Supplementary alternatives Ceremonial dress (/wiki/Ceremonial_dress) law courts royal courts (/wiki/Court_uniform_and_dress_in_the_United_Kingdom) diplomatic (/wiki/Diplomatic_uniform) academic (/wiki/Academic_dress) , etc. Religious clothing (/wiki/Religious_clothing) cassock (/wiki/Cassock) , habit (/wiki/Religious_habit) , etc. Folk costume (/wiki/Folk_costume) Distinctions Orders (/wiki/Order_(distinction)) medals (/wiki/Medal) , etc. Legend: = Day (before 6 p.m.) = Evening (after 6 p.m.) = Bow tie (/wiki/Bow_tie) colour = Ladies = Gentlemen Fashion portal (/wiki/Portal:Fashion) v t e Court dress comprises the style of clothes (/wiki/Clothes) and other attire prescribed for members of courts of law (/wiki/Court) . Depending on the country and jurisdiction's traditions, members of the court (/wiki/Court) ( judges (/wiki/Judge) , magistrates (/wiki/Magistrate) , and so on) may wear formal robes, gowns, collars, or wigs (/wiki/Wig) . Within a certain country and court setting, there may be many times when the full formal dress is not used. Examples in the UK include many courts and tribunals including the Supreme Court of the United Kingdom, and sometimes trials involving children. Commonwealth countries [ edit ] Short wigs as worn in court by advocates (left) and judges (right) in several Commonwealth countries United Kingdom [ edit ] The Supreme Court [ edit ] Main article: Justice of the Supreme Court of the United Kingdom § Dress (/wiki/Justice_of_the_Supreme_Court_of_the_United_Kingdom#Dress) Members of the old Judicial Committee of the House of Lords (/wiki/Judicial_Committee_of_the_House_of_Lords) (or "Law Lords") and the Judicial Committee of the Privy Council (/wiki/Judicial_Committee_of_the_Privy_Council) never wore court dress (although advocates appearing before them did). Instead, they were dressed in ordinary business clothing in accordance with the fashion of their time. Since the creation of the Supreme Court of the United Kingdom (/wiki/Supreme_Court_of_the_United_Kingdom) in 2009, the Justices of that court have retained the Law Lords' tradition of sitting unrobed. On ceremonial occasions they wear a robe (/wiki/Robe) of black damask (/wiki/Damask) embellished with gold with the badge of the Supreme Court embroidered at the yoke (/wiki/Yoke_(clothing)) . In 2011, the Supreme Court provided that counsel may jointly agree to dispense with some or all of the traditional elements of court dress at sittings. [1] (#cite_note-Gordon-1) Thus, at many sittings since then, all justices and counsel present have been attired in ordinary business suits (/wiki/Suit) . England and Wales [ edit ] Where court dress is worn [ edit ] Court dress is worn at hearings in open court in many sittings of Senior Courts of England and Wales (/wiki/Senior_Courts_of_England_and_Wales) and in the County Court (/wiki/County_Court_(England_and_Wales)) . It is not worn in the Technology and Construction Court, nor in the Commercial Court. Further, in any court formal dress may be dispensed with at the option of the judge (/wiki/Judge) , e.g. in very hot weather, and invariably where it may intimidate children, e.g., in the Family Division (/wiki/Family_Division) and at the trials of minors. Court dress is not worn at hearings in chambers (/wiki/Hearing_in_chambers) or in magistrates' courts (/wiki/Magistrates%27_court_(England_and_Wales)) , nor in tribunals. Reform [ edit ] In July 2007, Lord Phillips of Worth Matravers (/wiki/Nicholas_Phillips,_Baron_Phillips_of_Worth_Matravers) , the Lord Chief Justice of England and Wales (/wiki/Lord_Chief_Justice_of_England_and_Wales) , announced that changes would be made to court working dress in the English and Welsh courts. The reforms were due to take effect on 1 January 2008; however, following reports of strong opposition to the proposed changes, they were delayed, eventually taking effect in autumn 2008. [2] (#cite_note-2) The new robes for judges were designed by Betty Jackson (/wiki/Betty_Jackson) and unveiled in May 2008, [3] (#cite_note-3) although a survey of judges published in March 2009 revealed substantial opposition to the new designs, as well as widespread annoyance at the lack of consultation prior to the change. [4] (#cite_note-4) [5] (#cite_note-5) The Chairman of the Bar (/wiki/General_Council_of_the_Bar) announced in April 2008 that, as a result of a survey of the profession, the Bar would recommend that advocates should retain their existing formal robes (including wigs) in all cases, civil and criminal, with possible exceptions in the County Court. In a letter to the profession, he said (in part): Criminal barristers will keep wigs and gowns, as the Lord Chief Justice intends to keep the current court dress in criminal proceedings. The Bar is a single advocacy profession with specialisation in particular practice areas. There is logic in having the same formal court dress, where formality and robes are required, for criminal and civil barristers... There is strong identification of the Bar of England and Wales in the public's mind and its formal dress nationally and internationally. For the most part, the changes only affect what is worn by judges in civil courts, who now wear a simplified robe and no wig. Dress worn in criminal courts remains largely unchanged. The changes have been reflected in the dress allowances made to judges (while the one-off cost of supplying the new civil gown was estimated at about £200,000, annual savings in the region of £300,000 were projected). Advocates [ edit ] Barristers (short wig) and King's Counsels (in full ceremonial dress with long wig) English and Welsh advocates (whether barristers (/wiki/Barrister) , solicitors (/wiki/Solicitor) or other authorised lawyers such as chartered legal executive (/wiki/Chartered_legal_executive) advocates with the appropriate right of audience) who appear before a judge who is robed must themselves be robed. All male advocates wear a white stiff wing collar (/wiki/Detachable_collar) with bands (/wiki/Bands_(neckwear)) (two strips of cotton about 5 by 1 in (127 by 25 mm) hanging down the front of the neck). They also wear either a dark double-breasted suit (or with waistcoat (/wiki/Waistcoat) if single-breasted) or a black coat and waistcoat and black or grey morning dress striped trousers ( black lounge suit (/wiki/Black_lounge) ). The black coat and waistcoat can be combined into a single garment, which is simply a waistcoat with sleeves, known as a bar jacket (/w/index.php?title=Bar_jacket&action=edit&redlink=1) or court waistcoat. Female advocates also wear a dark suit, but often wear bands attached to a collarette rather than a wing collar (/wiki/Wing_collar) . Junior barristers [ edit ] Junior barristers wear an open-fronted black gown with open sleeves, gathered and decorated with buttons and ribbons, and a gathered yoke, over a black or dark suit, hence the archaic term stuffgownsman for juniors. In addition, barristers wear a short horsehair wig (/wiki/Wigs#18th_century) with curls at the side and ties down the back. Solicitors [ edit ] Solicitors wear the same wing collar with bands, or collarette, as barristers. Their gowns are of a slightly different style, with a square collar and without gathered sleeves. By virtue of the Consolidated Criminal Practice Direction at I.1.1 (as amended by Practice Direction (Court Dress) (No4) [2008] 1 WLR 257), "Solicitors and other advocates authorised under the Courts and Legal Services Act 1990 ... may wear short wigs in circumstances where they would be worn by King's Counsel or junior counsel." Other qualified advocates, such as chartered legal executive advocates, will wear the same attire as a solicitor. King's Counsel [ edit ] Caricature of a KC (/wiki/King%27s_Counsel) in court dress Barristers or solicitors who have been appointed King's Counsel (/wiki/King%27s_Counsel) ("KCs") wear a silk gown with a flap collar and long closed sleeves (the arm opening is half-way up the sleeve). For this reason, barristers who are appointed King's Counsel are said to have "taken silk", and KCs themselves are colloquially called "silks". The KC's black coat, known as a court coat (/wiki/Court_uniform_and_dress_in_the_United_Kingdom) , is cut like 18th-century court dress and the sleeve of the KC's court coat or bar jacket has a turned back cuff with three buttons across. On special ceremonial occasions (such as the opening of the legal year (/wiki/Legal_year) ), KCs wear (in addition to their court coat, waistcoat and silk gown) a long wig, black breeches (/wiki/Breeches) , silk stockings and buckled shoes, lace cuffs and a lace jabot (/wiki/Jabot_(neckwear)) instead of bands. Judges [ edit ] Judicial robes have always exhibited variety depending on the status of the judge, the type of court and other considerations. In addition to robes, judges have generally worn a short bench wig when working in court (reserving the long wig for ceremonial occasions) and a wing collar and bands at the neck. All judges in criminal cases continue to wear these traditional forms of dress, which are described in more detail below. Judges in civil and family cases, however, have since 2008 worn a new design of working robe with no wig, collar or bands; this plain, dark, zipped gown (of 'midnight blue gabardine with facings in navy blue velvet') is worn over an ordinary business suit and tie. The status of the wearer is indicated by a pair of different colored tabs below the collar: Appeal Court (/wiki/Court_of_Appeal_of_England_and_Wales) judges wear gold tabs, High Court judges (/wiki/High_Court_judge_(England_and_Wales)) wear red tabs, Masters (/wiki/Senior_Master) and Insolvency and Companies Court Judges (/wiki/Judiciary_of_England_and_Wales) of the High Court (/wiki/High_Court_of_Justice) wear pink, and District judges (/wiki/Judiciary_of_England_and_Wales#District_judges) wear blue. It was originally envisaged that Circuit judges (/wiki/Circuit_judge_(England_and_Wales)) sitting in the High Court would likewise adopt the new-style robe with purple tabs, but they opted to retain their violet robe as worn in the County Court. [6] (#cite_note-6) On special ceremonial occasions (such as the opening of the legal year (/wiki/Legal_year) ) more elaborate forms of traditional dress are worn, by civil and criminal judges alike. The Lord Chief Justice [ edit ] The Lord Chief Justice The Lord Chief Justice (/wiki/Lord_Chief_Justice_of_England_and_Wales) , when robed, dresses like a High Court Judge (see below) with the distinction of a train (/wiki/Train_(clothing)) to his scarlet (/wiki/Scarlet_(color)) robe. On ceremonial occasions he wears the scarlet and fur hood (/wiki/Hood_(headgear)) and mantle (/wiki/Mantle_(clothing)) , and in addition a gold chain of office (/wiki/Chain_of_office) in the form of a collar of esses (/wiki/Collar_of_esses) . (Summer robes, with grey silk in place of the fur, were formerly routinely worn for part of the year and are still used on occasion.) [7] (#cite_note-7) Lords Justices of Appeal [ edit ] Main article: Court of Appeal judge (England and Wales) § Court dress (/wiki/Court_of_Appeal_judge_(England_and_Wales)#Court_dress) Lords Justices of Appeal, full ceremonial dress, 2013 Judges in the Court of Appeal (/wiki/Court_of_Appeal_of_England_and_Wales) , Criminal Division, wear the same black silk gown and court coat as KCs, together with the short bench wig. Judges of the Civil Division did likewise until 2008, but they now wear the new-style robe. The use of plain black gowns in the Court of Appeal dates from the origin of the Court in the 1870s, when it was populated by Chancery judges who were accustomed to this form of dress. [8] (#cite_note-gov.uk-8) On ceremonial occasions, all Judges of the Court of Appeal wear the full-bottomed wig, together with a black silk damask gown, trained and heavily embellished with gold embroidery, over court coat, lace cuffs and jabot, black breeches, stockings and buckled shoes. High Court Judges [ edit ] High Court Judges in full ceremonial dress, 2013 On ceremonial occasions, all High Court judges wear the traditional full-bottom wig and the furred scarlet robe (as described below, with scarf, girdle, and tippet), with a matching hood and mantle in addition. Underneath, breeches are worn with stockings and buckled shoes. The judicial black cap (/wiki/Black_cap) is carried. King's Bench Division: When dealing with first-instance criminal business a High Court (/wiki/High_Court_of_Justice) judge of the King's Bench (/wiki/Court_of_King%27s_Bench_(England)) Division wears a scarlet robe with fur facings, a black scarf and girdle (waistband), and a scarlet "casting-hood" ( tippet (/wiki/Tippet) ) worn over the shoulder. In addition, the judge wears a wing collar, bands, and a short wig. (Prior to 2008 this robe was only worn in the winter months; in summer months a different scarlet robe was worn, with grey silk facings in place of the fur. The "summer" robe is no longer routinely provided, but its use is still permitted in court.) [9] (#cite_note-9) In civil cases, High Court judges wear the new-style robe with red tabs at the collar, and no wig, collar, or bands. Before 2008, these judges wore: in winter a black robe faced with fur, a black scarf and girdle, and a scarlet tippet; and in summer a violet robe faced with silk, with the black scarf and girdle and scarlet tippet. On red letter days (/wiki/Red_letter_day) (which include the Sovereign (/wiki/Monarch) 's birthday and certain saints' days), all judges of the King's Bench Division wear their scarlet robes. Chancery and Family Divisions: Until 2008, when working in court, judges in the Family (/wiki/Family_Division) and Chancery (/wiki/Chancery_Division) divisions of the courts wore the same black silk gown and court coat or bar jacket as KCs. Since autumn 2008 they too (if robed) have worn the new design of robe in court. High Court Masters and Insolvency and Companies Court Judges: Masters (in both the King's Bench Division and Chancery Division) and Insolvency and Companies Court Judges (in the Chancery Division) formerly wore black gowns, white collar and bands, with short wigs, when sitting in open court. Since 2008 they wear the new design of civil robe with pink tabs at the neck and no longer wear wigs. Ceremonially, they wear a black court court, waistcoat, and gown, with black breeches, stockings, buckled shoes, white lace jabot and cuffs, and a long wig, similar to the ceremonial costume of King's Counsel. Circuit judges [ edit ] Circuit judges in full ceremonial dress, 2013 Circuit judges (in the County Courts or the Crown Court (/wiki/Crown_Court) ) wear a violet robe with lilac facings, introduced in 1919. [8] (#cite_note-gov.uk-8) As well as a girdle, the judges wear a tippet (sash) over the left shoulder - lilac when dealing with civil business and red when dealing with crime. Since autumn 2008, circuit judges in the County Court have not worn wigs, wing collars or bands; however, circuit judges in the Crown Court retain the wig, wing collars and bands. Prior to introduction of the violet robe, Circuit judges usually wore a plain black gown and short wig; this older tradition has been retained by the Central Criminal Court (/wiki/Central_Criminal_Court,_London) . [8] (#cite_note-gov.uk-8) On ceremonial occasions, circuit judges in addition to their violet robes wear a matching hood, long wig, black breeches (/wiki/Breeches) , stockings and buckled shoes, and a lace jabot (/wiki/Jabot_(neckwear)) instead of bands. District judges [ edit ] New zip-up robe, as worn by District Judges on a ceremonial occasion Since autumn 2008, district judges in the county courts have worn the new-style robe, with the rank of district judge indicated by blue tabs on the facings of the robe by the collar. On ceremonial occasions, district judges wear their ordinary robe together with a short, bar wig. District judges (magistrates' courts) continue to sit without robes. Court officers [ edit ] Court clerks (/wiki/Court_clerks) in the Crown Court, if a High Court judge is sitting, wear wig, black gown, wing collar (or collarette) and bands; if a circuit judge is sitting they wear the same outfit without a wig. Plain business dress is worn in the County Court. [10] (#cite_note-10) Court ushers (/wiki/Court_usher) generally wear a simple black gown over plain business dress. Scotland [ edit ] Lord Braxfield (/wiki/Lord_Braxfield) , Lord Justice Clerk 1776–1799 See also: Courts of Scotland (/wiki/Courts_of_Scotland) Scottish court dress is very similar to English court dress, but there are notable differences. For example, male Scottish advocates wear tail coats under their gowns, and wear white bow ties instead of bands. Female advocates wear dark formal clothing under their gowns but no neckwear. KCs and judges wear long scarf-like ties (known as falls) instead of bands. Scottish judicial robes are very different from English ones. Senators of the College of Justice (/wiki/Senators_of_the_College_of_Justice) are Scotland's senior judges; they sit in both the Court of Session (/wiki/Court_of_Session) (Scotland's top civil court) and the High Court of Justiciary (/wiki/High_Court_of_Justiciary) (Scotland's top criminal court). Judicial robes in the Court of Session are dark red, faced with red crosses (a stylised representation of what were once ribbons used to fasten the gown). [11] (#cite_note-11) Judicial robes in the High Court of Justiciary are predominantly white and red, faced with red crosses over the white. The white and red robe of the Lord Justice Clerk (/wiki/Lord_Justice_Clerk) is differentiated by many small perforations in the white satin (/wiki/Satin) , through which the red cloth shows giving an ermine-like impression. The Lord Justice General (/wiki/Lord_Justice_General) wears a red robe and hood (without crosses) edged in ermine (black-spotted white fur). Sheriffs (who preside over Sheriff Courts (/wiki/Sheriff_Court) ) wear the black gowns which they formerly used in practice (silk gowns for KCs; stuff gowns for advocates and solicitor-advocates), with falls in place of the bow-tie. Australia [ edit ] Margaret Battye (/wiki/Margaret_Battye) , 1930s Australian court dress In Australia (/wiki/Australia) , court dress varies according to the jurisdiction. Judges in all Australian courts will not usually wear court dress for procedural or chambers proceedings. In the High Court of Australia (/wiki/High_Court_of_Australia) , justices wear plain black robes with zippered fronts over normal attire. The robes are similar in appearance to those worn by Justices of the Supreme Court of the United States (/wiki/Supreme_Court_of_the_United_States) , although they are more elaborately tailored. These robes have been worn since 1988, when the High Court abandoned the previous court dress of black silk robes, bar jackets, jabots (/wiki/Jabot_(neckwear)) or bands and full-bottomed wigs and lace cuffs on formal occasions and bench wigs for ordinary business attire. In the High Court of Australia, barristers wear the same dress as is required by the Supreme Court in their jurisdiction. In the Federal Court of Australia (/wiki/Federal_Court_of_Australia) , judges no longer wear traditional court dress, but wear black wool robes with a black trim for 'first instance' work, and black wool robes with a red trim for appeal cases. These robes were adopted in 1997 and were designed by Bill Haycock (/w/index.php?title=Bill_Haycock&action=edit&redlink=1) . The robes have seven horizontal tucks or "ombres" on one side, representing the six Australian States and the territories. They also serve to symbolise Australia's federal constitution and the federal jurisdiction of the Court. The robes also include a vertical band of black silk made up of seven equal parts, also symbolizing Australia's federal system and equality before the law. For a matter heard in the Federal Court of Australia, barristers robe (but without a wig) if it is the usual practice to robe in the Supreme Court of the state or territory in which the matter is being heard. Judges and judicial registrars of the Family Court of Australia (/wiki/Family_Court_of_Australia) wear a black silk gown, a bar jacket with either bands or a jabot and a bench wig. On formal occasions, judges wear full-bottomed wigs. Judges of the Federal Circuit Court of Australia (/wiki/Federal_Circuit_Court_of_Australia) wear a plain black gown in court without a wig. Prior to 2010, counsel did not robe before the Federal Circuit Court of Australia. Barristers are now expected to robe for most hearings, but not for interlocutory or interim matters. Wigs are not worn on any occasion. [12] (#cite_note-12) Judges of the supreme courts of the states and territories of Australia wear court dress similar to that worn by judges of the High Court of England and Wales (/wiki/High_Court_of_England_and_Wales) . On formal occasions, judges wear red scarlet robe with white fur facings, bands or a jabot, a black scarf and girdle and a scarlet casting-hood, with a full-bottomed wig. Unlike judges in the United Kingdom, judges in Australia never wear breeches, hose and buckled shoes. When sitting in criminal proceedings, judges wear scarlet robes with grey silk facings, bands or a jabot and a bench wig. When sitting in appeal or in civil proceedings, judges and masters wear a black silk gown, a bar jacket with either bands or a jabot and a bench wig. In some jurisdictions, the wearing of wigs has been abandoned for other than formal occasions. Judges of the Land and Environment Court of New South Wales (/wiki/Land_and_Environment_Court_of_New_South_Wales) and judges sitting in the Workers' Compensation Court of NSW (/w/index.php?title=Workers%27_Compensation_Court_of_NSW&action=edit&redlink=1) and the Dust Diseases Tribunal of New South Wales (/wiki/Dust_Diseases_Tribunal_of_New_South_Wales) wear the same court dress as a judge of the Supreme Court sitting civilly. Judges of the district or county courts of the states of Australia wear court dress similar to that worn by judges of the County Court of England and Wales. Stipendiary Magistrates and justices of the peace do not robe, other than in NSW where they have worn a black robe over normal business attire since 2005. Barristers (/wiki/Barristers) in all Australian jurisdictions, when required to do so, wear court dress similar to that worn in the United Kingdom. King's Counsel (/wiki/King%27s_Counsel) or Senior Counsel (/wiki/Senior_Counsel) wear a black silk gown, a bar jacket, bands or a jabot and a horsehair wig with curls at the side and ties down the back. On formal occasions, they wear full-bottomed wigs. In addition Victorian Senior Counsel wear a black rosette hanging from the back of their gown. Junior Counsel wear an open-fronted black stuff gown with open sleeves and a gathered yoke, and otherwise wear the same outfit as Senior Counsel (other than full-bottomed wigs). Counsel usually wear dark trousers or striped trousers, or a dark skirt for female barristers. Barristers will not usually robe for procedural hearings (which are called 'directions hearings' in South Australia). Solicitors, in those jurisdictions where the legal profession is not fused (/wiki/Fused_profession) (such as New South Wales (/wiki/New_South_Wales) and Queensland (/wiki/Queensland) ) do not robe when appearing in court, even before superior courts. In those States and Territories with fused professions, solicitors robe in situations where barristers would normally wear robes. In 2010, the Chief Justice of Western Australia, Wayne Martin (/wiki/Wayne_Martin_(judge)) , introduced major reforms for Western Australian Courts; in the District Court, wigs were abolished for both lawyers and judges. [13] (#cite_note-WAJudgesDitchWigs-13) District Court judges and lawyers maintained their robes. In the Supreme Court Criminal Jurisdiction, traditional judges' red robes were replaced with American-style plain black robes; this also applied to all appeal courts. Wigs were abolished in all Supreme Courts for both judges and lawyers. This change was met with sadness by some members of the legal fraternity in the state, [13] (#cite_note-WAJudgesDitchWigs-13) as it ended over 180 years of tradition in Western Australia. In Victoria, the Chief Justice of Victoria (/wiki/Chief_Justice_of_Victoria) has the power to make decisions about the attire of judges in courts, while decisions about what barristers wear are a matter for the Victorian Bar (/wiki/Victorian_Bar) . In April 2016, the Chief Justice of Victoria Marilyn Warren (/wiki/Marilyn_Warren) , issued an edict that Victorian Supreme Court judges will no longer wear wigs from May 1 that year. [14] (#cite_note-14) Since then, use of wigs has been declining in Victorian courts; as of August 2021, only 13 out of 70 County Court judges continue to wear wigs, with barristers only wearing wigs when the judge does. [15] (#cite_note-15) Canada [ edit ] R. B. Bennett (/wiki/R._B._Bennett) , the 11th Prime Minister of Canada (/wiki/Prime_Minister_of_Canada) , in his barristers gown. Lawyers appearing before the Federal Court or the Tax Court of Canada are required to wear a gown. In Canada (/wiki/Canada) , court dress is identical to that previously (pre-2008) in use in England, except that wigs are not worn. Wigs were worn in early courts but phased out beginning in the mid-19th century with last holdouts British Columbia (/wiki/British_Columbia) (1905) and Newfoundland and Labrador (/wiki/Newfoundland_and_Labrador) (upon joining Canada in 1949)). Bar jackets are worn under the gown, though KCs and judges have more elaborate cuffs than other lawyers. Barristers are required to gown for the Courts of Appeal and Superior-level courts of the provinces and territories, unless appearing on applications in chambers, on some family court matters, in Small Claims Court or before Masters. The Federal Court and the Tax Court of Canada (/wiki/Tax_Court_of_Canada) at the general procedure level require barristers to gown. As well, gowns are required at the Federal Court of Appeal (/wiki/Federal_Court_of_Appeal) and the Supreme Court of Canada (/wiki/Supreme_Court_of_Canada) . The donning of business attire is acceptable by barristers appearing in chambers and in inferior (/wiki/Courts_of_Canada#Provincial_and_territorial_("inferior")_courts) (puisne) provincial and territorial courts; court dress is also permitted, though rarely worn, with the exception of Quebec where gowns are standard practice in the Court of Quebec (/wiki/Court_of_Quebec) . Judges of the Supreme Court of Canada wear scarlet robes with white fur trim on ceremonial occasions together with black tricorne hats (/wiki/Tricorne) ; however, they wear black gowns with white neck band tabs when hearing cases. Judges of all other federal and provincial courts wear black gowns, sometimes adorned with various sashes and crests which depend on the level of court and the province in which the case is heard. All Canadian judges also wear black court waistcoats with white collar and tabs. Cyprus [ edit ] In Cyprus (/wiki/Cyprus) , the courts have upheld the traditions of wearing black and white. All judges and advocates, equally, wear a black suit, black trousers, black shoes, white shirt, a white neck band, and a black gown. This applies to all the courts of Cyprus. The regulations in the Cypriot courts come from the past that Cyprus had as a British Colony. Gibraltar [ edit ] A judge of the Supreme Court of Gibraltar (/wiki/Judiciary_of_Gibraltar) (scarlet robe, summer pattern) Justice Alnashir Visram of Kenya (/wiki/Judiciary_of_Kenya) English-style robes are worn in the Supreme Court of Gibraltar (/wiki/Court_system_of_Gibraltar) . India [ edit ] In India (/wiki/India) , the courts have upheld the traditions of wearing black and white. Male judges wear white shirts and trousers with a white neck band and a black coat, whilst female judges normally choose to wear the traditional sari (/wiki/Sari) , and pair it with a white neck band and a black coat. Male lawyers are required to wear either: A black buttoned up coat, chapkan (/w/index.php?title=Chapkan&action=edit&redlink=1) , achkan (/wiki/Achkan) , black sherwani (/wiki/Sherwani) and white bands with Advocates' gowns (/w/index.php?title=Advocate%27s_gown&action=edit&redlink=1) A black open breast coat, white shirt, white collar, stiff or soft, and white bands with Advocates' gowns In either case, they can wear long trousers (white, black striped or grey) or dhoti (/wiki/Dhoti) , but not jeans (/wiki/Jeans) . Female lawyers are required to wear either: Black full sleeve jacket or blouse, white collar stiff or soft, with white bands and Advocates' gowns; White blouse, with or without collar, with white bands, a black open breast coat and Advocates' gowns; or A sari or long skirt (white or black or any mellow or subdued colour without any print or design) or flare (white, black or black striped or grey) with white bands, a black coat and Advocates' gowns; or Churidar kurta ( Punjabi dress (/wiki/Punjabi_dress) ) or salwar-kurta (/wiki/Salwar_kurta) with or without dupatta (/wiki/Dupatta) (white or black) or traditional dress with white bands, a black coat and Advocates' gowns. Exemptions [ edit ] In courts other than the Supreme Court, high courts, district courts, sessions courts or city civil courts, a black tie may be worn instead of bands. Wearing of an advocates' gown is optional except when appearing in the Supreme Court or in high courts. Except in the Supreme Court or High Courts, wearing of a black coat is not mandatory during summer. Other features [ edit ] Neither the judges nor the lawyers wear wigs. Both judges and lawyers wear a long black robe termed as the 'gown'. Lawyers are supposed to wear a gown having the barrister's pouch (/w/index.php?title=Barrister%27s_pouch&action=edit&redlink=1) at the back. However, in certain courts, junior advocates do not have the pouch but have a flap instead (akin to a solicitor's gown but with short sleeves). Judges and senior advocates are distinguished by the extended sleeves on their gowns (i.e. they wear a traditional solicitor's gown) and not necessarily the KC gown as the material is not always ' silk (/wiki/Silk) ' and may also be of stuff (/wiki/Stuff_(cloth)) . Judges and senior advocates are also distinguished by the different coat which is like a full sleeved vest or waistcoat (/wiki/Waistcoat) . [16] (#cite_note-16) Malaysia [ edit ] Court dress in Malaysia is based on English court dress, with some modifications. Since the 1990s, judges no longer wear wigs, wing collars and bands but instead wear a waterfall cravat with court coat and black silk gown. Ceremonial robes for judicial office-bearers are generally black with gold lace, and include a Malay songkok (/wiki/Songkok) . Counsel in Malaysia dress as English junior barristers do, but do not wear wigs. Prior to the 1980s, counsel serving in the government legal service wore wigs. Counsel in private practice have never done so. However, some counsels in East Malaysia still wear wigs as part of their court dress. New Zealand [ edit ] In New Zealand (/wiki/New_Zealand) , court dress was simplified in 1996. District Court judges wear black American-style gowns (/wiki/Gowns) in the Employment Court and District Court. Coroners wear a blue gown with a black yoke and black ribbon on the cuffs. High Court judges wear the KC's gown over suits, while counsel are only required to wear black gowns for jury trials in the District Court, and all the time in the Employment Court, High Court, Court of Appeal and Supreme Court. [17] (#cite_note-17) Wigs (/wiki/Wig_(hair)) (for counsel) are only worn on ceremonial occasions such as when newly qualified barristers are called to the Bar (/wiki/Called_to_the_Bar) . No gowns are ordinarily worn by the judges of the Court of Appeal of New Zealand (/wiki/Court_of_Appeal_of_New_Zealand) or Supreme Court of New Zealand (/wiki/Supreme_Court_of_New_Zealand) . Pakistan [ edit ] After independence, in Pakistan (/wiki/Pakistan) , the courts have continued to uphold the pre-independence ( British-Raj (/wiki/British-Raj) traditions) of lawyers wearing white shirt and black coat, trouser and tie. However, in the 1980s, judges modified their dress to do away with wigs and allowed (optional) the usage of a black sherwani, a long traditional Pakistani coat worn over a white shalwar and qamiz (trousers and shirt). In Pakistan, the dress code for lawyers or legal practitioners varies with the season. During the winter months, a formal black suit and tie are worn. During the hot summer months, white shirt and trousers and a white neck band may be worn. In addition, judges wear a black robe over their other garments. Wigs are no longer worn. Dress codes are rigorously enforced within the Superior Courts of the country. Sri Lanka [ edit ] In Sri Lanka (/wiki/Sri_Lanka) , the British tradition of court dress had been adopted and practised until reforms of the legal system took place in the 1970s, and much of the ceremonial and formal court dress worn by judges and lawyers was replaced with black business suits. However, the old traditions were revived in the 1980s with many elements of the traditional court dress being used today. Both judges and counsel dress in white and black, white shirt, black coat, tie and trousers for men and white sarees (/wiki/Saree) for women. Supreme Court Judges [ edit ] The Chief Judge and Judges of the Supreme Court of Sri Lanka (/wiki/Supreme_Court_of_Sri_Lanka) wear scarlet gowns when attending court. On ceremonial occasions (such as ceremonial sittings of the Supreme Court) they wear a scarlet gown, barrister's bands (/wiki/Bands_(neckwear)) , mantle (/wiki/Mantle_(clothing)) and a long wig. Justices of Appeal [ edit ] The President and Judges of the Court of Appeal of Sri Lanka (/wiki/Court_of_Appeal_of_Sri_Lanka) wear black gowns when attending court. On ceremonial occasions (such as ceremonial sittings of the Supreme Court) they wear a black gown with purple borders, barrister's bands, mantle and a long wig. Lower court Judges [ edit ] High Court (/wiki/High_Court) and District Court (/wiki/District_Court) judges wear black gowns. Magistrates (/wiki/Magistrate) do not wear gowns. President's Counsels [ edit ] President's Counsel (/wiki/President%27s_Counsel) 's court dress is similar to that of King's Counsels. It includes a silk gown with a flap collar and long closed sleeves (the arm opening is half-way up the sleeve). Therefore, the term "taken silk" continues. On special ceremonial occasions (such as ceremonial sittings of the Supreme Court), PCs also wear a long wig. Attorneys [ edit ] Attorneys at law (/wiki/Attorneys_in_Sri_Lanka) wear white and black when appearing in all courts. They must wear black robes when appearing in the Supreme Court, Court of Appeal and the High Court; it is optional in the lower courts. Male attorneys may wear black suits with white shirt, black tie and trousers or white national, while female attorneys may wear a white saree (/wiki/Saree) or dress. Court staff [ edit ] The court usher (/wiki/Court_usher) known as Court Mudliar wears a white uniform, as do court Arachies. [ clarification needed ] Other Commonwealth realms [ edit ] Court dress in many jurisdictions with legal systems derived from England's, including Caribbean and African countries, which have court dress identical to that in England and Wales. [ citation needed ] Other jurisdictions [ edit ] Brazil [ edit ] Joaquim Barbosa (/wiki/Joaquim_Barbosa) , in 2012, during his presidency of the Supreme Federal Court (/wiki/Supreme_Federal_Court) Justices of the Supreme Federal Court (/wiki/Supreme_Federal_Court) wear a black robe, usually worn open. These robes are mandatory under article 16 of the Internal Regulations of the Supreme Federal Court and are made of satin. [18] (#cite_note-18) Similar robes are worn in other courts. Lawyers wear a robe when addressing judges. [19] (#cite_note-19) China [ edit ] Recent changes to Chinese courts have led to a more formal dress code. Business suits or black gowns (with a red stripe on the front) are replacing the military look of the Chinese court system. Judges of the supreme court wear black robes with a red strip with buttons. The buttons are gold with the top button having the seal of the People's Republic of China. Czech Republic [ edit ] Legal professionals in court wear a black robe with coloured elements. The colour depends on the profession – purple (judges of common courts), red (state prosecutors) and blue (attorneys). Attorneys only wear robes in criminal proceedings and in all proceedings before the Constitutional Court, the Supreme Court, and the Supreme Administrative Court. Judges of these courts wear specific robes. Germany [ edit ] Federal Constitutional Court (/wiki/Federal_Constitutional_Court) robe First senate of the Federal Constitutional Court in 1989 wearing court dress. Fourth from the left is Roman Herzog (/wiki/Roman_Herzog) , head of the court and later President of Germany (/wiki/President_of_Germany) . German court dress consists of a plain robe similar to the ones worn in the United States, normally without any kind of scarf or collar. However, judges and prosecutors (/wiki/Prosecutor) always wear white shirts and white neckties under their robes, as is customary for lawyers in criminal cases. The colour of judges' robes varies between different kinds of courts and branches of the judiciary. While at the Federal Court of Justice (/wiki/Federal_Court_of_Justice) in civil and criminal matters dark red robes with dark red velvet linings are always worn, lower courts – which are under the jurisdiction of the German states (/wiki/States_of_Germany) – use black in civil and criminal matters. Other branches of the judiciary (labour, administrative and social) use different colours of judges' robes. Hats are out of use at most German courts, with the exception of the Federal Constitutional Court (/wiki/Federal_Constitutional_Court_of_Germany) , where they are still worn by the judges. While the colour of German judges' robes can vary, lawyers in all branches of the law nearly always wear black robes while in court, with the exception of those admitted to the Federal Court of Justice Bar, in civil matters; these specially appointed attorneys in private practice also wear dark red robes with silk linings. The robes of lawyers and judges can be distinguished by the size and material of the lining. State prosecutors wear the same black robes as states' judges sitting in "ordinary" (criminal or civil) courts, while representatives of the Federal Public Prosecutor General (/wiki/Public_Prosecutor_General_(Germany)) wear dark red robes like federal court judges. At the Federal Constitutional Court, a different type of robe is used which is based on the historical court dress of the Italian town of Florence (/wiki/Florence) . The constitutional court judges wear scarlet satin (/wiki/Satin) robes with a very high neckline, and caps, combined with a white pleated (/wiki/Pleat) jabot. Lawyers appearing before the Constitutional Court wear their accustomed robes, i.e. black or dark red. Hong Kong [ edit ] Under the " one country, two systems (/wiki/One_country,_two_systems) " principle, Hong Kong remains a common law jurisdiction. Court dress in Hong Kong (/wiki/Hong_Kong) practically remains unchanged from its British administration era and is similar to court dress in England and Wales (/wiki/England_and_Wales) . English legal traditions are well preserved. Judges of the former Supreme Court of Hong Kong (/wiki/Supreme_Court_of_Hong_Kong) wore wigs; those of the present Court of Final Appeal (/wiki/Court_of_Final_Appeal_(Hong_Kong)) , however, do not wear wigs, but only gowns with lace jabot (/wiki/Jabot_(neckwear)) , similar to those worn on the International Court of Justice (/wiki/International_Court_of_Justice) . Some judges wear wigs as part of the ceremonies during the ceremonial opening of the legal year in Hong Kong. Ireland [ edit ] See also: Courts of the Republic of Ireland (/wiki/Courts_of_the_Republic_of_Ireland) and Law of the Republic of Ireland (/wiki/Law_of_the_Republic_of_Ireland) Judiciary [ edit ] The Irish Free State (/wiki/Irish_Free_State) , established in 1922 (/wiki/1922_in_Ireland) , continued largely with the courts and court system inherited from the United Kingdom (/wiki/United_Kingdom_of_Great_Britain_and_Ireland) , albeit pared down and shorn of some of its imperial grandeur. To fit with the reorganization of the courts, the judiciary all but abandoned the wearing of their former ceremonial costumes. Prior to Independence (/wiki/Anglo-Irish_Treaty) , the Lord Chancellor (/wiki/Lord_Chancellor_of_Ireland) , Master of the Rolls (/wiki/Master_of_the_Rolls_in_Ireland) and the Lords Justice of Appeal (/wiki/Lord_Justice_of_Appeal) in Ireland would have worn full ceremonial dress identical to their English equivalents, viz. long black damask robes with wide bands of gold lace and ornaments. The Lord Chief Justice (/wiki/Lord_Chief_Justice_of_Ireland) , Lord Chief Baron (/wiki/List_of_Chief_Barons_of_the_Irish_Exchequer) (up to the extinction of the office on the retirement of Christopher Palles (/wiki/Christopher_Palles) in 1916) and other puisne (/wiki/Puisne) judges of the High Court would likewise have worn scarlet robes with ermine hood and ermine-trimmed mantle. Many fine examples of these robes can be seen in portraits of Irish judges in the King's Inns (/wiki/King%27s_Inns) . Upon the passing of the Constitution of the Irish Free State (Saorstát Éireann) Act 1922 (/wiki/Constitution_of_the_Irish_Free_State) , the office of Lord Chancellor immediately became defunct. Then in 1924 the Court of Appeal was refashioned into the Supreme Court (/wiki/Supreme_Court_(Ireland)) ; the Lord Chief Justice became simply Chief Justice (/wiki/Chief_Justice_of_Ireland) and head of the judiciary; and the Master of the Rolls was replaced with a President of the High Court (/wiki/High_Court_(Ireland)) . The judges of the new superior courts, including the Chief Justice and President, adopted for all occasions—ceremonial or otherwise—the ordinary working judicial dress of the austere type previously worn by members of the old Court of Appeal (/wiki/Irish_Court_of_Appeal) , that is, as Order 119 rule 2 of the Rules of the Superior Courts, 1986 originally read: A black coat and vest of uniform make and material of the kind worn by Senior Counsel, a black Irish poplin gown of uniform make and material, white bands and a wig of the kind known as the small or bobbed wig. Wigs are now optional for judges of the High Court. Judges of the Circuit Court (/wiki/Circuit_Court_(Ireland)) also wear similar costume, pursuant to Order 3 rule 1 of the Circuit Court Rules, 2001. The prescribed dress of judges of the District Court (/wiki/District_Court_(Ireland)) (in Order 5 rule 1 of the District Court Rules, 1997) is the same, but does not include a wig. Order 119 rule 2 of the Rules of the Superior Courts was amended in 2012, and now stipulates that: the Judges of the Supreme Court shall on all occasions during the sittings, including sittings of the Court of Criminal Appeal, wear a black woollen gown of uniform make with sleeves bearing green double ribbon banding and a single white neck tab. This new uniform is worn without a wig, and the single white neck tab is more reminiscent of European style court dress. This alteration to the dress of the Supreme Court has also been implemented in the Court of Appeal, the Circuit Court and the District Court (/wiki/District_Court_(Ireland)) . The "double ribbon banding" is coloured dark blue with gold trim for judges of the Court of Appeal, dark red for judges of the Circuit Court and blue for judges of the District Court. Judges of the Circuit Court appointed prior to October 2016 and judges of the District Court appointed prior to March 2017 may wear the older judicial dress if they so wish. The dress of judges of the High Court remains unchanged. Wigs remain optional in the traditional dress, but do not constitute part of the recently introduced dress. Counsel [ edit ] Barristers' dress in the Republic of Ireland (/wiki/Republic_of_Ireland) is almost unchanged since the pre-Independence era. Counsel may not exercise his right of audience (/wiki/Right_of_audience) unless he is properly attired. It is provided in Order 119 rule 3 of the Rules of the Superior Courts as follows: Senior and Junior Counsel shall appear, when in court, habited in a dark colour and in such robes and bands and with such wigs as have heretofore been worn by Senior and Junior Counsel respectively, and no Counsel shall be heard in any case during the sittings unless so habited. It may therefore be said that Irish barristers robe similarly to their English counterparts. Such robes are worn by barristers in all courts, including the District Court. Like King's Counsel in England, Senior Counsel (/wiki/Senior_Counsel) generally wear a short bar wig and black silk (/wiki/Silk) or poplin (/wiki/Poplin) gown with flap collar and long, closed sleeves over a buttoned and broad-cuffed court coat. Their shirts will have a detachable stiff wing collar, worn with bands. Junior Counsel wear a short bar wig and black poplin or stuff (/wiki/Stuff_(cloth)) bar gown (which has a gathered yoke and short, open sleeves) over a dark three-piece suit with similar wing collar and bands. While it is not unknown for female barristers to wear a blouse with separate bands much like male colleagues, more commonly they would wear a starched white all-in-one collarette or bib covering their neckline that approximates in looks to a tall Mandarin collar (/wiki/Mandarin_collar) and bands. Section 49 of the Courts and Court Officers Act 1995, however, did abolish the requirement that barristers should wear wigs in court. To this extent only, the wording of the Rules of Court above is somewhat out of date. (All counsel still must wear a gown and bands etc.) By affording individual barristers a discretion to wear the forensic wig in court, the new rule defused what had become an increasingly bitter debate in the profession whether it was appropriate to cleave to anachronistic modes of dress - even as a traditional and undoubtedly recognizable uniform (/wiki/Uniform) - and avoided a more drastic solution, such as the abandonment of wigs or gowns altogether. Accordingly, there is little contemporary call for reform of court dress in Ireland. Call to the Bar [ edit ] Junior counsel are called to the Bar (/wiki/Call_to_the_Bar) in three sittings in the year, one in Hilary term (/wiki/Hilary_term) , one Trinity term (/wiki/Trinity_term) , and the other in Michaelmas term (/wiki/Michaelmas_term) . This ceremony takes place in the Supreme Court. All new barristers habit themselves in full court working dress. Call to the Inner Bar [ edit ] Senior Counsel are appointed annually in the Call to the Inner Bar, a short ceremony in the Supreme Court towards the end of Michaelmas term. (Junior counsel are members of the Outer or Utter Bar.) On this occasion alone do the new Senior Counsel wear full-bottomed wigs, though with their working robes rather than with the breeches, stockings, patent court shoes and lace stock of former times. This is purely a matter of convention and is not, so it would seem, governed by any rule of court. Since 1922, the Chief Justice has presided over the ceremony in lieu of the departed Lord Chancellor. None has seen fit to alter the manner of the Call. Family law proceedings [ edit ] Judges and counsel are forbidden to wear wigs and gowns in proceedings in the District, Circuit and High Courts in respect of inter alia the following Acts: Legitimacy Declaration Act (Ireland) 1868 Children Acts 1908 to 2001 Adoption Acts 1952 to 1998 Married Women's Status Act 1957 Guardianship of Infants Act 1964 Family Home Protection Act 1976 Family Law (Maintenance of Spouses and Children) Act 1976 Family Law (Protection of Spouses and Children) Act 1981 Family Law Act 1981 Status of Children Act 1987 Judicial Separation and Family Law Reform Act 1989 Child Care Act 1991 Child Abduction and Enforcement of Custody Orders Act 1991 Family Law Act 1995 Family Law (Divorce) Act 1996 Domestic Violence Act 1996 It is arguable that the Oireachtas (/wiki/Oireachtas) intended the ban on "wigs and gowns" should be read liberally to mean that judges and barristers should appear in ordinary suits in these cases. In practice, a literal interpretation of the rule has been preferred. Judges and counsel do not wear either wig or gown in the family courts but will dutifully don the court coat (if applicable) and a wing collar and bands nonetheless. Full court working dress remains worn in the Supreme Court in any proceedings, including those under the foregoing statutes. Sittings outside the law terms [ edit ] The Rules of Court oblige judges and barristers to wear court dress only "during the sittings" that is, during the four law terms of Michaelmas (/wiki/Michaelmas_term) , Hilary (/wiki/Hilary_term) , Easter (/wiki/Easter_term) and Trinity (/wiki/Trinity_term) . In any hearing during the vacations, judges and counsel wear ordinary suits. Solicitors [ edit ] By virtue of Section 17 of the Courts Act 1971, all solicitors have full rights of audience in the superior courts of the Republic of Ireland. When appearing as advocates, they wear ordinary suits and, unlike in England, are not required to wear gowns. Israel [ edit ] Eichmann's trial (/wiki/Adolf_Eichmann#Trial) at Jerusalem District Court (/wiki/District_court#Israel) , three judges Both Israeli judges and lawyers (while appearing in a court higher than the magistrate ('shalom') level) wear black robes, generally worn open to show a white shirt, black necktie, and either black or dark blue trousers or skirts (optional for women), and jackets in the winter. The robes and neckties may bear the logo of the Israel Bar Association (/wiki/Israel_Bar_Association) . (Out of court, many lawyers will wear a Bar Association pin in their jacket lapel.) While the practice of lawyers wearing court dress is a legacy of the British Mandate that immediately preceded Israeli independence, the relatively simple outfit (and lack of wigs) shows American influence; both nations' systems of law have similarly influenced Israel's. Italy [ edit ] In Italy (/wiki/Italy) judges, prosecutors and lawyers wear black robes in higher courts or in criminal cases. Judges and prosecutors wear red, ermine-lined robes with golden striped hats on solemn occasions such as the opening of the judicial year. Netherlands and Belgium [ edit ] Robe and band of a Dutch (/wiki/Netherlands) judge Portrait of Adrien baron (/wiki/Baron) de la Kethulle de Ryhove (1851–1933), former first president of the court of appeal in Ghent (/wiki/Ghent) , Belgium In the Netherlands (/wiki/Netherlands) and Belgium (/wiki/Belgium) , judges, lawyers and prosecutors (/wiki/Prosecutor) dress identically in the form of a black robe and a white band (/wiki/Bands_(neckwear)) . This is a symbolic act, as it is meant to convey the idea that the judge is merely the representative of Dutch or Belgian law, rather than an elevated individual with the power of sentencing people. This idea finds its origins in the time of the French Revolution (/wiki/French_Revolution) . However, there are some slight differences between the judge and the lawyer. The judge wears a black robe, with silk ties on the sleeves and on the closure of the robe. Lawyers just wear a simple black robe. The higher the rank in court, the fancier the robe becomes; the members of the Dutch ' Hoge Raad (/wiki/Hoge_Raad) ' (High Council) wear a velvet black robe with ermine ties. In Belgium, the ceremonial robes of the judges in the courts of appeal (/wiki/Court_of_appeal_(Belgium)) , the courts of labour (/wiki/Court_of_labour_(Belgium)) and the Court of Cassation (/wiki/Court_of_Cassation_(Belgium)) use the colour red in addition to black. Both countries have specific and strict provisions and regulations on dress in court. In the Netherlands, this is statuted by the royal decree (/wiki/Koninklijk_Besluit) of 22 December 1997, in which both titulars and dressing rules are stipulated. [20] (#cite_note-20) The official Belgian court dresses are laid down in the royal decree (/wiki/Royal_order_(Belgium)) of 22 July 1970. [21] (#cite_note-21) Previously, Dutch judges shared no common dress as the Spanish Netherlands (/wiki/Spanish_Netherlands) and the Dutch Republic (/wiki/Dutch_Republic) , as the Netherlands were highly decentralised with only provincial (/wiki/State_law) and urban law (/wiki/City_rights) and no federal law (/wiki/Federal_law) . Hence judges would dress as was the tradition in their own cities or towns. Norway [ edit ] In Norway all court officers wear robes according to what type of court, a black wool robe with a scarlet velvet lapels and cuffs for judges in the Supreme court, a black wool robe with a black velvet lapels and cuffs for judges in Appellate court and Municipal court. Advocates and prosecutors wear a black wool robe with a black silk lapels and cuffs. Court scribes (court reporters) wear a black lapel-less wool robe with no adornment on the cuffs. Prosecutors who are police advocates (police prosecutors) can wear their police uniform with their rank insignia on their shoulders. Bailiffs wear a police-like uniform. There are no special collars, wigs or hats. The judge in municipal court, as well as the senior judge in appellate court can decide that no one wears robes, on a case to case basis, but this happens only in non- air conditioned courtrooms on hot summer days. Lay judges (2 in municipal court, and 5 in appellate court) wear no special clothing. Sweden [ edit ] In Sweden (/wiki/Sweden) there is no official court dress for judges and judges do not wear gowns. Judges usually wear an ordinary suit. United States [ edit ] Judicial court dress [ edit ] Group photo of United States Supreme Court Justices (/wiki/United_States_Supreme_Court_Justice) from 2009. Optional formal dress can be seen under the robes, such as bow ties. Justice Sonia Sotomayor (/wiki/Sonia_Sotomayor) and Justice Ruth Bader Ginsburg (/wiki/Ruth_Bader_Ginsburg) also wear lace jabots. During the early history of the United States (/wiki/United_States) , the court dress of judges and practicing lawyers closely mirrored British court dress of the 18th century; both wore white powdered wigs and (typically) black robes in the lower courts, and in the higher ones, judges would wear red with black markings. The practice fell out of favor and died out by the mid-nineteenth century. Today, generally judges of both state and federal courts are free to select their own courtroom attire, although some jurisdictions do formally require judges to wear robes of some kind when presiding over hearings in court. [22] (#cite_note-22) The most common choice is a plain black robe which covers the torso and legs, with sleeves. Female judges will sometimes add to the robe a plain white collar or lace jabot (/wiki/Jabot_(neckwear)) . Beneath the robes business attire is standard (although judges will sometimes don business casual attire, since they are only ever seen in court wearing a robe). Typically judges pay for their own custom made judicial robe. [23] (#cite_note-23) William Cushing (/wiki/William_Cushing) , showing early U.S. Supreme Court dress, with a wig Until the tenure of Chief Justice (/wiki/Chief_Justice_of_the_United_States) John Marshall (/wiki/John_Marshall) , all Supreme Court (/wiki/SCOTUS) justices wore red robes with ermine trim and full-bottomed wigs, reminiscent of British court dress. Marshall, however, eschewed this formality and began the practice of only wearing a black silk robe, with no wig. There is some evidence to indicate that the shift to black robes preceded Marshall's tenure. [24] (#cite_note-Hofstedt-2021-24) In 1995, Chief Justice William Rehnquist (/wiki/William_Rehnquist) added four gold bars (similar in appearance to captain insignia in the US Navy (/wiki/US_Navy) ) to each sleeve of his black robe, but the change in his attire (he had been Chief Justice since 1986) was his own innovation and was inspired by a production of the operetta Iolanthe (/wiki/Iolanthe) , rather than any historical precedent. [25] (#cite_note-25) His successor, John G. Roberts (/wiki/John_G._Roberts) , chose to remain with the traditional plain black robe. Some Supreme Court justices (including Clarence Thomas (/wiki/Clarence_Thomas) , the late Antonin Scalia (/wiki/Antonin_Scalia) , and Stephen Breyer (/wiki/Stephen_Breyer) , all of whom are or were balding (/wiki/Pattern_hair_loss) ) maintain the ancient legal practice of wearing large black skullcaps (/wiki/Biretta) , in their case when wearing their robes outdoors in cold weather (for example, at presidential inaugurations (/wiki/United_States_presidential_inauguration) in January.) Many state supreme court (/wiki/State_supreme_court) justices wear unique styles of robes, the most notable being the Supreme Court of Maryland (/wiki/Supreme_Court_of_Maryland) , where all judges wear red, and British-style tab collars. [26] (#cite_note-26) The judges of the Delaware Superior Court (/wiki/Delaware_Superior_Court) continue to wear the red sashes or baldrics (/wiki/Baldric) of their British predecessors, albeit now only on ceremonial occasions. Some judges eschew special dress entirely and preside over their courts in normal business wear. This is often seen among administrative law judges (/wiki/Administrative_law_judge) who preside over relatively informal administrative hearings. Attorney court dress [ edit ] Lawyers wear normal business attire in courts of all levels. During the second-wave feminism (/wiki/Second-wave_feminism) movement in the 1970s, some judges forbade female attorneys to wear trousers when appearing in court, but pantsuits (/wiki/Pantsuit) are now widely accepted. Like judges, American attorneys do not wear wigs. [27] (#cite_note-27) Until the 1970s, morning dress (/wiki/Morning_dress) was required of all attorneys appearing before the United States Supreme Court by the Court's rules. Even after the Court abolished the requirement, the Office of the Solicitor General (/wiki/United_States_Solicitor_General) maintained the practice. When the Solicitor General (or any of the deputies) appears before the U.S. Supreme Court, they wear morning dress (/wiki/Morning_dress) , with striped trousers (/wiki/Trousers) , grey ascot (/wiki/Ascot_tie) , waistcoat (/wiki/Waistcoat) , and a cutaway morning coat (/wiki/Morning_coat) . [28] (#cite_note-28) A feminized version is sometimes worn by female deputies, which consists of the same garments tailored to female measurements. During her term as Solicitor General, Elena Kagan (/wiki/Elena_Kagan) appeared before the Court in pantsuits (/wiki/Pantsuit) in lieu of morning dress. The traditional female equivalent of morning dress, "softly flowing dresses with hats", is strictly for social purposes and would be inappropriate attire for appearances before the nation's highest court. [29] (#cite_note-29) The Court's Marshal and Clerk of both sexes also wear morning dress when the Court is in session. See also [ edit ] Court uniform and dress in the United Kingdom (/wiki/Court_uniform_and_dress_in_the_United_Kingdom) References [ edit ] ^ (#cite_ref-Gordon_1-0) Gordon, Cathy (21 November 2011). "Supreme Court lawyers allowed to dress down" (https://www.independent.co.uk/news/uk/home-news/supreme-court-lawyers-allowed-to-dress-down-6265567.html) . The Independent . Retrieved 22 December 2023 . ^ (#cite_ref-2) "Possible reform of court dress" (https://web.archive.org/web/20080306114444/http://www.vox.gi/Business---Law/Possible_Reform_Court_Dress-14122007.html) . Archived from the original (http://www.vox.gi/Business---Law/Possible_Reform_Court_Dress-14122007.html) on 6 March 2008. ^ (#cite_ref-3) "Lord Chief Justice models new gown for judges" (https://www.telegraph.co.uk/news/1951169/Lord-Chief-Justice-models-new-gown-for-judges.html) . Telegraph . 13 May 2008. Archived (https://ghostarchive.org/archive/20220112/https://www.telegraph.co.uk/news/1951169/Lord-Chief-Justice-models-new-gown-for-judges.html) from the original on 12 January 2022 . Retrieved 16 January 2013 . ^ (#cite_ref-4) Whitehead, Tom (26 March 2009). "Judges give new robes a dressing-down" (https://web.archive.org/web/20090329233333/http://www.telegraph.co.uk/news/newstopics/politics/lawandorder/5056426/Judges-give-new-robes-a-dressing-down.html) . Telegraph . Archived from the original (https://www.telegraph.co.uk/news/newstopics/politics/lawandorder/5056426/Judges-give-new-robes-a-dressing-down.html) on 29 March 2009 . Retrieved 16 January 2013 . ^ (#cite_ref-5) Rajan, Amol (27 March 2009). "Objection! Judges reject new robes" (https://www.independent.co.uk/news/uk/home-news/objection-judges-reject-new-robes-1655348.html) . The Independent . Retrieved 16 January 2013 . ^ (#cite_ref-6) Rozenberg, Joshua (4 September 2008). "Sitting pretty in pink | News | Law Society Gazette" (https://web.archive.org/web/20150212115652/http://www.lawgazette.co.uk/analysis/sitting-pretty-in-pink/47637.fullarticle) . Lawgazette.co.uk . Archived from the original (http://www.lawgazette.co.uk/analysis/sitting-pretty-in-pink/47637.fullarticle) on 12 February 2015 . Retrieved 30 December 2016 . ^ (#cite_ref-7) Limited, Alamy. "The Lord Chief Justice Lord Thomas of Cwmgiedd arrives at the Lord Chancellor David Liddington's swearing in ceremony at the Royal Courts of Justice in London Stock Photo - Alamy" (https://www.alamy.com/stock-photo-the-lord-chief-justice-lord-thomas-of-cwmgiedd-arrives-at-the-lord-145876615.html) . www.alamy.com . ^ Jump up to: a b c "Courts and Tribunals Judiciary | History of Court Dress" (http://www.judiciary.gov.uk/about-the-judiciary/the-justice-system/history/) . Judiciary.gov.uk . 20 June 2014 . Retrieved 30 December 2016 . ^ (#cite_ref-9) "Criminal Procedure Rules 2020 and Criminal Practice Directions 2023" (https://www.gov.uk/guidance/rules-and-practice-directions-2020) . GOV.UK . 6 November 2023. ^ (#cite_ref-10) "[ARCHIVED CONTENT] UK Government Web Archive – The National Archives" (http://webarchive.nationalarchives.gov.uk/20040722141314/http:/www.dca.gov.uk/consult/courtdress/) . Webarchive.nationalarchives.gov.uk . 22 July 2004. Archived from the original (http://www.dca.gov.uk/consult/courtdress/) on 22 July 2004 . Retrieved 30 December 2016 . ^ (#cite_ref-11) "FAQs" (https://web.archive.org/web/20171230043513/http://www.scotland-judiciary.org.uk/30/0/FAQs) . Judiciary of Scotland . Archived from the original (http://www.scotland-judiciary.org.uk/30/0/FAQs) on 30 December 2017 . Retrieved 22 October 2016 . ^ (#cite_ref-12) "Practice Direction 1 of 2010" (https://web.archive.org/web/20121003193756/http://fmc.gov.au/practice/docs/090810.pdf) (PDF) . Fmc.gov.au . Archived from the original (http://www.fmc.gov.au/practice/docs/090810.pdf) (PDF) on 3 October 2012 . Retrieved 16 January 2013 . ^ Jump up to: a b "WA judges ditch horsehair wigs" (http://www.abc.net.au/news/2010-01-01/wa-judges-ditch-horsehair-wigs/1195448) . Australian Broadcasting Corporation. 1 January 2010 . Retrieved 27 March 2018 . ^ (#cite_ref-14) Hall, Bianca (April 2016). "Supreme Court big wigs face losing their hair" (https://www.theage.com.au/national/victoria/supreme-court-big-wigs-face-losing-their-hair-20160401-gnvve4.html) . The Age . Fairfax Media . Retrieved 2 August 2021 . ^ (#cite_ref-15) Mills, Tammy (2 August 2021). "Wigs stained, tattered and dwindling in Victorian courts" (https://www.theage.com.au/national/victoria/wigs-stained-tattered-and-dwindling-in-victorian-courts-20210729-p58e3e.html) . The Age . Fairfax Media . Retrieved 2 August 2021 . ^ (#cite_ref-16) "Bar Council of India Rules" (http://www.barcouncilofindia.org/wp-content/uploads/2010/05/BCIRulesPartVonwards.pdf) (PDF) . Bar Council of India . Retrieved 2 March 2013 . ^ (#cite_ref-17) "Information for new lawyers - Appearing in courts and tribunals" (http://my.lawsociety.org.nz/in_practice/information_for_new_lawyers/new_zealand_law_society_guide_for_new_lawyers/appearing_in_courts_and_tribunals) . New Zealand Law Society (/wiki/New_Zealand_Law_Society) . 2011 . Retrieved 4 January 2012 . ^ (#cite_ref-18) "Por que os ministros do STF usam capa como o Batman?" (https://super.abril.com.br/blog/oraculo/por-que-os-ministros-do-stf-usam-capa-como-o-batman/) . Super Interessante (in Brazilian Portuguese) . Retrieved 12 April 2021 . ^ (#cite_ref-19) Oliveira, Mariana (12 August 2012). "Histórias de togas e becas alimentam folclore de tribunais; veja algumas" (http://g1.globo.com/politica/mensalao/noticia/2012/08/historias-de-togas-e-becas-alimentam-folclore-de-tribunais-veja-algumas.html) . G1 (in Brazilian Portuguese) . Retrieved 12 April 2021 . ^ (#cite_ref-20) Ministerie van Binnenlandse Zaken en Koninkrijksrelaties. "Kostuum- en titulatuurbesluit rechterlijke organisatie" (https://wetten.overheid.nl/BWBR0009255/2015-01-01) . wetten.overheid.nl (in Dutch) . Retrieved 7 May 2024 . ^ (#cite_ref-21) "22 juli 1970 - Koninklijk besluit betreffende de ambtskledij van de magistraten en de griffiers van de Rechterlijke Orde" (https://www.ejustice.just.fgov.be/eli/besluit/1970/07/22/1970072201/justel) [22 July 1970 - Royal decree concerning the official dress of the magistrates and the clerks of the Judicial Order]. www.ejustice.just.fgov.be (in Dutch). Belgian official journal (/wiki/Belgian_official_journal) . 12 August 1970 . Retrieved 11 May 2019 . ^ (#cite_ref-22) See , e.g. , N.J. Ct. R. 1:2-1, available at http://www.judiciary.state.nj.us/rules/r1-2.html (http://www.judiciary.state.nj.us/rules/r1-2.html) Archived (https://web.archive.org/web/20170414162432/http://www.judiciary.state.nj.us/rules/r1-2.html) 14 April 2017 at the Wayback Machine (/wiki/Wayback_Machine) ("Every judge shall wear judicial robes during proceedings in open court.") ^ (#cite_ref-23) "Off-Ramp | Where do judges get their robes? A factory in Chatsworth, usually | 89.3 KPCC" (http://www.scpr.org/programs/offramp/2015/01/22/41218/where-do-judges-get-their-robes-a-factory-in-chats/) . Scpr.org . 22 January 2015 . Retrieved 30 December 2016 . ^ (#cite_ref-Hofstedt-2021_24-0) Hofstedt, Matthew (2021). "The Switch to Black: Revisiting Early Supreme Court Robes" (https://onlinelibrary.wiley.com/doi/abs/10.1111/jsch.12255) . Journal of Supreme Court History . 46 (1): 13–41. doi (/wiki/Doi_(identifier)) : 10.1111/jsch.12255 (https://doi.org/10.1111%2Fjsch.12255) . ISSN (/wiki/ISSN_(identifier)) 1540-5818 (https://www.worldcat.org/issn/1540-5818) . S2CID (/wiki/S2CID_(identifier)) 236746654 (https://api.semanticscholar.org/CorpusID:236746654) . ^ (#cite_ref-25) Greenhouse, Linda (22 January 1995). "Ideas & Trends; the Chief Justice Has New Clothes" (https://www.nytimes.com/1995/01/22/weekinreview/ideas-trends-the-chief-justice-has-new-clothes.html) . The New York Times . ^ (#cite_ref-26) Lamy, Rudolph B. "A Study of Scarlet: Red Robes and the Maryland Court of Appeals" (https://www.courts.state.md.us/sites/default/files/import/lawlib/aboutus/history/judgesrobes.pdf) (PDF) . Retrieved 1 February 2023 . ^ (#cite_ref-27) Hess, Amanda (21 March 2014). "Female lawyers: Still must dress conservatively to impress judges" (http://www.slate.com/blogs/xx_factor/2014/03/21/female_lawyers_still_must_dress_conservatively_to_impress_judges.html) . Slate.com . Retrieved 30 December 2016 . ^ (#cite_ref-28) "William Suter, Clerk of the U.S. Supreme Court, interview, C-SPAN U.S. Supreme Court Week" (http://supremecourt.c-span.org/Video/TVPrograms/SC_Week_Tuesday.aspx) . Supremecourt.c-span.org . Retrieved 16 January 2013 . ^ (#cite_ref-29) Martin, Judith (25 March 2009). "Miss Manners" (https://www.washingtonpost.com/wp-dyn/content/article/2009/03/24/AR2009032402726.html) . The Washington Post . External links [ edit ] Wikimedia Commons has media related to Court dress (https://commons.wikimedia.org/wiki/Category:Court_dress) . 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Attire worn by students and officials at certain schools and universities for commencement A doctor of philosophy (/wiki/Doctor_of_philosophy) of the University of Oxford (/wiki/University_of_Oxford) , in full academic dress Part of a series (/wiki/Category:Formal_wear) on Western dress codes (/wiki/Western_dress_codes) and corresponding attires (/wiki/Clothing) Formal (/wiki/Formal_wear) ( full dress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) ) White tie (/wiki/White_tie) Morning dress (/wiki/Morning_dress) Full dress uniform (/wiki/Full_dress_uniform) Frock coat (/wiki/Frock_coat) Evening gown (/wiki/Evening_gown) Ball gown (/wiki/Ball_gown) Semi-formal (/wiki/Semi-formal_wear) ( half dress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) ) Black tie (/wiki/Black_tie) Black lounge suit (/wiki/Black_lounge_suit) Mess dress uniform (/wiki/Mess_dress_uniform) Evening gown (/wiki/Evening_gown) Cocktail dress (/wiki/Cocktail_dress) Informal (/wiki/Informal_wear) ( undress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) , "dress clothes") Suit (/wiki/Suit) Service dress uniform (/wiki/Service_dress_uniform) Cocktail dress (/wiki/Cocktail_dress) Pantsuit (/wiki/Pantsuit) Casual (/wiki/Casual_wear) (anything not above) Business casual (/wiki/Business_casual) Casual Friday (/wiki/Casual_Friday) Combat uniform (/wiki/Combat_uniform) Smart casual (/wiki/Smart_casual) Workwear (/wiki/Workwear) Streetwear (/wiki/Streetwear) Sportswear (/wiki/Sportswear) known as Sportswear (fashion) (/wiki/Sportswear_(fashion)) and Athleisure (/wiki/Athleisure) Undress (/wiki/Undress_code) Supplementary alternatives Ceremonial dress (/wiki/Ceremonial_dress) law courts (/wiki/Court_dress) royal courts (/wiki/Court_uniform_and_dress_in_the_United_Kingdom) diplomatic (/wiki/Diplomatic_uniform) academic , etc. Religious clothing (/wiki/Religious_clothing) cassock (/wiki/Cassock) , habit (/wiki/Religious_habit) , etc. Folk costume (/wiki/Folk_costume) Distinctions Orders (/wiki/Order_(distinction)) medals (/wiki/Medal) , etc. Legend: = Day (before 6 p.m.) = Evening (after 6 p.m.) = Bow tie (/wiki/Bow_tie) colour = Ladies = Gentlemen Fashion portal (/wiki/Portal:Fashion) v t e Academic dress of King's College London (/wiki/Academic_dress_of_King%27s_College_London) in different colours, designed and presented by fashion designer Vivienne Westwood (/wiki/Vivienne_Westwood) Academic dress is a traditional form of clothing (/wiki/Clothing) for academic (/wiki/Academia) settings, mainly tertiary (/wiki/Tertiary_education) (and sometimes secondary (/wiki/Secondary_schools) ) education, worn mainly by those who have obtained a university degree (/wiki/University_degree) (or similar), or hold a status that entitles them to assume them (e.g., undergraduate students at certain old universities). [1] (#cite_note-1) It is also known as academical dress , [2] (#cite_note-2) academicals , or academic regalia . Contemporarily, it is commonly seen only at graduation (/wiki/Graduation) ceremonies, but formerly academic dress was, and to a lesser degree in many ancient universities (/wiki/Ancient_universities) still is, worn daily. Today, the ensembles are distinctive in some way to each institution, and generally consist of a gown (/wiki/Gown) (also known as a robe (/wiki/Robe) ) with a separate hood (/wiki/Hood_(headgear)) , and usually a cap (generally either a square academic cap (/wiki/Square_academic_cap) , a tam (/wiki/Tam_(cap)) , or a bonnet (/wiki/Tudor_bonnet) ). Academic dress is also worn by members of certain learned societies (/wiki/Learned_societies) and institutions as official dress. [3] (#cite_note-3) [4] (#cite_note-4) Overview and history [ edit ] Erasmus of Rotterdam (/wiki/Erasmus_of_Rotterdam) in a functional warm scholar's robe, fur-lined dark wool The academic dress found in most universities in the Commonwealth of Nations (/wiki/Commonwealth_of_Nations) and the United States (/wiki/United_States) is derived from that of the universities of Oxford (/wiki/University_of_Oxford) and Cambridge (/wiki/University_of_Cambridge) , which was a development of academic and clerical dress common throughout the medieval universities (/wiki/Medieval_university) of Europe (/wiki/Europe) . [5] (#cite_note-5) This overgarment had the practical purpose of keeping a scholar warm while they were sitting, immobile, or studying. Formal or sober clothing is typically worn beneath the gown so, for example, men would often wear a dark suit (/wiki/Suit_(clothes)) with a white shirt (/wiki/Shirt) and a tie (/wiki/Necktie) , or clerical clothing (/wiki/Clerical_clothing) , military (/wiki/Military_uniform) or civil uniform (/wiki/Uniform) , or national dress (/wiki/National_dress) , and women would wear equivalent attire. Some older universities, particularly Oxford and Cambridge, have a prescribed set of dress (known as subfusc (/wiki/Subfusc) ) to be worn under the gown. Although some universities are relaxed about what people wear under their gowns, it is nevertheless considered bad form to be in casual wear (/wiki/Casual_wear) or the like during graduation ceremonies, and a number of universities may bar finishing students from joining the procession or the ceremony itself if not appropriately dressed [6] (#cite_note-6) (though this sometimes refers only to requiring the proper wear of academic dress and not what is worn beneath it, if unseen). In the Commonwealth, gowns are worn open, while in the United States, with a few exceptions, it has become common for gowns to close at the front, as did the original roba . Materials [ edit ] In general, the materials used for academic dress are heavily influenced by the climate where the academic institution is located, or the climate where the graduate will usually be wearing the costume (as a faculty member at another institution, for example). In either case, the American Council of Education (ACE) allows for the comfort of the wearer, and concedes that lighter materials be used in tropical climates, and heavier materials elsewhere. [7] (#cite_note-7) In addition, it acknowledges cotton poplin, broadcloth, rayon, or silk as appropriate. [8] (#cite_note-8) The materials used for academic dress vary and range from the extremely economical to the very expensive. In the United States, most Bachelor and master's degree candidates are often presented the " souvenir (/wiki/Souvenir) " version of regalia by their institutions or authorized vendor, which are generally intended for very few wearings and are comparatively very inexpensive. For some doctoral graduates, commencement will be the only time they wear academic regalia, and so they rent their gowns instead of buying them. These rented or hired gowns are often made of inexpensive polyester (/wiki/Polyester) or other human-made synthetic fibre. In Britain, rented gowns are almost always polyester while Russell cord (/wiki/Russell_cord) , silk, or artificial silk gowns are only available when bought. Undergraduate gowns are usually made from cotton or cotton and polyester mix and are relatively inexpensive to encourage students to own them. People who choose to buy their dress may opt for finer fabrics, such as poplin (/wiki/Poplin) , grosgrain (/wiki/Grosgrain) , percale (/wiki/Percale) , cotton (/wiki/Cotton) , wool (/wiki/Wool) , cassimere (/wiki/Cashmere_wool) , broadcloth (/wiki/Broadcloth) , Russell cord, or corded/ribbed material. For silk, there are a range of types including artificial silk (/wiki/Artificial_silk) / rayon (/wiki/Rayon) , Ottoman (/wiki/Ottoman_(textile)) (i.e. ribbed or corded silk), taffeta (/wiki/Taffeta) , satin (/wiki/Satin) , alpaca (/wiki/Alpaca) , true silk (/wiki/Silk) , shot silk (/wiki/Shot_silk) , or a mixture. Pure Ottoman silk is rarely used except for official gowns, as it is very expensive. [9] (#cite_note-9) Some gowns may be trimmed with gimp lace (/wiki/Gimp_(thread)#In_lace) , cords, buttons, or other forms of decoration. In the past, fur (/wiki/Fur) has been used to line certain hoods (especially those of the UK) which range from rabbit (/wiki/Rabbit_fur) to ermine (/wiki/Stoat) . In the past, sheepskin (/wiki/Sheepskin) was widely used. Most now use imitation fur, instead, mainly because of cost and animal rights (/wiki/Animal_rights) concerns. Some robe makers use fur if the customer requests and pays for it, as some feel that the quality and feel of artificial fur has yet to match that of real fur. [10] (#cite_note-10) [ additional citation(s) needed ] Doctor's robes usually use wool flannel (/wiki/Flannel) , panama wool (worsted), superfine cloth, damask (/wiki/Damask) , or brocade (/wiki/Brocade) , and are brightly coloured (or black, but faced with a bright colour) to distinguish them from lower degrees. They tend to be the most expensive because they must be dyed in a specific colour and/or be trimmed in coloured silks. Many doctoral gowns have a special undress version so adding to the cost of a full set. A full set may cost about US$360 (£180) for cheap materials to as much as $5800 (£2900) for high-quality materials. [11] (#cite_note-11) [ needs update ] Usually, ex-hire gowns are available for purchase at cheaper prices, though the quality may be lower. [12] (#cite_note-12) [ additional citation(s) needed ] Many institutions whose dress includes gowns of varying lengths prescribe the appropriate length of each gown with reference to parts of the wearer's body (undergraduate gowns at Cambridge, for example, must not reach the knees, whereas BA gowns should reach just beyond them, according to the university's statutes) [ citation needed ] . As such, suppliers of academic dress produce gowns in many different sizes to fit persons of different heights. By country [ edit ] Canada [ edit ] Ceremonial robe of McGill University (/wiki/McGill_University) 's principal and chief executive McGill University's scarlet (/wiki/Scarlet_(color)) , PhD (/wiki/PhD) regalia dates back to the early 19th century. In Canada (/wiki/Canada) , academic regalia are worn by university officials, faculty, students, and honoured guests during Graduation (/wiki/Graduation) exercises (commonly referred to as Convocation), installations of their presiding officers, and special convocations, such as the inauguration of newly endowed professorial chairs and inductions to some of the honour and professional societies with university chapters. Academic regalia typically consist of a headgear ( mortarboard (/wiki/Mortarboard) , Tudor bonnet (/wiki/Tudor_bonnet) , or John Knox cap (/w/index.php?title=John_Knox_cap&action=edit&redlink=1) ), robe, and hood. Until the 1930s, Canadian universities customarily prescribed academic robes for its professors and students at classes and lectures. At the University of Trinity College (/wiki/University_of_Trinity_College) at the University of Toronto, academic gowns are still required for all students and faculty at Wednesday dinners, most college meetings, debates, and certain special college events. [13] (#cite_note-13) Most Canadian universities follow or adopted either the British University academic dress at Oxford (/wiki/Oxford) or Cambridge (/wiki/Cambridge) universities, [14] (#cite_note-14) [15] (#cite_note-15) or the Intercollegiate Code of Academic Costume ratified by most American universities in the late 1890s. [16] (#cite_note-16) Other universities contain elements of the British and American patterns for some or all of their academic costumes. A classic example is the academic dress of McGill University (/wiki/Academic_dress_of_McGill_University) , whose British origins are evident in the regalia of its degree holders. The distinctive ceremonial regalia of McGill University (/wiki/McGill_University) officials, though, are closer to the American pattern for the master's robe with above-the-elbow, square, slit-cut sleeves. The scarlet, doctor of philosophy (PhD) regalia of McGill can now be worn closed-front, unlike the open-front only gown of the University of Cambridge higher doctoral full dress, from which it evolved. Gold strand tassels used in American doctoral regalia are wrapped around McGill's otherwise Tudor-style bonnet or tam. France [ edit ] This section does not cite (/wiki/Wikipedia:Citing_sources) any sources (/wiki/Wikipedia:Verifiability) . Please help improve this section (/wiki/Special:EditPage/Academic_dress) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed (/wiki/Wikipedia:Verifiability#Burden_of_evidence) . ( May 2024 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Doctors of various faculties, Paris In France (/wiki/France) , academic dress, also called the toge (from the word toga (/wiki/Toga) , an ancient Roman garment), is similar to French judges' court dress, except for its colour, which depends on the academic field in which the wearer graduated. It is nowadays little worn, except by doctors during the opening of the university year or the ceremony for a doctorate honoris causa (/wiki/Honoris_causa) . For doctors, it consists of: A long gown (a bit similar to a cassock) with a long row of buttons (traditionally, 33, but nowadays usually fewer) in front and a train at the back (which in the current costume is not visible but attached with a button in the inner side of the gown). The gown is in two colours: black and the standard colour of the academic field in which the wearer graduated (see below), with simars (/wiki/Simar) (two vertical bands in the front of the gown). An épitoge (epitoga): A piece of cloth with white fur stripes (three for doctors) attached by a button on the left shoulder, with a rectangular, long, thin tail in the front and a triangular, shorter, broad tail in the back (both tails carry the fur stripes); its colour is that of the relevant academic field. The epitoga has evolved from the academic hood, which explains why the French academic dress does not include a hood. A long, wide belt or sash, either black or of the colour of the relevant academic field, ended by fringes (which may be golden or of the same colour as the belt), and attached with a broad, ornamental knot. A white rabat ( jabot (/wiki/Jabot_(neckwear)) ), over which a white tie may be worn for ceremonial occasions: It is made of lace for the dean of the faculty, the president of the university, and a few other officials, of plain cotton for others. Traditionally only for men, a mortarboard of the colour of the relevant academic field with a golden stripe, which is usually not worn but carried (since the academic dress in France is rarely worn outdoors, and men are not supposed to wear hats indoors), and often even omitted. Nowadays the practice is more relaxed, and the mortarboard is sometimes seen worn by women or worn indoor by men. In principle, a white bow tie (for men only ; quite rarely seen) and white gloves (nowadays never used). Professors who served 20 years are sometimes presented with a sword (identical model to that of French police commissars). [ citation needed ] The colours of the various academic fields are daffodil (yellow) for literature and arts, amaranth (purplish red) for science, redcurrant (reddish pink) for medicine, scarlet red for law, and violet (purple) for theology. University rectors, chancellors or presidents wear also specific costumes, which are violet regardless of the academic field in which they graduated. Field of graduation Colour name Colour aspect Divinity (and all high officials regardless of the field) Violet ( Purple (/wiki/Purple) , specifically the Royal Purple shade) Law (colour also worn by high magistrates) Écarlate ( Scarlet (/wiki/Scarlet_(color)) ) Medicine (and health-related fields) Groseille ( Redcurrant (/wiki/Pink) , a reddish shade of pink) Science (exact and experimental) Amaranthe ( Amaranth (/wiki/Amaranth_(color)) ) Arts, literature, philosophy, humanities Jonquille ( Daffodil (/wiki/Yellow) , a shade of yellow) The dress exists in two versions: the petit costume ("small costume") and the grand costume ("great costume"). Both are identical in form, and differ only in the presence or absence of the mortarboard and the repartition of colours on the gown and sash (the other elements of the dress, especially the epitoga, being identical for both): for the petit costume , the gown is all black, except the simarras which are of the colour of the academic field; the buttons are black; the sash and its fringes moiré black; the mortarboard is usually not worn; for the grand costume , the gown is black between the simarras, which are moiré black, and of the colour of the academic field on the sides and on the sleeves, except their turn-ups, which are black; the buttons are of the colour of the academic field; the sash is of the colour of the academic field, its fringes may be either the same colour or gold. In formal occasions, the grand costume is equivalent to white tie (/wiki/White_tie) , whereas the petit costume is equivalent to black tie (/wiki/Black_tie) . Germany [ edit ] Academic robes of the Free University of Berlin (/wiki/Free_University_of_Berlin) German academic dress generally consists of gown and cap. Nowadays, if in use at all, it is only found at special occasions, such as public processions, inaugurations of rectors, and graduation ceremonies. Historically, only the rectors, deans, professors, and lecturers wore academic dress—not students or graduates. Each German university had its own system of colours and drapings to signify faculty (/wiki/Faculty_(division)) membership and position in the university hierarchy. The gown of the German academic dress is called "Talar" (with the accent on the second "a": talár; from Latin talare which means to the ankles ). It can be traced back to the everyday clothes of the scholars in the Middle Ages. The same word Talar is also used for the robes of Protestant (Lutheran) pastors and rabbis (not for judges or lawyers, their gowns are called "Robe"), although these gowns often differ more or less in cut, length, drapings, and sometimes even in colour (the gowns of the German Supreme Court (/wiki/Federal_Constitutional_Court_of_Germany) are, e.g., completely dark red). The professorial Talar can be described as a long black gown with wide sleeves, often with lapels in faculty colour, while deans wear a Talar completely in faculty colour. Rectors typically have a distinguished, more elaborate Talar , e.g., made of velvet, coloured in red, or with gold embroidery. [17] (#cite_note-17) [18] (#cite_note-:0-18) At some universities, the rector additionally wears a chain of office (/wiki/Chain_of_office) and, at some occasions, carries a scepter (/wiki/Sceptre) . [19] (#cite_note-19) [20] (#cite_note-20) The cap that accompanies the Talar is called Barett . As is the case with the Talar , which type of cap is used varies by university as well. Historically, caps made of soft materials rather than the square academic cap are common. The colour of the Barett matches the Talar . [18] (#cite_note-:0-18) After the German student movement (/wiki/German_student_movement) , following the years of 1967 all West German universities dropped their academic dress because they were identified with right-winged conservatism and reactionism by the partly socialist influenced students at that time: The famous slogan "Unter den Talaren – Muff von 1000 Jahren" ( beneath the gowns the fug (https://en.wiktionary.org/wiki/fug) of 1000 years ) refers not to the old traditions of the Middle Ages, but especially to the Nazi regime and their self-declared "empire of 1000 years". [21] (#cite_note-21) In East Germany, which was a communist one-party state, Talare were abolished by law at about the same time. After East Germany began to dissolve in 1989, several universities, particularly University of Rostock (/wiki/University_of_Rostock) , [22] (#cite_note-22) University of Greifswald (/wiki/University_of_Greifswald) , [23] (#cite_note-23) University of Jena (/wiki/University_of_Jena) , [24] (#cite_note-24) and University of Halle-Wittenberg (/wiki/Martin_Luther_University_of_Halle-Wittenberg) , [25] (#cite_note-25) resurrected lost traditions including the Talar for officials. Some traditional universities in West German states have since followed, such as University of Heidelberg (/wiki/Heidelberg_University) . [26] (#cite_note-26) Since 2005, some universities introduced centrally organized graduation ceremonies for students of all faculties where academic dress is worn, most notably University of Bonn (/wiki/University_of_Bonn) , [27] (#cite_note-27) Chemnitz University of Technology (/wiki/Chemnitz_University_of_Technology) , [28] (#cite_note-28) and RWTH Aachen (/wiki/RWTH_Aachen_University) (only cap and stole (/wiki/Academic_stole) ). [29] (#cite_note-29) The graduates' dress usually consists of a simple black gown, a square academic cap (/wiki/Square_academic_cap) , and possibly a stole in faculty colour. At most other universities, faculties are responsible for organizing graduation ceremonies individually. Some faculties have decided for wearing academic dress at their ceremonies as well, e.g., the Faculty of Law at University of Marburg (/wiki/University_of_Marburg) [30] (#cite_note-30) and the Faculty of Economics and Business Administration at Goethe University Frankfurt (/wiki/Goethe_University_Frankfurt) . [31] (#cite_note-31) This practice is commonly understood as following Anglo-American examples rather than reviving old traditions. India [ edit ] Prime Minister of India (/wiki/Prime_Minister_of_India) Narendra Modi (/wiki/Narendra_Modi) , a graduating student, and the Chancellor of Banaras Hindu University (/wiki/Banaras_Hindu_University) , Dr. Karan Singh (/wiki/Karan_Singh) at the university's 2016 convocation ceremonies Indian universities followed United Kingdom robe and gown system (/wiki/Academic_dress_in_the_United_Kingdom) until 2013 [32] (#cite_note-32) when Banaras Hindu University (/wiki/Banaras_Hindu_University) replaced it with Indian traditional dress of Kurta (/wiki/Kurta) , Dhoti (/wiki/Dhoti) , Pyajama (/wiki/Pajamas) for men and Saree (/wiki/Saree) for women, which led to students at other universities demanding similar dresses. [33] (#cite_note-33) Slowly Indian universities started replacing the robes and gowns with traditional dresses. In 2019, India's University Grants Commission (/wiki/University_Grants_Commission_(India)) formally issued a circular to all public and private universities to opt for Indian traditional dress made of Indian handloom (/wiki/Handloom_sari) . [34] (#cite_note-34) Indian universities today prescribe Kurta (/wiki/Kurta) , Pyajama (/wiki/Pajamas) for male students and Saree (/wiki/Saree) or Salwar Suit (/wiki/Salwar_Suit) for women. [35] (#cite_note-35) Indonesia [ edit ] This section needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/Academic_dress) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) in this section. Unsourced material may be challenged and removed. ( November 2017 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Common type of Indonesian academic regalia with color-coded cape and pentagon cap In Indonesia, academic regalia, also called a toga (/wiki/Toga) is only worn in graduation ceremonies. An Indonesian toga generally comes in three pieces of clothing: a gown, a cape or a hood, and a cap with tassel ( pentagon-shaped (/wiki/Pentagon) mortarboard (/wiki/Square_academic_cap) / bonnet (/wiki/Tudor_bonnet) ). Other items are also worn during graduation ceremony such as a medallion (/wiki/Medal) , tippet (/wiki/Tippet) or academic stole (/wiki/Academic_stole) . There are four elements in Indonesian academic regalia: Gown – Indonesian academic gowns commonly come in black with a different color of trimming according to the field of study/faculty. In general they are long gowns with bell sleeves. There are some distinctive differences for each academic degree: for example, the length of undergraduate gown is usually below knee; for master's degrees, the gown is longer than undergraduate; and for doctoral degrees, the gown has a velvet (/wiki/Velvet) panel (or velour (/wiki/Velour) for fabric substitution) on the front and sleeve. Cape or Hood – In most universities capes are commonly used for undergraduates/bachelor's degree students, meanwhile hoods are commonly used for graduate students (master/doctoral) and academic staff. A cape/hood is also colour-coded according to the field of study/faculty. Cap – For undergraduate and master's degrees a mortarboard is worn. Unlike most academic caps, which are square in shape, the Indonesian cap is usually pentagonal. Another type of cap like Tudor bonnet is generally worn by doctoral students, although in some universities like Padjadjaran University (/wiki/Padjadjaran_University) [36] (#cite_note-36) the bonnet is worn for all academic degrees. Tassel – In most universities, before the commencement ceremony, undergraduates' tassel are placed on the left position, and during the graduation procession students receive their degree scroll/diploma and then move their tassel to the right. Tassels are also color-coded. Italy [ edit ] The Magnificus Rector (/wiki/Rector_(academia)) of the Pavia (/wiki/Pavia) University Plinio Fraccaro (/w/index.php?title=Plinio_Fraccaro&action=edit&redlink=1) , wearing gown and academic cap, welcomes the President of Republic (/wiki/President_of_Italy) Luigi Einaudi (/wiki/Luigi_Einaudi) , 13 April 1955. In Italy (/wiki/Italy) there are several differences among the typical academic dress ( gowns (/wiki/Gowns) , academic caps (/wiki/Academic_cap) , etc.) of the different universities, due to the great number of ancient universities in the country (for example the University of Bologna (/wiki/University_of_Bologna) , [37] (#cite_note-37) [38] (#cite_note-38) University of Pavia (/wiki/University_of_Pavia) , [39] (#cite_note-39) [40] (#cite_note-40) University of Padua (/wiki/University_of_Padua) , [41] (#cite_note-giuri.unipd.it-41) [42] (#cite_note-42) [43] (#cite_note-43) University of Pisa (/wiki/University_of_Pisa) , [44] (#cite_note-44) University of Siena (/wiki/University_of_Siena) , [45] (#cite_note-45) University of Florence (/wiki/University_of_Florence) , [46] (#cite_note-46) University of Rome (/wiki/Sapienza_University_of_Rome) , [47] (#cite_note-47) etc.). Usually gowns are worn only by professors during ceremonies and, in some faculties, during graduations. After the student protests of 1968 (/wiki/Protests_of_1968) many professors in many universities had stopped wearing academical gowns also in the formal occasions but since the 1990s people have started to use them again, mostly in humanities faculties (/wiki/Humanities) . [48] (#cite_note-48) [49] (#cite_note-bolognatoday.it-49) Furthermore, also students have started to wear gowns and cap in graduation ceremonies (usually for PhD) in some universities. [41] (#cite_note-giuri.unipd.it-41) [49] (#cite_note-bolognatoday.it-49) [50] (#cite_note-50) [51] (#cite_note-51) Gowns are traditionally all hemmed with the colours of faculty, which have some variations following the tradition of each atheneum. [52] (#cite_note-52) However the most widely used table of colours is the following [53] (#cite_note-53) Faculty Colour Sample Humanities (/wiki/Humanities) White (/wiki/White) Architecture (/wiki/Architecture) and Engineering (/wiki/Engineering) Black (/wiki/Black) Economics (/wiki/Economics) Yellow (/wiki/Yellow) Law (/wiki/Law) Blue (/wiki/Blue) Pharmacy (/wiki/Pharmacy) Maroon (/wiki/Maroon) Political science (/wiki/Political_science) Lilac (/wiki/Lilac_(colour)) Education (/wiki/Education) Pink (/wiki/Pink) Medicine and Surgery (/wiki/Medicine) Red (/wiki/Red) Veterinary medicine (/wiki/Veterinary_medicine) Violet (/wiki/Violet_(color)) Natural science (/wiki/Natural_science) Green (/wiki/Green) Psychology (/wiki/Psychology) Grey (/wiki/Grey) Sociology (/wiki/Sociology) Orange (/wiki/Orange_(colour)) Malaysia [ edit ] This section needs expansion . You can help by adding to it (https://en.wikipedia.org/w/index.php?title=Academic_dress&action=edit§ion=) . ( May 2024 ) In Malaysia, most public university academic gowns incorporate Songket (/wiki/Songket) motifs. Netherlands [ edit ] This section does not cite (/wiki/Wikipedia:Citing_sources) any sources (/wiki/Wikipedia:Verifiability) . Please help improve this section (/wiki/Special:EditPage/Academic_dress) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed (/wiki/Wikipedia:Verifiability#Burden_of_evidence) . ( May 2024 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) At Dutch universities, academic dress does not come with a degree but with the incumbency of a professorial chair: only full, chaired professors wear the toga with bib and beret. The beret is usually a soft cap, square or round and made of velvet; the gown (ankle-length, open in the front), is made of wool trimmed with velvet or silk It is traditionally black, as in the robes of early-modern humanists; some universities have gowns with wide slashed sleeves edged in faculty-specific colours, others have a decorated sleeve but without specific faculty colours. Recently established universities may show a greater variety of colours. Academic dress is only worn on ceremonial occasions: the university anniversary or dies natalis , inaugural lectures, and the public defence of a doctoral thesis. On such occasions, the assembled professors line up as a cortège headed by the university beadle (/wiki/Beadle) , who also wears an academic gown and carries the university's mace. Male professors remove their beret when sitting down and put it on when standing up (e.g. to lecture or to address a doctoral candidate during the thesis defence). Female professors may keep the beret on at all times. Academic dress may be completed by a chain of office (for the presiding Rector or Dean) or the insignia of honorary doctorates or royal orders (only worn at the dies natalis ). New Zealand [ edit ] University graduates in New Zealand wear an academic gown identical to those of the University of Cambridge (/wiki/University_of_Cambridge) [54] (#cite_note-auckland.ac.nz-54) and either a hood or scarf, depending on whether the graduate is receiving a degree or diploma. If the graduate is receiving a degree, a hood [54] (#cite_note-auckland.ac.nz-54) will be worn throughout the ceremony. If a diploma is received, the graduate will wear a diploma scarf. [55] (#cite_note-55) The hood, like the gown, is identical to that of the hood for the Cambridge Master of Arts. A Bachelor's degree hood is lined with coloured satin and bordered with white fur (the exception to this are Canterbury and Waikato University which do not line their hoods with fur). The bachelor's degree with Honours hood is lined with coloured satin and bordered with white satin. The master's degree hood has no edging. A doctoral degree recipient wears the same as a graduate receiving a master's degree, except the gown is completely silk, either black or scarlet, with the option to wear a cloth gown. A Doctoral hood is completely silk and the headdress is a black Tudor bonnet, in place of the flat-topped mortarboard worn with bachelor's and master's gowns. Academic dress is rarely worn in New Zealand other than at formal academic events, such as by graduates and faculty at graduation ceremonies and teaching faculty at school prizegivings. Some traditional boys' high schools retain the tradition of the headmaster wearing a gown while leading assemblies. Undergraduates who live at College House at the University of Canterbury (/wiki/University_of_Canterbury) must wear academic dress to dinner. It is common for graduands to wear clothing or adornments significant to their culture at their graduation ceremony. For example, it is common to see Māori (/wiki/M%C4%81ori_People) students wearing a traditional cloak known as korowai or kakahu huruhuru or Pasifika (/wiki/Pacific_Islanders) students wearing lavalava (/wiki/Lavalava) , ta'ovala (/wiki/Ta%27ovala) and elaborate lei (/wiki/Lei_(garland)) . Below is a list of the general hood colours of graduates: Faculty Colour Sample Architecture (/wiki/Architecture) Lemon (/wiki/Lemon_(colour)) Arts (/wiki/Liberal_arts) Pink (/wiki/Pink) BBIM (/wiki/BBIM) Apricot (/wiki/Apricot_(colour)) Business Administration (/wiki/Business_Administration) , MBA (/wiki/MBA) Burgundy (/wiki/Burgundy_(color)) Commerce (/wiki/Commerce) Orange (/wiki/Orange_(colour)) Dentistry (/wiki/Dentistry) Violet (/wiki/Violet_(color)) Economics (/wiki/Economics) Copper (/wiki/Copper_(colour)) Education (/wiki/Education) Emerald (/wiki/Emerald_(color)) , [54] (#cite_note-auckland.ac.nz-54) Coral (/wiki/Coral_(colour)) [56] (#cite_note-56) Engineering (/wiki/Engineering) Dark Violet (/wiki/Violet_(color)) Fine Arts (/wiki/Fine_art) Gold (/wiki/Gold_(colour)) Human Biology Crimson (/wiki/Crimson) Law (/wiki/Law) Light Blue (/wiki/Light_blue_(color)) Medicine (/wiki/Medicine) Lilac (/wiki/Lilac_(colour)) Music (/wiki/Musicology) White (/wiki/White) Nursing (/wiki/Nursing) Navy (/wiki/Navy_(colour)) Optometry (/wiki/Optometry) Blue Green (/wiki/Spring_green_(color)) Performing Arts (/wiki/Performing_Arts) Pink (/wiki/Pink) Pharmacy (/wiki/Pharmacy) Grey Green Philosophy (/wiki/Philosophy) Dark Blue (/wiki/Dark_Blue_(color)) Physical Education (/wiki/Physical_education) Sage Green (/w/index.php?title=Olive_greens&action=edit&redlink=1) Planning (/wiki/Planning) Green (/wiki/Green) Property (/wiki/Property) Silver (/wiki/Silver_(colour)) Science (/wiki/Science) Dark Blue (/wiki/Dark_blue_(color)) Theology (/wiki/Theology) , Divinity (/wiki/Divinity_(academic_discipline)) Forest Green (/wiki/Variations_of_green#Forest_green) , Violet Grey Philippines [ edit ] Most colleges and universities in the Philippines follow the traditional mortarboard (/wiki/Mortarboard) , hood and gown during graduation. In some schools of the country, the colour of the gown corresponds to the school colour (Blue for Colegio de San Juan de Letran (/wiki/Colegio_de_San_Juan_de_Letran) and Ateneo de Manila University (/wiki/Ateneo_de_Manila_University) , Green for Far Eastern University (/wiki/Far_Eastern_University) , and Red for San Beda University (/wiki/San_Beda_University) ). Some schools, like the University of Santo Tomas (/wiki/University_of_Santo_Tomas) , due to their Spanish heritage, follow Spanish academic attire such as the academic biretta (/wiki/Biretta#Academic_biretta) and mozetta (/wiki/Mozetta) . The biretta and mozetta are worn by those from the Graduate School and the Faculty of Medicine and Surgery. Graduates of the Bachelors' programs wear the traditional mortarboard, hood and gown. The professors of the university wear their academic regalia during the Missa de Apertura or the Opening Mass of the Academic Year aside from Solemn Investitures (graduation ceremonies) and other academic activities. The academic colours are unique to this university as these depend on the official color of the faculty or college a student or an academe belongs into. A unique graduation garb worn at member universities of the University of the Philippines System (/wiki/University_of_the_Philippines_System) is the use of the Sablay . The Sablay was inspired from the Malong of Muslim Mindanao, giving it a Filipiniana look. It features the indigenous baybayin (/wiki/Baybayin) characters for "U" and "P". [57] (#cite_note-57) During the commencement ceremony, graduates wear the Sablay at the right shoulder, it is then moved to the left shoulder after the President of the university confers their degree, "similar to the moving of the tassel of the academic cap." The Sablay is worn over traditional Filipino attire – barong tagalog (/wiki/Barong_tagalog) for men and Filipiniana dress for women. The garb was first worn at the University of the Philippines Diliman (/wiki/University_of_the_Philippines_Diliman) . Other UP campuses followed suit. [ citation needed ] Elementary and high school students also wear a certain kind of academic dress upon their graduation, usually a white gown and mortarboard for public schools. For private schools, the gown and mortarboard's color is at the discretion of the administration. There are several schools which make use of a hood-like design on top of their gowns which bears the school colors. UP Diliman (/wiki/University_of_the_Philippines_Diliman) graduates preparing for the march UP Diliman (/wiki/University_of_the_Philippines_Diliman) graduation ceremonies The Rector Magnificus of the University of Santo Tomas (/wiki/Rector_Magnificus_of_the_University_of_Santo_Tomas) in Manila (/wiki/Manila) , Philippines (/wiki/Philippines) , in full Spanish academic attire, wearing the academic biretta (/wiki/Biretta#Academic_biretta) and the mozetta (/wiki/Mozetta) over the Dominican habit Poland [ edit ] This section needs expansion . You can help by adding to it (https://en.wikipedia.org/w/index.php?title=Academic_dress&action=edit§ion=) . ( May 2024 ) The wearing of traditional academic dress is an important feature of Polish educational ceremonies. Portugal [ edit ] Portrait of Fernando Bissaya Barreto (/w/index.php?title=Fernando_Bissaya_Barreto&action=edit&redlink=1) wearing academic regalia. A scholar and politician, he was the founder of Portugal dos Pequenitos (/wiki/Portugal_dos_Pequenitos) in Coimbra (/wiki/Coimbra) , Portugal. Academic dress varies from university to university. In some situations, such as in doctoral exams, the hat is not used. In Portugal, following an ancient tradition, university regular students also use a specific dressing. The "traje académico", as it is known in Portuguese, is recognized by its almost totally black color and cape. But other student dresses did exist, including the unique blue attire of the students of the University of Algarve (/wiki/University_of_Algarve) (UAlg) in use until at least to the 2010s. [58] (#cite_note-58) Singapore [ edit ] This section needs expansion . You can help by adding to it (https://en.wikipedia.org/w/index.php?title=Academic_dress&action=edit§ion=) . ( May 2024 ) Academic dress for PhD in Singapore (/wiki/Singapore) with description Academic dress for Masters in Singapore (/wiki/Singapore) with description [ citation needed ] South Africa [ edit ] Academic dress in South Africa varies from one institution to another, but generally follow UK patterns. A common distinction is for graduands in all degrees up to and including the master's degree to have black gowns, while the PhD candidate wears a scarlet gown. These days, academic dress is only used at graduation ceremonies. The wearing of traditional African attire, or modern clothes inspired by traditional attire, beneath the academic dress has been a distinct trend in recent years. [ citation needed ] Spain [ edit ] This section does not cite (/wiki/Wikipedia:Citing_sources) any sources (/wiki/Wikipedia:Verifiability) . Please help improve this section (/wiki/Special:EditPage/Academic_dress) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed (/wiki/Wikipedia:Verifiability#Burden_of_evidence) . ( May 2024 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Honoris causa (/wiki/Honoris_causa) doctorates wearing the Spanish doctor's academic dress for Sciences at the University of Valladolid (/wiki/University_of_Valladolid) , Spain (/wiki/Spain) The typical Spanish academic dress has Latin origin. It has been regulated since 1850, when Queen Isabella II (/wiki/Isabella_II_of_Spain) established several rules about academic dress, according to the centuries-old Spanish custom. The typical Spanish academic dress for doctors is composed by: A black long gown ( toga ) with a long row of buttons, made of satin and wool. It is worn over a black suit. A mozzetta (/wiki/Mozzetta) ( muceta ), whose colour depends on the academic field. Long cuffs ( puñetas ) of the same fabric and color than the mozetta, covered by white cotton lace. Those of the Rector (University president) are bright red or pink, and the lace is usually silken. The buttons are made of gold for the Rector and made of silver for the Deans. An octagonal, tasseled biretta (/wiki/Biretta) ( birrete ), whose colour depends on the academic field. Tassels of doctors holding more than one degree in separate fields alternate the corresponding colors. White gloves. A ring is usually worn by doctors. A staff or scepter ( bastón ) made of American reed is carried by the university rector. Medallions are often worn by postgraduates, doctors, professors, deans and the university rector. Doctorates wearing the Spanish doctor's academic dress with colours used for the various academic fields Academic procession at the Miguel Hernández University of Elche (/wiki/Miguel_Hern%C3%A1ndez_University_of_Elche) However, this academic dress is only used for the opening of the academic year and for PhD graduations or for doctorates honoris causa (/wiki/Honoris_causa) . It is worn only by doctors, deans and the University Rector. For other graduates, the academic dress is often composed by a mortarboard (/wiki/Mortarboard) and a mozzetta ( muceta ) or a sash over the shoulder ( beca ) with the shield of the university and/or faculty. The colour of the mozzetta or the sash depends on the academic field. The colours used in Spain for the various academic fields are: Academic field Colour name Sample Psychology (/wiki/Psychology) Lilac (/wiki/Lilac) Pharmacy (/wiki/Pharmacy) Purple (/wiki/Purple) Odontology (/wiki/Odontology) Fuchsia (/wiki/Fuchsia_(color)) Law (/wiki/Law) Red (/wiki/Red) Architecture (/wiki/Architecture) , Engineering (/wiki/Engineering) Brown (/wiki/Brown) Economics (/wiki/Economics) , Business (/wiki/Business) , Political Sciences (/wiki/Political_Sciences) , Sociology (/wiki/Sociology) Orange (/wiki/Orange_(colour)) Medicine (/wiki/Medicine) Gold (/wiki/Gold_(color)) Art (/wiki/Art) , Theology (/wiki/Theology) White (/wiki/White) Veterinary Medicine (/wiki/Veterinary_Medicine) Green (/wiki/Green) Sport Sciences (/wiki/Sport_Sciences) Light green (/wiki/Light_green) Translation (/wiki/Translation) , Interpreting (/wiki/Interpreting) Teal (/wiki/Teal) Philosophy (/wiki/Philosophy) , Literature (/wiki/Literature) Sky blue (/wiki/Sky_blue) Learning Sciences (/wiki/Learning_Sciences) Light Blue (/wiki/Light_blue_(color)) Natural Sciences (/wiki/Natural_Sciences) , Exact Sciences Dark ("Turk") blue (/w/index.php?title=Dark_(%22Turk%22)_blue&action=edit&redlink=1) Nursing (/wiki/Nursing) Grey (/wiki/Grey) Journalism (/wiki/Journalism) Lead grey (/w/index.php?title=Lead_grey&action=edit&redlink=1) Rector (/wiki/Rector_(academia)) Black (/wiki/Black) Sri Lanka [ edit ] In Sri Lanka, the academic dress consists of gown, hood (post-graduate) and a garland (on graduation day). Universities that were affiliated to the former University of Ceylon (/wiki/University_of_Ceylon) issue black gowns for graduates and post graduates; red gowns for masters and Phd graduates; crimson gowns for chancellors with a different colour gowns for senior academic faculty. These universities only issue garland (/wiki/Garland) on the graduation day to new graduates and only issue mortar boards to chancellor, vice chancellor and registrars. Private universities issue mortar boards to graduates along with a hood in place of garland. [ citation needed ] Sweden and Finland [ edit ] A traditional Finnish technology student's hat from the Helsinki University of Technology (/wiki/Helsinki_University_of_Technology) (photograph taken on top of a mirror) Finnish doctoral hat for a doctor of science from the University of Oulu (/wiki/University_of_Oulu) Finland and Sweden have similar traditions when it comes to academic clothing. For important academic ceremonies white tie (/wiki/White_tie) is usually worn, however, often with traditional headwear and gowns. Gowns are not generally used except by the rector (/wiki/Rector_(academia)) as a symbol of office, if anyone. The regular student cap (/wiki/Student_cap) (Finnish: ylioppilaslakki , Swedish: studentmössa ) usually has a white velvet crown, a black band and a black beak. The cap can be worn by anyone who has passed the matriculation examination (/wiki/Matriculation_examination) and is acceptable wear for both formal and informal academic celebrations. Technology students wear a special kind of student cap called a teekkarilakki (Finnish) or teknologmössa (Swedish). It is similar to the traditional student cap, but features a tuft and a distinctive cockade (/wiki/Cockade) to show which university the wearer is attending. Technology students generally wear their caps more frequently, and thus the tuft often symbolizes university engineering students. Although universities have different rules regarding the use of the cap, caps are generally not awarded to students until the completion of the first year of studies. The technology student's hat may also be seen on informal occasions, being worn with the student overall (/wiki/Student_overall) at many universities. In both countries many universities have doctoral hats (/wiki/Doctoral_hat) for persons who have completed a PhD or similar degree. These usually resemble top hats (/wiki/Top_hats) and must be worn with white tie (/wiki/White_tie) . Like other hats, they are not generally worn indoors, but they may be presented on a table. Events where the hat and white tie are worn include thesis defences, post-doctoral parties, ceremonial conferments of degrees, opening ceremonies and other formal ceremonies related to the university. [59] (#cite_note-59) At some universities, a doctoral ring (/wiki/Doctoral_ring) is awarded together with the hat. In the Ingmar Bergman (/wiki/Ingmar_Bergman) film Wild Strawberries (/wiki/Wild_Strawberries_(film)) , one scene shows the conferral of a Jubilee doctor degree on the main character at the University of Lund (/wiki/University_of_Lund) , which includes the presentation of such a hat and ring. At the University of Helsinki (/wiki/University_of_Helsinki) a cape and a sword are commonly worn with the doctoral hat. Students of the student organization "Limes" may also be seen wearing a black cape. [60] (#cite_note-60) Taiwan [ edit ] This section needs expansion . You can help by adding to it (https://en.wikipedia.org/w/index.php?title=Academic_dress&action=edit§ion=) . ( May 2024 ) Academic dress varies from university to university in Taiwan, generally consisting of cap and gown. Its use is limited to such special occasions as graduation ceremonies (/wiki/Graduation_ceremonies) . Thailand [ edit ] In Thailand, there are five different styles of academic dress: (1) traditional Thai, (2) traditional American, (3) French (Paris), (4) modified American, and (5) modified British. Some universities prefer a traditional robe originated in the royal court, known as suea khrui (/wiki/Suea_khrui) . Traditionally, the robe is a one-piece open-fronted garment made with a mesh, faced and bordered with a velvet or felt band. Since the conception of Chulalongkorn University (/wiki/Chulalongkorn_University) , the traditional suea khrui was adopted for their graduates. Influenced by the colour of gowns used at Oxford (/wiki/Academic_dress_of_the_University_of_Oxford) , bachelor's' and master's gown are faced and bordered with a black felt band. Meanwhile, a scarlet felt band is reserved for doctors. There are patterns upon the felt band to denote different degrees and faculties. [61] (#cite_note-61) Other universities that utilise the traditional robe might, instead of a mesh, use another kind of fabric for their dress. Other universities in Thailand that use a traditional robe include Mae Fah Luang University (/wiki/Mae_Fah_Luang_University) , Chiang Rai (/wiki/Chiang_Rai) ; [62] (#cite_note-62) Sukhothai Thammathirat Open University (/wiki/Sukhothai_Thammathirat_Open_University) , Nonthaburi (/wiki/Nonthaburi) ; [63] (#cite_note-63) Khon Kaen University (/wiki/Khon_Kaen_University) ; [64] (#cite_note-64) Naresuan University (/wiki/Naresuan_University) , Phitsanulok (/wiki/Phitsanulok) ; [65] (#cite_note-65) Mahachulalongkorn Buddhist University (/wiki/Mahachulalongkornrajavidyalaya_University) , Phra Nakhon Si Ayutthaya (/wiki/Phra_Nakhon_Si_Ayutthaya_Province) ; [ citation needed ] Mahamakut Buddhist University (/wiki/Mahamakut_Buddhist_University) , Nakhon Pathom (/wiki/Nakhon_Pathom) ; [66] (#cite_note-66) All King Mongkut's Universities of Technology; Most Rajabhat Universities (/wiki/Rajabhat_Universities) and all Rajamangala universities of technology (/wiki/Rajamangala_University_of_Technology) . As a note, Mahachulalongkorn and Mahamakut Buddhist universities do not prescribe an academic dress for monks, nuns and clergymen. It is also customary that monks and ministers of religion do not wear a dress, when they are being admitted to the degree at other Thai universities. Other universities employs academic dress of the modified American pattern (/wiki/Academic_dress_in_the_United_States) , with the exception at Thammasat University (/wiki/Thammasat_University) and Kasetsart University (/wiki/Kasetsart_University) . Thammasat University employs a plain black gown with different epitoge (/wiki/Epitoge) , a strip of cloth worn over the left shoulder, for distinct degrees. The number of fur bands upon the epitoge indicates the degree (i.e. 3 for doctors, 2 for masters and 1 for bachelors). The hat is not worn. [67] (#cite_note-67) Kasetsart University, on the other hand, retains the original American academic dress style. [68] (#cite_note-68) For bachelors, the dress comprises a plain sleeve gown with a coloured cord around the neck. This is different from many American universities, at which a scarf is used instead of a cord. Masters' gown exactly follows the American design. The sleeve is sewn shut at the end, with a slit to free the arm. Doctors' gown also follows the American tradition. The sleeve has three velvet bars to denote the seniority. The hat is included. Since most Thai universities do not fully understand the original American tradition, they usually use an American doctoral gown for their doctoral degree. By reducing the number of velvet bars on the sleeve, it is possible to get gowns for masters (2 bars) and bachelors (1 bar or none). Notable examples of this deviation include Ramkhamhaeng University (/wiki/Ramkhamhaeng_University) , Burapha University (/wiki/Burapha_University) , Mahidol University (/wiki/Mahidol_University) and the University of Phayao (/wiki/University_of_Phayao) . Some universities even incorporate the hood into a pattern on the gown, including Suranaree University of Technology (/wiki/Suranaree_University_of_Technology) and Walailak University (/wiki/Walailak_University) . This eliminates the need of additional hood. Prince of Songkhla University (/wiki/Prince_of_Songkhla_University) uses a gown which is heavily deviated from the original British style. Gowns for bachelors and masters are made of black stuff. Doctoral gowns are made from scarlet cloth. Instead of being open-fronted like ones in the United Kingdom and Australia, all gowns are close-fronted, probably due to the robemakers. The neckband is curved instead of being a chevron. Silpakorn University (/wiki/Silpakorn_University) mixes a modified American gown (i.e. a close-fronted black gown with different number of bars on the sleeve) with an altered version of Oxford simple hood. [69] (#cite_note-69) Tunisia [ edit ] In Tunisia (/wiki/Tunisia) , University of Ez-Zitouna (/wiki/University_of_Ez-Zitouna) graduates wear an academic gown. Doctoral graduates in Islamic Sciences wear a jebba. In other Tunisian universities, like the medical university, [ which? ] doctoral graduates wear an academic dress. Tunisian Jebba Turkey [ edit ] This section needs expansion . You can help by adding to it (https://en.wikipedia.org/w/index.php?title=Academic_dress&action=edit§ion=) . ( May 2024 ) Academic regalia in Turkey has many similarities with the academic dress traditions of the United States. [ citation needed ] Herman Braun-Vega (/wiki/Herman_Braun-Vega) receiving his Honoris Causa degree at the Süleyman Demirel (/wiki/S%C3%BCleyman_Demirel) University in Isparta (/wiki/Isparta) , Turkey United Kingdom and Ireland [ edit ] Further information: Academic dress in the United Kingdom (/wiki/Academic_dress_in_the_United_Kingdom) See also: Academic dress of the University of Dublin (/wiki/Academic_dress_of_the_University_of_Dublin) and Academic dress of the National University of Ireland (/wiki/Academic_dress_of_the_National_University_of_Ireland) An alternative coloured gown, The Open University (/wiki/The_Open_University) , MEd The Bishop Andrewes cap as used for University of Cambridge (/wiki/University_of_Cambridge) DDs (/wiki/Doctor_of_Divinity) There is a distinction between different types of academical dress. Most recently, gowns, hoods and caps are categorised into their shape and patterns by the Groves classification system (/wiki/Groves_classification_system) , which is based on Nicholas Groves' document, Hood and Gown Patterns . [70] (#cite_note-70) This lists the various styles or patterns of academic dress and assigns them a code or a Groves Classification Number (/wiki/Groves_Classification_Number) . For example, the Cambridge BA style gown is designated [b2] and a hood in the Cambridge full-shape is designated [f1], etc. Because the universities are free to design their own academicals using a wide range of available gown, hood and cap patterns, colours and materials at their and the robemaker's disposal, the academicals of two given universities rarely clash with each other. The Burgon Society (/wiki/Burgon_Society) was founded in 2000 to promote the study of academic dress. [71] (#cite_note-71) Its publications and activities examine the history and current use of academic dress. In 2011 it published the third edition of Shaw's reference book on British and Irish academical dress. [72] (#cite_note-72) The Society hosts a conference each spring at which recent research is presented. [73] (#cite_note-73) The modern gown is derived from the roba worn under the cappa clausa , a garment resembling a long black cape. In early medieval times, all students at the universities were in at least minor orders (/wiki/Minor_orders) , and were required to wear the cappa or other clerical dress, and restricted to clothes of black or other dark colour. The gowns most commonly worn, that of the clerical type gowns of bachelor's degrees (/wiki/Bachelor%27s_degree) (BA and BS) and master's degrees (/wiki/Master%27s_degree) (MA and MS), are substantially the same throughout the English-speaking world. All are traditionally made of black cloth, (although occasionally the gown is dyed in one of the university's colours) and the material at the back of the gown is gathered into a yoke. The Bachelor's gown has bell-shaped sleeves, while the Master's gown has long sleeves closed at the end, with the arm passing through a slit above the elbow. [74] (#cite_note-Shaw4-7-74) There are two distinctive shapes used in the UK for doctor's gowns; the Oxford doctor's shape and the Cambridge doctor's shape. The former has bell-shaped sleeves, the latter has long open sleeves. Another rarer form is the Cambridge Doctor of Music dress gown which is a pattern between the two. The other form of doctor's gown is the undress gown. This is a black gown worn for less formal occasions such as lectures. This type of gown is rarely seen or worn nowadays as many wear the dress gown instead; however, the undress gown still plays a part in the older universities where academic dress is usually worn. Undergraduates at many older universities also wear gowns; [75] (#cite_note-75) the most common essentially a smaller knee-length version of the Bachelor's gown, or the Oxford Commoners gown which is a sleeveless lay type gown and has two streamers at the back at Oxford. [76] (#cite_note-76) At Cambridge, most colleges have their own distinctive design of gown. [77] (#cite_note-77) Undergraduates at St Andrews, with the exception of theology students, commonly wear scarlet woollen gowns with velvet collars. [78] (#cite_note-78) Undergraduate gowns are seldom worn (even in institutions that prescribe them) nowadays except in the older universities. Another form of dress, now rarely seen, is the habit, which is worn over a black gown. Only Oxford, Cambridge, Durham and Newcastle use habits and mainly reserve their use for very formal ceremonial occasions and to a specific group of academics or officials. The hood was originally a functional garment, worn to shield the head from the elements. In the English tradition, it has developed to an often bright and decorative garment worn only on special occasions. Hoods comprise two basic patterns: full shape or simple shape. The traditional full-shape hood consists of a cape, cowl (/wiki/Cowl) , and liripipe (/wiki/Liripipe) , as is used at Cambridge. At Oxford, the bachelors' and masters' hoods use simple hoods that have lost their cape and retain only the cowl and liripipe. [79] (#cite_note-79) The colour and lining (/wiki/Lining_(sewing)) of hoods in academic dress represents the rank and/or faculty of the wearer. [80] (#cite_note-80) In many Commonwealth universities bachelors wear hoods edged or lined with white rabbit fur, while masters wear hoods lined with coloured silk (originally ermine or other expensive fur). Doctors' hoods are normally made of scarlet cloth and lined with coloured silk. [81] (#cite_note-81) Faculty colours were introduced by the University of London and many universities followed suit. [82] (#cite_note-82) The academic cap (/wiki/Academic_cap) or square, commonly known as the mortarboard, has come to be symbolic of academia. In some universities it can be worn by graduates and undergraduates alike. It is a hat consisting of a skullcap surmounted by a flat square of stiffened cloth, the board; a tassel is fixed to a button in the centre of the board. The mortarboard may also be referred to as a trencher cap (/wiki/Trencher_cap) (or simply trencher). The tassel (/wiki/Tassel) is composed of a cluster of silk threads which are wrapped together with a cord which is attached to the button affixed to the centre of the headpiece. The loose strands are allowed to fall freely over the board edge, typically falling over the left front side of the cap. Often the strands are plaited (/wiki/Braid) together to form a cord with the end threads left untied. In many universities, holders of doctorates wear a soft-crowned, round-brimmed headpiece known as a Tudor bonnet (/wiki/Tudor_bonnet) or tam (/wiki/Tam_(cap)) , rather than a trencher. Other types of hats used, especially in some universities in the UK, are the John Knox cap (/w/index.php?title=John_Knox_cap&action=edit&redlink=1) (mostly at Scottish universities), the Bishop Andrewes cap (/wiki/Bishop_Andrewes_cap) (a reinvention of the ancient form of the mortarboard, worn by Cambridge Doctors of Divinity (/wiki/Doctor_of_Divinity) DD's) and the pileus (/wiki/Pileus_(hat)#University_of_Sussex_pileus) (at Sussex). In some universities, such as Oxford, women may wear an Oxford ladies' cap. [83] (#cite_note-83) Officers of the universities generally wear distinctive and more elaborate dress. The Chancellor (/wiki/Chancellor_(education)) and the Vice-Chancellor (/wiki/Vice-Chancellor) may wear a black damask lay type gown (sometimes with a long train) trimmed with gold or silver lace (/wiki/Lace) and frogs (/wiki/Frog_(fastening)) . They wear a velvet mortarboard, similarly trimmed with gold braid and tassel. Other than this gown, they may have other distinct forms of dress, such as the scarlet cappa clausa or cope (/wiki/Cope) worn in certain circumstances by the Vice-Chancellor of Cambridge or his/her deputy and by higher doctors presenting candidates for degrees, which was once worn by Doctors of Divinity (/wiki/Doctor_of_Divinity) . [84] (#cite_note-84) In the past, Chancellors may also wear full court dress with breeches and court shoes like that of the Lord Chancellor (/wiki/Lord_Chancellor) of Great Britain. At degree ceremonies, graduands often dress in the academic dress of the degree they are about to be admitted to prior to the actual graduation ceremony. This is not the case at several of the older universities in the UK, most notably, Oxford, Cambridge and St Andrews which have their own distinct traditions. In addition to universities and colleges, a number of British professional bodies, such as the Institute of Biology (/wiki/Institute_of_Biology) and the Institute of Physics (/wiki/Institute_of_Physics) grant academic dress to their members. [85] (#cite_note-85) United States [ edit ] Main article: Academic regalia in the United States (/wiki/Academic_regalia_in_the_United_States) A Columbia (/wiki/Columbia_University) Doctor of Education (/wiki/Doctor_of_Education) in doctoral regalia. The rules of academic dress in the United States were first standardized at Columbia, before spreading to Harvard (/wiki/Harvard_University) and Yale (/wiki/Yale_University) . The Harvard doctoral gown and hood, which do not entirely follow the American Council on Education system American academic dress is typically closed at the front and properly worn with the prescribed cap, as well as the hood. On the baccalaureate dress shown other items such as scarves, stoles or cords may be seen. Academic regalia in the United States has been influenced by the academic dress traditions of Europe. There is an Inter-Collegiate code which sets out a detailed uniform scheme of academic regalia followed by most, though some institutions do not adhere to it entirely, and fewer still ignore it. Generally, academic regalia in the United States consists of a mortarboard cap affixed with a tassel, and gown worn over other clothing. [86] (#cite_note-86) The ensemble can also be adorned with an academic stole (/wiki/Academic_stole) —a vestment used by various organizations to denote academic achievement. Academic regalia consisting of mortarboard cap, tassell, gown, and academic honors stole (Whitman College) The practice of wearing academic regalia in the United States dates to the Colonial Colleges (/wiki/Colonial_Colleges) period, and was heavily influenced by European practices and styles. [87] (#cite_note-overview-87) Students of most colonial colleges were required to wear the "college habit" at most times – a practice that lasted until the eve of the American Civil War (/wiki/American_Civil_War) in many institutions of higher learning. [88] (#cite_note-RegaliaOfPrinceton-88) In some rare instances the practice has persisted, such as at Sewanee (/wiki/Sewanee:_The_University_of_the_South) , where members of the student honor society, along with most professors, continue to wear the gown to class. [89] (#cite_note-89) After the Civil War, academic regalia was generally only worn at ceremonies or when representing the institution. [88] (#cite_note-RegaliaOfPrinceton-88) There was not, however, any standardization among the meanings behind the various costumes. In 1893, an Intercollegiate Commission made up of representatives from leading institutions and chaired by President of Columbia (/wiki/President_of_Columbia_University) Seth Low (/wiki/Seth_Low) was created, to establish an acceptable system of academic dress. The commission met at Columbia University (/wiki/Columbia_University) in 1895 and adopted a code of academic regalia, which prescribed the cut and style and materials of the gowns, as well as determined the colors which were to represent the different fields of learning. [90] (#cite_note-90) These rules were soon adopted by Columbia's peer institutions, including Harvard, Yale, and Princeton. [91] (#cite_note-91) In 1932 the American Council on Education (/wiki/American_Council_on_Education) (ACE) authorized the appointment of a committee to determine whether revision and completion of the academic code adopted by the conference of the colleges and universities in 1895 is desirable at this time, and, if so, to draft a revised code and present a plan for submitting the code to the consideration of the institutional members of the council. The committee reviewed the situation and approved a code for academic costumes that has been in effect since that year. A Committee on Academic Costumes and Ceremonies , appointed by the American Council on Education in 1959, again reviewed the academic dress code and made several changes. [87] (#cite_note-overview-87) Although academic dress is now rarely worn outside commencement (/wiki/Graduation) ceremonies or other academic rituals such as encaenia (/wiki/Encaenia) in the U.S. graduation ceremonies have gained popularity and have expanded from high school graduations to middle school, elementary school and kindergarten graduation ceremonies. [92] (#cite_note-92) Bachelors' (/wiki/Bachelor%27s_degree) and master's (/wiki/Master%27s_degree) gowns in the United States are similar to their counterparts in the United Kingdom, though bachelor's gowns are now designed to be worn closed, and all are at least mid-calf length to ankle-length. [93] (#cite_note-SullivanGowns-93) The masters' gown sleeve is oblong (/wiki/Rectangle) and, though the base of the sleeve hangs down in the typical manner, it is square cut at the rear part of the oblong shape. The front part has an arc cut away, and there is a slit for the wrist opening, but the rest of the arc is closed. The shape is evocative of the square-cut liripipe (/wiki/Liripipe) incorporated into many academic hoods ( see , below). The master's gown is designed to be worn open or closed. [93] (#cite_note-SullivanGowns-93) Doctoral (/wiki/Doctorate) robes are typically black, although some schools use robes in the school's colours (/wiki/School_colors) . [93] (#cite_note-SullivanGowns-93) The Code calls for the outside shell of the hood ( see , below) to remain black in that case, however. In general, doctoral gowns are similar to the gowns worn by bachelor's graduates, with the addition of three velvet bands on the sleeves and velvet facing running down the front of the gown. The Code calls for the gown trim to be either black or the colour designated for the field of study in which the doctorate was earned (see Inter-Collegiate colors (/wiki/Academic_regalia_in_the_United_States#Intercollegiate_colors) ). However, in the case of the degree of Doctor of Philosophy (/wiki/Doctor_of_Philosophy) (PhD), although it is awarded for study in any number of fields, the dark blue velvet of philosophy is always used regardless of the particular field studied. For example, if not choosing black trim, a PhD in theology would wear velvet gown trim in dark blue, while a Doctor of Theology (/wiki/Doctor_of_Theology) (Th.D.) would wear scarlet trim, if not choosing black. The robes have full sleeves, instead of the bell sleeves of the bachelor's gown. Some gowns expose a necktie (/wiki/Necktie) or cravat (/wiki/Cravat_(early)) when closed, while others take an almost cape-like form. It is designed to be worn open or closed in the front. [93] (#cite_note-SullivanGowns-93) The Code calls for the shell material of the hood to match the robe, and for the colour to be black regardless of the colour of the robe being worn. [94] (#cite_note-SullivanHoods-94) The interior lining – generally silk – displays the colours of the institution from which the wearer received the degree, in a pattern prescribed by it (usually, if more than one colour is used, chevrons (/wiki/Chevron_(insignia)) or equal divisions). [95] (#cite_note-SullivanTrimmingsGowns-95) The opening of the hood is trimmed (/wiki/Trim_(sewing)) in velvet (/wiki/Velvet) or velveteen (/wiki/Velveteen) . [96] (#cite_note-SullivanTrimmingsHoods-96) In most American colleges and universities, the colour of the velvet hood trimming is distinctive of the academic field – or as closely related as possible – to which the degree earned pertains (see Inter-Collegiate colors (/wiki/Academic_regalia_in_the_United_States#Intercollegiate_colors) ). [97] (#cite_note-ReferenceA-97) Many institutions, particularly larger ones, have dispensed with the bachelor's hood at commencement ceremonies altogether, though a graduate is still entitled to wear one once the degree is conferred. [98] (#cite_note-SullivanExceptions-98) Headwear is an important component of cap-and-gown, and the academic costume is not complete without it. The headwear will vary with the level of academic achievement and, to some extent, on the individual academic institution's specifications. For caps, the mortarboard is recommended in the Code, and the material required to match the gown. [99] (#cite_note-SullivanCaps-99) The exception—velvet—is reserved for the doctor's degree only, seen in the form of a multiple-sided (4, 6, or 8) tam (/wiki/Tam_(cap)) , but the four-sided mortarboard-shaped tam in velvet is what the Code seems to recommend here. [99] (#cite_note-SullivanCaps-99) The only colour called for is black, in all cases. [99] (#cite_note-SullivanCaps-99) The tassel worn on the mortarboard or a tam seems to provide, by tradition, the greatest opportunity for latitude in American academic dress. It has been black, or represented the university's colours, or the colours of the specific college, or the discipline. The tassel has also been used to indicate membership in national honour societies (/wiki/Honor_society) or other awards. There is at some colleges and universities a practice of moving the tassel from one side to the other on graduating, but this is a modern innovation that would be impractical out of doors due to the vagaries of the wind. For doctoral and masters students, the tassel commonly begins and remains on the left. [100] (#cite_note-SullivanWearing-100) The colours allocated to the various fields of learning have been largely standardized in the United States by the Intercollegiate Bureau of Academic Costume, and accepted by the American Council on Education in its Academic Costume Code. [95] (#cite_note-SullivanTrimmingsGowns-95) Some of the more common colours seen are that liberal arts (/wiki/Liberal_arts) is represented by white, science by golden yellow, medicine by green, law by purple, theology by scarlet, and philosophy (including all PhD degrees) by dark blue. A distinction is made in the code, which calls for a graduate to display the colour of the subject of the degree obtained, not the degree itself. [96] (#cite_note-SullivanTrimmingsHoods-96) For example, if a graduate is awarded a Bachelor of Arts (/wiki/Bachelor_of_Arts) (BA) degree specifically in business the trimming should be drab, representing commerce/accountancy/business, rather than white, representing the broader arts/letters/humanities; the same method is true of master's degrees and doctorates. However, in 1986, the American Council on Education updated the Code and added the following sentence clarifying the use of the colour dark blue for the Doctor of Philosophy (/wiki/Doctor_of_Philosophy) degree, which is awarded in any number of fields: "In the case of the Doctor of Philosophy (PhD) degree, the dark blue colour is used to represent the mastery of the discipline of learning and scholarship in any field that is attested to by the awarding of the degree, and it is not intended to represent the field of philosophy." [96] (#cite_note-SullivanTrimmingsHoods-96) A number of other items such as cords (/wiki/Honor_cords) , stoles (/wiki/Academic_stole) , aiguillettes (/wiki/Aiguillette) , etc. representing various academic achievements or other honours are also worn at the discretion of some degree-granting institutions. Technically, however, the ACE code does not allow their use on or over academic regalia. Pontifical universities [ edit ] Academic dress for pontifical universities (/wiki/Pontifical_university) tends to vary by the host country. Traditionally, for doctors of a pontifical university or faculty "the principal mark of a Doctor's dignity is the four horned biretta." [101] (#cite_note-101) Under the old Code of Canon Law (/wiki/1917_Code_of_Canon_Law) , in commencement ceremonies (/wiki/Commencement_ceremony) and other academic settings, doctors from pontifical faculties and universities had a canonical right to wear the doctoral biretta (/wiki/Biretta) , as stated in can. 1378, and explained in commentary 262 of the Commentarium Codicis Iuris Canonici as follows: 262. Doctoratus ac Scentiae effectus canonici sic recensentur can. 1378...doctoribus seu gradum academicum in una ex quatuor supradictis facultatibus <<vide 261: philosophia, theologia, ius canonicum, Sacra Scriptura>> supremum obtinentibus, rite creatis, seu promotis regulariter post examen, iuxta « statuta a Sede Apostolica probata » (can. 1376, § 2) saltem quoad usum validum « facultatis ab eadem Aplca. Sede concessae » (can. 1377, § 1), deferendi, extra sacras functiones, (quarum nomine ad hunc eflectum non-venit ex usu sacra praedicatio), nisi aliunde amplietur eis hoc ius quoad a) annulum etiam cum gemma « ipsis a iure huius canonis concessum » (can. 136, § 2), b) et biretum doctorale, (idest: cum quatuor apicibus) utpote insigne huius gradus ac diverso colore ornatum pro Facultate. [102] (#cite_note-102) 262. The canonical effects of the doctorate and of the science are listed in can. 1378...doctors or an academic diegree in one of the four above-mentioned faculties <<See 261: philosophy, theology, canon law, Sacred Scripture>> have the highest rank, duly created, or promoted regularly after the examination, according to "appointed statutes approved by the Apostolic See" (c. 1376 §2). Granted see" (c. 1377 §1), for deferring outside sacred functions (the name of which does not come from the use of sacred preaching for this effect), unless this right may be extended to them from other sources as far as: a) a ring with a jewel "to them by the right granted under this canon" (c. 136, § 2), b) and a doctoral hat (that is, with four tips) as a badge of this degree and adorned in different colors for the Faculty. There is no equivalent canon in the current Code of Canon Law (/wiki/1983_Code_of_Canon_Law) promulgated in 1983, but the tradition remains. The Sartoria Gammerelli as of August 2013 [update] (https://en.wikipedia.org/w/index.php?title=Academic_dress&action=edit) offers, in line with the updated stipulations of the Pontifical Gregorian University, birettas lined with the following assorted piping and tufts depending on which faculty one is graduated from: Green for Canon Law, Red for Sacred Theology, Blue for Philosophy, and Orange for Social Sciences. Three-horned birettas are to be used by Licentiates, four-horned for Doctors. Academic dress for the Pontifical University of Saint Thomas Aquinas, (/wiki/Pontifical_University_of_Saint_Thomas_Aquinas) Angelicum graduates consists of a black toga or academic gown with trim to follow the color of the faculty, and an academic ring. For the doctoral degree a four corned biretta (/wiki/Biretta) is to be worn, and for the Licentiate degree a three corned biretta (/wiki/Biretta) is to be worn. See: Academic regalia of the Pontifical University of St. Thomas Aquinas (https://web.archive.org/web/20130728040858/http://www.pust.it/index.php/en/universita/233-vesti-accademiche-laureati-dellangelicum) . The 'traditional' biretta at the Pontifical University of Saint Thomas Aquinas, (/wiki/Pontifical_University_of_Saint_Thomas_Aquinas) Angelicum , is white, to correspond to the white Dominican habit. [103] (#cite_note-103) Also, the academic senate of the Angelicum in its May 2011 meeting indicated that the black biretta may be used with trim and pom in the color of the particular faculty. [104] (#cite_note-104) A three-peaked black biretta with appropriately colored piping may be similarly used by those receiving the licentiate degree (S.T.L., Ph.L.). See also [ edit ] Academic procession (/wiki/Academic_procession) Academic stole (/wiki/Academic_stole) Burgon Society (/wiki/Burgon_Society) Chinese academic dress (/wiki/Chinese_academic_dress) Ede & Ravenscroft (/wiki/Ede_%26_Ravenscroft) Encaenia (/wiki/Encaenia) Graduation (/wiki/Graduation) Groves classification system (/wiki/Groves_classification_system) The Central Institute London (/wiki/The_Central_Institute_London) Academic dress details for the following universities are available via these links: Canada Academic dress of McGill University (/wiki/Academic_dress_of_McGill_University) United Kingdom and Ireland Academic dress of the University of Bristol (/wiki/Academic_dress_of_the_University_of_Bristol) Academic dress of the University of Cambridge (/wiki/Academic_dress_of_the_University_of_Cambridge) Academic dress of Durham University (/wiki/Academic_dress_of_Durham_University) Academic dress of the University of Edinburgh (/wiki/Academic_dress_of_the_University_of_Edinburgh) Academic dress of the University of Exeter (/wiki/Academic_dress_of_the_University_of_Exeter) Academic dress of the University of Glasgow (/wiki/Academic_dress_of_the_University_of_Glasgow) Academic dress of the University of Hertfordshire (/wiki/Academic_dress_of_the_University_of_Hertfordshire) Academic dress of Imperial College London (/wiki/Academic_dress_of_Imperial_College_London) Academic dress of the University of Kent (/wiki/Academic_dress_of_the_University_of_Kent) Academic dress of King's College London (/wiki/Academic_dress_of_King%27s_College_London) Academic dress of the University of Leeds (/wiki/Academic_dress_of_the_University_of_Leeds) Academic dress of Liverpool John Moores University (/wiki/Academic_dress_of_Liverpool_John_Moores_University) Academic dress of the University of London (/wiki/Academic_dress_of_the_University_of_London) Academic dress of the University of Manchester (/wiki/Academic_dress_of_the_University_of_Manchester) Academic dress of the University of Nottingham (/wiki/Academic_dress_of_the_University_of_Nottingham) Academic dress of the University of Oxford (/wiki/Academic_dress_of_the_University_of_Oxford) Academic dress of the University of St Andrews (/wiki/Academic_dress_of_the_University_of_St_Andrews) Academic dress of the University of Wales (/wiki/Academic_dress_of_the_University_of_Wales) Academic dress of the University of Wales, Lampeter (/wiki/Academic_dress_of_the_University_of_Wales,_Lampeter) Academic dress of the University of Warwick (/wiki/Academic_dress_of_the_University_of_Warwick) Academic dress of the University of Dublin (/wiki/Academic_dress_of_the_University_of_Dublin) Undergraduate gowns in Scotland (/wiki/Undergraduate_gowns_in_Scotland) Lambeth degree academic dress protocol (/wiki/Lambeth_degree#Academic_dress) Others Academic dress of La Trobe University (/wiki/Academic_dress_of_La_Trobe_University) Academic dress of the Royal Melbourne Institute of Technology (/wiki/Academic_dress_of_the_Royal_Melbourne_Institute_of_Technology) Academic dress of Columbia University (/wiki/Academic_regalia_of_Columbia_University) Academic dress of Harvard University (/wiki/Academic_dress_of_Harvard_University) Academic dress of Stanford University (/wiki/Academic_dress_of_Stanford_University) Academic dress of University of Melbourne (/wiki/Academic_dress_of_University_of_Melbourne) References [ edit ] ^ (#cite_ref-1) Shaw (1995), p. 3 ^ (#cite_ref-2) "Cox, N. (2000). Academical dress in New Zealand" (https://web.archive.org/web/20151114024604/http://www.reocities.com/noelcox/Introduction.htm) . Archived from the original (http://www.reocities.com/noelcox/Introduction.htm) on 14 November 2015 . Retrieved 12 March 2016 . ^ (#cite_ref-3) e.g. Burgon Society: Robes (http://www.burgon.org.uk/society/robes.php) Archived (https://web.archive.org/web/20150923195651/http://www.burgon.org.uk/society/robes.php) 23 September 2015 at the Wayback Machine (/wiki/Wayback_Machine) ^ (#cite_ref-4) "History and Archives of the American College of Surgeons; Highlight of the Month October 10, 2005; The Clinical Congress: Then and Now, accessed 01/29/2008" (https://web.archive.org/web/20110519122103/http://facs.org/archives/congresshighlight.html) . Facs.org. Archived from the original (http://www.facs.org/archives/congresshighlight.html) on 19 May 2011 . Retrieved 28 April 2010 . ^ (#cite_ref-5) "Goff, pp. 13–14" (https://web.archive.org/web/20110515070306/http://www.phildress.co.uk/london/origins.html) . Phildress.co.uk. Archived from the original (http://www.phildress.co.uk/london/origins.html) on 15 May 2011 . Retrieved 28 April 2010 . ^ (#cite_ref-6) [email protected]. "University of Sheffield: What should I wear?" (https://web.archive.org/web/20100405090210/http://www.shef.ac.uk/eventsteam/wear.html) . Shef.ac.uk. Archived from the original (http://www.shef.ac.uk/eventsteam/wear.html) on 5 April 2010 . Retrieved 28 April 2010 . ^ (#cite_ref-7) Sullivan. The Academic Costume Code, Gowns, Material ^ (#cite_ref-8) Sullivan. The Academic Costume Code, Caps, Material ^ (#cite_ref-9) An Ede & Ravenscroft (/wiki/Ede_%26_Ravenscroft) Oxford MA (/wiki/Oxford_MA) hood made of pure Ottoman silk will cost around £347. Source: http://www.gownhire.co.uk (http://www.gownhire.co.uk) Archived (https://web.archive.org/web/20071119141102/http://www.gownhire.co.uk/) 19 November 2007 at the Wayback Machine (/wiki/Wayback_Machine) (21 September 2007) ^ (#cite_ref-10) The cost difference between artificial and real fur can be as much as a few hundred pounds. ^ (#cite_ref-11) Ede & Ravenscroft: Oxford DMus (/wiki/Academic_dress_of_Oxford_University#Doctors_of_Music) undress and full dress academic dress costs £2910 (undress gown: £181, hood: £409, rigid mortarboard: £80, full dress gown: £2117, velvet bonnet: £123). Information retrieved 18 May 2007. ^ (#cite_ref-12) Hired hoods are usually partially lined instead of fully lined when the regulations specify a fully lined hood. However, in some cases, a hood that is specified as fully lined in the regulations, in practice, is part-lined to save on materials. 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Uusi käytöksen kultainen kirja . Suuri Suomalainen Kirjakerho, Helsinki. Page 518. ^ (#cite_ref-60) "Tiedostot | Viralliset asiat" (https://archive.today/20120914153957/http://www.limes.fi/fi/jarjesto/tiedostot/cat_view/41-viralliset-asiat.html) . Limes.fi. Archived from the original (http://www.limes.fi/fi/jarjesto/tiedostot/cat_view/41-viralliset-asiat.html) on 14 September 2012 . Retrieved 28 April 2010 . ^ (#cite_ref-61) "University Calendar on Academic Dress, 2010" (https://web.archive.org/web/20150502140116/http://www.ratchakitcha.soc.go.th/DATA/PDF/2553/E/052/20.PDF) (PDF) . Chulalongkorn University . Royal Thai Government. Archived from the original (http://www.ratchakitcha.soc.go.th/DATA/PDF/2553/E/052/20.PDF) (PDF) on 2 May 2015. ^ (#cite_ref-62) "University Ordinance on the Official and Academic Dress, 2003" (https://web.archive.org/web/20160304222007/http://www.ratchakitcha.soc.go.th/DATA/PDF/00123168.PDF) (PDF) . Mae Fah Luang University . Royal Thai Government Gazette. Archived from the original (http://www.ratchakitcha.soc.go.th/DATA/PDF/00123168.PDF) (PDF) on 4 March 2016 . Retrieved 13 July 2021 . ^ (#cite_ref-63) "University Calendar" (https://www.stou.ac.th/thai/grad_stdy/master/index.htm) . Sukhothai Thammathirat Open University . STOU. Archived (https://web.archive.org/web/20221209050231/https://www.stou.ac.th/thai/grad_stdy/master/index.htm) from the original on 9 December 2022 . Retrieved 13 July 2021 . ^ (#cite_ref-64) "Khon Kaen University's Ordinance on Academic and Official Dress" (https://web.archive.org/web/20171006111845/http://www.ratchakitcha.soc.go.th/DATA/PDF/2560/E/134/39.PDF) (PDF) . Khon Kaen University . Royal Thai Government. Archived from the original (http://www.ratchakitcha.soc.go.th/DATA/PDF/2560/E/134/39.PDF) (PDF) on 6 October 2017 . 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Archived (https://web.archive.org/web/20210714143357/http://ssc.mbu.ac.th/wp-content/uploads/2020/11/%E0%B8%84%E0%B8%B9%E0%B9%88%E0%B8%A1%E0%B8%B7%E0%B8%AD%E0%B8%9A%E0%B8%B1%E0%B8%93%E0%B8%91%E0%B8%B4%E0%B8%95-%E0%B8%A1%E0%B8%A1%E0%B8%A3.%E0%B8%A8%E0%B8%A8.-2563.pdf) (PDF) from the original on 14 July 2021 . Retrieved 14 July 2021 . ^ (#cite_ref-67) "Ordinance on the Academic Dress and Academic Badge" (https://web.archive.org/web/20210713201126/http://www.ratchakitcha.soc.go.th/DATA/PDF/2558/E/347/33.PDF) (PDF) . Thammasat University . Royal Thai Government. Archived from the original (http://www.ratchakitcha.soc.go.th/DATA/PDF/2558/E/347/33.PDF) (PDF) on 13 July 2021 . Retrieved 13 July 2021 . ^ (#cite_ref-68) "By-law on the Academic Dress and Degrees, Kasetsart University" (https://web.archive.org/web/20210713201125/http://www.ratchakitcha.soc.go.th/DATA/PDF/2550/A/016/22.PDF) (PDF) . Kasetsart University . Royal Thai Government. Archived from the original (http://www.ratchakitcha.soc.go.th/DATA/PDF/2550/A/016/22.PDF) (PDF) on 13 July 2021 . Retrieved 13 July 2021 . ^ (#cite_ref-69) "Graduation Ceremony Manual, Silpakorn University" (http://www.graduate.su.ac.th/images/pdf/info/manu_2559.pdf) (PDF) . Archived (https://web.archive.org/web/20210718135751/http://www.graduate.su.ac.th/images/pdf/info/manu_2559.pdf) (PDF) from the original on 18 July 2021 . Retrieved 13 July 2021 . ^ (#cite_ref-70) The Burgon Society: The Design of Academical Dress (http://www.burgon.org.uk/design/groves.php) Archived (https://web.archive.org/web/20090223213337/http://www.burgon.org.uk/design/groves.php) 23 February 2009 at the Wayback Machine (/wiki/Wayback_Machine) (6 May 2007) Classification of Styles ^ (#cite_ref-71) Burgon Society: Introduction (http://www.burgon.org.uk/society/index.php) Archived (https://web.archive.org/web/20130522203826/http://www.burgon.org.uk/society/index.php) 22 May 2013 at the Wayback Machine (/wiki/Wayback_Machine) (2 November 2008) ^ (#cite_ref-72) Groves, Nicholas. "Shaw's Academical Dress of Great Britain and Ireland", London: Burgon Society, 2011. ^ (#cite_ref-73) "Meeting of the Burgon Society." http://www.burgon.org.uk/society/meetings.php (http://www.burgon.org.uk/society/meetings.php) Archived (https://web.archive.org/web/20131017235224/http://www.burgon.org.uk/society/meetings.php) 17 October 2013 at the Wayback Machine (/wiki/Wayback_Machine) ^ (#cite_ref-Shaw4-7_74-0) Shaw (1995); pp. 4–7 ^ (#cite_ref-75) Hargreaves-Mawdsley, pp. 91–101, 128–135, 146, 148–149 ^ (#cite_ref-76) "Shepherd & Woodward: Oxford University student gowns" (http://www.shepherdandwoodward.co.uk/acatalog/Oxford_University_Student_Gowns.html) . Shepherdandwoodward.co.uk. Archived (https://web.archive.org/web/20090912054913/http://www.shepherdandwoodward.co.uk/acatalog/Oxford_University_Student_Gowns.html) from the original on 12 September 2009 . 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Retrieved 22 May 2022 . ^ (#cite_ref-79) Burgon Annual 2003 (2004); pp. 18–23 ^ (#cite_ref-80) Groves (2008), Hood Key ^ (#cite_ref-81) Shaw (1995); p. 8 ^ (#cite_ref-82) Burgon Transactions vol. 5 (2006); pp. 80–89 ^ (#cite_ref-83) Goff; pp.22–23 ^ (#cite_ref-84) Shaw (1966); pp. 94–95 ^ (#cite_ref-85) "Regulations for other Institutions and Societies" (https://web.archive.org/web/20170827054227/http://www.burgon.org.uk/practice/regs/other.php) . Burgon Society (/wiki/Burgon_Society) . Archived from the original (http://www.burgon.org.uk/practice/regs/other.php) on 27 August 2017 . Retrieved 16 August 2017 . ^ (#cite_ref-86) Daugherty, Greg (5 May 2023). "The History Behind 'Pomp & Circumstance' and 8 Other Graduation Traditions" (https://www.history.com/news/graduation-traditions-pomp-and-circumstance-cap-and-gown) . History.com . Retrieved 28 July 2023 . ^ Jump up to: a b Sullivan. The Academic Costume Code, Historical Overview ^ Jump up to: a b Smagorinsky. The Regalia of Princeton University: Pomp, Circumstance, and Accoutrements of Academia . Page 5. ^ (#cite_ref-89) "About – The Order of Gownsmen – Sewanee :: The University of the South" (https://web.archive.org/web/20100529201410/http://www.sewanee.edu/og/about) . Sewanee.edu. Archived from the original (http://www.sewanee.edu/og/about) on 29 May 2010 . Retrieved 28 April 2010 . ^ (#cite_ref-90) New York Times. "Gowns for College Men; Academic Costumes in American Universities (1896): Plan to Secure a Uniform Practice in the Use of the Caps and Gowns in This Country So that the Degree of the Wearer, the Faculty Under Whom It Was Obtained, and the Institution Conferring It May Be Readily Seen." Sunday, 26 April 1896. ^ (#cite_ref-91) Columbia Alumni News . Alumni Council of Columbia University. 1920. ^ (#cite_ref-92) "Kindergarten graduation in the United States" (http://www.rhymeuniversity.com) . Rhymeuniversity.com. Archived (https://web.archive.org/web/20100510095619/http://rhymeuniversity.com/) from the original on 10 May 2010 . Retrieved 28 April 2010 . ^ Jump up to: a b c d Sullivan. The Academic Costume Code, Gowns ^ (#cite_ref-SullivanHoods_94-0) Sullivan. The Academic Costume Code, Hoods ^ Jump up to: a b Sullivan. The Academic Costume Code, Hoods ; Linings ^ Jump up to: a b c Sullivan. The Academic Costume Code, Hoods ; Trimmings ^ (#cite_ref-ReferenceA_97-0) Sullivan. The Academic Costume Code, Additional Guidance on Costume ^ (#cite_ref-SullivanExceptions_98-0) Sullivan. The Academic Costume Code, Some Permissible Exceptions ^ Jump up to: a b c Sullivan. The Academic Costume Code, Caps ^ (#cite_ref-SullivanWearing_100-0) Sullivan. The Academic Costume Code, Wearing the Costume ^ (#cite_ref-101) John Abel Nainfa, Costume of Prelates of The Catholic Church: According To Roman Etiquette, 164. ^ (#cite_ref-102) Codex Iuris Canonici, 1917, can. 1378; Commentarium Textus Codicis Iuris Canonici, 1923, comm. 262: Commentarium Codicis Iuris Canonici, 1922, Liber III, Pars IV, Tit. XXII, 262 Code of Canon Law, 1917, can. 1378; Commentary on the Text of the Code of Canon Law, 1923, comm. 262: Commentary of the Code of Canon Law, 1922, Book III, Part IV, Tit. XXII, 262 ^ (#cite_ref-103) papabear (26 April 2008). "The New Beginning" (http://cantate-domino.blogspot.com/2008/04/some-info-on-academic-birettas-and-such.html) . Archived (https://web.archive.org/web/20110813035653/http://cantate-domino.blogspot.com/2008/04/some-info-on-academic-birettas-and-such.html) from the original on 13 August 2011 . Retrieved 14 February 2013 . ^ (#cite_ref-104) "Ring, Biretta and Gown for Graduates" (https://web.archive.org/web/20130728040858/http://www.pust.it/index.php/en/universita/233-vesti-accademiche-laureati-dellangelicum) . Pust.it. 15 June 2011. Archived from the original (http://www.pust.it/index.php/en/universita/233-vesti-accademiche-laureati-dellangelicum) on 28 July 2013 . Retrieved 15 June 2013 . Bibliography [ edit ] Books Christianson, Bruce (2006), "Academic Dress in the University of Hertfordshire". Hertfordshire, England: University of Hertfordshire. ISBN (/wiki/ISBN_(identifier)) 190531339X (/wiki/Special:BookSources/190531339X) Fowler, J. T. (1904), Durham University: earlier foundations and present colleges . London: F. E. Robinson & Co. Goff, Philip (1999), University of London Academic Dress . London: University of London Press. ISBN (/wiki/ISBN_(identifier)) 0-7187-1608-6 (/wiki/Special:BookSources/0-7187-1608-6) Shaw, George W. (/wiki/George_Shaw_(academic_dress_scholar)) (1966, 1995), Academical Dress of British and Irish Universities . Chichlester: Philmore & Co. Ltd. ISBN (/wiki/ISBN_(identifier)) 0-85033-974-X (/wiki/Special:BookSources/0-85033-974-X) Groves, Nicholas (2011), Shaw's Academical Dress of Great Britain and Ireland , 3rd ed. London: Burgon Society. Groves, Nicholas (2002, 2003, 2008, 2010), Key to the Identification of Academic Hoods of the British Isles . London: Burgon Society. Groves, Nicholas; Kersey, John (2002), Academical Dress of Music Colleges and Societies of Musicians in the United Kingdom . Norfolk: Burgon Society. ISBN (/wiki/ISBN_(identifier)) 0-9544110-0-5 (/wiki/Special:BookSources/0-9544110-0-5) Hargreaves-Mawdsley, W.N. (1963), A History of Academical Dress in Europe . Oxford: Clarendon Press. Venables, J. (2009), Academic Dress of the University of Oxford , 9th ed. Oxford: Shepherd & Woodward. ISBN (/wiki/ISBN_(identifier)) 0-9521630-0-4 (/wiki/Special:BookSources/0-9521630-0-4) Cox, Noel, Academical Dress in New Zealand: A Study ( V.D.M. Verlag Dr. Müller Aktiengesellschaft & Co. K.G. (/wiki/VDM_Publishing) , Saarbrücken (/wiki/Saarbr%C3%BCcken) , 2010; ISBN (/wiki/ISBN_(identifier)) 978-3-639-29927-4 (/wiki/Special:BookSources/978-3-639-29927-4) ) Journals Kerr, Alex (ed.) et al. (2004), The Burgon Society Annual 2003 . Kerr, Alex (ed.) et al. (2005), The Burgon Society Annual 2004 . ISBN (/wiki/ISBN_(identifier)) 0-9544110-6-4 (/wiki/Special:BookSources/0-9544110-6-4) Kerr, Alex (ed.) et al. (2006), Transactions of the Burgon Society: Volume 5 . ISBN (/wiki/ISBN_(identifier)) 0-9544110-7-2 (/wiki/Special:BookSources/0-9544110-7-2) Kerr, Alex (ed.) et al. (2008), Transactions of the Burgon Society: Volume 6 . ISBN (/wiki/ISBN_(identifier)) 0-9544110-8-0 (/wiki/Special:BookSources/0-9544110-8-0) Kerr, Alex (ed.) et al. (2008), Transactions of the Burgon Society: Volume 7 . ISBN (/wiki/ISBN_(identifier)) 978-0-9544110-5-3 (/wiki/Special:BookSources/978-0-9544110-5-3) Kerr, Alex (ed.) et al. (2009), Transactions of the Burgon Society: Volume 8 . ISBN (/wiki/ISBN_(identifier)) 978-0-9561272-1-1 (/wiki/Special:BookSources/978-0-9561272-1-1) Kerr, Alex (ed.) et al. (2012), Transactions of the Burgon Society: Volume 10 . ISBN (/wiki/ISBN_(identifier)) 978-0-9561272-6-6 (/wiki/Special:BookSources/978-0-9561272-6-6) Powell, Michael (ed.) et al. (2002), The Burgon Society Annual 2001 . Powell, Michael (ed.) et al. (2003), The Burgon Society Annual 2002 . Wolgast, Stephen L., Kerr, Alex (eds) et al. (2011), Transactions of the Burgon Society: Volume 9 – Special North American issue . ISBN (/wiki/ISBN_(identifier)) 978-0-9561272-4-2 (/wiki/Special:BookSources/978-0-9561272-4-2) Wolgast, Stephen L. (ed.) et al. (2012), Transactions of the Burgon Society: Volume 11 . Wolgast, Stephen L. (ed.) et al. (2013), Transactions of the Burgon Society: Volume 12 . Wolgast, Stephen L. (ed.) et al. (2014), Transactions of the Burgon Society: Volume 13 . Electronic Sullivan, Eugene (ed.) An Academic Costume Code and An Academic Ceremony Guide , American Council on Education. Reprinted with permission from American Universities and Colleges , 15th Edition (1997). Walter de Gruyter, Inc. Smagorinsky, Margaret. The REGALIA of Princeton University: Pomp, Circumstance, and Accountrements of Academia (https://web.archive.org/web/20110521175636/http://tigernet.princeton.edu/~ptoniana/regalia.pdf) . The Trustees of Princeton University (Printed by Office of Printing and Mailing), 1994. Accessed 26 September 2008. Further reading [ edit ] American Council on Education staff (1997). American Universities and Colleges , 15th Edition. Walter de Gruyter, Inc. ISBN (/wiki/ISBN_(identifier)) 0-275-98745-0 (/wiki/Special:BookSources/0-275-98745-0) Belting, Natalia Maree (1956), The History of Caps and Gowns , New York : Collegiate Cap & Gown Co. via Internet Archive (/wiki/Internet_Archive) Franklyn, C.A.H. (/wiki/Charles_Franklyn) (1970), Academical Dress from the Middle Ages to the Present Day Including Lambeth Degrees . Lewes: WE Baxter. Haycraft, F.W. (1948), 4th ed. rev. Stringer, E.W Scobie, The Degrees and Hoods of the World's Universities and Colleges . Cheshunt Press. Rashdall, H. (1895, 1936), The Universities of Europe in the Middle Ages . Oxford: Clarendon Press. Rogers, F.R.S., Franklyn, C.A.H. (/wiki/Charles_Franklyn) , Shaw, G.W. (/wiki/George_Shaw_(academic_dress_scholar)) , Boyd, H.A. (1972), The Degrees and Hoods of the World's Universities and Colleges . Lewes: WE Baxter. Smith, H.H., Sheard, K. (1970), Academic Dress and Insignia of the World . Cape Town: A.A. Balkema. Wood, T.W. (1882), The Degrees, Gowns and Hoods of the British, Colonial, Indian and American Universities and Colleges . London: Thomas Pratt & Sons. External links [ edit ] Wikimedia Commons has media related to Academic dress . "Academic Dress" mini portal (http://topics.nytimes.com/topics/reference/timestopics/subjects/a/academic_dress/index.html) – A list of internet resources compiled by The New York Times Academic Costume Code and Ceremony Guide (https://web.archive.org/web/20100309044543/http://www.acenet.edu/AM/Template.cfm?Section=Search&template=%2FCM%2FHTMLDisplay.cfm&ContentID=22417) from American Universities and Colleges, 15th Edition, by Eugene Sullivan. v t e Academic dress Components Terminology Groves classification system (/wiki/Groves_classification_system) Headwear Bishop Andrewes cap (/wiki/Bishop_Andrewes_cap) Biretta (/wiki/Biretta#Academic_biretta) Canterbury cap (/wiki/Canterbury_cap) Couleur (/wiki/Couleur) Doctoral hat (/wiki/Doctoral_hat) Faluche (/wiki/Faluche) Square academic cap (/wiki/Square_academic_cap) Student cap (/wiki/Student_cap) Tudor bonnet (/wiki/Tudor_bonnet) Hoods Cowl (/wiki/Cowl) Epitoge (/wiki/Epitoge) Hood (/wiki/Hood_(headgear)) Liripipe (/wiki/Liripipe) Stole 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Wales (/wiki/Academic_dress_of_the_University_of_Wales) Warwick (/wiki/Academic_dress_of_the_University_of_Warwick) Scotland Edinburgh (/wiki/Academic_dress_of_the_University_of_Edinburgh) Glasgow (/wiki/Academic_dress_of_the_University_of_Glasgow) Robert Gordon (/wiki/Academic_dress_of_the_Robert_Gordon_University) St Andrews (/wiki/Academic_dress_of_the_University_of_St_Andrews) Undergraduate gowns (/wiki/Undergraduate_gowns_in_Scotland) United States (/wiki/Academic_dress_in_the_United_States) Columbia (/wiki/Academic_regalia_of_Columbia_University) Harvard (/wiki/Academic_regalia_of_Harvard_University) Stanford (/wiki/Academic_regalia_of_Stanford_University) Other countries China (/wiki/Chinese_academic_dress) France (https://fr.wikipedia.org/wiki/Robe_universitaire_en_France) Spain (https://es.wikipedia.org/wiki/Indumentaria_universitaria_en_Espa%C3%B1a) See also The Burgon Society (/wiki/Burgon_Society) Academic scarves (/wiki/Academic_scarf) Honor cords (/wiki/Honor_cords) Legal 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Western business attire of matching jacket and trousers This article is about the clothing. For other uses, see Suit (disambiguation) (/wiki/Suit_(disambiguation)) . "Suit and tie" redirects here. For the song by Justin Timberlake, see Suit & Tie (/wiki/Suit_%26_Tie) . Actor Matt Smith (/wiki/Matt_Smith) wearing a traditional English suit. Narendra Modi (/wiki/Narendra_Modi) , Prime Minister of India, and Vladimir Putin (/wiki/Vladimir_Putin) , President of Russia, in business suits. Note that Modi is wearing a Jodhpuri (/wiki/Jodhpuri) with Mandarin collar (/wiki/Mandarin_collar) , commonplace in India, while Putin's jacket features notch lapels (/wiki/Notch_lapel) , more common in the Western world (/wiki/Western_world) . A suit , lounge suit , business suit or dress suit is a set of clothes comprising a suit jacket (/wiki/Suit_jacket) and trousers of identical textiles (/wiki/Textile) generally worn with a collared dress shirt (/wiki/Dress_shirt) , necktie (/wiki/Necktie) , and dress shoes (/wiki/Dress_shoes) . A skirt suit is similar, but with a matching skirt (/wiki/Skirt) instead of trousers. It is currently considered semi-formal wear (/wiki/Semi-formal_wear) or business wear in contemporary Western dress codes (/wiki/Western_dress_codes) , however when the suit was originally developed it was considered an informal or more casual option compared to the prevailing clothing standards of aristocrats and businessmen. The lounge suit originated in 19th-century Britain as sportswear (/wiki/Sportswear_(fashion)) and British country clothing (/wiki/British_country_clothing) , which is why it was seen as more casual than citywear (https://en.wiktionary.org/wiki/citywear) at that time, with the roots of the suit coming from early modern Western Europe formal court or military clothes. After replacing the black frock coat (/wiki/Frock_coat) in the early 20th century as regular daywear, a sober one-coloured suit became known as a lounge suit. Suits are offered in different designs and constructions. Cut and cloth, whether two- or three-piece, single- or double-breasted, vary, in addition to various accessories (/wiki/Fashion_accessory) . A two-piece suit has a jacket and trousers; a three-piece suit adds a waistcoat. [1] (#cite_note-1) Hats were almost always worn outdoors (and sometimes indoors) with all men's clothes until the counterculture of the 1960s (/wiki/Counterculture_of_the_1960s) in Western culture (/wiki/Western_culture) . Informal suits have been traditionally worn with a fedora (/wiki/Fedora) , a trilby (/wiki/Trilby) , or a flat cap (/wiki/Flat_cap) . Other accessories include handkerchief, suspenders (/wiki/Suspenders) or belt, watch, and jewelry. Other notable types of suits are for what would now be considered formal (/wiki/Formal_wear) occasions—the tuxedo or dinner suit (/wiki/Dinner_suit) (black tie) and the black lounge suit (/wiki/Black_lounge_suit) (stroller)—both which originally arose as less formal alternatives for the prior formal wear (/wiki/Formal_wear) standards known as white tie (/wiki/White_tie) , which incorporated items such as the dress coat (/wiki/Dress_coat) , and of morning dress (/wiki/Morning_dress) , which incorporated items such as the morning coat (/wiki/Morning_coat) with formal trousers (/wiki/Formal_trousers) . Originally, suits were always tailor-made from the client's selected cloth. These are now known as bespoke suits, custom-made to measurements, taste, and style preferences. Since the 1960s, most suits have been mass-produced ready-to-wear (/wiki/Ready-to-wear) garments. Currently, suits are offered in roughly four ways: bespoke (/wiki/Bespoke_tailoring) , in which the garment is custom-made by a tailor from a pattern created entirely from the customer's measurements, giving the best fit and free choice of fabric; made to measure (/wiki/Made_to_measure) , in which a pre-made pattern is modified to fit the customer, and a limited selection of options and fabrics is available; ready-to-wear (/wiki/Ready-to-wear) , off-the-peg ( Commonwealth English (/wiki/Commonwealth_English) ), or off-the-rack ( American English (/wiki/American_English) ), sold ready-made, although minor tailor alterations are possible; suit separates , where lounge jacket (/wiki/Lounge_jacket) and trousers are sold separately in order to minimize alterations needed, including also odd-colored blazers (/wiki/Blazer) or sports coats (/wiki/Sports_coat) as smart casual (/wiki/Smart_casual) options [2] (#cite_note-2) Terminology [ edit ] U.S. Ambassador to the U.N Samantha Power (/wiki/Samantha_Power) and Israeli President Reuven Rivlin (/wiki/Reuven_Rivlin) wearing business wear (/wiki/Business_wear) suits as per their gender, 2016 The word suit derives from the French (/wiki/French_language) suite , [3] (#cite_note-3) meaning "following," from some Late Latin (/wiki/Late_Latin) derivative form of the Latin verb sequor = "I follow," because the component garments (jacket and trousers and waistcoat (/wiki/Waistcoat) ) follow each other and have the same cloth and colour and are worn together. As a suit (in this sense) covers all or most of the wearer's body, the term "suit" was extended to a single garment that covers all or most of the body, such as boilersuits (/wiki/Boilersuit) , diving suits (/wiki/Diving_suit) , and spacesuits (/wiki/Spacesuit) . [ citation needed ] History [ edit ] Main article: History of suits (/wiki/History_of_suits) The suit's origins trace the simplified, sartorial standard established by the English king Charles II (/wiki/Charles_II_of_England) in the 17th century, following the example of his one-time host King Louis XIV (/wiki/Louis_XIV_of_France) 's court at Versailles (/wiki/Palace_of_Versailles) , who decreed that in the English Court men would wear a long coat, a waistcoat (then called a " petticoat (/wiki/Petticoat) "), a cravat (/wiki/Cravat_(early)) (a precursor of the necktie), a wig (/wiki/Wig_(hair)) , knee breeches (/wiki/Breeches) (trousers), and a hat. The paintings of Jan Steen (/wiki/Jan_Steen) , Pieter Bruegel the Elder (/wiki/Pieter_Bruegel_the_Elder) , and other painters of the Dutch Golden Era reveal that such an arrangement was already used in Holland, if not Western Europe as a whole. The current styles, founded in the Great Male Renunciation (/wiki/Great_Male_Renunciation) of the late 18th century, sharply changed the elaborately embroidered and jewelled formal clothing into the simpler clothing of the British Regency (/wiki/British_Regency) period, which gradually evolved to the stark formality of the Victorian era (/wiki/Victorian_era) . In the late 19th century, it was in the search for more comfort that the loosening of rules gave rise to the modern lounge suit. Brooks Brothers (/wiki/Brooks_Brothers) is generally credited with first offering the "ready-to-wear" suit, a suit that was sold already manufactured and sized, ready to be tailored, while Haggar Clothing (/wiki/Haggar_Clothing) first introduced the concept of suit separates in the U.S., which are widely found in the marketplace today. [ citation needed ] Elements [ edit ] There are many possible variations in the choice of the style, the garments, and the details of a suit. Cut [ edit ] A man dressed in a three-piece suit and bowler hat (/wiki/Bowler_hat) . The silhouette of a suit is its outline. Tailored balance created from a canvas fitting allows a balanced silhouette so a jacket need not be buttoned and a garment is not too tight or too loose. A proper garment is shaped from the neck to the chest and shoulders to drape without wrinkles from tension. Shape is the essential part of tailoring that often takes hand work from the start. The two main cuts are double-breasted (/wiki/Double-breasted) suits, a conservative design with two columns of buttons, spanned by a large overlap of the left and right sides; and single-breasted (/wiki/Single-breasted) suits, in which the sides meet in the centre of the torso with a single column of buttons, overlapping only enough for one, two or three buttons to close, with by convention the jacket front cut so that the lowest button is not designed to close. Good tailoring anywhere in the world is characterised by strongly tapered sides and minimal shoulder, whereas rack suits are often padded to reduce labour [ citation needed ] . More casual suits are characterised by less construction and tailoring, much like the sack suit (/wiki/Sack_suit) , a loose American style. [4] (#cite_note-Flusser85ch2-4) There are three ways to buy suits: Ready-made and altered "sizes" or precut patterns, a convenience that often is expressed over time with wrinkles from poor shaping, leading to distortion; The made-to-measure suit, in which a pre-existing pattern is altered to reflect the individual's preference or nuances of physique to achieve things like the style, lengths, shoulder slope and point-to-point and trouser fitting; The custom, bespoke, or tailoring-designed suit, which has at least one basted fitting in which a half-made coat (usually just scraps of cloth basted together) is worn by the client in order to let the tailor readjust the pattern several times before finishing the garment. This process can take the tailor easily 80 hours. The acid test of authentic tailoring standards is the wrinkle that comes from poor tailoring. Rumples can be pressed out. For interim fittings, "Rock Of Eye" (which means trained freehand based on an experienced artistic eye to match the item to the wearer, trusting the eye over unyielding scripted approach), drawing and cutting inaccuracies are overcome by the fitting. [5] (#cite_note-5) Fabric [ edit ] Suits are made in a variety of fabrics, but most commonly from wool, silk or cotton. The two main yarns produce worsteds (/wiki/Worsted) (where the fibres are combed (/wiki/Combing) before spinning (/wiki/Spinning_(textiles)) to produce a smooth, hard wearing cloth) and woollens (/wiki/Woolen) (where they are not combed, thus remaining comparatively fluffy in texture). These can be woven in a number of ways, producing flannel (/wiki/Flannel) , tweed (/wiki/Tweed_(cloth)) , gabardine (/wiki/Gabardine) , and fresco among others. These fabrics all have different weights and feels, and some fabrics have an S (or Super S) number (/wiki/Super_S_or_S_number) describing the fineness of the fibres measured by average fibre diameter, e.g., Super 120; the finer the fabric, the more delicate and thus less likely to be long-wearing it will be. Although wool has traditionally been associated with warm, bulky clothing meant for warding off cold weather, advances in making finer and finer fibre have made wool suits acceptable for warmer weather, as fabrics have accordingly become lighter and more supple. Wool fabric is denominated by the weight of a one-square yard piece; thus, the heavier wools, suitable for winter only, are 12–14 oz.; the medium, "three-season" (i.e., excluding summer) are 10–11 oz.; and summer wools are 7–8 oz. [ citation needed ] (In the days before central heating, heavier wools such as 16 oz. were used in suits; now they are used mainly in overcoats and topcoats.) Other materials are used sometimes, either alone or blended with wool, such as cashmere (/wiki/Cashmere_wool) . [6] (#cite_note-6) Silk (/wiki/Silk) alone or blended with wool is sometimes used. Synthetic materials, e.g., polyester (/wiki/Polyester) , while cheaper, are very rarely recommended by experts. At most, a blend of predominantly wool may be acceptable to obtain the main benefit of synthetics, namely resistance to wrinkling, particularly in garments used for travel; however, any synthetic, blended or otherwise, will always be warmer and clammier than wool alone. [ citation needed ] For hot weather, linen (/wiki/Linen) is also used, and in the Southern United States, cotton (/wiki/Cotton) seersucker (/wiki/Seersucker) is worn. The main four colours for suits worn in business are black, light grey, dark grey, and navy, either with or without patterns. In particular, grey flannel suiting has been worn very widely since the 1930s. In non-business settings or less-formal business contexts, brown is another important colour; olive also occurs. In summer, lighter shades such as tan or cream are popular. [7] (#cite_note-7) [8] (#cite_note-8) For non-business use, tweed (/wiki/Tweed_(cloth)) has been popular since Victorian times and still is commonly worn. A wide range of colour is available, including muted shades of green, brown, red, and grey. [9] (#cite_note-9) Tweeds are usually checked, or plain with a herringbone weave (/wiki/Herringbone_(cloth)) , and are most associated with the country. While full tweed suits are not worn by many now, the jackets are often worn as sports jackets (/wiki/Sports_jacket) with odd trousers (trousers of different cloth). The most conventional suit has two or three buttons and is either medium-to-dark grey or navy. Other conservative colours are grey, black, and olive. White and light blues are acceptable at some events, especially in the warm season. Red and the brighter greens are usually considered "unconventional" and "garish". Tradition calls for a gentleman's suit to be of decidedly plain colour, with splashes of bright colour reserved for shirts, neckties or kerchiefs. In the United States and the United Kingdom, around the start of the 20th century, lounge suits were never traditionally worn in plain black, this colour instead being reserved for formal wear [10] (#cite_note-Antongiavanni06.81-10) (including dinner jackets (/wiki/Dinner_jacket) or strollers (/wiki/Stroller_(style)) ) and for undertakers (/wiki/Undertaker) . However, the decline of formal wear since the 1950s and the rise of casual wear in 1960s allowed the black suit to return to fashion, as many designers began wanting to move away from the business suit toward more fashion suits. Traditional business suits are generally in solid colours or with pinstripes (/wiki/Pinstripes) ; [11] (#cite_note-11) windowpane checks are also acceptable. Outside business, the range of acceptable patterns widens, with plaids such as the traditional glen plaid (/wiki/Glen_plaid) and herringbone, though apart from some very traditional environments such as London banking, these are worn for business now, as well. The colour of the patterned element (stripes, plaids (/wiki/Plaid_(pattern)) , and checks (/wiki/Check_(fabric)) ) varies by gender and location. For example, bold checks, particularly with tweeds, have fallen out of use in the US, while they continue to be worn as traditional in Britain. Some unusual old patterns such as diamonds are now rare everywhere. Inside the jacket of a suit, between the outer fabric and the inner lining, there is a layer of sturdy interfacing (/wiki/Interfacing) fabric to prevent the wool from stretching out of shape; this layer of cloth is called the canvas (/wiki/Canvas) after the fabric from which it was traditionally made. Expensive jackets have a floating canvas (/wiki/Floating_canvas) , while cheaply manufactured models have a fused (glued) canvas. [12] (#cite_note-12) A fused canvas is less soft and, if poorly done, damages the suppleness and durability of the jacket, [13] (#cite_note-13) so many tailors are quick to deride fused canvas as being less durable, particularly since they may tend to permanently pucker along the jacket's edges after some use or a few dry cleanings. [14] (#cite_note-14) However, some selling this type of jacket claim that the difference in quality is very small. [15] (#cite_note-15) A few London tailors state that all bespoke (/wiki/Bespoke) suits should use a floating canvas. [16] (#cite_note-16) Jacket [ edit ] See also: Lounge jacket (/wiki/Lounge_jacket) Front buttons [ edit ] Single- vs. double-breasted jacket Most single-breasted suits have two or three buttons, and four or more buttons are unusual. Dinner jackets ("black tie") usually have only one button. It is rare to find a suit with more than four buttons, although zoot suits (/wiki/Zoot_suits) can have as many as six or more due to their longer length. There is also variation in the placement and style of buttons, [17] (#cite_note-17) since the button placement is critical to the overall impression of height conveyed by the jacket. The centre or top button will typically line up quite closely with the natural waistline. [18] (#cite_note-18) The bottom button is usually not meant to be buttoned and so the jacket is cut such that buttoning the bottom button would ruin the lines and drape of the jacket. It is customary to keep the jacket buttoned while standing and to unbutton the jacket while seated. Double-breasted jackets have only half their outer buttons functional, as the second row is for display only, forcing them to come in pairs. Some rare jackets can have as few as two buttons, and during various periods, for instance the 1960s and 70s, as many as eight were seen. Six buttons are typical, with two to button; the last pair floats above the overlap. The three buttons down each side may in this case be in a straight line (the 'keystone' layout) or more commonly, the top pair is half as far apart again as each pair in the bottom square. A four-button double-breasted jacket usually buttons in a square. [19] (#cite_note-19) The layout of the buttons and the shape of the lapel are co-ordinated in order to direct the eyes of an observer. For example, if the buttons are too low, or the lapel roll too pronounced, the eyes are drawn down from the face, and the waist appears larger. [20] (#cite_note-20) There seems to be no clear rule as to on which side the overlap should lie. It usually crosses naturally with the left side to the fore but not invariably. Generally, a hidden button holds the underlap in place. Lapels [ edit ] Main article: Jacket lapel (/wiki/Jacket_lapel) Notched lapel Peaked lapel Shawl lapel Comparison of two notched lapel cuts: English (left) and Spanish (right). The former is the most commonly seen notched lapel [21] (#cite_note-21) The jacket's lapels can be notched (also called "stepped"), peaked ("pointed"), shawl, or "trick" (Mandarin and other unconventional styles). Each lapel style carries different connotations and is worn with different cuts of suit. Notched lapels, the most common of the three, are usually only found on single-breasted jackets and are the most informal style. They are distinguished by a 75-to-90 degree "notch" at the point where the lapel meets the collar. [22] (#cite_note-22) Peaked lapels have sharp edges that point upward towards the shoulders. Double-breasted jackets usually have peaked lapels, although peaked lapels are sometimes found on single breasted jackets as well. Shawl lapels are a style derived from the Victorian informal evening wear, and as such are not normally seen on suit jackets except for tuxedos or dinner suits. [23] (#cite_note-23) For black tie events (/wiki/Black_tie_event) , only jackets with pointed and shawl lapels should be worn. [24] (#cite_note-24) In the 1980s, double-breasted suits with notched lapels were popular with power suits and the New Wave (/wiki/New_Wave_(clothing)) style. [ citation needed ] In the late 1920s and 1930s, a design considered very stylish was the single-breasted peaked-lapel jacket. This has gone in and out of vogue periodically, being popular once again during the 1970s, [ citation needed ] and is still a recognised alternative. The ability to properly cut peaked lapels on a single-breasted suit is one of the most challenging tailoring tasks, even for very experienced tailors. [25] (#cite_note-25) The width of the lapel is a varying aspect of suits and has changed over the years. The 1930s and 1970s featured exceptionally wide lapels, whereas during the late 1950s and most of the 1960s suits with very narrow lapels—often only about 1 inch (2.5 cm) wide—were in fashion. The 1980s saw mid-size lapels with a low gorge (the point on the jacket that forms the "notch" or "peak" between the collar and front lapel). Current (mid-2000s) trends are towards a narrower lapel and higher gorge. [ citation needed ] Necktie width usually follows the width of the jacket lapel. Lapels also have a buttonhole (/wiki/Buttonhole) , intended to hold a boutonnière (/wiki/Boutonni%C3%A8re) , a decorative flower. These are now only commonly seen at more formal events. Usually, double-breasted suits have one hole on each lapel (with a flower just on the left), while single-breasted suits have just one on the left. [26] (#cite_note-26) Pockets [ edit ] Main article: Jacket pocket (/wiki/Jacket_pocket) Most jackets have a variety of inner pockets and two main outer pockets, which are generally either patch pockets, flap pockets, or jetted ("besom") pockets. [27] (#cite_note-27) The patch pocket is, with its single extra piece of cloth sewn directly onto the front of the jacket, a sporting option, sometimes seen on summer linen suits or other informal styles. The flap pocket is standard for side pockets, and has an extra lined flap of matching fabric covering the top of the pocket. A jetted pocket is most formal, with a small strip of fabric taping the top and bottom of the slit for the pocket. This style is most often on seen on formalwear (/wiki/Formalwear) , such as a dinner jacket. A breast pocket is usually found at the left side, where a pocket square (/wiki/Pocket_square) or handkerchief can be displayed. In addition to the standard two outer pockets and breast pocket, some suits have a fourth, the ticket pocket, usually located just above the right pocket and roughly half as wide. While this was originally exclusively a feature of country suits, used for conveniently storing a train ticket, it is now seen on some town suits. Another country feature also worn sometimes in cities is a pair of hacking pockets, which are similar to normal ones, but slanted; this was originally designed to make the pockets easier to open on horseback while hacking (/wiki/Equestrianism) . [4] (#cite_note-Flusser85ch2-4) Sleeves [ edit ] Suit jackets in all styles typically have three or four buttons on each cuff, which are often purely decorative (the sleeve is usually sewn closed and cannot be unbuttoned to open). Five buttons are unusual and are a modern fashion innovation. The number of buttons is primarily a function of the formality of the suit; a very casual summer sports jacket (/wiki/Sports_jacket) might traditionally (1930s) have had only one button, while tweed suits typically have three and city suits four. In the 1970s, two buttons were seen on some city suits. [ citation needed ] Today, four buttons are common on most business suits and even casual suits. Although the sleeve buttons usually cannot be undone, the stitching is such that it appears they could. Functional cuff buttons may be found on high-end or bespoke suits; this feature is called a surgeon's cuff and "working button holes" (U.S.). [28] (#cite_note-28) Some wearers leave these buttons undone to reveal that they can afford a bespoke suit, although it is proper to leave these buttons done up. [29] (#cite_note-29) Modern bespoke styles and high-end off-the-rack suits equipped with surgeon's cuffs have the last two buttons stitched off-centre, so that the sleeve hangs more cleanly should the buttons ever be undone. Certainty in fitting sleeve length must be achieved, as once working button holes are cut, the sleeve length essentially cannot be altered further. A cuffed sleeve has an extra length of fabric folded back over the arm, or just some piping or stitching above the buttons to allude to the edge of a cuff. This was popular in the Edwardian era, as a feature of formalwear such as frock coats (/wiki/Frock_coat) carried over to informalwear, but is now rare. Vents [ edit ] A vent (/wiki/Vent_(tailoring)) is a slit in the bottom rear (the "tail") of the jacket. Originally, vents were a sporting option, designed to make riding easier, so are traditional on hacking jackets, formal coats such as a morning coat (/wiki/Morning_coat) , and, for practicality, overcoats. Today there are three styles of venting: the single-vented style (with one vent at the centre), the ventless style, and the double-vented style (one vent on each side). Vents are convenient, particularly when using a pocket or sitting down, to improve the hang of the jacket, [30] (#cite_note-30) so are now used on most jackets. Ventless jackets are associated with Italian tailoring, while the double-vented style is typically British. [4] (#cite_note-Flusser85ch2-4) Dinner jackets traditionally have no vents. Waistcoats [ edit ] Main article: Waistcoat (/wiki/Waistcoat) A traditional waistcoat, to be worn with a two-piece suit or separate jacket and trousers. Waistcoats (called vests in American English) were almost always worn with suits prior to the 1940s. Due to rationing during World War II (/wiki/World_War_II) , their prevalence declined, but their popularity has gone in and out of fashion from the 1970s onwards. A pocket watch (/wiki/Pocket_watch) on a chain, one end of which is inserted through a middle buttonhole, is often worn with a waistcoat; otherwise, since World War I (/wiki/World_War_I) , when they came to prominence of military necessity, men have worn wristwatches, which may be worn with any suit except the full evening dress ( white tie (/wiki/White_tie) ). Although many examples of waistcoats worn with a double-breasted jacket can be found from the 1920s to the 1940s, that would be unusual today (one point of a double-breasted jacket being, it may be supposed, to eliminate the waistcoat). Traditionally, the bottom button of a waistcoat is left undone; like the vents in the rear of a jacket, this helps the body bend when sitting. Some waistcoats can have lapels; others do not. Trousers [ edit ] Suit trousers are always made of the same material as the jacket. Even from the 1910s to 1920s, before the invention of sports jackets specifically to be worn with odd trousers, wearing a suit jacket with odd trousers was seen as an alternative to a full suit. [31] (#cite_note-31) However, with the modern advent of sports jackets, suit jackets are always worn with matching trousers, and the trousers are worn with no jacket or the appropriate jacket. [ citation needed ] Trouser width has varied considerably throughout the decades. In the 1920s, trousers were straight-legged and wide-legged, with a standard width at the cuff of 23 inches (58 cm). After 1935, trousers began to be tapered in at the bottom half of the leg. Trousers remained wide at the top of the leg throughout the 1940s. By the 1950s and 1960s, a more slim look had become popular. In the 1970s, suit makers offered a variety of styles of trousers, including flared, bell bottomed, wide-legged, and more traditional tapered trousers. In the 1980s, these styles disappeared in favor of tapered, slim-legged trousers. One variation in the design of trousers is the use or not of pleats. The most classic style of trouser is to have two pleats, usually forward, since this gives more comfort sitting and better hang standing. [32] (#cite_note-32) This is still a common style, and for these reasons of utility has been worn throughout the 20th century. The style originally descended from the exaggeratedly widened Oxford bags (/wiki/Oxford_bags) worn in the 1930s in Oxford, which, though themselves short-lived, began a trend for fuller fronts. [33] (#cite_note-33) The style is still seen as the smartest, featuring on dress trousers with black and white tie. However, at various periods throughout the last century, flat-fronted trousers with no pleats have been worn, and the swing in fashions has been marked enough that the more fashion-oriented ready-to-wear brands have not produced both types continuously. Turn-ups on the bottom of trousers, or cuffs, were initially popularised in the 1890s by Edward VII (/wiki/Edward_VII) , [34] (#cite_note-34) and were popular with suits throughout the 1920s and 1930s. They have always been an informal option, being inappropriate on all formalwear. Other variations in trouser style include the rise of the trouser. This was very high in the early half of the 20th century, particularly with formalwear, with rises above the natural waist, [35] (#cite_note-35) to allow the waistcoat covering the waistband to come down just below the narrowest point of the chest. Though serving less purpose, this high height was duplicated in the daywear of the period. Since then, fashions have changed, and have rarely been that high again, with styles returning more to low-rise trousers, even dropping down to have waistbands resting on the hips. Other changing aspects of the cut include the length, which determines the break, the bunching of fabric just above the shoe when the front seam is marginally longer than height to the shoe's top. Some parts of the world, such as Europe, traditionally opt for shorter trousers with little or no break, while Americans often choose to wear a slight break. [36] (#cite_note-36) A final major distinction is made in whether the trousers take a belt (/wiki/Belt_(clothing)) or braces (/wiki/Braces_(clothing)) (suspenders). While a belt was originally never worn with a suit, the forced wearing of belts during wartime years (caused by restrictions on use of elastic caused by wartime shortages) contributed to their rise in popularity, with braces now much less popular than belts. When braces were common, the buttons for attaching them were placed on the outside of the waistband, because they would be covered by a waistcoat or cardigan, but now it is more frequent to button on the inside of the trouser. Trousers taking braces are rather different in cut at the waist, employing extra girth and also height at the back. The split in the waistband at the back is in the fishtail shape. Those who prefer braces assert that, because they hang from the shoulders, they always make the trousers fit and hang exactly as they should, while a belt may allow the trouser waist to slip down on the hips or below a protruding midsection, and requires constant repositioning; also, they allow, indeed work best with, a slightly looser waist which gives room for natural expansion when seated. Suit trousers, also known as dress pants in the US, are a style of trousers intended as formal (/wiki/Formal_wear) , semi-formal (/wiki/Semi-formal) , or informal (/wiki/Informal_wear) wear. They are often made of either wool or polyester (/wiki/Polyester) [37] (#cite_note-37) (although many other synthetic (/wiki/Synthetic_fiber) and natural textiles are used) and may be designed to be worn with a matching suit jacket. Suit trousers often have a crease in the front of each pant leg, and may have one or more pleats. Suit trousers can be worn at many formal and semi-formal occasions combined with a shirt that has no tie and a more relaxed fashion, which can be considered smart casual (/wiki/Smart_casual) dress. Breeches [ edit ] As an alternative to trousers, breeches (/wiki/Breeches) (or knickers in variations of English where this does not refer to underwear) may be worn with informal suits, such as tweed. These are shorter, descending to just below the knees, fastened closely at the top of the calf by a tab or button cuff. While once common, they are now typically only worn when engaged in traditional outdoor sports, such as shooting (/wiki/Shooting) or golf (/wiki/Golf) . The length and design is closely related to the plus-fours (/wiki/Plus-fours) (and plus-sixes etc.) worn for sport, but differ in having no bagginess. They are usually designed to be worn with long socks meeting just below the knee, but riding breeches, worn with long boots such as top boots (/wiki/Top_boots) , are long enough to meet the boot and display no sock. [38] (#cite_note-38) Accessories [ edit ] Accessories for suits include neckties (/wiki/Necktie) , shoes (/wiki/Shoe) , wristwatches (/wiki/Watch) and pocket watches (/wiki/Pocket_watch) , pocket squares (/wiki/Handkerchief) , cufflinks (/wiki/Cufflink) , tie clips (/wiki/Tie_clip) , tie tacks, tie bars, bow ties (/wiki/Bow_tie) , lapel pins (/wiki/Lapel_pin) , and hats (/wiki/Hat) . Etiquette [ edit ] Further information: Informal wear (/wiki/Informal_wear) This section needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/Suit) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) in this section. Unsourced material may be challenged and removed. ( August 2008 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Buttoning the suit jacket [ edit ] Prince George, Duke of Kent (/wiki/Prince_George,_Duke_of_Kent) in the early 1930s wearing a double-breasted suit with a low button-stance The bottom button of a single-breasted suit coat is left unfastened. The buttoning of the jacket is primarily determined by the button stance , a measure of how high the buttons are in relation to the natural waist. In some (now unusual) styles where the buttons are placed high, the tailor would have intended the suit to be buttoned differently from the more common lower stance. Nevertheless, some general guidelines are given here. Double-breasted (/wiki/Double-breasted) suit coats are almost always kept buttoned. When there is more than one functional buttonhole (as in a traditional six-on-two arrangement), only one button need be fastened; the wearer may elect to fasten only the bottom button, in order to present a longer line (a style popularised by Prince George, Duke of Kent (/wiki/Prince_George,_Duke_of_Kent) ). Single-breasted (/wiki/Single-breasted) suit coats may be either fastened or unfastened. In two-button suits the bottom button is traditionally left unfastened except with certain unusual cuts of jacket, e.g. the paddock. Legend has it that King Edward VII (/wiki/King_Edward_VII) started the trend of leaving the bottom button of a suit as well as waistcoat undone. [39] (#cite_note-dnb-39) The reasoning for having only the top buttons and not the bottom button to continue being fastened is to avoid stressing of the fabric and is more comfortable for the wearer. [40] (#cite_note-q090-40) When fastening a three-button suit, the middle button is fastened, and the top one sometimes, but the bottom is traditionally not designed to be. Although in the past some three-button jackets were cut so that all three could be fastened without distorting the drape, this is no longer the case. A four-button suit is uncommon. The one-button suit has regained some popularity (it is also one of the classic styles of Savile Row tailoring (/wiki/Savile_Row_tailoring) ). With a single-breasted suit, the buttons are usually unfastened while sitting down to avoid an ugly drape. A double-breasted suit is often able to be left buttoned, to avoid the difficulty of constantly redoing the inner button (the "anchor button") when standing up. Shirts with suits [ edit ] Main article: Dress shirt (/wiki/Dress_shirt) Socks with suits [ edit ] In the United States it is common for socks (/wiki/Sock) to match either the shoe (particularly black socks with black shoes) or the trouser leg. [41] (#cite_note-41) This latter is preferred as it makes the leg appear longer, provides a smoother visual transition between the pant leg and the shoe, and minimises the attention drawn by a trouser leg tailored to be too short. A more general rule is for socks to be darker than the shade of the trousers, but potentially a different, instead matching some other part of the outfit such as the shirt or necktie. With patterned socks, ideally the background colour of the sock should match the primary colour of the suit and the other colors should coordinate with other parts of the outfit. Socks are preferably [ citation needed ] at least mid-calf height, if not knee-height ( over-the-calf ), and are usually made predominantly of cotton or wool, though luxury or dress socks may use more exotic blends such as silk and cashmere. Before World War II (/wiki/World_War_II) , patterned socks were common, and a variety of designs like Argyle (/wiki/Argyle_(pattern)) or contrasting socks were commonly seen. After WWII, socks became more subdued in colour. In lieu of over-the-calf length (which will stay up by itself), some men still use garters to hold up their socks, but this is unusual. Women [ edit ] See also: Pantsuit (/wiki/Pantsuit) This section does not cite (/wiki/Wikipedia:Citing_sources) any sources (/wiki/Wikipedia:Verifiability) . Please help improve this section (/wiki/Special:EditPage/Suit) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed (/wiki/Wikipedia:Verifiability#Burden_of_evidence) . ( February 2011 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Angélica Rivera (/wiki/Ang%C3%A9lica_Rivera) wearing a modern-day skirt suit Suit-wearing etiquette for women generally follows the same guidelines used by men, with a few differences and more flexibility. For women, the skirt suit (/wiki/Skirt_suit) or dress (/wiki/Dress) suit are both acceptable; a blouse (/wiki/Blouse) , which can be white or coloured, usually takes the place of a shirt. Women's suits can also be worn with coloured tops or T-shirts. Also, women usually wear suits in professional settings, rather than as general formal attire, as men do. Women's suits come in a larger variety of colours, such as darks, pastels, and gem colours. Women generally do not wear neckties with their suits, but some do. Fancy silk scarves (/wiki/Scarf) that resemble a floppy ascot tie (/wiki/Ascot_tie) became popular in North America in the 1970s. By the 1980s, women were entering the white-collar (/wiki/White-collar_worker) workforce in increasing numbers, and their dress fashions adopted looks not dissimilar from men's business wear. By the early to mid-1980s, conservatively tailored skirt suits were the norm, in the same colours and fabrics considered standard in men's suits. These were typically worn with buttoned-up collared blouses, usually white or some pastel in colour. These were frequently accessorised with a version of the bow tie (/wiki/Bow_tie) , usually the same fabrics, colours, and patterns as men's neckties and bow ties, but tied in a fuller bow at the collar. Pantyhose (/wiki/Pantyhose) are worn with the skirt suit in black, nude or white. Fashion [ edit ] The examples and perspective in this article deal primarily with the United States and do not represent a worldwide view (/wiki/Wikipedia:WikiProject_Countering_systemic_bias) of the subject . You may improve this article (https://en.wikipedia.org/w/index.php?title=Suit&action=edit) , discuss the issue on the talk page (/wiki/Talk:Suit) , or create a new article (/wiki/Wikipedia:Article_wizard) , as appropriate. ( November 2009 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Western world [ edit ] Part of a series (/wiki/Category:Formal_wear) on Western dress codes (/wiki/Western_dress_codes) and corresponding attires (/wiki/Clothing) Formal (/wiki/Formal_wear) ( full dress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) ) White tie (/wiki/White_tie) Morning dress (/wiki/Morning_dress) Full dress uniform (/wiki/Full_dress_uniform) Frock coat (/wiki/Frock_coat) Evening gown (/wiki/Evening_gown) Ball gown (/wiki/Ball_gown) Semi-formal (/wiki/Semi-formal_wear) ( half dress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) ) Black tie (/wiki/Black_tie) Black lounge suit (/wiki/Black_lounge_suit) Mess dress uniform (/wiki/Mess_dress_uniform) Evening gown (/wiki/Evening_gown) Cocktail dress (/wiki/Cocktail_dress) Informal (/wiki/Informal_wear) ( undress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) , "dress clothes") Suit Service dress uniform (/wiki/Service_dress_uniform) Cocktail dress (/wiki/Cocktail_dress) Pantsuit (/wiki/Pantsuit) Casual (/wiki/Casual_wear) (anything not above) Business casual (/wiki/Business_casual) Casual Friday (/wiki/Casual_Friday) Combat uniform (/wiki/Combat_uniform) Smart casual (/wiki/Smart_casual) Workwear (/wiki/Workwear) Streetwear (/wiki/Streetwear) Sportswear (/wiki/Sportswear) known as Sportswear (fashion) (/wiki/Sportswear_(fashion)) and Athleisure (/wiki/Athleisure) Undress (/wiki/Undress_code) Supplementary alternatives Ceremonial dress (/wiki/Ceremonial_dress) law courts (/wiki/Court_dress) royal courts (/wiki/Court_uniform_and_dress_in_the_United_Kingdom) diplomatic (/wiki/Diplomatic_uniform) academic (/wiki/Academic_dress) , etc. Religious clothing (/wiki/Religious_clothing) cassock (/wiki/Cassock) , habit (/wiki/Religious_habit) , etc. Folk costume (/wiki/Folk_costume) Distinctions Orders (/wiki/Order_(distinction)) medals (/wiki/Medal) , etc. Legend: = Day (before 6 p.m.) = Evening (after 6 p.m.) = Bow tie (/wiki/Bow_tie) colour = Ladies = Gentlemen Fashion portal (/wiki/Portal:Fashion) v t e Throughout the 20th and 21st centuries, the tailors of England, Italy, Spain, and France have been the leaders in the design of men's suits. [42] (#cite_note-42) The slim-fitting mohair (/wiki/Mohair) and sharkskin (/wiki/Sharkskin) suits developed in London and Milan during the 1960s were widely imitated by the mod subculture (/wiki/Mod_subculture) , and underwent a large scale revival during the late 2000s to mid 2010s due to their association with James Bond (/wiki/James_Bond) and Don Draper (/wiki/Don_Draper) from Mad Men (/wiki/Mad_Men) . [43] (#cite_note-43) Elsewhere in the Mediterranean (/wiki/Mediterranean) , suits are considered impractical without constant air conditioning (/wiki/Air_conditioning) . As a result, most non-conservative businesses, regardless of size or wealth, tend to use casual clothes even in formal meetings. [44] (#cite_note-44) Some professions, such as banking, law, and certain government employees that deal directly with the public do have a more formal dress code. United States [ edit ] Former Japanese PM Shinzō Abe (/wiki/Shinz%C5%8D_Abe) along with businesswoman Ivanka Trump (/wiki/Ivanka_Trump) wearing Western-style business suits Rock musician Nick Cave (/wiki/Nick_Cave) wears a pinstripe suit while performing onstage. Because wearing a suit conveys a respectable image, many people wear suits during the job interview (/wiki/Job_interview) process. [45] (#cite_note-45) An interview suit is usually a conservative style, and often made of blue or grey fabric. Interview suits are frequently composed of wool or wool-blend fabric, with a solid or pin stripe pattern. [46] (#cite_note-46) The style of an interview suit, however, will depend on the organizational culture (/wiki/Organizational_culture) of the industry in which a person seeks employment. In the Southwestern United States (/wiki/Southwestern_US) , men's suits often feature detailing inspired by traditional Western wear (/wiki/Western_wear) , such as a pointed yoke and arrow pockets. [47] (#cite_note-47) Suit coats similar in appearance to the Ike jacket (/wiki/Ike_jacket) are also widespread, and it is common practice to wear cowboy boots (/wiki/Cowboy_boot) instead of conventional dress shoes (/wiki/Dress_shoe) . Country music (/wiki/Country_music) singers and modern pop stars like Post Malone (/wiki/Post_Malone) [48] (#cite_note-48) or Brandon Flowers (/wiki/Brandon_Flowers) of The Killers (/wiki/The_Killers) sometimes wear flashy Nudie suits (/wiki/Nudie_suit) with rhinestones (/wiki/Rhinestone) and intricate embroidery. [49] (#cite_note-49) In modern society, men's suits have become less common as an outfit of daily wear. During the 1990s, driven in part by the meteoric rise of newly successful technology (/wiki/Technology) companies with different cultural attitudes, the prevailing management philosophy of the time moved in favour of more casual attire for employees; the aim was to encourage a sense of openness and egalitarianism. "Business casual" dress still tends to be the norm for most workers up to and sometimes including mid-level management. Traditional business dress as an everyday style has been prevalent in middle- and upper-level corporate management (now sometimes collectively referred to as "suits"), [50] (#cite_note-50) and the professions (particularly law (/wiki/Law) ). Over time, suits have become less common at the executive level aside for job candidates and formal events, remaining in widespread use at other lives such as among middle-class hotel clerks and salespeople. [51] (#cite_note-51) Casual dress has also become common in Western academic institutions, with traditional business attire falling in popularity. For many men who do not wear suits for work, particularly in Western society, wearing a suit is reserved for special occasions, such as weddings, funerals, court appearances, and other more formal social events. Hence, because they are not a daily outfit for most men, they are often viewed as being "stuffy" and uncomfortable. The combination of a tie, belt and waistcoat can be tight and restrictive compared to contemporary casual wear, especially when these are purchased at minimal cost and quality for rare occasions, rather than being made to be worn comfortably. This tendency became prevalent enough that the Christian Science Monitor (/wiki/Christian_Science_Monitor) reported that a heavy jacket combined with a necktie and flimsy slacks was "a design that guarantees that its wearer will be uncomfortable" at any temperature. [52] (#cite_note-52) During the late 1960s and early 1970s, men's suits became less commonly worn, in much the same way that skirts and dresses were dropped by many women in favour of trousers. This was seen as a liberation from the conformity of earlier periods and occurred concurrently with the women's liberation movement (/wiki/Women%27s_liberation_movement) . Also remarkable is that the suit now frequently appears in Rock, Heavy Metal and Gothic happenings, even though such groups were once known for a rather rebellious tradition of clothing. Artists and bands such as Nick Cave (/wiki/Nick_Cave) , Interpol (/wiki/Interpol_(band)) , Marilyn Manson (/wiki/Marilyn_Manson) , Blutengel (/wiki/Blutengel) and Akercocke (/wiki/Akercocke) are known for the use of formal clothing in music videos and stage performances. The suit also appears when fans dress for styles such as Lolita, Victorian and Corporate Gothic. East and South Asia [ edit ] In 20th-century China, the Communist (/wiki/Communist) regime encouraged citizens to wear the Mao suit (/wiki/Mao_suit) due to its egalitarian and utilitarian design. [53] (#cite_note-53) After the independence of India (/wiki/Independence_of_India) , there was a backlash against Western fashions (/wiki/1950s_in_Indian_fashion) due to their association with the previous colonialist regime. Instead, professional Indian men began wearing the five button Nehru suit (/wiki/Nehru_suit) , made from khadi (/wiki/Khadi) to support the local textile industry. [54] (#cite_note-54) During the 1960s (/wiki/1960s_fashion) , these suits became fashionable among the British mod subculture (/wiki/Mod_subculture) due to their use by The Beatles (/wiki/The_Beatles) . [55] (#cite_note-55) These made a brief comeback during the mid 2000s (/wiki/2000s_in_fashion) , but since 2010 they have been out of fashion in the West. [56] (#cite_note-56) In the tropical Philippines, a former colony of the United States of America, a suit is called terno ; the jacket that comes with it is called amerikana . Because of the hot tropical climate, this formal wear is worn only when necessary, including formal, social or business events. Filipinos rarely wear a suit, and the youth would probably wear one only to a high school or college prom (/wiki/Prom) , in which case it might be rented. [ citation needed ] At any occasion where a suit is worn, it would also be acceptable to wear a long-sleeved or a short-sleeved barong tagalog (/wiki/Barong_tagalog) , the national dress of the Philippines. See also [ edit ] Western dress codes (/wiki/Western_dress_codes) Semi-formal wear (/wiki/Semi-formal_wear) Black tie (/wiki/Black_tie) Black lounge suit (/wiki/Black_lounge_suit) Informal wear (/wiki/Informal_wear) Casual (/wiki/Casual_wear) Smart casual (/wiki/Smart_casual) Business casual (/wiki/Business_casual) Citations [ edit ] ^ (#cite_ref-1) Flusser (2002). p. 146 ^ (#cite_ref-2) Antongiavanni (2006). p. 35 ^ (#cite_ref-3) Oxford English Dictionary (/wiki/Oxford_English_Dictionary) Online (2008). suit , n. 19b. ^ Jump up to: a b c Flusser (1985). ch. 2 (http://www.throughtherye.com/flusser/ch2.htm) ^ (#cite_ref-5) Mahon, Thomas (23 September 2005). "How to draft a pattern" (https://web.archive.org/web/20080725000223/http://www.englishcut.com/archives/2005_02.html) . English Cut . Archived from the original (http://www.englishcut.com/archives/2005_02.html) on 25 July 2008 . Retrieved 20 September 2008 . ^ (#cite_ref-6) Antongiavanni (2006). p. 76 ^ (#cite_ref-7) Flusser (2002). pp. 93–99 ^ (#cite_ref-8) Antongiavanni (2006). pp. 80–86 ^ (#cite_ref-9) Flusser (2002). p. 95 ^ (#cite_ref-Antongiavanni06.81_10-0) Antongiavanni (2006). p. 81 ^ (#cite_ref-11) Flusser (2002). p. 94 ^ (#cite_ref-12) Flusser (2002). p. 288 ^ (#cite_ref-13) Antongiavanni (2006). p. 66 ^ (#cite_ref-14) Mahon, Thomas (8 February 2005). "Fused vs. floating" (https://web.archive.org/web/20081016035423/http://www.englishcut.com/archives/000020.html) . English Cut . Archived from the original (http://www.englishcut.com/archives/000020.html) on 16 October 2008 . Retrieved 20 September 2008 . ^ (#cite_ref-15) Merrion, Desmond (8 November 2008). "Recent made to measure tailoring" (https://web.archive.org/web/20090203201725/http://www.desmerrionbespoketailor.com/folders/weblog/20081108/) . Archived from the original (http://www.desmerrionbespoketailor.com/folders/weblog/20081108/) on 3 February 2009 . Retrieved 19 November 2008 . ^ (#cite_ref-16) Mahon, Thomas (6 January 2005). "How to pick a "bespoke" tailor" (https://web.archive.org/web/20081029035501/http://www.englishcut.com/archives/000005.html) . English Cut . Archived from the original (http://www.englishcut.com/archives/000005.html) on 29 October 2008 . Retrieved 20 September 2008 . ^ (#cite_ref-17) Druesdow (1990). p. vi. "...for often the difference in style from season to season was in the distance between buttons..." ^ (#cite_ref-18) Flusser (2002). p. 83 ^ (#cite_ref-19) Antongiavanni (2006). p. 14 ^ (#cite_ref-20) Antongiavanni (2006). p. 16 ^ (#cite_ref-21) García-Bragado, David (17 March 2014). Vestirse Por Los Pies: Los Secretos de Estilo del Auténtico Caballero . Hércules Edición. p. 181. ISBN (/wiki/ISBN_(identifier)) 978-8-4927-1579-4 . ^ (#cite_ref-22) "What's the Difference Between a Notch Lapel, Peak Lapel, and Shawl Lapel on a Suit" (https://web.archive.org/web/20170926235739/https://www.sharpsense.ca/blogs/style-guide/whats-the-difference-between-a-notch-lapel-peak-lapel-and-shawl-lapel-on-a-suit) . sharpsense.ca. Archived from the original (https://www.sharpsense.ca/blogs/style-guide/whats-the-difference-between-a-notch-lapel-peak-lapel-and-shawl-lapel-on-a-suit) on 26 September 2017 . Retrieved 26 September 2017 . ^ (#cite_ref-23) Flusser (2002). pp. 82–85 ^ (#cite_ref-24) "etiquette – SIMON PAUL" (https://wordsbysimonpaul.wordpress.com/tag/etiquette/) . wordsbysimonpaul.wordpress.com . 27 November 2014. ^ (#cite_ref-25) Mahon, Thomas (29 March 2005). "Single-breasted, peaked lapel" (https://web.archive.org/web/20090104092459/http://www.englishcut.com/archives/000052.html) . English Cut . Archived from the original (http://www.englishcut.com/archives/000052.html) on 4 January 2009 . Retrieved 20 September 2008 . ^ (#cite_ref-26) Boehlke, Will (7 January 2007). "What's in your lapel?" (https://web.archive.org/web/20081014053645/http://asuitablewardrobe.dynend.com/2007/01/whats-in-your-lapel.html) . A Suitable Wardrobe . Archived from the original (http://asuitablewardrobe.dynend.com/2007/01/whats-in-your-lapel.html) on 14 October 2008 . Retrieved 24 September 2008 . ^ (#cite_ref-27) The Nu-Way Course in Fashionable Clothes Making (1926). Lesson 33 (http://vintagesewing.info/1920s/26-fcm/fcm-33.html) ^ (#cite_ref-28) Mahon, Thomas (18 January 2007). "Real cuff holes..." (https://web.archive.org/web/20081203131234/http://www.englishcut.com/archives/000215.html) English Cut . Archived from the original (http://www.englishcut.com/archives/000215.html) on 3 December 2008 . Retrieved 26 October 2008 . ^ (#cite_ref-29) Rosenbloom, Stephanie (13 February 2009). "For Fine Recession Wear, $7,000 Suits From Saks (Off the Rack)" (https://www.nytimes.com/2009/02/14/business/14saks.html) . The New York Times (/wiki/The_New_York_Times) . Retrieved 14 February 2009 . ^ (#cite_ref-30) Antongiavanni (2006). p. 172 ^ (#cite_ref-31) Flusser (2002). p. 100 ^ (#cite_ref-32) Flusser (2002). p. 92 ^ (#cite_ref-33) Flusser (2002). p. 112 ^ (#cite_ref-34) Flusser (2002). p. 284 ^ (#cite_ref-35) Croonborg (1907). p. 100 lists tables of trousers heights ^ (#cite_ref-36) Flusser (2002). p. 61 ^ (#cite_ref-37) "Dress pants fabric information" (http://www.overstock.com/guides/Mens-Dress-Pants-Buying-Guide) . Overstock.com . Retrieved 12 March 2010 . ^ (#cite_ref-38) Croonborg (1907). p. 118 ^ (#cite_ref-dnb_39-0) Matthew, H. C. G. (/wiki/Colin_Matthew) (September 2004; online edition May 2006) "Edward VII (1841–1910)" (http://www.oxforddnb.com/view/article/32975) , Oxford Dictionary of National Biography , Oxford University Press, doi (/wiki/Doi_(identifier)) : 10.1093/ref:odnb/32975 (https://doi.org/10.1093%2Fref%3Aodnb%2F32975) . Retrieved 24 June 2009 (Subscription required) ^ (#cite_ref-q090_40-0) Sanchez, Joshua M. (26 February 2015). "How to Button Your Suit Jacket The Right Way" (https://www.esquire.com/style/mens-fashion/advice/a33367/how-to-button-suit-jacket/) . Esquire . Retrieved 25 June 2024 . ^ (#cite_ref-41) Flusser (2002). p. 173 ^ (#cite_ref-42) "Difference Between British, Italian & American Suits – Different Suit Styles & Cuts For Men" (http://www.realmenrealstyle.com/british-italian-american-suits/) . 2 June 2016. ^ (#cite_ref-43) Cochrane, Lauren (15 April 2014). "How Mad Men changed the way men dress" (https://www.theguardian.com/fashion/2014/apr/15/mad-men-changed-way-men-dress-don-draper) . The Guardian . London. ^ (#cite_ref-44) Elan, Priya (8 October 2016). "Italian brand that dressed 007 is latest victim of shift to casual office wear" (https://www.theguardian.com/fashion/2016/oct/08/brioni-justin-o-shea-mens-suits-don-draper-fashion) . The Guardian . London. ^ (#cite_ref-45) Wilson, Eric (13 November 2008). "The Return of the Interview Suit" (https://www.nytimes.com/2008/11/13/fashion/13INTERVIEW.html) . The New York Times (/wiki/The_New_York_Times) . pp. E1, E10 . Retrieved 22 November 2008 . ^ (#cite_ref-46) Canisius College (/wiki/Canisius_College) MBA Program (24 April 2008). "Confused about Buying an Interview Suit...This is all you will ever need to know!" (https://web.archive.org/web/20081223191629/http://www.buffalo-mba.com/confused-about-buying-an-interview-suitthis-is-all-you-will-ever-need-to-know/) . Archived from the original (http://www.buffalo-mba.com/confused-about-buying-an-interview-suitthis-is-all-you-will-ever-need-to-know/) on 23 December 2008 . Retrieved 22 November 2008 . ^ (#cite_ref-47) Stavropoulos, Laura (12 May 2019). "Nudie Cohn, Tailor And Legend Behind The Nudie Suit, Remembered By His Granddaughter Jamie" (https://www.udiscovermusic.com/stories/nudie-cohn-tailor-country-fashion/) . uDiscoverMusic . Retrieved 8 June 2019 . ^ (#cite_ref-48) Peacock, Tim (17 January 2019). "Post Malone, Kacey Musgraves Among The Stars Performing At The Grammy Awards" (https://www.udiscovermusic.com/news/kacey-musgraves-malone-grammy-awards/) . uDiscoverMusic . Retrieved 8 June 2019 . ^ (#cite_ref-49) "Rhinestone Cowboys: The Embroidered Suits Once Rocked By Johnny Cash and Gram Parsons Are Making a High-Fashion Comeback" (https://www.billboard.com/articles/news/magazine-feature/7341658/nudie-suits-fashion-comeback-history-gram-parsons-tex-williams) . Billboard . Retrieved 8 June 2019 . ^ (#cite_ref-50) Concise Oxford English Dictionary 10th ed . Oxford University Press. 2002. p. 1433 " informal a high–ranking business executive". ^ (#cite_ref-51) Dent, Mark (30 September 2019). "How the power suit lost its power" (https://www.vox.com/the-goods/2019/9/30/20869237/suits-control-menswear-decline) . vox.com . Retrieved 3 October 2019 . ^ (#cite_ref-52) To save power, Bangladesh bans suits and ties (http://features.csmonitor.com/environment/2009/09/05/to-save-power-bangladesh-bans-suits-and-ties/) , The Christian Science Monitor , September 5, 2009 ^ (#cite_ref-53) Montefiore, Clarissa Sebag. "From Red Guards to Bond villains: Why the Mao suit endures" (https://www.bbc.com/culture/story/20151007-from-red-guards-to-bond-villains-why-the-mao-suit-endures) . ^ (#cite_ref-54) "The Nehru Jacket Guide — Gentleman's Gazette" (https://www.gentlemansgazette.com/nehru-jacket-guide-mao-suit/) . gentlemansgazette.com . 20 May 2013. ^ (#cite_ref-55) "John Lennon's iconic suit goes on auction after being lost for 40 years" (http://www.express.co.uk/entertainment/music/615529/John-Lennon-Beatles-suit-auction) . 29 October 2015. ^ (#cite_ref-56) "Cultural Imperialist – Neh-ruing the Day: No to Nehru" (http://www.culturalimperialist.com/2010/08/nehruing-day-nehru/) . Cultural Imperialist . General and cited references [ edit ] Antongiavanni, Nicholas (2006). The Suit: A Machiavellian Approach to Men's Style . HarperCollins (/wiki/HarperCollins) . ISBN (/wiki/ISBN_(identifier)) 978-0-06-089186-2 . Boyer, G. Bruce (1990). Eminently Suitable: The Elements of Style in Business Attire . Tony Kokinos (illustrator). New York: W. W. Norton & Company. ISBN (/wiki/ISBN_(identifier)) 978-0-393-02877-5 . Calasibetta, Charlotte Mankey (2003). The Fairchild Dictionary of Fashion . Fairchild Publications (/wiki/Fairchild_Publications) . ISBN (/wiki/ISBN_(identifier)) 1-56367-235-9 . Croonborg, Frederick (1907). The Blue Book of Men's Tailoring . New York and Chicago: Croonborg Sartorial Co. Druesedow, Jean L.; Jno. J. Mitchell Co. (1990). Men's Fashion Illustrations from the Turn of the Century: by Jno. J. Mitchell Co . Courier Dover Publications. ISBN (/wiki/ISBN_(identifier)) 978-0-486-26353-3 . The New-Way Course in Fashionable Clothes-Making . Fashion Institute. 1926. OCLC (/wiki/OCLC_(identifier)) 55530806 (https://www.worldcat.org/oclc/55530806) . Archived from the original (http://vintagesewing.info/1920s/26-fcm/fcm-toc-short.html) on 5 July 2008 . Retrieved 20 August 2008 . Flusser, Alan (/wiki/Alan_Flusser) (1985). Clothes and the Man: The Principles of Fine Men's Dress . Villard (/wiki/Villard_(imprint)) . ISBN (/wiki/ISBN_(identifier)) 0-394-54623-7 . Retrieved 20 September 2008 . Flusser, Alan (/wiki/Alan_Flusser) (1996). Style and the Man . HarperCollins. ISBN (/wiki/ISBN_(identifier)) 0-06-270155-X . Flusser, Alan (/wiki/Alan_Flusser) (2002). Dressing the Man: Mastering the Art of Permanent Fashion . HarperCollins (/wiki/HarperCollins) . ISBN (/wiki/ISBN_(identifier)) 0-06-019144-9 . Keers, Paul (October 1987). A Gentleman's Wardrobe: Classic Clothes and the Modern Man . Weidenfeld & Nicolson. ISBN (/wiki/ISBN_(identifier)) 978-0-297-79191-1 . Kidwill, Claudia B. (1974). Suiting Everyone: The Democratization of Clothing in America . Smithsonian Institution Press. External links [ edit ] Wikimedia Commons has media related to Suits (https://commons.wikimedia.org/wiki/Category:Suits) . Emily Post's (http://www.bartleby.com/95/34.html) Etiquette : The Clothes of a Gentleman, 1922 (http://www.bartleby.com/95/34.html) "Introduction to 18th-century fashion" (http://www.vam.ac.uk/content/articles/i/introduction-to-18th-century-fashion/) . Fashion, Jewellery & Accessories . Victoria and Albert Museum (/wiki/Victoria_and_Albert_Museum) . Retrieved 6 August 2008 . Meek, Miki; Lam Thuy Vo (6 September 2012). "The Difference Between a $99 Suit and a $5,000 Suit, in One Graphic" (https://www.npr.org/blogs/money/2012/09/05/160607575/the-difference-between-a-99-suit-and-a-5-000-suit-in-one-graphic) . Planet Money (/wiki/Planet_Money) . 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Italian jewelry designer (1940–2021) Elsa Peretti OMRI (/wiki/OMRI) OMM (/wiki/Order_pro_Merito_Melitensi) Born ( 1940-05-01 ) 1 May 1940 Florence (/wiki/Florence) , Kingdom of Italy (/wiki/Kingdom_of_Italy) Died 18 March 2021 (2021-03-18) (aged 80) Sant Martí Vell (/wiki/Sant_Mart%C3%AD_Vell) , Spain Education Interior designer (/wiki/Interior_design) (degree obtained in Rome, Italy) Occupation(s) Jewelry designer, philanthropist, and fashion model Elsa Peretti , OMRI (/wiki/OMRI) OMM (/wiki/Order_pro_Merito_Melitensi) (1 May 1940 – 18 March 2021), was an Italian jewelry designer and philanthropist as well as a fashion model. Her jewelry and design pieces for Tiffany & Co. (/wiki/Tiffany_%26_Co.) are included in the 20th century collection of the British Museum (/wiki/British_Museum) , the Museum of Fine Arts, Boston (/wiki/Museum_of_Fine_Arts,_Boston) and the Museum of Fine Arts, Houston (/wiki/Museum_of_Fine_Arts,_Houston) . [1] (#cite_note-1) In 1974 Peretti, the "Halstonette" fashion model arrived at Tiffany's with her modern jewelry. [2] (#cite_note-John._2008-2) Her broadly popular work, including pieces like Bean, Bone Cuff and Open Heart, became as much as 10% of Tiffany's business and John Loring's Tiffany Style – 170 Years of Design devotes 18 pages of images to her jewelry and tableware design. [2] (#cite_note-John._2008-2) Vogue described her as "arguably the most successful woman ever to work in the jewelry field." [3] (#cite_note-:3-3) As a philanthropist, Peretti supported a wide variety of causes, and also privately undertook the restoration of the historic village of Sant Martí Vell (/wiki/Sant_Mart%C3%AD_Vell) in Catalonia (/wiki/Catalonia) , Spain. [4] (#cite_note-4) The TV miniseries Halston (/wiki/Halston_(miniseries)) features Elsa's relationship with Halston (/wiki/Halston) . In 2019, she was featured in archival footage about her relationship with the legendary designer in the documentary film Halston (/wiki/Halston_(film)) . Early life [ edit ] Peretti was born in Florence (/wiki/Florence) , Italy (/wiki/Italy) as the youngest daughter of Ferdinando Peretti (/w/index.php?title=Ferdinando_Peretti&action=edit&redlink=1) [ it (https://it.wikipedia.org/wiki/Ferdinando_Peretti) ] (1896–1977) and Maria Luisa Pighini. Ferdinando Peretti founded Anonima Petroli Italiana (/wiki/Anonima_Petroli_Italiana) (API), a large Italian oil company, in 1933. [5] (#cite_note-Reginato-5) She was estranged from her conservative family for much of her life, [6] (#cite_note-Muller-6) though reconciled with her father shortly before he died. [7] (#cite_note-:1-7) Peretti was educated in Rome and Switzerland (/wiki/Switzerland) . [8] (#cite_note-8) She initially made her living teaching French (/wiki/French_language) and working as a ski instructor in the German-speaking Swiss mountain village of Gstaad (/wiki/Gstaad) . [9] (#cite_note-encyclopedia-com-9) Later, she returned to Rome to pursue a degree in interior design, and then worked for the Milan (/wiki/Milan) architect Dado Torrigiani (/w/index.php?title=Dado_Torrigiani&action=edit&redlink=1) . [10] (#cite_note-Taylor-10) Career [ edit ] Modeling [ edit ] In 1964, Peretti became a fashion model, working in Barcelona (/wiki/Barcelona) , Spain. [3] (#cite_note-:3-3) In 1968 she moved to New York City on the advice of Wilhelmina Modeling Agency (/wiki/Wilhelmina_Modeling_Agency) . [7] (#cite_note-:1-7) In the early 1970s, along with Karen Bjornson (/wiki/Karen_Bjornson) , Anjelica Huston (/wiki/Anjelica_Huston) , Alva Chinn (/wiki/Alva_Chinn) , Pat Cleveland (/wiki/Pat_Cleveland) , and Pat Ast (/wiki/Pat_Ast) , among others, she became one of designer Halston (/wiki/Halston) 's favoured troupe of models, nicknamed the Halstonettes. [11] (#cite_note-11) During the late 1970s Peretti was a frequent regular of Studio 54 (/wiki/Studio_54) , alongside designer Halston, Andy Warhol (/wiki/Andy_Warhol) , Liza Minnelli (/wiki/Liza_Minnelli) , [5] (#cite_note-Reginato-5) Bianca Jagger (/wiki/Bianca_Jagger) , Cher (/wiki/Cher) , and Donald (/wiki/Donald_Trump) and Ivana Trump (/wiki/Ivana_Trump) . [7] (#cite_note-:1-7) According to Halston, "Elsa had style: she made the dress she was modeling her own." [5] (#cite_note-Reginato-5) Helmut Newton (/wiki/Helmut_Newton) ' s photograph "Elsa Peretti in Bunny Costume"—she posed for him in a Playboy Bunny (/wiki/Playboy_Bunny) costume on Halloween 1975 [3] (#cite_note-:3-3) —is considered a lasting image of the 1970s. [12] (#cite_note-12) In 2019, she was interviewed in the documentary Halston ( CNN (/wiki/CNN) films), recalling her years of working, partying, and friendship with the designer. [13] (#cite_note-13) Jewelry design [ edit ] In 1969, Peretti began creating new jewelry styles for a handful of fashion designers in Manhattan (/wiki/Manhattan) . Her first design, working with a silversmith in Spain, was a two-inch bud vase made of sterling-silver as a pendant on a leather thong necklace, that was inspired by a find at a flea market. [7] (#cite_note-:1-7) Worn in a runway show by one of Giorgio di Sant' Angelo (/wiki/Giorgio_di_Sant%27_Angelo) 's models, it was a hit. [7] (#cite_note-:1-7) By 1971, she was designing jewelry for Halston (/wiki/Halston) . She continued to use silver, helping shift the material's standing from "common" to a popular choice for Liza Minnelli and others. [5] (#cite_note-Reginato-5) Minnelli recalled encountering Peretti's work after Halston advised her to try wearing silver: " ‘My god,' I thought...All I could think of was Albuquerque. But then Elsa brought out all these things...Everything was so sensual, so sexy. I just loved it." [14] (#cite_note-:2-14) Elsa Peretti, bowl with lid and tray, sterling silver, for Tiffany & Co. (/wiki/Tiffany_%26_Co.) , 1984 Peretti quickly rose in the jewelry field, receiving the 1971 Coty Award (/wiki/Coty_Award) for jewelry design, [15] (#cite_note-Coty-15) [16] (#cite_note-newspapers1-16) and had her first appearance in Vogue (/wiki/Vogue_magazine) magazine. In 1972 Bloomingdale's (/wiki/Bloomingdale%27s) , one of New York's landmark department stores, opened a dedicated Peretti boutique. [17] (#cite_note-17) In 1974, she signed a contract with Tiffany & Co (/wiki/Tiffany_%26_Co.) to design silver jewelry; [18] (#cite_note-:0-18) her work for them was the first time Tiffany had sold jewelry in that material in 25 years. [7] (#cite_note-:1-7) By 1979, she was the firm's leading designer. [18] (#cite_note-:0-18) Her silver pieces were seen as "fun" and attracted a younger clientele. The introduction of silver revised the category of fine jewelry and, comparatively more affordable, became something women began increasingly buying for themselves as opposed to traditionally receiving as a gift. [3] (#cite_note-:3-3) Peretti's reintroduction of silver to the company proved so popular that in 2002, the company began raising prices simply to retain a sense of exclusivity for the brand. [19] (#cite_note-19) Peretti designed over thirty collections for Tiffany, with works described as "revolutionary", "timeless, distinct and modern". [6] (#cite_note-Muller-6) Her process included travel to Japan, China, and Europe and drew on the work of craftsmen there in the creation of successful collections such as Bean (an abstracted lima bean-shaped pendant), Open Heart, Mesh, Bone, and Zodiac. In addition to the sterling silver (/wiki/Sterling_silver) , part of her signature was the use of materials such as jade (/wiki/Jade) , lacquer (/wiki/Lacquer) , and rattan (/wiki/Rattan) . [20] (#cite_note-Robinson-20) Modern art was an influence; she cited Alexander Calder (/wiki/Alexander_Calder) and Henry Moore (/wiki/Henry_Moore) 's sculptures as inspirations for her Open Heart collection of pendant jewelry featuring an off-center heart outline. [7] (#cite_note-:1-7) Pieces like Bone Cuff (1970) incorporated organic forms with appreciation of the human body, and were seen as bridging a gap between costume and serious jewelry. [18] (#cite_note-:0-18) Peretti drew the shape from the bones of monks she'd seen inside a 17th-century Capuchin church near Rome during her childhood. [14] (#cite_note-:2-14) Enduringly popular, Gal Gadot (/wiki/Gal_Gadot) wore an 18-karat gold version in the 2020 film Wonder Woman 1984 (/wiki/Wonder_Woman_1984) and Sarah Jessica Parker (/wiki/Sarah_Jessica_Parker) wore it as Carrie Bradshaw in the first Sex and the (/wiki/Sex_and_the_City_(film)) City film (2008). [7] (#cite_note-:1-7) The work sold at a large variety of price points, partly dependent on materials; as of 2021, one version of Peretti's Diamonds by the Yard necklace sold for $400 while another was priced at $75,000. [7] (#cite_note-:1-7) In 2012, Tiffany and Peretti extended their contract for another 20 years, [21] (#cite_note-21) paid up front for $47 million. [7] (#cite_note-:1-7) In 2015, her trademarked Elsa Peretti designs represented eight percent of Tiffany's net sales; [20] (#cite_note-Robinson-20) in other years the figure has been more than 10%. [7] (#cite_note-:1-7) Elsa Peretti sterling bowl with gold wash, for Tiffany & Co. Peretti also designed silverware for Tiffany, but only after she had established a solid following with her jewelry. [18] (#cite_note-:0-18) Her creations were expansive (besides silverware, which included a silver pizza cutter, she also designed pens, ashtrays, a gold mesh bra, and perfume bottles for Halston), but the jewelry line remained the center of her work. [7] (#cite_note-:1-7) Vogue calls her "arguably the most successful woman ever to work in the jewelry field." [3] (#cite_note-:3-3) In 2024, Tiffany introduced the Elsa Peretti Split Ring to commemorate the 50th anniversary of Peretti's collaboration with the brand. This ring draws inspiration from Peretti's Bone cuff design. [22] (#cite_note-22) Catalonia, Spain [ edit ] In 1968, Peretti bought a house in the largely decrepit village of Sant Martí Vell (/wiki/Sant_Mart%C3%AD_Vell) in Catalonia (/wiki/Catalonia) , Spain. Over the next ten years she had the house restored, often living in rough conditions during the process. By the 1980s, the mustard-yellow house was her preferred home. [18] (#cite_note-:0-18) [23] (#cite_note-23) Pieces such as her scorpion necklace, now in the British Museum (/wiki/British_Museum) , were inspired by the flora and fauna of Sant Martí Vell. [24] (#cite_note-Scorpion-24) Originally Peretti described a hope for building an artist colony, but the town became "her own private village", wrote The New York Times (/wiki/The_New_York_Times) . [7] (#cite_note-:1-7) Peretti worked to restore parts of the surrounding village, [25] (#cite_note-Brozan-25) purchasing additional buildings and having them renovated. [6] (#cite_note-Muller-6) As of 2017, about half the village had been rebuilt. [26] (#cite_note-Grape-26) Her projects included the renovation of the interior of Església de Sant Martí Vell, the parochial church of Sant Martí Vell in 2012–2013. The site has a long history, encompassing a Roman settlement in the second century AD, a medieval enclosure, a Romanic Temple in the 11th–12th century, and the construction of a late-Gothic-style edifice in the late 1500s. The work done included the excavation of archaeological remains of a Roman settlement and the refinishing of a sepulchral tomb, as well as the restoration of existing elements and the provision of new ones. [27] (#cite_note-Pignatelli-27) Peretti also supported the management of the sixteenth-century historical documents of the town, the conservation of the photographic archive of Oriol Maspons and the conservation of the Roman city of Empúries (/wiki/Emp%C3%BAries) . [28] (#cite_note-CoNCA-28) Peretti established a working vineyard in Sant Martí, planting Ca l'Elsa in 2004 and Can Nobas in 2007. The winery itself was completed in 2008, marketed under the Eccocivi label. [26] (#cite_note-Grape-26) Peretti also promoted the visual arts (/wiki/Visual_arts) and the historical, artistic, and architectural heritage of Catalonia. She encouraged people such as guitarist Michael Laucke (/wiki/Michael_Laucke) and painter-sculptor Robert Llimós (https://es.wikipedia.org/wiki/Robert_Llim%C3%B3s) to make use of San Marti Vell. [29] (#cite_note-Goulet-29) In 2013, Peretti was the first non-Catalan (/wiki/Catalans) person awarded the National Culture Award by the National Council for Culture and the Arts (/wiki/National_Council_for_Culture_and_the_Arts) (CoNCA). [28] (#cite_note-CoNCA-28) Philanthropy [ edit ] In 2000, Peretti created a charity in honor of her father, called the Nando Peretti Foundation (NPF). [30] (#cite_note-Foundation-30) The foundation is reported to have given approximately 42 million euros (/wiki/Euros) to 852 projects world-wide over 15 years. [31] (#cite_note-Triple-31) As of 2015, it was renamed the Nando and Elsa Peretti Foundation (NaEPF). [30] (#cite_note-Foundation-30) Initially the foundation had a dual focus on the environment and wildlife conservation, and on humanitarian programs, particular those targeting poverty. Over time, the foundation's scope has expanded to support a broad range of projects for "promotion of human and civil rights, with a special emphasis on the right to education, children's rights, and women's rights and dignity." [30] (#cite_note-Foundation-30) The NaEPF solicits proposals internationally, especially on behalf of unrepresented minorities, to defend their right to exist and preserve their culture. The NaEPF also supports medical and scientific research projects as well as building hospitals and other facilities. [30] (#cite_note-Foundation-30) [32] (#cite_note-UNPO-32) Personal life [ edit ] In the 1970s, Peretti was romantically involved with photographer Helmut Newton (/wiki/Helmut_Newton) . [7] (#cite_note-:1-7) Peretti died at her home in Spain on 18 March 2021 at the age of 80. [33] (#cite_note-33) [34] (#cite_note-34) No cause of death was given; she died in her sleep. [7] (#cite_note-:1-7) In November 2018 incorporated family office (/wiki/Family_office) , Elsa Peretti Holding AG , [35] (#cite_note-35) is domiciled in Zürich (/wiki/Z%C3%BCrich) , Switzerland. [36] (#cite_note-36) Awards [ edit ] Recognition [ edit ] American Fashion Critics Coty award (/wiki/Coty_Award) , 1971: Peretti wins a special award, for her jewelry. [37] (#cite_note-37) President's Fellow award, Rhode Island School of Design (/wiki/Rhode_Island_School_of_Design) , 1981 [9] (#cite_note-encyclopedia-com-9) The Spirit of Achievement Award from the Albert Einstein (/wiki/Albert_Einstein) College, 1982 [9] (#cite_note-encyclopedia-com-9) Fashion Group "Night of the Stars" award, 1986 [9] (#cite_note-encyclopedia-com-9) Cultured Pearl Industry award, 1987 [9] (#cite_note-encyclopedia-com-9) Council of Fashion Designers of America's Accessories Designer of the Year, 1996 [9] (#cite_note-encyclopedia-com-9) Elsa Peretti Professorship In Jewelry Design: In 2001, Tiffany & Co. established the Elsa Peretti Professorship in Jewelry Design. For the 25th anniversary of its collaboration with Peretti, Tiffany & Co. created a perpetual fund for faculty salary support in the Jewelry Design Department of the Fashion Institute of Technology (/wiki/Fashion_Institute_of_Technology) (FIT). At Peretti's request, the endowment honors her work with Samuel Beizer (/w/index.php?title=Samuel_Beizer&action=edit&redlink=1) , founding chairman of FIT's Jewelry Design Department. [38] (#cite_note-38) 2013: The National Prize of Culture by the Catalan Government, which is awarded annually to individuals or organizations that have distinguished themselves for their outstanding contribution in their respective cultural areas. [39] (#cite_note-39) 2015: Guardó JORGC (http://escolajorgc.com/en/) ( Col·legi Oficial de Joiers, d'Orfebres, de Rellotgers i de Gemmòlegs de Catalunya) en reconeixement a la trajectòria global [40] (#cite_note-40) Honors [ edit ] Grande Ufficiale, Ordine al Merito della Repubblica Italiana ( Order of Merit of the Italian Republic (http://www.quirinale.it/elementi/DettaglioOnorificenze.aspx?decorato=157706) ) [41] (#cite_note-41) Grand Cross pro Merito Melitensi ( Order of Malta (/wiki/Sovereign_Military_Order_of_Malta) ) [42] (#cite_note-42) Honorary member of the Circolo di San Pietro [43] (#cite_note-43) Permanent collections [ edit ] British Museum (/wiki/British_Museum) : In 2009 the British Museum acquired 30 of Peretti's creations for its 20th century collection. The museum describes Peretti's capacity to produce objects, which come from different parts of the world as unique, noting that they combine "superb craftsmanship and symbolic meaning in a modern age". [44] (#cite_note-44) Indianapolis Museum of Art (/wiki/Indianapolis_Museum_of_Art) , Indiana [45] (#cite_note-45) Museum of Fine Arts (/wiki/Museum_of_Fine_Arts,_Boston) in Boston, Massachusetts [46] (#cite_note-46) Museum of Fine Arts (/wiki/Museum_of_Fine_Arts,_Houston) in Houston, Texas [47] (#cite_note-47) Exhibitions [ edit ] Fifteen of My Fifty with Tiffany, Fashion Institute of Technology (/wiki/Fashion_Institute_of_Technology) , New York, 1990 [9] (#cite_note-encyclopedia-com-9) Retrospective, Tiffany's stores worldwide, 2001 [9] (#cite_note-encyclopedia-com-9) See also [ edit ] Arts portal (/wiki/Portal:Arts) Biography portal (/wiki/Portal:Biography) Fashion portal (/wiki/Portal:Fashion) Italy portal (/wiki/Portal:Italy) New York City portal (/wiki/Portal:New_York_City) Visual arts portal (/wiki/Portal:Visual_arts) Xavier Corberó (/wiki/Xavier_Corber%C3%B3) Notes and references [ edit ] ^ (#cite_ref-1) Loring, John (2008). Tiffany style . New York: Abrams. ISBN (/wiki/ISBN_(identifier)) 9780810972933 . OCLC (/wiki/OCLC_(identifier)) 212627305 (https://www.worldcat.org/oclc/212627305) . ^ Jump up to: a b Loring, John (2008). Tiffany style . Abrams. ISBN (/wiki/ISBN_(identifier)) 9780810972933 . OCLC (/wiki/OCLC_(identifier)) 930437204 (https://www.worldcat.org/oclc/930437204) . ^ Jump up to: a b c d e Borrelli-Persson, Laird (19 March 2021). "Jewelry Designer Elsa Peretti Has Died" (https://www.vogue.com/article/elsa-peretti-jewelry-designer-obituary) . Vogue . Archived (https://web.archive.org/web/20210319195732/https://www.vogue.com/article/elsa-peretti-jewelry-designer-obituary) from the original on 19 March 2021 . Retrieved 23 March 2021 . ^ (#cite_ref-4) Walz, Barbra (1978). The fashion makers . Morris, Bernadine. (1st ed.). New York: Random House. ISBN (/wiki/ISBN_(identifier)) 0394411668 . OCLC (/wiki/OCLC_(identifier)) 3481954 (https://www.worldcat.org/oclc/3481954) . ^ Jump up to: a b c d Reginato, James (16 July 2014). "Elsa Peretti's Great Escape" (https://www.vanityfair.com/style/2014/08/elsa-peretti-halston-studio-54) . Vanity Fair . Archived (https://web.archive.org/web/20170623121634/http://www.vanityfair.com/style/2014/08/elsa-peretti-halston-studio-54) from the original on 23 June 2017 . Retrieved 7 April 2018 . ^ Jump up to: a b c Muller, Jolain. "The Lasting Legacy of Elsa Peretti" (http://www.primadarling.com/fashion/the-lasting-legacy-of-elsa-peretti/) . Prima Darling . Archived (https://web.archive.org/web/20180408010512/http://www.primadarling.com/fashion/the-lasting-legacy-of-elsa-peretti/) from the original on 8 April 2018 . Retrieved 7 April 2018 . ^ Jump up to: a b c d e f g h i j k l m n o Gates, Anita (21 March 2021). "Elsa Peretti, Star Designer of Elegant Jewelry, Dies at 80" (https://www.nytimes.com/2021/03/21/fashion/elsa-peretti-dead.html) . The New York Times . ISSN (/wiki/ISSN_(identifier)) 0362-4331 (https://www.worldcat.org/issn/0362-4331) . Archived (https://web.archive.org/web/20210322191055/https://www.nytimes.com/2021/03/21/fashion/elsa-peretti-dead.html) from the original on 22 March 2021 . Retrieved 23 March 2021 . ^ (#cite_ref-8) "Tiffany's star jewelry designer and philanthropist Elsa Peretti dies in Spain" (https://www.perettifoundations.org/en/page.php) . perettifoundations.org . Archived (https://web.archive.org/web/20210320213823/https://www.perettifoundations.org/en/page.php) from the original on 20 March 2021 . Retrieved 21 March 2021 . ^ Jump up to: a b c d e f g h "Peretti, Elsa" (https://www.encyclopedia.com/fashion/news-wires-white-papers-and-books/peretti-elsa) . Encyclopedia.com (/wiki/Encyclopedia.com) . Retrieved 21 March 2021 . ^ (#cite_ref-Taylor_10-0) Taylor, Angela (8 February 1974). "Elsa Peretti: Zany and Talented" (https://www.nytimes.com/1974/02/08/archives/elsa-peretti-zany-and-talented-by-angela-taylor-elsa-peretti-has.html) . The New York Times . Archived (https://web.archive.org/web/20180407184346/https://www.nytimes.com/1974/02/08/archives/elsa-peretti-zany-and-talented-by-angela-taylor-elsa-peretti-has.html) from the original on 7 April 2018 . Retrieved 7 April 2018 . ^ (#cite_ref-11) Nechamkin, Sarah (29 May 2019). "Pat Cleveland Looks Back on Her Glittery, Jet-Setting Alliance with Halston" (https://www.interviewmagazine.com/fashion/pat-cleveland-on-halston-designer-documentary) . Interview (/wiki/Interview_(magazine)) . Archived (https://web.archive.org/web/20190602183030/https://www.interviewmagazine.com/fashion/pat-cleveland-on-halston-designer-documentary) from the original on 2 June 2019 . Retrieved 5 June 2019 . ^ (#cite_ref-12) "Helmut Newton Elsa Peretti in Bunny Costume Limited Edition Print By Helmut Newton" (https://web.archive.org/web/20161018073920/https://ongallery.com/en/themes/fashion-style/elsa-peretti-in-bunny-costume-detail) . ongallery.com . Archived from the original (https://ongallery.com/en/themes/fashion-style/elsa-peretti-in-bunny-costume-detail) on 18 October 2016. ^ (#cite_ref-13) "CNN Films Premieres 'HALSTON' on Sunday, August 18 at 9:00pm ET and PT" (https://web.archive.org/web/20190729114725/http://cnnpressroom.blogs.cnn.com/2019/07/29/cnn-films-premieres-halston-on-sunday-august-18-at-900pm-et-and-pt/) . CNN Press Room . 29 July 2019. Archived from the original (http://cnnpressroom.blogs.cnn.com/2019/07/29/cnn-films-premieres-halston-on-sunday-august-18-at-900pm-et-and-pt/) on 29 July 2019. ^ Jump up to: a b Vol, Stellene (2 May 2020). "Liza Minnelli, Catherine Deneuve, and Margot Robbie Love this Bracelet. You Will Too" (https://www.townandcountrymag.com/style/jewelry-and-watches/a32346710/elsa-peretti-bone-cuff-tiffany/) . Town & Country . Archived (https://web.archive.org/web/20210319162147/https://www.townandcountrymag.com/style/jewelry-and-watches/a32346710/elsa-peretti-bone-cuff-tiffany/) from the original on 19 March 2021 . Retrieved 23 March 2021 . ^ (#cite_ref-Coty_15-0) "Winners of Coty Awards" (https://www.nytimes.com/1971/06/23/archives/winners-of-coty-awards.html) . The New York Times . 23 June 1971. Archived (https://web.archive.org/web/20171023165602/https://www.nytimes.com/1971/06/23/archives/winners-of-coty-awards.html) from the original on 23 October 2017 . Retrieved 7 April 2018 . ^ (#cite_ref-newspapers1_16-0) "St. Louis Post-Dispatch from St. Louis, Missouri · Page 36" (https://www.newspapers.com/newspage/140201764/) . Newspapers.com. 18 April 1972. Archived (https://web.archive.org/web/20161018100901/https://www.newspapers.com/newspage/140201764/) from the original on 18 October 2016 . Retrieved 17 October 2016 . ^ (#cite_ref-17) Cohn, Alison S. (19 March 2021). "Jewelry Designer Elsa Peretti Dies at 80" (https://www.harpersbazaar.com/fashion/designers/a35887143/tiffany-elsa-peretti-obituary/) . Harper's BAZAAR . Archived (https://web.archive.org/web/20210321183711/https://www.harpersbazaar.com/fashion/designers/a35887143/tiffany-elsa-peretti-obituary/) from the original on 21 March 2021 . Retrieved 23 March 2021 . ^ Jump up to: a b c d e Kirkham, Pat, ed. (2000). Women designers in the USA, 1900-2000 : diversity and difference : Jacqueline M. Atkins et al . New York: Bard Graduate Center for Studies in the Decorative Arts. pp. 211–212, 243. ISBN (/wiki/ISBN_(identifier)) 0300093314 . Archived (https://web.archive.org/web/20160617141542/https://books.google.com/books?id=0nxzw0wdIREC) from the original on 17 June 2016 . Retrieved 7 April 2018 . ^ (#cite_ref-19) Byron, Ellen (10 January 2007). "To Refurbish Its Image, Tiffany Risks Profits" (https://www.wsj.com/articles/SB116836324469271556) . Wall Street Journal . 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Retrieved 21 March 2021 . ^ (#cite_ref-Scorpion_24-0) "Collection online necklace" (http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3027145&partId=1) . British Museum . Archived (https://web.archive.org/web/20180408010351/http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3027145&partId=1) from the original on 8 April 2018 . Retrieved 7 April 2018 . ^ (#cite_ref-Brozan_25-0) Brozan, Nadine (29 September 1994). "Chronicle" (https://www.nytimes.com/1994/09/29/style/chronicle-384542.html) . The New York Times . Archived (https://web.archive.org/web/20180408010242/https://www.nytimes.com/1994/09/29/style/chronicle-384542.html) from the original on 8 April 2018 . 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Archived (https://web.archive.org/web/20180408073306/http://www.interiorsdigital.com/interiors/december_2017/MobilePagedArticle.action?articleId=1246646#articleId1246646) from the original on 8 April 2018 . Retrieved 7 April 2018 . ^ Jump up to: a b "CoNCA Consell Nacional de la Cultura i les Arts" (https://web.archive.org/web/20160126115524/http://www.conca.cat/en/premis/llistat-premis?categoria=anys&filtre=2013) . www.conca.cat . Archived from the original (http://www.conca.cat/en/premis/llistat-premis?categoria=anys&filtre=2013) on 26 January 2016 . Retrieved 8 January 2016 . ^ (#cite_ref-Goulet_29-0) Goulet, Paul-Henri (18 May 1991). "Michael Laucke". Journal de Montreal . En été, Laucke étudie souvent, et prépare son nouveau répertoire dans le calme de la petite village de San Martivell, près de Barcelone … grâce à la généreuse hospitalité de son amie Elsa Peretti. ("In the summer, Laucke often studies and prepares new repertoire in the calm of the small town of San Marti Vell, near Barcelona ...thanks to the generous hospitality of his friend Elsa Peretti." (English translation)) ^ Jump up to: a b c d "About the Foundation" (https://www.nandoandelsaperettifoundation.org/en/page.php?project=0&page=4&cat=6&con=8) . The Nando and Elsa Peretti Foundation . Archived (https://web.archive.org/web/20180408073707/https://www.nandoandelsaperettifoundation.org/en/page.php?project=0&page=4&cat=6&con=8) from the original on 8 April 2018 . Retrieved 7 April 2018 . ^ (#cite_ref-Triple_31-0) "Nando and Elsa Peretti Foundation" (https://web.archive.org/web/20180613165106/https://triple-funds.com/tf-entry-donor/nando-and-elsa-peretti-foundation/) . Triple Funds . Archived from the original (https://triple-funds.com/tf-entry-donor/nando-and-elsa-peretti-foundation/) on 13 June 2018 . Retrieved 7 April 2018 . ^ (#cite_ref-UNPO_32-0) "The Nando and Elsa Peretti Foundation" (https://web.archive.org/web/20150803035947/http://unpo.org/article/18203) . Unrepresented Nations and People Organization (UNPO) . 13 May 2015. Archived from the original (http://unpo.org/article/18203) on 3 August 2015 . Retrieved 13 May 2015 . ^ (#cite_ref-33) Borrelli-Persson, Laird (19 March 2021). "Jewelry Designer Elsa Peretti Has Died" (https://www.vogue.com/article/elsa-peretti-jewelry-designer-obituary) . vogue.com . Archived (https://web.archive.org/web/20210319195732/https://www.vogue.com/article/elsa-peretti-jewelry-designer-obituary) from the original on 19 March 2021 . Retrieved 19 March 2021 . ^ (#cite_ref-34) Andone, Dakin (20 March 2021). "Elsa Peretti, famed Tiffany & Co. jewelry designer, dies at 80" (https://www.ctvnews.ca/world/elsa-peretti-tiffany-co-jewelry-designer-dies-at-80-1.5355555) . ctvnews.ca . Retrieved 21 March 2021 . ^ (#cite_ref-35) Netsch, Kerstin (20 March 2021). "Elsa Peretti: Die Tiffany-Schmuckdesignerin ist tot – ein Nachruf" (https://bellevue.nzz.ch/uhren-schmuck/elsa-peretti-die-tiffany-schmuckdesignerin-ist-tot-ein-nachruf-ld.1607739) . NZZ Bellevue (in German) . Retrieved 12 September 2021 . ^ (#cite_ref-36) AG, DV Bern. "Elsa Peretti Holding AG" (https://zh.chregister.ch/cr-portal/auszug/auszug.xhtml?uid=CHE-254.845.502#) . Commercial register of canton Zurich . Retrieved 12 September 2021 . ^ (#cite_ref-37) "Winners of Coty Awards" (https://www.nytimes.com/1971/06/23/archives/winners-of-coty-awards.html) . The New York Times . 23 June 1971. Archived (https://web.archive.org/web/20200328035659/https://www.nytimes.com/1971/06/23/archives/winners-of-coty-awards.html) from the original on 28 March 2020 . Retrieved 21 March 2021 . ^ (#cite_ref-38) "Endowed Funds | Fashion Institute of Technology" (https://web.archive.org/web/20151221080924/https://www.fitnyc.edu/development/ways-to-give/scholarships-endowments/endowed-funds.php) . www.fitnyc.edu . Archived from the original (http://www.fitnyc.edu/development/ways-to-give/scholarships-endowments/endowed-funds.php) on 21 December 2015 . Retrieved 8 January 2016 . ^ (#cite_ref-39) "CoNCA Consell Nacional de la Cultura i les Arts" (https://web.archive.org/web/20160213115714/http://www.conca.cat/ca/premis/llistat-premis?categoria=anys&filtre=2013) . www.conca.cat . Archived from the original (http://www.conca.cat/ca/premis/llistat-premis?categoria=anys&filtre=2013) on 13 February 2016 . Retrieved 8 January 2016 . ^ (#cite_ref-40) "Guardons jorgc 2015 – jorgc" (http://www.jorgc.org/noticies-jorgc/guardons-jorgc-2015) . www.jorgc.org . Archived (https://web.archive.org/web/20160310201640/http://www.jorgc.org/noticies-jorgc/guardons-jorgc-2015) from the original on 10 March 2016 . Retrieved 8 January 2016 . ^ (#cite_ref-41) "le Onorificenze – Ordine al Merito della Repubblica Italiana" (https://web.archive.org/web/20160105010804/http://www.quirinale.it/qrnw/statico/onorificenze/cennistorici/omri.htm) . www.quirinale.it . Archived from the original (http://www.quirinale.it/qrnw/statico/onorificenze/cennistorici/omri.htm) on 5 January 2016 . Retrieved 8 January 2016 . ^ (#cite_ref-42) "Order of Malta" (http://www.orderofmalta.int/the-order-and-its-institutions/552/order-pro-merito-melitensi/?lang=en) . www.orderofmalta.int . Archived (https://web.archive.org/web/20151004082326/http://www.orderofmalta.int/the-order-and-its-institutions/552/order-pro-merito-melitensi/?lang=en) from the original on 4 October 2015 . Retrieved 8 January 2016 . ^ (#cite_ref-43) "circolosanpietro.org – Home" (http://www.circolosanpietro.org) . www.circolosanpietro.org . Archived (https://web.archive.org/web/20141106220025/http://www.circolosanpietro.org/) from the original on 6 November 2014 . Retrieved 8 January 2016 . ^ (#cite_ref-44) "British Museum – Peretti" (https://www.britishmuseum.org/about_us/news_and_press/press_releases/2009/peretti.aspx) . www.britishmuseum.org . Archived (https://web.archive.org/web/20160129171514/http://www.britishmuseum.org/about_us/news_and_press/press_releases/2009/peretti.aspx) from the original on 29 January 2016 . Retrieved 8 January 2016 . ^ (#cite_ref-45) "Indianapolis Museum of Art Collection Search" (http://collection.imamuseum.org/results.html?query=elsa+peretti) . collection.imamuseum.org . Archived (https://web.archive.org/web/20160310192840/http://collection.imamuseum.org/results.html?query=elsa+peretti) from the original on 10 March 2016 . Retrieved 12 January 2016 . ^ (#cite_ref-46) "Collections Search" (https://web.archive.org/web/20180415175814/http://www.mfa.org/collections/search) . Museum of Fine Arts, Boston . Archived from the original (http://www.mfa.org/collections/search) on 15 April 2018 . Retrieved 12 January 2016 . ^ (#cite_ref-47) "Elsa Peretti, Museum of Fine Arts, Houston" (https://web.archive.org/web/20160304103959/https://collections.mfah.org/art/search?culture=Italian&sort=artist&show=30&artist=Elsa+Peretti) . Archived from the original (https://collections.mfah.org/art/search?culture=Italian&sort=artist&show=30&artist=Elsa+Peretti) on 4 March 2016. External links [ edit ] Official website (https://www.perettifoundations.org) Display at British Museum (https://www.britishmuseum.org/about_us/news_and_press/press_releases/2009/peretti.aspx) Elsa Peretti (https://www.fashionmodeldirectory.com/designers/elsa-peretti/) at FMD (/wiki/Fashion_Model_Directory) Tiffany profile (http://international.tiffany.com/WorldOfTiffany/TiffanyStory/Design/ElsaPeretti.aspx) Authority control databases (/wiki/Help:Authority_control) International FAST (http://id.worldcat.org/fast/407706/) VIAF (https://viaf.org/viaf/58383638) WorldCat (https://id.oclc.org/worldcat/entity/E39PBJkT4QPM494FxX9r4b4THC) National United States (https://id.loc.gov/authorities/n97876526) Artists ULAN (https://www.getty.edu/vow/ULANFullDisplay?find=&role=&nation=&subjectid=500512435) NewPP limit report Parsed by mw‐web.codfw.main‐5486b6fcc7‐jj2gv Cached time: 20240630142913 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.617 seconds Real time usage: 0.785 seconds Preprocessor visited node count: 4389/1000000 Post‐expand include size: 100878/2097152 bytes Template argument size: 1867/2097152 bytes Highest expansion depth: 17/100 Expensive parser function count: 14/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 191373/5000000 bytes Lua time usage: 0.390/10.000 seconds Lua memory usage: 9028750/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 700.333 1 -total 41.28% 289.078 1 Template:Reflist 21.95% 153.704 1 Template:Infobox_person 16.25% 113.824 31 Template:Cite_web 11.98% 83.896 4 Template:Cite_book 11.38% 79.673 1 Template:Authority_control 9.71% 67.992 1 Template:Short_description 9.59% 67.179 4 Template:Br_separated_entries 7.12% 49.846 12 Template:Cite_news 6.98% 48.893 1 Template:Birth_date Saved in parser cache with key enwiki:pcache:idhash:341285-0!canonical and timestamp 20240630142913 and revision id 1223009821. Rendering was triggered because: page-view esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Elsa_Peretti&oldid=1223009821 (https://en.wikipedia.org/w/index.php?title=Elsa_Peretti&oldid=1223009821) " Categories (/wiki/Help:Category) : 1940 births (/wiki/Category:1940_births) 2021 deaths (/wiki/Category:2021_deaths) Italian jewellery designers (/wiki/Category:Italian_jewellery_designers) Tiffany & Co. (/wiki/Category:Tiffany_%26_Co.) 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Cuban-American actor (born 1956) For the American soccer player, see Andy García (soccer) (/wiki/Andy_Garc%C3%ADa_(soccer)) . In this Spanish name (/wiki/Spanish_name) , the first or paternal surname (/wiki/Surname) is García and the second or maternal family name is Menéndez . Andy García García in 2009 Born Andrés Arturo García Menéndez [1] (#cite_note-biography.com-1) ( 1956-04-12 ) April 12, 1956 (age 68) [1] (#cite_note-biography.com-1) Havana (/wiki/Havana) , Cuba (/wiki/Republic_of_Cuba_(1902%E2%80%931959)) [1] (#cite_note-biography.com-1) Citizenship United States [2] (#cite_note-citizenship-2) Alma mater Florida International University (/wiki/Florida_International_University) [3] (#cite_note-Andy_Garcia_–_Biography-3) Occupations Actor director producer Years active 1978–present Spouse Marivi Lorido García ( m. 1982) Children 4, including Dominik García-Lorido (/wiki/Dominik_Garc%C3%ADa-Lorido) Andrés Arturo García Menéndez (born April 12, 1956), known professionally as Andy García , is a Cuban-American actor, director and producer. He first rose to prominence acting in Brian De Palma (/wiki/Brian_De_Palma) 's The Untouchables (/wiki/The_Untouchables_(film)) (1987) alongside Kevin Costner (/wiki/Kevin_Costner) , Sean Connery (/wiki/Sean_Connery) , and Robert De Niro (/wiki/Robert_De_Niro) . He continued to act in films such as Stand and Deliver (/wiki/Stand_and_Deliver) (1988), and Internal Affairs (/wiki/Internal_Affairs_(film)) (1990). He then costarred in Francis Ford Coppola (/wiki/Francis_Ford_Coppola) 's The Godfather Part III (/wiki/The_Godfather_Part_III) (1990) as Vincent Mancini (/wiki/Vincent_Corleone) , for which he was nominated for the Academy Award for Best Supporting Actor (/wiki/Academy_Award_for_Best_Supporting_Actor) . He continued to act in Hollywood (/wiki/Hollywood_(film_industry)) films such as Stephen Frears (/wiki/Stephen_Frears) ' Hero (/wiki/Hero_(1992_film)) (1992), the romantic drama When a Man Loves a Woman (/wiki/When_a_Man_Loves_a_Woman_(film)) (1994), and the action thriller Desperate Measures (/wiki/Desperate_Measures_(film)) (1998). In 2000, he produced and acted in the HBO (/wiki/HBO) television film, For Love or Country: The Arturo Sandoval Story (/wiki/For_Love_or_Country:_The_Arturo_Sandoval_Story) (2000), where he received a Primetime Emmy Award (/wiki/Primetime_Emmy_Award) and a Golden Globe Award (/wiki/Golden_Globe_Award) nominations. He also starred in Steven Soderbergh (/wiki/Steven_Soderbergh) 's Ocean's Eleven (/wiki/Ocean%27s_Eleven) (2001) and its sequels (/wiki/Sequel) , Ocean's Twelve (/wiki/Ocean%27s_Twelve) (2004) and Ocean's Thirteen (/wiki/Ocean%27s_Thirteen) (2007). In 2005, García directed and starred in the film The Lost City (/wiki/The_Lost_City_(2005_film)) alongside Dustin Hoffman (/wiki/Dustin_Hoffman) and Bill Murray (/wiki/Bill_Murray) . He also starred in New York, I Love You (/wiki/New_York,_I_Love_You) (2008), the dramedy City Island (/wiki/City_Island_(film)) (2009), the romantic comedy At Middleton (/wiki/At_Middleton) (2013), and the crime thriller Kill the Messenger (/wiki/Kill_the_Messenger_(2014_film)) (2014). He has had supporting roles in Mamma Mia! Here We Go Again (/wiki/Mamma_Mia!_Here_We_Go_Again) , Book Club (/wiki/Book_Club_(film)) , The Mule (/wiki/The_Mule_(2018_film)) and the HBO (/wiki/HBO) television movie My Dinner with Hervé (/wiki/My_Dinner_with_Herv%C3%A9) (all 2018), and the title role in the Father of the Bride (/wiki/Father_of_the_Bride_(2022_film)) remake (2022). In 2005, he won both a Grammy (/wiki/Grammy_Awards) and a Latin Grammy Award (/wiki/Latin_Grammy_Awards) for producing Cuban musician Cachao (/wiki/Cachao) 's record ¡Ahora Sí! [4] (#cite_note-grammy-4) [5] (#cite_note-latin-5) Early life [ edit ] García was born Andrés Arturo García Menéndez in Havana (/wiki/Havana) , Cuba (/wiki/Cuba) . His mother, Amelie Menéndez, was an English teacher and his father, René García, was an attorney in Cuba. [6] (#cite_note-6) García has two older siblings, a sister named Tessi and a brother named René. [7] (#cite_note-7) When he was five years old, his family moved to Miami (/wiki/Miami) , Florida (/wiki/Florida) after the failed 1961 Bay of Pigs Invasion (/wiki/Bay_of_Pigs_Invasion) . Over a period of several years, they built up a million-dollar perfume/fragrance company. García was raised as a Catholic (/wiki/Catholic_Church) [8] (#cite_note-8) [9] (#cite_note-:0-9) and attended Miami Beach Senior High School (/wiki/Miami_Beach_Senior_High_School) , where he played on the basketball team. During his senior year of high school, he became ill with mononucleosis (/wiki/Infectious_mononucleosis) , [10] (#cite_note-10) which convinced him to pursue a career in acting. He began his acting career that year by taking a drama class with Jay W. Jensen (/wiki/Jay_W._Jensen) . He graduated from Florida International University (/wiki/Florida_International_University) . [3] (#cite_note-Andy_Garcia_–_Biography-3) Career [ edit ] 1980s [ edit ] García began acting at Florida International University but soon went to Hollywood. He had a short role alongside Angela Lansbury (/wiki/Angela_Lansbury) in the first episode of Murder, She Wrote (/wiki/Murder,_She_Wrote) as "1st white tough", in 1984. He played the role of a gang member in the first episode of TV series Hill Street Blues (/wiki/Hill_Street_Blues) . He appeared in a supporting role in The Mean Season (/wiki/The_Mean_Season) in 1985, alongside Kurt Russell (/wiki/Kurt_Russell) . [11] (#cite_note-11) In 1987, Garciá received an acting breakthrough in Brian De Palma (/wiki/Brian_De_Palma) 's crime drama The Untouchables (/wiki/The_Untouchables_(film)) . The film starred Kevin Costner (/wiki/Kevin_Costner) , Sean Connery (/wiki/Sean_Connery) , Charles Martin Smith (/wiki/Charles_Martin_Smith) , Patricia Clarkson (/wiki/Patricia_Clarkson) , and Robert De Niro (/wiki/Robert_De_Niro) . The film follows Eliot Ness (/wiki/Eliot_Ness) as he forms the Untouchables law enforcement (/wiki/Untouchables_(law_enforcement)) team to bring Al Capone (/wiki/Al_Capone) to justice during the Prohibition era (/wiki/Prohibition_in_the_United_States) . It received widespread critical acclaim and was a financial success. [12] (#cite_note-12) In 1988, García played the main role in the music video clip of the British boyband Breathe. The song is called: "How can I fall" and reached #3 in the Billboard hot 100 in 1988. In 1989, García acted in the Ridley Scott (/wiki/Ridley_Scott) action thriller Black Rain (/wiki/Black_Rain_(1989_American_film)) with Michael Douglas (/wiki/Michael_Douglas) as Detective Charlie Vincent. The film received mixed reviews from critics but was a financial success, earning $134 million. [13] (#cite_note-13) 1990s [ edit ] In 1989, Francis Ford Coppola (/wiki/Francis_Ford_Coppola) cast García as Vincent Mancini (/wiki/Vincent_Corleone) , the illegitimate son of Sonny Corleone (/wiki/Sonny_Corleone) , in The Godfather Part III (/wiki/The_Godfather_Part_III) (1990). [14] (#cite_note-14) The film stars Al Pacino (/wiki/Al_Pacino) , Diane Keaton (/wiki/Diane_Keaton) , and Eli Wallach (/wiki/Eli_Wallach) . The film concludes the story of Michael Corleone (/wiki/Michael_Corleone) , the patriarch of the Corleone family (/wiki/Corleone_family) , who attempts to legitimize his criminal empire. For his performance, García earned an Academy Award nomination for Best Supporting Actor (/wiki/Academy_Award_for_Best_Supporting_Actor) , as well as a Golden Globe Award (/wiki/Golden_Globe_Award) nomination. [15] (#cite_note-15) In the 1990s, García appeared in the Mike Figgis (/wiki/Mike_Figgis) film Internal Affairs (/wiki/Internal_Affairs_(film)) , in which he engages in a battle of wits with a corrupt fellow police officer, played by Richard Gere (/wiki/Richard_Gere) . In 1992, he played a cynical (/wiki/Cynicism_(contemporary)) everyman (/wiki/Everyman) in Stephen Frears (/wiki/Stephen_Frears) ' Hero (/wiki/Hero_(1992_film)) starring Dustin Hoffman (/wiki/Dustin_Hoffman) , Geena Davis (/wiki/Geena_Davis) , and Joan Cusack (/wiki/Joan_Cusack) . In 1994, he played the enabling husband of an alcoholic played by Meg Ryan (/wiki/Meg_Ryan) in When a Man Loves a Woman (/wiki/When_a_Man_Loves_a_Woman_(film)) . In 1995, he portrayed a tragic criminal in Things to Do in Denver When You're Dead (/wiki/Things_to_Do_in_Denver_When_You%27re_Dead) alongside Christopher Lloyd (/wiki/Christopher_Lloyd) , Steve Buscemi (/wiki/Steve_Buscemi) , and Christopher Walken (/wiki/Christopher_Walken) . He starred as a hotshot lawyer in the 1996 Sidney Lumet (/wiki/Sidney_Lumet) drama Night Falls on Manhattan (/wiki/Night_Falls_on_Manhattan) alongside Richard Dreyfus (/wiki/Richard_Dreyfus) , and James Gandolfini (/wiki/James_Gandolfini) . He played mobster Lucky Luciano in Hoodlum (/wiki/Hoodlum_(film)) (1997) alongside Tim Roth (/wiki/Tim_Roth) , and Laurence Fishburne (/wiki/Laurence_Fishburne) . He portrayed a cop trying to save his gravely ill son in the 1998 action thriller Desperate Measures (/wiki/Desperate_Measures_(film)) starring Michael Keaton (/wiki/Michael_Keaton) and Marcia Gay Harden (/wiki/Marcia_Gay_Harden) . 2000s [ edit ] At the 2009 Tribeca Film Festival (/wiki/Tribeca_Film_Festival) with Julianna Margulies (/wiki/Julianna_Margulies) (left) and his daughter Dominik García-Lorido (/wiki/Dominik_Garc%C3%ADa-Lorido) In 2000, García starred and produced the HBO (/wiki/HBO) film, For Love or Country: The Arturo Sandoval Story (/wiki/For_Love_or_Country:_The_Arturo_Sandoval_Story) . The film is about Cuba's jazz scene and the life of trumpeter and composer Arturo Sandoval (/wiki/Arturo_Sandoval) . It starred Gloria Estefan (/wiki/Gloria_Estefan) as Maria, and Charles S. Dutton (/wiki/Charles_S._Dutton) as jazz legend Dizzy Gillespie (/wiki/Dizzy_Gillespie) . For his performance, García received Primetime Emmy Award (/wiki/Primetime_Emmy_Award) and Golden Globe Award (/wiki/Golden_Globe_Award) nominations. He portrayed the arrogant Las Vegas casino owner Terry Benedict in Steven Soderbergh (/wiki/Steven_Soderbergh) 's Ocean's Eleven (/wiki/Ocean%27s_Eleven_(2001_film)) (2001), a remake of the 1960 Rat Pack (/wiki/Rat_Pack) caper movie starring George Clooney (/wiki/George_Clooney) , Brad Pitt (/wiki/Brad_Pitt) , Matt Damon (/wiki/Matt_Damon) , and Julia Roberts (/wiki/Julia_Roberts) . The film was a massive commercial success earning $450 million at the box office. He also appeared in the sequel, Ocean's Twelve (/wiki/Ocean%27s_Twelve) (2004), and in the third film, Ocean's Thirteen (/wiki/Ocean%27s_Thirteen) (2007). He co-wrote, directed, and starred in The Lost City (/wiki/The_Lost_City_(2005_film)) alongside Dustin Hoffman (/wiki/Dustin_Hoffman) and Bill Murray (/wiki/Bill_Murray) . [16] (#cite_note-16) In 2006, he appeared in the last episode of the Turkish TV series Kurtlar Vadisi (/wiki/Kurtlar_Vadisi) , along with Sharon Stone (/wiki/Sharon_Stone) . In 2008, he starred in the first segment of New York, I Love You (/wiki/New_York,_I_Love_You) which was directed by Jiang Wen (/wiki/Jiang_Wen) starring Hayden Christensen (/wiki/Hayden_Christensen) and Rachel Bilson (/wiki/Rachel_Bilson) . Since 2009, García has been slated to direct the film Hemingway & Fuentes about writer Ernest Hemingway (/wiki/Ernest_Hemingway) , co-written by García and Hemingway's niece Hilary Hemingway (/wiki/Hilary_Hemingway) . They secured financing for the film in 2012, and García himself, Anthony Hopkins (/wiki/Anthony_Hopkins) , and Annette Bening (/wiki/Annette_Bening) were announced as stars. Filming was originally to have begun in January 2013, [17] (#cite_note-Collider2-17) [18] (#cite_note-HollywoodReporter-18) but due to delays, Hopkins left the project in 2014 and was replaced by Jon Voight (/wiki/Jon_Voight) . [19] (#cite_note-19) [20] (#cite_note-20) 2010s [ edit ] Towards the end of the 2010s, García had a career resurgence. He starred in four films in 2018. He appeared as Fernando Cienfuegos in the critical and commercial success Mamma Mia! Here We Go Again (/wiki/Mamma_Mia!_Here_We_Go_Again) alongside Cher (/wiki/Cher) , Amanda Seyfried (/wiki/Amanda_Seyfried) , Lily James (/wiki/Lily_James) , Colin Firth (/wiki/Colin_Firth) , Stellan Skarsgård (/wiki/Stellan_Skarsg%C3%A5rd) , and Pierce Brosnan (/wiki/Pierce_Brosnan) . [21] (#cite_note-21) When asked about singing with Cher (/wiki/Cher) , García told NBC's Today (/wiki/Today_(U.S._TV_program)) show, "It was sublime. One thing is to act with Cher who is a great actress and then to be asked to sing with her". [22] (#cite_note-22) García also starred in the Paramount (/wiki/Paramount_Pictures) romantic comedy, Book Club (/wiki/Book_Club_(film)) , alongside Diane Keaton (/wiki/Diane_Keaton) , Candice Bergen (/wiki/Candice_Bergen) , Jane Fonda (/wiki/Jane_Fonda) , and Mary Steenburgen (/wiki/Mary_Steenburgen) . The film was a box office success grossing over $89 million worldwide against its $10 million budget. [ citation needed ] He also starred in Clint Eastwood (/wiki/Clint_Eastwood) 's drama film, The Mule (/wiki/The_Mule_(2018_film)) alongside Eastwood, Bradley Cooper (/wiki/Bradley_Cooper) , Dianne Wiest (/wiki/Dianne_Wiest) , Laurence Fishburne (/wiki/Laurence_Fishburne) and Michael Peña (/wiki/Michael_Pe%C3%B1a) . It grossed $174.8 million and received positive reviews from critics. [ citation needed ] García appeared in the HBO (/wiki/HBO) movie My Dinner with Hervé (/wiki/My_Dinner_with_Herv%C3%A9) alongside Peter Dinklage (/wiki/Peter_Dinklage) and Jamie Dornan (/wiki/Jamie_Dornan) . The film received generally positive reviews from critics, [23] (#cite_note-23) and received an Emmy nomination for Outstanding Television Movie (/wiki/Primetime_Emmy_Award_for_Outstanding_Television_Movie) . 2020s [ edit ] In 2020, García starred in Charles McDougall (/wiki/Charles_McDougall) 's comedic film Ana (/wiki/Ana_(2020_film)) . Also that year, he starred in Thor Freudenthal (/wiki/Thor_Freudenthal) 's critically acclaimed coming of age (/wiki/Coming_of_age) drama Words on Bathroom Walls (/wiki/Words_on_Bathroom_Walls) . The following year, he made an uncredited cameo in the comedy film Barb and Star Go to Vista Del Mar (/wiki/Barb_and_Star_Go_to_Vista_Del_Mar) starring Kirsten Wiig (/wiki/Kirsten_Wiig) and Jamie Dornan (/wiki/Jamie_Dornan) . That same year, he starred in the action films Redemption Day (/wiki/Redemption_Day_(film)) and the Guy Ritchie (/wiki/Guy_Ritchie) film Wrath of Man (/wiki/Wrath_of_Man) . In 2022 he starred in the comedy Big Gold Brick (/wiki/Big_Gold_Brick) . He also starred opposite Gloria Estefan (/wiki/Gloria_Estefan) again in the romantic comedy (/wiki/Romantic_comedy) HBO Max (/wiki/HBO_Max) film Father of the Bride (/wiki/Father_of_the_Bride_(2022_film)) . It is the third filmed version of the 1949 novel of the same name (/wiki/Father_of_the_Bride_(novel)) by Edward Streeter (/wiki/Edward_Streeter) . Time (/wiki/Time_(magazine)) praised García on his comedic turn writing, "Garcia carries the film ably with his gruff elegance". [24] (#cite_note-24) García appeared in the action film Expend4bles (/wiki/Expend4bles) as Marsh, a CIA agent (/wiki/Central_Intelligence_Agency) who is also a double agent and the main antagonist of the film. Personal life [ edit ] Garcia met his now wife, Marivi Lorido, when they were both students at Florida International University (/wiki/Florida_International_University) during the mid-70's when they first saw each other in a Miami nightclub. The couple dated for seven years before tying the knot on September 24, 1982. [25] (#cite_note-25) The family divides their time between Toluca Lake, Los Angeles (/wiki/Toluca_Lake,_Los_Angeles) and Key Biscayne, Florida (/wiki/Key_Biscayne,_Florida) . [26] (#cite_note-26) [27] (#cite_note-27) The couple shares four children: Dominik García-Lorido (/wiki/Dominik_Garc%C3%ADa-Lorido) , Daniella, Alessandra, and Andrés. Dominik was born on August 16, 1983 in Miami, Florida (/wiki/Miami,_Florida) . She is married to Michael Doneger (/wiki/Michael_Doneger) . Daniella was born on January 3, 1988 in Los Angeles, California (/wiki/Los_Angeles,_California) . She is married to actor, Stephen Borrello and the couple has a daughter named Violette Rose. Alessandra was born on June 20, 1991 in Los Angeles. The fourth child and only son, Andres, was born on January 28, 2002. Andres has gone on to become an established DJ across Los Angeles and Miami. [28] (#cite_note-28) García has often expressed his distaste for the communist (/wiki/Communism) regime that has ruled Cuba (/wiki/Cuba) since the revolution (/wiki/Cuban_Revolution) . [29] (#cite_note-belfasttelegraph.co.uk-29) [30] (#cite_note-30) [31] (#cite_note-31) Following Fidel Castro's (/wiki/Fidel_Castro) death in November 2016, García criticized his legacy, stating: "It is necessary for me to express the deep sorrow that I feel for all the Cuban people...that have suffered the atrocities and repression caused by Fidel Castro and his totalitarian regime." [29] (#cite_note-belfasttelegraph.co.uk-29) García is Catholic (/wiki/Catholic_Church) , [32] (#cite_note-32) and a naturalized citizen of the United States. [2] (#cite_note-citizenship-2) Filmography [ edit ] Film [ edit ] Year Title Role Notes 1983 Blue Skies Again (/wiki/Blue_Skies_Again) Ken Guaguasi (/wiki/Guaguasi) Ricardo A Night in Heaven (/wiki/A_Night_in_Heaven) T. J. The Bartender 1984 The Lonely Guy (/wiki/The_Lonely_Guy) Uncredited 1985 The Mean Season (/wiki/The_Mean_Season) Ray Martínez 1986 8 Million Ways to Die (/wiki/8_Million_Ways_to_Die) Angel Maldonado 1987 The Untouchables (/wiki/The_Untouchables_(film)) Agent George Stone/Giuseppe Petri 1988 Stand and Deliver (/wiki/Stand_and_Deliver) Dr. Ramírez American Roulette Carlos Quintas 1989 Black Rain (/wiki/Black_Rain_(1989_American_film)) Det. Charlie Vincent 1990 Internal Affairs (/wiki/Internal_Affairs_(film)) Raymond Avilla A Show of Force (/wiki/A_Show_of_Force) Luis Ángel Mora The Godfather Part III (/wiki/The_Godfather_Part_III) Vincent Mancini (/wiki/Vincent_Corleone) 1991 Dead Again (/wiki/Dead_Again) Gray Baker 1992 Hero (/wiki/Hero_(1992_film)) John Bubber Jennifer 8 (/wiki/Jennifer_8) Sgt. John Berlin 1994 When a Man Loves a Woman (/wiki/When_a_Man_Loves_a_Woman_(film)) Michael Green 1995 Things to Do in Denver When You're Dead (/wiki/Things_to_Do_in_Denver_When_You%27re_Dead) Jimmy "The Saint" Tosnia Dangerous Minds (/wiki/Dangerous_Minds) Scenes deleted Steal Big Steal Little (/wiki/Steal_Big_Steal_Little) Ruben Partida Martinez / Robert Martin / Narrator 1996 Night Falls on Manhattan (/wiki/Night_Falls_on_Manhattan) Sean Casey The Disappearance of Garcia Lorca (/wiki/The_Disappearance_of_Garcia_Lorca) Federico García Lorca (/wiki/Federico_Garc%C3%ADa_Lorca) 1997 Hoodlum (/wiki/Hoodlum_(film)) Charlie "Lucky" Luciano (/wiki/Lucky_Luciano) 1998 Desperate Measures (/wiki/Desperate_Measures_(film)) Frank Conner 1999 Just the Ticket (/wiki/Just_the_Ticket) Gary Starke Also producer 2000 Lakeboat (/wiki/Lakeboat_(film)) Guigliani 2001 The Unsaid (/wiki/The_Unsaid) Michael Hunter Also executive producer Direct-to-video The Man from Elysian Fields (/wiki/The_Man_from_Elysian_Fields) Byron Tiller Also producer Ocean's Eleven (/wiki/Ocean%27s_Eleven) Terry Benedict 2003 Confidence (/wiki/Confidence_(2003_film)) Special Agent Gunther Butan Just Like Mona 2004 Twisted (/wiki/Twisted_(2004_film)) Mike Delmarco Modigliani (/wiki/Modigliani_(film)) Amedeo Modigliani (/wiki/Amedeo_Modigliani) Also executive producer Ocean's Twelve (/wiki/Ocean%27s_Twelve) Terry Benedict 2005 The Lazarus Child (/wiki/The_Lazarus_Child) Jack Heywood The Lost City (/wiki/The_Lost_City_(2005_film)) Fico Fellove Also executive producer/director 2006 Smokin' Aces (/wiki/Smokin%27_Aces) Stanley Locke 2007 The Air I Breathe (/wiki/The_Air_I_Breathe) Fingers Ocean's Thirteen (/wiki/Ocean%27s_Thirteen) Terry Benedict 2008 New York, I Love You (/wiki/New_York,_I_Love_You) Garry Beverly Hills Chihuahua (/wiki/Beverly_Hills_Chihuahua) Delgado Voice 2009 The Pink Panther 2 (/wiki/The_Pink_Panther_2) Insp. Vicenzo Brancaleone City Island (/wiki/City_Island_(film)) Vince Rizzo Also producer The Line (/wiki/The_Line_(2009_film)) Javier Salazar 2010 Across the Line: The Exodus of Charlie Wright (/wiki/Across_the_Line:_The_Exodus_of_Charlie_Wright) Jorge Garza 2011 5 Days of War (/wiki/5_Days_of_War) Mikheil Saakashvili (/wiki/Mikheil_Saakashvili) 2012 For Greater Glory (/wiki/For_Greater_Glory) Enrique Gorostieta Velarde (/wiki/Enrique_Gorostieta) A Dark Truth (/wiki/A_Dark_Truth) Jack Begosian 2013 Open Road (/wiki/Open_Road_(2012_film)) Chuck At Middleton (/wiki/At_Middleton) George Hartman 2014 Let's Be Cops (/wiki/Let%27s_Be_Cops) Detective Brolin Kill the Messenger (/wiki/Kill_the_Messenger_(2014_film)) Norwin Meneses Rob the Mob (/wiki/Rob_the_Mob) Big Al Rio 2 (/wiki/Rio_2) Eduardo Voice 2016 Ghostbusters (/wiki/Ghostbusters_(2016_film)) [33] (#cite_note-33) Mayor Bradley Max Steel (/wiki/Max_Steel_(film)) Dr. Miles Edwards (/wiki/Max_Steel_(2013_TV_series)#Miles_Dredd) True Memoirs of an International Assassin (/wiki/True_Memoirs_of_an_International_Assassin) El Toro Passengers (/wiki/Passengers_(2016_film)) Admiral Norris 2017 Geostorm (/wiki/Geostorm) President Andrew Palma 2018 Bent (/wiki/Bent_(2018_film)) Jimmy Murtha Book Club (/wiki/Book_Club_(film)) Mitchell Mamma Mia! Here We Go Again (/wiki/Mamma_Mia!_Here_We_Go_Again) Fernando Cienfuegos The Mule (/wiki/The_Mule_(2018_film)) Laton 2019 Against the Clock (/wiki/Against_the_Clock) [34] (#cite_note-Headlock-34) Gerald Hotchkiss 2020 Ana (/wiki/Ana_(2020_film)) Rafael "Rafa" Rodriguez Words on Bathroom Walls (/wiki/Words_on_Bathroom_Walls) Father Patrick 2021 Redemption Day (/wiki/Redemption_Day_(film)) Ambassador Williams Barb and Star Go to Vista Del Mar (/wiki/Barb_and_Star_Go_to_Vista_Del_Mar) Tommy Bahama Uncredited [35] (#cite_note-35) Wrath of Man (/wiki/Wrath_of_Man) FBI Agent King 2022 Big Gold Brick (/wiki/Big_Gold_Brick) Floyd Deveraux Father of the Bride (/wiki/Father_of_the_Bride_(2022_film)) Guillermo "Billy" Herrera Also executive producer 2023 Book Club: The Next Chapter (/wiki/Book_Club:_The_Next_Chapter) Mitchell Expend4bles (/wiki/Expend4bles) Marsh [36] (#cite_note-36) Miranda's Victim (/wiki/Miranda%27s_Victim) Alvin Moore Pain Hustlers (/wiki/Pain_Hustlers) Jack Neel Main role 2024 What About Love (/wiki/What_About_Love_(film)) Peter Tarlton TBA The Prince [37] (#cite_note-37) Filming Television [ edit ] Year Title Role Notes 1978 ¿Qué Pasa, USA? (/wiki/%C2%BFQu%C3%A9_Pasa,_USA%3F) Pepe Episode: "Here Comes the Bride" 1979 Archie Bunker's Place (/wiki/Archie_Bunker%27s_Place) Manuel Episode: "Building the Restaurant" 1981, 1984 Hill Street Blues (/wiki/Hill_Street_Blues) Street Kid Ernesto Episodes: " Hill Street Station (/wiki/Hill_Street_Station) " & "Hair Apparent" (/wiki/List_of_Hill_Street_Blues_episodes#Season_Four_(1983–1984)) 1983 For Love and Honor Medic Episode: "For Love and Honor" (pilot) 1984 Murder, She Wrote (/wiki/Murder,_She_Wrote) Tough Guy #1 Episode: "The Murder of Sherlock Holmes" (pilot) (/wiki/List_of_Murder,_She_Wrote_episodes#Season_One) Brothers (/wiki/Brothers_(1984_TV_series)) Jose Episode: "Happy Birthday Me!" 1985 The New Alfred Hitchcock Presents (/wiki/Alfred_Hitchcock_Presents_(1985_TV_series)) Alejandro Episode: "Breakdown" (/wiki/List_of_Alfred_Hitchcock_Presents_episodes#Season_1) 1986 Foley Square (/wiki/Foley_Square_(TV_series)) Performer Episode: "The Star" 1988 Clinton and Nadine (/wiki/Clinton_and_Nadine) Clinton Dillard Television movie 1999 Swing Vote (/wiki/Swing_Vote_(1999_film)) Joseph Michael Kirkland 2000 For Love or Country: The Arturo Sandoval Story (/wiki/For_Love_or_Country:_The_Arturo_Sandoval_Story) Arturo Sandoval (/wiki/Arturo_Sandoval) Television movie; also producer 2001 Frasier (/wiki/Frasier) Terrance Episode: "Bully for Martin" (/wiki/Frasier_(season_9)) 2003 Will & Grace (/wiki/Will_%26_Grace) Milo Episode: "Field of Queens" (/wiki/Will_%26_Grace_(season_5)) 2005 Valley of the Wolves (/wiki/Valley_of_the_Wolves_(TV_series)) Amon Episode: "S04E96" & Episode: "S04E97" 2006 George Lopez (/wiki/George_Lopez_(TV_series)) Ray Episode: "George Doesn't Trustee Angie's Brother" (/wiki/George_Lopez_(season_5)) 2009 The National Parks: America's Best Idea (/wiki/The_National_Parks:_America%27s_Best_Idea) Various roles Voice; Documentary 2010 Top Gear (/wiki/Top_Gear_(2002_TV_series)) Himself Series 15, episode 4 (/wiki/Top_Gear_(series_15)#ep4) 2011 The Simpsons (/wiki/The_Simpsons) Slick Publisher Voice; Episode: " The Book Job (/wiki/The_Book_Job) " 2012 Dora the Explorer (/wiki/Dora_the_Explorer_(TV_series)) Don Quixote (/wiki/Don_Quixote) Voice; Episode: "Dora's Knighthood Adventure" & "Dora's Royal Rescue" (/wiki/List_of_Dora_the_Explorer_episodes#Season_7_(2012–13)) Dora's Royal Rescue Television movie 2013 Christmas in Conway (/wiki/Christmas_in_Conway) Duncan Mayor Doll & Em (/wiki/Doll_%26_Em) Andy Episode: "Five" 2014 Valley of the Wolves: Ambush (/wiki/Valley_of_the_Wolves#Valley_of_the_Wolves:_Ambush) Amon Episode: "S09E230", Episode: "S09E231", Episode: "S09E232", Episode: "S09E234" & Episode: "S09E238" 2016 Ballers (/wiki/Ballers) Andre Allen 6 episodes, HBO (/wiki/HBO) 2018 My Dinner with Hervé (/wiki/My_Dinner_with_Herv%C3%A9) Ricardo Montalbán (/wiki/Ricardo_Montalb%C3%A1n) Television movie, HBO (/wiki/HBO) 2018–19 3Below: Tales of Arcadia (/wiki/3Below:_Tales_of_Arcadia) King Fialkov Voice; 7 episodes 2019 Modern Love (/wiki/Modern_Love_(TV_series)) Michael 2 episodes, Amazon (/wiki/Amazon_Prime_Video) Raul Julia: The World's a Stage Himself Documentary, American Masters (/wiki/American_Masters) 2020 Flipped (/wiki/Flipped_(TV_series)) Rumualdo 5 episodes, Quibi (/wiki/Quibi) Elena of Avalor (/wiki/Elena_of_Avalor) Hetz, the Weather Shade Voice; Episode: "Coronation Day" 2021 Rebel (/wiki/Rebel_(2021_TV_series)) Julian Cruz Main role 2024 Moon Girl and Devil Dinosaur (/wiki/Moon_Girl_and_Devil_Dinosaur) Pad-Varr Voice; Episode: "Kid Kree" Awards and nominations [ edit ] Year Award Category Nominated work Result 1991 Academy Awards (/wiki/Academy_Awards) Best Supporting Actor (/wiki/Academy_Award_for_Best_Supporting_Actor) The Godfather Part III (/wiki/The_Godfather_Part_III) Nominated Golden Globe Awards (/wiki/Golden_Globe_Awards) Best Supporting Actor – Motion Picture (/wiki/Golden_Globe_Award_for_Best_Supporting_Actor_%E2%80%93_Motion_Picture) Nominated 2001 Best Actor – Miniseries or Television Film (/wiki/Golden_Globe_Award_for_Best_Actor_%E2%80%93_Miniseries_or_Television_Film) For Love or Country: The Arturo Sandoval Story (/wiki/For_Love_or_Country:_The_Arturo_Sandoval_Story) Nominated Primetime Emmy Awards (/wiki/Primetime_Emmy_Awards) Outstanding Lead Actor in a Miniseries or Movie (/wiki/Primetime_Emmy_Award_for_Outstanding_Lead_Actor_in_a_Limited_Series_or_Movie) Nominated Outstanding Made for Television Movie (/wiki/Primetime_Emmy_Award_for_Outstanding_Television_Movie) Nominated 2005 Grammy Awards (/wiki/Grammy_Awards) Best Traditional Tropical Latin Album (/wiki/Grammy_Award_for_Best_Tropical_Latin_Album) ¡Ahora Si! (Shared with Cachao (/wiki/Cachao) and Eric Schilling) [4] (#cite_note-grammy-4) Won Miscellaneous awards Year Award Category Nominated work Result 1986 New York Film Critics Circle Awards (/wiki/New_York_Film_Critics_Circle) Best Supporting Actor (/wiki/New_York_Film_Critics_Circle_Award_for_Best_Supporting_Actor) 8 Million Ways to Die (/wiki/8_Million_Ways_to_Die) Nominated 1991 Chicago Film Critics Association Awards (/wiki/Chicago_Film_Critics_Association) Best Supporting Actor (/wiki/Chicago_Film_Critics_Association_Award_for_Best_Supporting_Actor) The Godfather Part III Nominated 1995 MTV Movie Awards (/wiki/MTV_Movie_%26_TV_Awards) Most Desirable Male (/wiki/MTV_Movie_Award_for_Most_Desirable_Male) When a Man Loves a Woman (/wiki/When_a_Man_Loves_a_Woman_(film)) Nominated 1997 Nostros Golden Eagle Awards Outstanding Performer in Film — Won 1998 ALMA Awards (/wiki/ALMA_Award) Outstanding Actor in a Feature Film Night Falls on Manhattan (/wiki/Night_Falls_on_Manhattan) Nominated The Disappearance of Garcia Lorca (/wiki/The_Disappearance_of_Garcia_Lorca) Nominated 1999 Outstanding Actor in a Feature Film in a Crossover Role Desperate Measures (/wiki/Desperate_Measures_(film)) Won 2000 Outstanding Actor in a Feature Film Just the Ticket (/wiki/Just_the_Ticket) Nominated 2001 Outstanding Host of a Variety or Awards Special Latin Grammy Awards (/wiki/1st_Annual_Latin_Grammy_Awards) (Shared with Gloria Estefan (/wiki/Gloria_Estefan) , Jennifer Lopez (/wiki/Jennifer_Lopez) and Jimmy Smits (/wiki/Jimmy_Smits) ) Nominated Satellite Awards (/wiki/Satellite_Awards) Best Actor – Miniseries or Television Film (/wiki/Satellite_Award_for_Best_Actor_%E2%80%93_Miniseries_or_Television_Film) For Love or Country: The Arturo Sandoval Story Nominated 2002 ALMA Awards Outstanding Supporting Actor in a Motion Picture Ocean's Eleven (/wiki/Ocean%27s_Eleven) Won Phoenix Film Critics Society Awards Best Acting Ensemble Nominated 2005 Critics' Choice Movie Awards (/wiki/Critics%27_Choice_Movie_Awards) Best Acting Ensemble (/wiki/Critics%27_Choice_Movie_Award_for_Best_Acting_Ensemble) Ocean's Twelve (/wiki/Ocean%27s_Twelve) Nominated Latin Grammy Awards (/wiki/Latin_Grammy_Awards) Best Traditional Tropical Album (/wiki/Latin_Grammy_Award_for_Best_Traditional_Tropical_Album) (Shared with Cachao (/wiki/Cachao) ) [5] (#cite_note-latin-5) ¡Ahora Si! Won 2007 ALMA Awards Best Director – Motion Picture The Lost City (/wiki/The_Lost_City_(2005_film)) Nominated Teen Choice Awards (/wiki/Teen_Choice_Awards) Choice Movie: Chemistry Ocean's Thirteen (/wiki/Ocean%27s_Thirteen) Nominated 2010 Satellite Awards Best Actor in a Motion Picture – Musical or Comedy (/wiki/Satellite_Award_for_Best_Actor_%E2%80%93_Motion_Picture) City Island (/wiki/City_Island_(film)) Nominated 2012 ALMA Awards Favorite Movie Actor For Greater Glory (/wiki/For_Greater_Glory) Nominated 2013 Boston Film Festival (/wiki/Boston_Film_Festival) Best Actor At Middleton (/wiki/At_Middleton) Won 2015 Annie Awards (/wiki/Annie_Awards) Outstanding Voice Acting in a Feature Production (/wiki/Annie_Award_for_Voice_Acting_in_a_Feature_Production) Rio 2 (/wiki/Rio_2) Nominated 2022 San Diego International Film Festival (/wiki/San_Diego_International_Film_Festival) Gregory Peck Award (/wiki/Gregory_Peck_Award) Lifetime Achievement Awarded Other honors [ edit ] 1995: Received a Star on the Hollywood Walk of Fame (/wiki/Hollywood_Walk_of_Fame) 2002: Desert Palm Achievement Award (/wiki/Desert_Palm_Achievement_Award) at the Palm Springs International Film Festival (/wiki/Palm_Springs_International_Film_Festival) 2006: Received the Anthony Quinn Award for Achievement in Motion Pictures from The American Latino Media Arts Award (/wiki/ALMA_Award) 2019: Medalla de Oro al Mérito en las Bellas Artes (/wiki/Medalla_de_Oro_al_M%C3%A9rito_en_las_Bellas_Artes) [38] (#cite_note-38) See also [ edit ] Florida portal (/wiki/Portal:Florida) Biography portal (/wiki/Portal:Biography) Fashion portal (/wiki/Portal:Fashion) List of Cuban Americans (/wiki/List_of_Cuban_Americans) List of people from Miami (/wiki/List_of_people_from_Miami) References [ edit ] ^ Jump up to: a b c "Andy Garcia Biography" (https://www.biography.com/actor/andy-garcia) . Biography.com ( FYI (/wiki/FYI_(TV_network)) / A&E Networks (/wiki/A%26E_Networks) ) . Retrieved May 17, 2021 . ^ Jump up to: a b "Celebrity Circuit" (https://www.cbsnews.com/pictures/celebrity-circuit-7-7-09/15/) . CBS News. July 7, 2009 . Retrieved April 24, 2021 . Actor Andy Garcia, a naturalized citizen from Cuba, fights back tears while watching others take part in a mass naturalization ceremony at Walt Disney World's Magic Kingdom in Lake Buena Vista, Fla., July 3, 2009. Garcia was the keynote speaker as more than 1,000 immigrants gathered in front of Cinderella's Castle for the naturalization ceremony to become American citizens. ^ Jump up to: a b "Andy Garcia: Biography" (http://www.netglimse.com/celebs/pages/andy_garcia/index.shtml) . Net Glimpse . Retrieved December 19, 2010 . ^ Jump up to: a b "Andy Garcia" (https://www.grammy.com/artists/andy-garcia/8864) . The Recording Academy (/wiki/The_Recording_Academy) . Retrieved May 31, 2024 . ^ Jump up to: a b "Andy García" (https://www.latingrammy.com/artistas/andy-garcia/20385-02) . The Latin Recording Academy (/wiki/The_Latin_Recording_Academy) . Retrieved May 31, 2024 . ^ (#cite_ref-6) Blau, Eleanor (July 24, 1987). "New Face; A Fervor For Film Pays Off: Andy Garcia" (https://www.nytimes.com/1987/07/24/movies/new-face-a-fervor-for-film-pays-off-andy-garcia.html) . The New York Times . Retrieved April 25, 2010 . ^ (#cite_ref-7) "Tessi Garcia Website" (https://web.archive.org/web/20150402151029/http://www.tessigarcia.com/Publications/pub-august01.htm) . tessigarcia.com . Archived from the original (http://www.tessigarcia.com/Publications/pub-august01.htm) on April 2, 2015 . Retrieved 2015-03-13 . ^ (#cite_ref-8) Drake, Tim (April 13, 2012). "Actor Andy Garcia Fights for Religious Freedom in 'For Greater Glory' (http://www.ncregister.com/daily-news/actor-andy-garcia-fights-for-religious-freedom-in-for-greater-glory) " (http://www.ncregister.com/daily-news/actor-andy-garcia-fights-for-religious-freedom-in-for-greater-glory) . National Catholic Register (/wiki/National_Catholic_Register) . Retrieved August 2, 2018 . ^ (#cite_ref-:0_9-0) Aitkenhead, Decca (July 19, 2010). "Andy Garcia: 'The problem with producing movies? You get paid last' (https://www.theguardian.com/film/2010/jul/19/andy-garcia-decca-aitkenhead) " (https://www.theguardian.com/film/2010/jul/19/andy-garcia-decca-aitkenhead) . guardian.co.uk (/wiki/Guardian.co.uk) . Retrieved April 27, 2011 . ^ (#cite_ref-10) "Andy Garcia Biography" (https://web.archive.org/web/20091015080245/http://www.thebiographychannel.co.uk/biography_home/19%3A0/Andy_Garcia.htm) . The Biography Channel . Archived from the original (http://thebiographychannel.co.uk/biography_home/19:0/Andy_Garcia.htm) on October 15, 2009 . Retrieved July 7, 2011 . ^ (#cite_ref-11) "Movie Review: 'The Mean Season' Gets Down to Human Nature" (https://www.latimes.com/archives/la-xpm-1985-02-14-ca-2668-story.html) . Los Angeles Times . February 14, 1985 . Retrieved December 17, 2019 . ^ (#cite_ref-12) "Andy Garcia, a Gunslinger on the Right Side of The Untouchables, Who Turns Out to Be a Hit, Man" (https://people.com/archive/andy-garcia-a-gunslinger-on-the-right-side-of-the-untouchables-who-turns-out-to-be-a-hit-man-vol-28-no-5/) . people.com . Retrieved December 17, 2019 . ^ (#cite_ref-13) "Black Rain" (https://www.washingtonpost.com/wp-srv/style/longterm/movies/videos/blackrainrkempley_a09fde.htm) . www.washingtonpost.com . Retrieved December 17, 2019 . ^ (#cite_ref-14) Russell, Candice (December 25, 1990). "Characters Power Strong Story of 'Godfather III' (https://www.sun-sentinel.com/news/fl-xpm-1990-12-25-9003040280-story.html) " (https://www.sun-sentinel.com/news/fl-xpm-1990-12-25-9003040280-story.html) . Sun-Sentinel.com . Retrieved December 17, 2019 . ^ (#cite_ref-15) Wuntch, Philip (May 27, 1994). "Andy Garcia is equal parts leading man and family Man" (https://www.baltimoresun.com/news/bs-xpm-1994-05-27-1994147179-story.html) . baltimoresun.com . Retrieved December 17, 2019 . ^ (#cite_ref-16) The Lost City (2005) , retrieved May 31, 2018 ^ (#cite_ref-Collider2_17-0) Chitwood, Adam (May 16, 2012). "Hemningway & Fuentes Finally Moving Forward with Anthony Hopkins, Annette Bening, and Andy Garcia" (http://collider.com/hemingway-fuentes-andy-garcia-anthony-hopkins/) . Collider . Retrieved March 24, 2014 . ^ (#cite_ref-HollywoodReporter_18-0) Kit, Borys (May 16, 2012). "Cannes 2012: Anthony Hopkins and Andy Garcia to Film 'Hemingway & Fuentes' (http://www.hollywoodreporter.com/news/cannes-2012-anthony-hopkins-andy-garcia-anthony-hemingway-fuentes-324704) " (http://www.hollywoodreporter.com/news/cannes-2012-anthony-hopkins-andy-garcia-anthony-hemingway-fuentes-324704) . The Hollywood Reporter . Retrieved March 24, 2014 . ^ (#cite_ref-19) staff (January 29, 2014). "Sir Anthony Hopkins exits Andy Garcia's Ernest Hemingway movie" (http://www.express.co.uk/news/showbiz/456848/Sir-Anthony-Hopkins-exits-Andy-Garcia-s-Ernest-Hemingway-movie) . Express (/wiki/Daily_Express) . Retrieved March 31, 2014 . ^ (#cite_ref-20) Molina, Melissa (February 4, 2014). "Interview: Andy Garcia Talks About 'At Middleton,' 'Hemingway & Fuentes' (https://web.archive.org/web/20140227123916/http://screencrave.com/2014-02-04/interview-andy-garcia-talks-at-middleton-hemingway-fuentes/) " (https://web.archive.org/web/20140227123916/http://screencrave.com/2014-02-04/interview-andy-garcia-talks-at-middleton-hemingway-fuentes/) . Screen Crave . Archived from the original (http://screencrave.com/2014-02-04/interview-andy-garcia-talks-at-middleton-hemingway-fuentes/) on February 27, 2014 . Retrieved March 31, 2014 . ^ (#cite_ref-21) Mamma Mia! Here We Go Again (2018) , retrieved December 17, 2019 ^ (#cite_ref-22) Diaz, Johnny (July 18, 2018). "Miami's Andy Garcia talks about playing 'Fernando' and singing with Cher in 'Mamma Mia' sequel" (https://www.sun-sentinel.com/features/fl-reg-mamma-mia-sequel-andy-garcia-plays-fernando-20180718-story.html) . sun-sentinel.com . Retrieved December 17, 2019 . ^ (#cite_ref-23) My Dinner with Hervé (2018) , retrieved December 17, 2019 ^ (#cite_ref-24) "A New Father of the Bride Proves There's Life Left in an Old Concept" (https://time.com/6188754/father-of-the-bride-review-hbo-max/) . Time (/wiki/Time_(magazine)) . Retrieved June 27, 2022 . ^ (#cite_ref-25) "Who Is Andy García's Wife? All About Marivi Lorido García" (https://people.com/who-is-marivi-lorido-garcia-andy-garcia-wife-8401506) . Peoplemag . Retrieved June 17, 2024 . ^ (#cite_ref-26) Ojito, Mirta (February 12, 2005). "His Homeland, His Obsession" (https://www.nytimes.com/2005/02/12/movies/his-homeland-his-obsession.html) . The New York Times . ^ (#cite_ref-27) "Andy Garcia's House in Key Biscayne, FL (Google Maps) (#3)" (https://virtualglobetrotting.com/map/andy-garcias-house-2/view/google/) . September 25, 2011. ^ (#cite_ref-28) "Andy Garcia's 4 Children: All About Dominik Cristina, Daniella, Alessandra and Andrés" (https://people.com/all-about-andy-garcia-kids-8602778) . Peoplemag . Retrieved June 20, 2024 . ^ Jump up to: a b "Andy Garcia condemns late Fidel Castro's 'totalitarian' regime" (https://web.archive.org/web/20180802162503/https://www.belfasttelegraph.co.uk/entertainment/news/andy-garcia-condemns-late-fidel-castros-totalitarian-regime-35248581.html) . Belfast Telegraph (/wiki/Belfast_Telegraph) . November 27, 2016. Archived from the original (https://www.belfasttelegraph.co.uk/entertainment/news/andy-garcia-condemns-late-fidel-castros-totalitarian-regime-35248581.html) on August 2, 2018 . Retrieved August 2, 2018 . ^ (#cite_ref-30) Ojito, Mirta (February 12, 2005). "His Homeland, His Obsession" (https://www.nytimes.com/2005/02/12/movies/his-homeland-his-obsession.html) . The New York Times (/wiki/The_New_York_Times) . Retrieved August 2, 2018 . ^ (#cite_ref-31) Strauss, Bob (January 28, 2014). "Andy Garcia lightens up in rom-com 'At Middleton' (https://www.dailynews.com/2014/01/28/andy-garcia-lightens-up-in-rom-com-at-middleton/) " (https://www.dailynews.com/2014/01/28/andy-garcia-lightens-up-in-rom-com-at-middleton/) . Los Angeles Daily News (/wiki/Los_Angeles_Daily_News) . Retrieved August 2, 2018 . ^ (#cite_ref-32) "Actor Andy Garcia Fights for Religious Freedom in 'For Greater Glory' (http://www.ncregister.com/daily-news/actor-andy-garcia-fights-for-religious-freedom-in-for-greater-glory) " (http://www.ncregister.com/daily-news/actor-andy-garcia-fights-for-religious-freedom-in-for-greater-glory) . National Catholic Register . April 13, 2012 . Retrieved November 20, 2019 . ^ (#cite_ref-33) Sullivan, Kevin (July 6, 2015). "Ghostbusters adds Andy Garcia and Michael K. Williams to the cast" (http://www.ew.com/article/2015/07/06/ghostbusters-andy-garcia-michael-k-williams) . Entertainment Weekly (/wiki/Entertainment_Weekly) . Retrieved July 6, 2015 . ^ (#cite_ref-Headlock_34-0) Polish brothers: (http://www.polishbrothersandassociates.com/headlock.php) Headlock Archived (https://web.archive.org/web/20140714121826/http://www.polishbrothersandassociates.com/headlock.php) July 14, 2014, at the Wayback Machine (/wiki/Wayback_Machine) ^ (#cite_ref-35) Ebiri, Bilge (February 11, 2021). "Barb & Star Go to Vista del Mar Arrives Preordained for Cult Status" (https://www.vulture.com/article/film-review-barb-and-star-go-to-vista-del-mar-w-kristen-wiig.html) . Vulture (/wiki/New_York_(magazine)) . Retrieved February 12, 2021 . ^ (#cite_ref-36) Grobar, Matt (October 18, 2021). "Sylvester Stallone Announces Exit From 'Expendables' Franchise As He Wraps Production On Fourth Installment" (https://deadline.com/2021/10/sylvester-stallone-announces-exit-from-the-expendables-franchise-1234857872/) . Deadline Hollywood . Retrieved October 22, 2021 . ^ (#cite_ref-37) Hunter Biden-Inspired Addiction Pic ‘The Prince’ In Works From Cameron Van Hoy & David Mamet; Scott Haze, Nicolas Cage, J.K. Simmons, Giancarlo Esposito & Andy Garcia To Star (https://deadline.com/2024/06/hunter-biden-movie-the-prince-casts-nicolas-cage-giancarlo-esposito-more-1235971590/) ^ (#cite_ref-38) "Andy García recibe Medalla de Oro al Mérito en las Bellas Artes del Gobierno español" (https://www.diariolasamericas.com/cultura/andy-garcia-recibe-medalla-oro-al-merito-las-bellas-artes-del-gobierno-espanol-n4139953) . Diario Las Américas (/wiki/Diario_Las_Am%C3%A9ricas) (in Spanish). December 23, 2017 . Retrieved February 18, 2019 . External links and further reading [ edit ] Wikiquote has quotations related to Andy García (https://en.wikiquote.org/wiki/Special:Search/Andy_Garc%C3%ADa) . Wikimedia Commons has media related to Andy García . Andy García (https://www.imdb.com/name/nm0000412/) at IMDb (/wiki/IMDb_(identifier)) Andy García (https://web.archive.org/web/*/https://www.tcm.com/tcmdb/person/68299%7C*) at the TCM Movie Database (/wiki/Turner_Classic_Movies) "Andy Garcia interview on his City Island diet" (http://www.financefoodie.com/2010/03/city-island-diet-w-andy-garcia.html) . Finance Foodie . March 2010. "Andy Garcia interview for Smokin' Aces" (https://web.archive.org/web/20070111014437/http://www.moviehole.net/interviews/20061222_interview_andy_garcia.html) . MovieHole.net . Archived from the original (http://www.moviehole.net/interviews/20061222_interview_andy_garcia.html) on January 11, 2007. Boutilier, Corey (Executive Director) (March 21, 2006). "Video: Andy Garcia at the Miami Film Festival and his new independent film 'Lost City' (Andy speaks to independentfilm.com about his new film set in 1950s Cuba. The film had an emotional screening at the 2006 Miami International Film Festival. (TRT 5min, 9MB)" (http://www.independentfilm.com/festivals/videogalleryfest/andy-garcia-lost-city-miami-film-festival.shtml) . IndependentFilm.com . Bradshaw, Lisa. "Andy Garcia – Film star returns to Ghent after 22 years: 'I've come full circle' (https://web.archive.org/web/20101124120224/http://flanderstoday.eu/content/face-flanders-%E2%80%94-andy-garcia) " (https://web.archive.org/web/20101124120224/http://flanderstoday.eu/content/face-flanders-%E2%80%94-andy-garcia) . Flanders Today . Archived from the original (http://flanderstoday.eu/content/face-flanders-%E2%80%94-andy-garcia) on November 24, 2010. "Photos "Cristiada": Andy García filming in Durango, México" (http://blogs.hoycinema.com/movieland/tags/cristiada) . HoyCinema.com Blogs . 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British photographer and designer (1904–1980) Sir Cecil Beaton CBE (/wiki/Commander_of_the_Order_of_the_British_Empire) Portrait by Lafayette Ltd, 1920s Born Cecil Walter Hardy Beaton ( 1904-01-14 ) 14 January 1904 Hampstead (/wiki/Hampstead) , London Died 18 January 1980 (1980-01-18) (aged 76) Reddish House (/wiki/Reddish_House) , Broad Chalke (/wiki/Broad_Chalke) , Wiltshire (/wiki/Wiltshire) , England Resting place All Saints' church graveyard (/wiki/Broad_Chalke#Parish_church) , Broad Chalke, Wiltshire, England Education Heath Mount School (/wiki/Heath_Mount_School) St Cyprian's School (/wiki/St_Cyprian%27s_School) Harrow School (/wiki/Harrow_School) St John's College, Cambridge (/wiki/St_John%27s_College,_Cambridge) Occupations Photographer interior designer socialite writer costume designer Relatives Baba Beaton (/wiki/Baba_Beaton) (sister) Nancy Beaton (/wiki/Nancy_Beaton) (sister) Sir Cecil Walter Hardy Beaton CBE (/wiki/Commander_of_the_Order_of_the_British_Empire) (14 January 1904 – 18 January 1980) was a British fashion, portrait and war photographer, diarist (/wiki/Diarist) , painter, and interior designer, as well as an Oscar (/wiki/Academy_Awards) -winning stage (/wiki/Stage_design) and costume designer (/wiki/Costume_designer) for films and the theatre. Early life and education [ edit ] Beaton was born on 14 January 1904 in Hampstead (/wiki/Hampstead) , north London, [1] (#cite_note-1) the son of Ernest Walter Hardy Beaton (1867–1936), a prosperous timber (/wiki/Timber) merchant, and his wife, Esther "Etty" Sisson (1872–1962). His grandfather, Walter Hardy Beaton (1841–1904), had founded the family business of "Beaton Brothers Timber Merchants and Agents", and his father followed into the business. Ernest Beaton was an amateur actor and met his wife, Cecil's mother Esther ("Etty") when playing the lead in a play. She was the daughter of a Cumbrian blacksmith (/wiki/Blacksmith) named Joseph Sisson and had come to London to visit her married sister. [2] (#cite_note-2) Ernest and Etty Beaton had four children – Cecil; two daughters, Nancy Elizabeth Louise Hardy Beaton (/wiki/Nancy_Beaton) (1909–99, who married Sir Hugh Smiley (/wiki/Smiley_Baronets) ) and Barbara Jessica Hardy Beaton (/wiki/Baba_Beaton) (1912–73, known as Baba, who married Alec Hambro); and son Reginald Ernest Hardy Beaton (1905–33). A 1932 Standard Rolleiflex (/wiki/Rolleiflex) , a type of camera used by Beaton Cecil Beaton was educated at Heath Mount School (/wiki/Heath_Mount_School) (where he was bullied by Evelyn Waugh (/wiki/Evelyn_Waugh) ) and St Cyprian's School (/wiki/St_Cyprian%27s_School) , Eastbourne (/wiki/Eastbourne) , where his artistic talent was quickly recognised. Both Cyril Connolly (/wiki/Cyril_Connolly) and Henry Longhurst (/wiki/Henry_Longhurst) report in their autobiographies (/wiki/Autobiographies) being overwhelmed by the beauty of Beaton's singing at the St Cyprian's school concerts. [3] (#cite_note-3) [4] (#cite_note-4) When Beaton was growing up, his nanny (/wiki/Nanny) had a Kodak (/wiki/Kodak) 3A Camera, a popular model which was renowned for being an ideal piece of equipment to learn on. Beaton's nanny began teaching him the basics of photography and developing film. He would often get his sisters and mother to sit for him. When he was sufficiently proficient, he would send the photos off to London society magazines, often writing under a pen name and "recommending" the work of Beaton. [5] (#cite_note-fynetimes-5) Beaton attended Harrow School (/wiki/Harrow_School) , and then, despite having little or no interest in academia, moved on to St John's College (/wiki/St_John%27s_College,_Cambridge) , Cambridge (/wiki/University_of_Cambridge) , and studied history, art and architecture. Beaton continued his photography and, through his university contacts, got a portrait depicting the Duchess of Malfi (/wiki/Duchess_of_Malfi) published in Vogue (/wiki/British_Vogue) . It was actually George "Dadie" Rylands (/wiki/Dadie_Rylands) – "a slightly out-of-focus snapshot of him as Webster's Duchess of Malfi standing in the sub-aqueous light outside the men's lavatory of the ADC Theatre (/wiki/ADC_Theatre) at Cambridge." [6] (#cite_note-6) Beaton left Cambridge without a degree in 1925. Career [ edit ] After a short time in the family timber business, he worked with a cement merchant in Holborn (/wiki/Holborn) . This resulted in "an orgy of photography at weekends" so he decided to strike out on his own. [7] (#cite_note-7) Under the patronage of Osbert Sitwell (/wiki/Osbert_Sitwell) he put on his first exhibition in the Cooling Gallery, London. It caused quite a stir. Believing that he would meet with greater success on the other side of the Atlantic, he left for New York and slowly built up a reputation there. By the time he left, he had "a contract with Condé Nast Publications (/wiki/Cond%C3%A9_Nast_Publications) to take photographs exclusively for them for several thousand pounds a year for several years to come." [8] (#cite_note-8) From 1930 to 1945, Beaton leased Ashcombe House (/wiki/Ashcombe_House,_Wiltshire) in Wiltshire, where he entertained many notable figures. [ citation needed ] In 1947, he bought Reddish House (/wiki/Reddish_House) , set in 2.5 acres of gardens, approximately 5 miles (8.0 km) to the east in Broad Chalke (/wiki/Broad_Chalke) . Here he transformed the interior, adding rooms on the eastern side, extending the parlour southwards, and introducing many new fittings. Greta Garbo (/wiki/Greta_Garbo) was a visitor. [9] (#cite_note-Brit_Hist_116110-9) He remained at the house until his death in 1980 and is buried in the parish church graveyard. [10] (#cite_note-10) [11] (#cite_note-Broad-11) [12] (#cite_note-12) Photography [ edit ] Cecil Beaton self portraits: Cecil Beaton (in civilian suit) and his Rolleiflex reflected in a mirror of the Jain temple, Calcutta, India. Beaton designed book jackets (see Catherine Ives (/wiki/Catherine_Ives) ), and costumes for charity matinees, learning the craft of photography at the studio of Paul Tanqueray (/wiki/Paul_Tanqueray) , until Vogue took him on regularly in 1927. [13] (#cite_note-independent-13) He set up his own studio, and one of his earliest clients and, later, best friends was Stephen Tennant (/wiki/Stephen_Tennant) . Beaton's photographs of Tennant and his circle are considered some of the best representations of the Bright Young People (/wiki/Bright_Young_People) of the twenties and thirties. Portrait of Sir Roy Strong (/wiki/Roy_Strong) , Director and Secretary of the Victoria and Albert Museum (/wiki/Victoria_and_Albert_Museum) Beaton's first camera was a Kodak 3A folding camera. Over the course of his career, he employed both large format (/wiki/Large_format) cameras, and smaller Rolleiflex (/wiki/Rolleiflex) cameras. Beaton was never known as a highly skilled technical photographer, and instead focused on staging a compelling model or scene and looking for the perfect shutter-release moment. He was a photographer for the British edition of (/wiki/British_Vogue) Vogue in 1931 when George Hoyningen-Huene (/wiki/George_Hoyningen-Huene) , photographer for the French (/wiki/Vogue_France) Vogue travelled to England with his new friend Horst (/wiki/Horst_P._Horst) . Horst himself would begin to work for French Vogue in November of that year. The exchange and cross pollination of ideas between this collegial circle of artists across the Channel (/wiki/English_Channel) and the Atlantic gave rise to the look of style and sophistication for which the 1930s are known. [14] (#cite_note-14) Beaton is known for his fashion photographs and society portraits. He worked as a staff photographer for Vanity Fair (/wiki/Vanity_Fair_(magazine)) and Vogue in addition to photographing celebrities in Hollywood. In 1938, he inserted some tiny-but-still-legible anti-Semitic (/wiki/Antisemitism) phrases (including the word ' kike (/wiki/Kike) ') into American (/wiki/Vogue_(magazine)) Vogue at the side of an illustration about New York society. The issue was recalled and reprinted, and Beaton was fired. [15] (#cite_note-15) Beaton returned to England, where the Queen recommended him to the Ministry of Information (/wiki/Ministry_of_Information_(United_Kingdom)) (MoI). He became a leading war photographer, best known for his images of the damage done by the German Blitz (/wiki/The_Blitz) . His style sharpened and his range broadened, Beaton's career was restored by the war. [16] (#cite_note-16) Beaton often photographed the Royal Family for official publication. [17] (#cite_note-17) Queen Elizabeth The Queen Mother (/wiki/Queen_Elizabeth_The_Queen_Mother) was his favourite royal sitter, and he once pocketed her scented hankie as a keepsake from a highly successful shoot. Beaton took the famous wedding pictures of the Duke (/wiki/Edward_VIII) and Duchess of Windsor (/wiki/Wallis_Simpson) (wearing an haute couture (/wiki/Haute_couture) ensemble by the noted American fashion designer Mainbocher (/wiki/Mainbocher) ). He photographed Princess Margaret (/wiki/Princess_Margaret) in a cream Dior dress (/wiki/Cream_Dior_dress_of_Princess_Margaret) for her 21st birthday in 1951, which became one of the most iconic royal portraits of the 20th century. [18] (#cite_note-18) [19] (#cite_note-evogue-19) [20] (#cite_note-harpers-20) [21] (#cite_note-mol-21) Queen Fawzia Fuad Chirine (/wiki/Fawzia_Fuad_Chirine) with Shah Mohammed Reza Pahlevi (/wiki/Mohammed_Reza_Pahlevi) and their daughter, Princess Shahnaz Pahlavi (/wiki/Shahnaz_Pahlavi) in Tehran (/wiki/Tehran) during the Second World War. Photo by Cecil Beaton. During the Second World War (/wiki/Second_World_War) , Beaton was first posted to the Ministry of Information (/wiki/Ministry_of_Information_(United_Kingdom)) and given the task of recording images from the home front. During this assignment he captured one of the most enduring images of British suffering during the war, that of 3-year-old Blitz (/wiki/The_Blitz) victim Eileen Dunne recovering in hospital, clutching her beloved teddy bear. When the image was published, America had not yet officially joined the war, but images such as Beaton's helped push the Americans to put pressure on their government to help Britain in its hour of need. [5] (#cite_note-fynetimes-5) Beaton had a major influence on and relationship with Angus McBean (/wiki/Angus_McBean) and David Bailey (/wiki/David_Bailey_(photographer)) . McBean was a well-known portrait photographer of his era. Later in his career, his work is influenced by Beaton. Bailey was influenced by Beaton when they met while working for British Vogue in the early 1960s. Bailey's use of square format (6x6) images is similar to Beaton's own working patterns. [ citation needed ] Stage and film design [ edit ] A Cecil Beaton design for Audrey Hepburn (/wiki/Audrey_Hepburn) in the film My Fair Lady (/wiki/My_Fair_Lady_(film)) (1964), for which he won an Academy Award. (/wiki/Academy_Award_for_Best_Costume_Design) After the war, Beaton tackled the Broadway (/wiki/Broadway_theatre) stage, designing sets (/wiki/Set_construction) , costumes, and lighting for a 1946 revival of Lady Windermere's Fan (/wiki/Lady_Windermere%27s_Fan) , in which he also acted. [ citation needed ] His costumes for Lerner and Loewe (/wiki/Lerner_and_Loewe) 's My Fair Lady (/wiki/My_Fair_Lady) (1956) were highly praised. This led to two Lerner and Loewe film musicals, Gigi (/wiki/Gigi_(1958_film)) (1958) and My Fair Lady (/wiki/My_Fair_Lady_(film)) (1964), each of which earned Beaton the Academy Award for Best Costume Design (/wiki/Academy_Award_for_Best_Costume_Design) . He also designed the period costumes for the 1970 film On a Clear Day You Can See Forever (/wiki/On_a_Clear_Day_You_Can_See_Forever_(film)) . His additional Broadway credits include The Grass Harp (/wiki/The_Grass_Harp_(play)) (1952), The Chalk Garden (/wiki/The_Chalk_Garden) (1955), Saratoga (/wiki/Saratoga_(musical)) (1959), Tenderloin (/wiki/Tenderloin_(musical)) (1960), and Coco (/wiki/Coco_(musical)) (1969). He was the recipient of four Tony Awards (/wiki/Tony_Award) . [ citation needed ] He designed the sets and costumes for a production of Puccini's last opera Turandot , first used at the Metropolitan Opera in New York and then at Covent Garden. [ citation needed ] Beaton designed the academic dress (/wiki/Academic_dress) of the University of East Anglia (/wiki/University_of_East_Anglia) . [22] (#cite_note-22) Diaries [ edit ] Cecil Beaton was a published and well-known diarist. In his lifetime, six volumes of diaries were published, spanning the years 1922–1974. Recently some unexpurgated material has been published. "In the published diaries, opinions are softened, celebrated figures are hailed as wonders and triumphs, whereas in the originals, Cecil can be as venomous as anyone I have ever read or heard in the most shocking of conversation" wrote their editor, Hugo Vickers (/wiki/Hugo_Vickers) . [23] (#cite_note-23) Last public interview [ edit ] The last public interview given by Sir Cecil Beaton was in January 1980 for an edition of the BBC's radio programme Desert Island Discs (/wiki/Desert_Island_Discs) . The interviewer was Roy Plomley (/wiki/Roy_Plomley) . The recording was broadcast on Friday 1 February 1980 following the Beaton family's permission. Owing to Beaton's frailty, the interview was recorded at Beaton's 17th-century home of Reddish House in Broad Chalke (/wiki/Broad_Chalke) in Wiltshire (/wiki/Wiltshire) (near Salisbury). [ citation needed ] Beaton, though frail, recalled events in his life, particularly from the 1930s and 1940s ( the Blitz (/wiki/The_Blitz) ). Among the recollections were his associations with stars of Hollywood and British Royalty notably The Duke and Duchess of Windsor (/wiki/Edward_VIII) (whose official wedding photographs Beaton took on 3 June 1937 at relatively short notice); and official portraits of Queen Elizabeth (later Queen Elizabeth The Queen Mother) (/wiki/Queen_Elizabeth_The_Queen_Mother) and Queen Elizabeth II (/wiki/Elizabeth_II) on her Coronation day on 2 June 1953. The interview also alluded to a lifelong passion for performing arts (/wiki/Performing_arts) and in particular ballet and operetta. [ citation needed ] The Beaton programme is considered to be almost the final words on an era of "Bright Young Things" (/wiki/Bright_young_things) whose sunset had taken place by the time of the abdication of Edward VIII (/wiki/Edward_VIII_abdication_crisis) . Beaton commented specifically on Wallis Simpson (/wiki/Wallis_Simpson) (later titled The Duchess of Windsor after her marriage to the former King Edward VIII (/wiki/King_Edward_VIII) ). The Duchess of Windsor was still alive at the time of the original Beaton interview and broadcast. [ citation needed ] Beaton said that the one record that he would retain on the desert island should the others get washed away would be Beethoven's Symphony No 1 (/wiki/Symphony_No._1_(Beethoven)) , and his chosen book was a compendium of photographs he had taken down the years of "...people known and unknown; people known but now forgotten". [24] (#cite_note-24) Personal life and death [ edit ] Beaton had relationships with various men and women (/wiki/Bisexuality) , including former Olympic fencer and teacher Kinmont Hoitsma (/wiki/Kinmont_Hoitsma) (his last lover), [25] (#cite_note-25) actresses Greta Garbo (/wiki/Greta_Garbo) and Coral Browne (/wiki/Coral_Browne) , dancer Adele Astaire (/wiki/Adele_Astaire) , Greek socialite Madame Jean Ralli (Lilia), [26] (#cite_note-26) and British socialite Doris Castlerosse (/wiki/Doris_Castlerosse) . He was knighted (/wiki/Knight_Bachelor) in the 1972 New Year Honours (/wiki/1972_New_Year_Honours) . [27] (#cite_note-27) Reddish House in Broad Chalke (/wiki/Broad_Chalke) Two years later, he suffered a stroke (/wiki/Stroke) that left him permanently paralysed on the right side of his body. Although he learnt to write and draw with his left hand, and had cameras adapted, Beaton became frustrated by the limitations the stroke had put upon his work. As a result of his stroke, Beaton became anxious about financial security for his old age and, in 1976, entered into negotiations with Philippe Garner (/wiki/Philippe_Garner) , expert-in-charge of photographs at Sotheby's (/wiki/Sotheby%27s) . On behalf of the auction house, Garner acquired Beaton's archive – excluding all portraits of the Royal Family, and the five decades of prints held by Vogue in London, Paris and New York. Garner, who had almost single-handedly invented the photographic auction, oversaw the archive's preservation and partial dispersal, so that Beaton's only tangible assets, and what he considered his life's work, would ensure him an annual income. The first of five auctions was held in 1977, the last in 1980. [ citation needed ] By the end of the 1970s, Beaton's health had faded. He died on 18 January 1980 at Reddish House (/wiki/Reddish_House) , his home in Broad Chalke (/wiki/Broad_Chalke) , Wiltshire, four days after his 76th birthday. [5] (#cite_note-fynetimes-5) Recognition [ edit ] This section does not cite (/wiki/Wikipedia:Citing_sources) any sources (/wiki/Wikipedia:Verifiability) . Please help improve this section (/wiki/Special:EditPage/Cecil_Beaton) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed (/wiki/Wikipedia:Verifiability#Burden_of_evidence) . ( April 2021 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Sir Cecil Beaton's grave at Broad Chalke (/wiki/Broad_Chalke) Churchyard Tony Award for Best Costume Design (/wiki/Tony_Award_for_Best_Costume_Design) for Quadrille (/wiki/Quadrille_(play)) (1955) CBE (/wiki/CBE) (1956) Tony Award for Best Costume Design (/wiki/Tony_Award_for_Best_Costume_Design) for My Fair Lady (1957) Fellow of the Ancient Monuments Society (/wiki/Ancient_Monuments_Society) (1957) Academy Award for Best Costume Design (/wiki/Academy_Award_for_Best_Costume_Design) for Gigi (1958) Tony Award for Best Costume Design (/wiki/Tony_Award_for_Best_Costume_Design) for Saratoga (/wiki/Saratoga_(musical)) (1960) Chevalier de la Légion d'Honneur (/wiki/Chevalier_de_la_L%C3%A9gion_d%27Honneur) (1960) Academy Award for Best Art Direction (/wiki/Academy_Award_for_Best_Production_Design) for My Fair Lady (1964) Academy Award for Best Costume Design (/wiki/Academy_Award_for_Best_Costume_Design) for My Fair Lady (1964) Honorary Fellow of the Royal Photographic Society (/wiki/Royal_Photographic_Society) of Great Britain (1965) Tony Award for Best Costume Design (/wiki/Tony_Award_for_Best_Costume_Design) for Coco (/wiki/Coco_(musical)) 1970 International Best Dressed List (/wiki/International_Best_Dressed_List) Hall of Fame, named 1970. [28] (#cite_note-28) Knighthood (/wiki/Knight_Bachelor) (1972) Exhibitions [ edit ] Prime Minister of Manipur (/wiki/Manipur) (1944) as his outfit is prepared before the coronation (/wiki/Coronation) of the new Maharaja Bodhchandra Singh (/wiki/Bodhchandra_Singh) Major exhibitions have been held at the National Portrait Gallery (/wiki/National_Portrait_Gallery_(London)) in London in 1968 and in 2004. [ citation needed ] The first international exhibition in thirty years, and first exhibition of his works to be held in Australia was held in Bendigo, Victoria (/wiki/Bendigo,_Victoria) from 10 December 2005 to 26 March 2006. [ citation needed ] In October 2011, the BBC's Antiques Roadshow (/wiki/Antiques_Roadshow) featured an oil portrait by Beaton of rock star Mick Jagger (/wiki/Mick_Jagger) , whom Beaton met in the 1960s. The painting, originally sold at the Le Fevre Gallery in 1966, was valued for insurance purposes at £30,000. [29] (#cite_note-29) The Museum of the City of New York (/wiki/Museum_of_the_City_of_New_York) dedicated an exhibition to Cecil Beaton from October 2011 to April 2012. [30] (#cite_note-30) An exhibition celebrating The Queen's Diamond Jubilee and showing portraits of Her Majesty by Cecil Beaton, opened in October 2011 at the Laing Art Gallery (/wiki/Laing_Art_Gallery) , Newcastle-upon-Tyne (/wiki/Newcastle-upon-Tyne) . [ citation needed ] Cecil Beaton: Theatre of War at the Imperial War Museum (/wiki/Imperial_War_Museum) , London: major retrospective of Beaton's war photography, held from 6 September 2012 – 1 January 2013. [31] (#cite_note-31) Cecil Beaton at Home: Ashcombe & Reddish at The Salisbury Museum, Wiltshire, from 23 May- 19 September 2014, a biographical retrospective focussing on Beaton's two Wiltshire houses, brought together for the first time many art works and possessions from both eras of Beaton's life. The exhibition included a full-size reproduction of the murals and four-poster bed from the Circus Bedroom at Ashcombe, as well as a section of the drawing room at Reddish House. [ citation needed ] In film and television [ edit ] In the 1989 Australian film Darlings of the Gods (/wiki/Darlings_of_the_Gods) , Beaton was portrayed by Shane Briant (/wiki/Shane_Briant) . In the 2010 series "Upstairs Downstairs", S1E3, Beaton was portrayed by Christopher Harper. In Netflix (/wiki/Netflix) 's 2016 series The Crown (/wiki/The_Crown_(TV_series)) , Beaton was portrayed by Mark Tandy (/wiki/Mark_Tandy_(actor)) . [ citation needed ] Publications [ edit ] Selected works [ edit ] This section does not cite (/wiki/Wikipedia:Citing_sources) any sources (/wiki/Wikipedia:Verifiability) . Please help improve this section (/wiki/Special:EditPage/Cecil_Beaton) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed (/wiki/Wikipedia:Verifiability#Burden_of_evidence) . ( April 2021 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Bengali women fetching well water with earthenware (/wiki/Earthenware) pots (1944) The Book of Beauty (/wiki/The_Book_of_Beauty) (Duckworth, 1930) Cecil Beaton's Scrapbook ( Batsford (/wiki/Batsford_(publisher)) , 1937) Cecil Beaton's New York (Batsford, 1938) My Royal Past (Batsford, 1939) History Under Fire with James Pope-Hennessy (/wiki/James_Pope-Hennessy) (Batsford, 1941) Time Exposure with Peter Quennell (/wiki/Peter_Quennell) (Batsford, 1941) Air of Glory ( HMSO (/wiki/Office_of_Public_Sector_Information) , 1941) Winged Squadrons ( Hutchinson (/wiki/Hutchinson_(publisher)) , 1942) Near East (Batsford, 1943) British Photographers ( William Collins (/wiki/William_Collins_(publisher)) , 1944) Far East (Batsford, 1945) Cecil Beaton's Indian Album (Batsford, 1945–6, republished as Indian Diary and Album , OUP (/wiki/Oxford_University_Press) , 1991) Cecil Beaton's Chinese Album (Batsford, 1945–6) India (Thacker & Co., 1945) Portrait of New York (Batsford, 1948) Ashcombe (/wiki/Ashcombe_House,_Wiltshire) : The Story of a Fifteen-Year Lease (Batsford, 1949) Photobiography ( Odhams (/wiki/Odhams_Press) , 1951) Ballet ( Allan Wingate (/w/index.php?title=Allan_Wingate&action=edit&redlink=1) , 1951) Persona Grata with Kenneth Tynan (/wiki/Kenneth_Tynan) (Allan Wingate, 1953) The Glass of Fashion ( Weidenfeld & Nicolson (/wiki/Weidenfeld_%26_Nicolson) , 1954) It Gives Me Great Pleasure (Weidenfeld & Nicolson, 1956) The Face of the World: An International Scrapbook of People and Places (Weidenfeld & Nicolson, 1957) Japanese (Weidenfeld & Nicolson, 1959) Quail in Aspic: The Life Story of Count Charles Korsetz (Weidenfeld & Nicolson, 1962) Images with a preface by Edith Sitwell (/wiki/Edith_Sitwell) and an introduction by Christopher Isherwood (/wiki/Christopher_Isherwood) (Weidenfeld & Nicolson, 1963) Royal Portraits with an introduction by Peter Quennell (Weidenfeld & Nicolson, 1963) Cecil Beaton's 'Fair Lady' (Weidenfeld & Nicolson, 1964) The Best of Beaton with an introduction by Truman Capote (/wiki/Truman_Capote) (Weidenfeld & Nicolson, 1968) My Bolivian Aunt: A Memoir (Weidenfeld & Nicolson, 1971) Diaries [ edit ] Cecil Beaton's Diaries: 1922–39 The Wandering Years (Weidenfeld & Nicolson, 1961) Cecil Beaton's Diaries: 1939–44 The Years Between (Weidenfeld & Nicolson, 1965) Cecil Beaton's Diaries: 1944–48 The Happy Years (Weidenfeld & Nicolson, 1972) Cecil Beaton's Diaries: 1948–55 The Strenuous Years (Weidenfeld & Nicolson, 1973) Cecil Beaton's Diaries: 1955–63 The Restless Years (Weidenfeld & Nicolson, 1976) Cecil Beaton's Diaries: 1963–74 The Parting Years (Weidenfeld & Nicolson, 1978) Self Portrait with Friends: The Selected Diaries of Cecil Beaton 1926–1974 edited by Richard Buckle (/wiki/Richard_Buckle) (Weidenfeld & Nicolson, 1979) The Unexpurgated Beaton: The Cecil Beaton Diaries as they were written with an introduction by Hugo Vickers (/wiki/Hugo_Vickers) (Orion, 2003) Beaton in the Sixties: More Unexpurgated Diaries with an introduction by Hugo Vickers (Weidenfeld & Nicolson, 2004) Photographs [ edit ] Sir William Walton (/wiki/Sir_William_Walton) , 1926 Stephen Tennant (/wiki/Stephen_Tennant) , 1927 Lady Diana Cooper (/wiki/Lady_Diana_Cooper) , 1928 Charles James (designer) (/wiki/Charles_James_(designer)) , 1929 Lillian Gish (/wiki/Lillian_Gish) , 1929 Oliver Messel (/wiki/Oliver_Messel) , 1929 Lord David Cecil (/wiki/Lord_David_Cecil) , 1930 Lady Georgia Sitwell , 1930 Gary Cooper (/wiki/Gary_Cooper) , 1931 Molly Fink (/wiki/Molly_Fink) , 1926 Pablo Picasso (/wiki/Pablo_Picasso) , 1933 Helen Hope Montgomery Scott (/wiki/Helen_Hope_Montgomery_Scott) , 1933 Dürrüşehvar Sultan (/wiki/D%C3%BCrr%C3%BC%C5%9Fehvar_Sultan) , 1933 Marlene Dietrich (/wiki/Marlene_Dietrich) , 1935 Salvador Dalí (/wiki/Salvador_Dal%C3%AD) , 1936 Natalie Paley (/wiki/Natalie_Paley) , 1936 Aldous Huxley (/wiki/Aldous_Huxley) , 1936 Daisy Fellowes (/wiki/Daisy_Fellowes) , 1937 Helen of Greece and Denmark (/wiki/Helen_of_Greece_and_Denmark) , Queen Mother of Romania , 1937 Lady Ursula Manners (/wiki/Lady_Ursula_d%27Abo) , 1937 Queen Sita Devi of Kapurthala (/wiki/Sita_Devi_of_Kapurthala) , 1940 Bomb Victim (Eileen Dunne), 1940 Winston Churchill (/wiki/Winston_Churchill) , 1940 Graham Sutherland (/wiki/Graham_Sutherland) , 1940 Charles de Gaulle (/wiki/Charles_de_Gaulle) , 1941 Walter Sickert (/wiki/Walter_Sickert) , 1942 Maharani Gayatri Devi (/wiki/Gayatri_Devi) , Rajmata of Jaipur (/wiki/Jaipur) , 1943 John Pope-Hennessy (/wiki/John_Pope-Hennessy) , 1945 Isabel Jeans (/wiki/Isabel_Jeans) , 1945 Greta Garbo (/wiki/Greta_Garbo) , 1946 Yul Brynner (/wiki/Yul_Brynner) , 1946 Princess Fawzia Fuad (/wiki/Fawzia_Fuad_of_Egypt) of Egypt, Queen of Iran Vivien Leigh (/wiki/Vivien_Leigh) , 1947 Marlon Brando (/wiki/Marlon_Brando) , 1947 Truman Capote (/wiki/Truman_Capote) , 1948–1949 Bobby Henrey (/wiki/Bobby_Henrey) , 1948 Countess Cristiana Brandolini d'Adda (/wiki/Cristiana_Brandolini_d%27Adda) , 1951 Duchess of Windsor (/wiki/Duchess_of_Windsor) , 1951 Vita Sackville-West (/wiki/Vita_Sackville-West) , 1952 C. Z. Guest (/wiki/C._Z._Guest) , 1952 Graham Greene (/wiki/Graham_Greene) , 1953 Elizabeth II (/wiki/Elizabeth_II) 's Coronation , 1953 Alexis von Rosenberg, Baron de Redé (/wiki/Alexis_von_Rosenberg,_Baron_de_Red%C3%A9) , 1953 Elizabeth Taylor (/wiki/Elizabeth_Taylor) , 1954 Grace Kelly (/wiki/Grace_Kelly) , 1954 Mona von Bismarck (/wiki/Mona_von_Bismarck) , 1955 Bernard Berenson (/wiki/Bernard_Berenson) , 1955 Joan Crawford (/wiki/Joan_Crawford) , 1956 Mrs. Charles ( Jayne Wrightsman (/wiki/Jayne_Wrightsman) ) , 1956 Maria Callas (/wiki/Maria_Callas) , 1956 Dame Edith Sitwell (/wiki/Dame_Edith_Sitwell) , 1956 Colin Wilson (/wiki/Colin_Wilson) , 1956 Marilyn Monroe (/wiki/Marilyn_Monroe) , 1956 Leslie Caron (/wiki/Leslie_Caron) , 1957 Dolores Guinness (/wiki/Dolores_Guinness) , 1958 Princess Margaret, Countess of Snowdon (/wiki/Princess_Margaret,_Countess_of_Snowdon) , 1960 Albert Finney (/wiki/Albert_Finney) , 1961 Cristóbal Balenciaga (/wiki/Crist%C3%B3bal_Balenciaga) , 1962 Lee Radziwill (/wiki/Lee_Radziwill) , 1962 Karen Blixen (/wiki/Karen_Blixen) , 1962 Rudolf Nureyev (/wiki/Rudolf_Nureyev) , 1963 Audrey Hepburn (/wiki/Audrey_Hepburn) , 1964 Margot Fonteyn (/wiki/Margot_Fonteyn) , 1965 Jacqueline Kennedy (/wiki/Jacqueline_Kennedy) , 1965 Sheridan Hamilton-Temple-Blackwood, 5th Marquess of Dufferin and Ava (/wiki/Sheridan_Hamilton-Temple-Blackwood,_5th_Marquess_of_Dufferin_and_Ava) , 1965 Jamie Wyeth (/wiki/Jamie_Wyeth) , 1966 Georgia O'Keeffe (/wiki/Georgia_O%27Keeffe) , 1966 Andy Warhol (/wiki/Andy_Warhol) , 1967 Twiggy (/wiki/Twiggy) , 1967 Mick Jagger (/wiki/Mick_Jagger) , 1968 Katharine Hepburn (/wiki/Katharine_Hepburn) , 1969 Barbra Streisand (/wiki/Barbra_Streisand) , 1969 Gloria Guinness (/wiki/Gloria_Guinness) , 1970 Hubert de Givenchy (/wiki/Hubert_de_Givenchy) , 1970 Mae West (/wiki/Mae_West) , 1970 David Hockney (/wiki/David_Hockney) , 1970 Jane Birkin (/wiki/Jane_Birkin) , 1971 Marie-Hélène de Rothschild (/wiki/Marie-H%C3%A9l%C3%A8ne_de_Rothschild) , 1971 Marisa Berenson (/wiki/Marisa_Berenson) as Luisa Casati (/wiki/Luisa_Casati) , 1971 Jacqueline de Ribes (/wiki/Jacqueline_de_Ribes) , 1971 Pauline de Rothschild (/wiki/Pauline_de_Rothschild) , 1972 Tina Chow (/wiki/Tina_Chow) , 1973 Gilbert & George (/wiki/Gilbert_%26_George) , 1974 Inès de La Fressange (/wiki/In%C3%A8s_de_La_Fressange) , 1978 Paloma Picasso (/wiki/Paloma_Picasso) , 1978 Caroline of Monaco (/wiki/Caroline_of_Monaco) , 1978 Olimpia de Rothschild , 1978 Dayle Haddon (/wiki/Dayle_Haddon) , 1979 References [ edit ] ^ (#cite_ref-1) Foley, Elizabeth; Coates, Beth (2010). Advanced Homework for Grown-ups . Random House. ISBN (/wiki/ISBN_(identifier)) 9781409087540 . Retrieved 14 December 2014 . ^ (#cite_ref-2) Vickers, Hugo (1985), Cecil Beaton: The Authorised Biography , Phoenix Press . ^ (#cite_ref-3) Connolly, Cyril (1938). Enemies of Promise . London: G Routledge & sons. OCLC (/wiki/OCLC_(identifier)) 123103671 (https://www.worldcat.org/oclc/123103671) . ^ (#cite_ref-4) Longhurst, Henry (1971). My Life and Soft Times . London: Cassell. ISBN (/wiki/ISBN_(identifier)) 0-304-93849-1 . ^ Jump up to: a b c "Cecil Beaton" (http://www.fyne.co.uk/index.php?item=207) . Fyne Times . 2006 . Retrieved 9 May 2008 . ^ (#cite_ref-6) Beaton, Cecil (1951). Photobiography . London: Odhams Press, p.34. ^ (#cite_ref-7) Beaton, Cecil (1951). Photobiography . London: Odhams Press, p.40. ^ (#cite_ref-8) Beaton, Cecil (1951). Photobiography . London: Odhams Press, p.56. ^ (#cite_ref-Brit_Hist_116110_9-0) Broad Chalke , UK: British History . ^ (#cite_ref-10) Vickers, Hugo (2003). The Unexpurgated Beaton: The Cecil Beaton Diaries as He Wrote Them, 1970–1980 . London: Weidenfeld & Nicolson. ISBN (/wiki/ISBN_(identifier)) 1400041120 . ^ (#cite_ref-Broad_11-0) Broad Chalke, A History of a South Wiltshire Village, its Land & People Over 2,000 years , The People of the Village, 1999 ^ (#cite_ref-12) "Broad Chalke" (https://apps.wiltshire.gov.uk/communityhistory/Community/Index/33) . Wiltshire Community History . Wiltshire Council . Retrieved 22 May 2023 . ^ (#cite_ref-independent_13-0) Muir, Robin (1 February 2004). "The Beaton Generation" (https://web.archive.org/web/20090209004625/http://findarticles.com/p/articles/mi_qn4159/is_20040201/ai_n12750408) . The Independent . Archived from the original (http://findarticles.com/p/articles/mi_qn4159/is_20040201/ai_n12750408) on 9 February 2009 . Retrieved 9 May 2008 . ^ (#cite_ref-14) "Too, Too Vomitous" (https://web.archive.org/web/20070930115141/http://www.time.com/time/magazine/article/0,9171,740948-1,00.html) . Time . 2 February 1931. Archived from the original (http://www.time.com/time/magazine/article/0,9171,740948-1,00.html) on 30 September 2007 . Retrieved 9 May 2008 . ^ (#cite_ref-15) Simon Doonan, "Cecil Beaton Stateside" (http://fashion.telegraph.co.uk/article/TMG8864644/Cecil-Beaton-Stateside.html) Archived (https://web.archive.org/web/20151018145034/http://fashion.telegraph.co.uk/article/TMG8864644/Cecil-Beaton-Stateside.html) 18 October 2015 at the Wayback Machine (/wiki/Wayback_Machine) , The Daily Telegraph (/wiki/The_Daily_Telegraph) , 6 November 2011, retrieved 28 August 2012 ^ (#cite_ref-16) Richard Holledge, "A Career Restored by War" Wall Street Journal, 29 Nov 2012, p D5 ^ (#cite_ref-17) "V&A Exploring Photography: Sir Cecil Beaton" (http://www.vam.ac.uk/vastatic/microsites/photography/photographerframe.php?photographerid=ph009) . Victoria and Albert Museum . Retrieved 10 May 2008 . ^ (#cite_ref-18) Storochuck, Jessica (21 August 2021). "Fashion Favourite: Princess Margaret and Christian Dior" (https://royalcentral.co.uk/uk/fashion-favourite-princess-margaret-and-christian-dior-164518/) . Royal Central . Retrieved 28 October 2021 . ^ (#cite_ref-evogue_19-0) Trotter, Katie (20 April 2020). "10 Most Important Fashion Moments in History" (https://en.vogue.me/fashion/10-historical-fashion-moments/) . Vogue Arabia . Retrieved 28 October 2021 . ^ (#cite_ref-harpers_20-0) Frost, Karie (30 January 2019). "Princess Margaret's iconic 21st birthday gown goes on display at the V&A's Dior exhibition" (https://www.harpersbazaar.com/uk/fashion/fashion-news/a26084601/princess-margaret-birthday-portrait-gown-dior-exhibition/) . Harper's Bazaar . ^ (#cite_ref-mol_21-0) Behlen, Beatrice. "Christian Dior, Princess Margaret & Cinderella" (https://www.museumoflondon.org.uk/discover/princess-margarets-cinderella-london-dior-dress) . Museum of London . Retrieved 28 October 2021 . ^ (#cite_ref-22) Groves, Nicholas (2005), The Academical Dress of the University of East Anglia , North Walsham (/wiki/North_Walsham) : The Burgon Society (/wiki/Burgon_Society) . ^ (#cite_ref-23) Beaton, Cecil (2003), Vickers, Hugo (ed.), The Unexpurgated Beaton Diaries , Orion Publishing Group, Limited, ISBN (/wiki/ISBN_(identifier)) 0-7538-1702-0 . ^ (#cite_ref-24) "Desert Island Discs – Sir Cecil Beaton – BBC Sounds" (https://www.bbc.co.uk/sounds/play/p009mwlh) . www.bbc.co.uk . Retrieved 6 August 2023 . ^ (#cite_ref-25) Vickers, Hugo (2002). Cecil Beaton . Phoenix Press. ISBN (/wiki/ISBN_(identifier)) 978-1842126134 . ^ (#cite_ref-26) Madame Jean Ralli (d.1977). Born in Athens. A childhood friend of Princess Marina of Greece and Denmark (/wiki/Princess_Marina_of_Greece_and_Denmark) . Later she worked for Christian Dior (/wiki/Christian_Dior) . ^ (#cite_ref-27) "Supplement to the London Gazette" (http://www.london-gazette.co.uk/issues/45554/supplements/1) . The London Gazette . 31 December 1971. ^ (#cite_ref-28) Zilkha, Bettina (2004). Ultimate Style – The Best of the Best Dressed List . Assouline. p. 116. ISBN (/wiki/ISBN_(identifier)) 2-84323-513-8 . ^ (#cite_ref-29) "BBC One – Antiques Roadshow, Series 34, Hever Castle 1" (https://www.bbc.co.uk/programmes/b0167sm4) . BBC . ^ (#cite_ref-30) "Cecil Beaton" (https://www.mcny.org/exhibition/cecil-beaton) . Museum of the City of New York . 25 October 2011 . Retrieved 25 April 2021 . ^ (#cite_ref-31) "Cecil Beaton: Theatre of War" (https://web.archive.org/web/20121103062412/http://www.iwm.org.uk/exhibitions/iwm-london/cecil-beaton-theatre-of-war) . Archived from the original (http://www.iwm.org.uk/exhibitions/iwm-london/cecil-beaton-theatre-of-war) on 3 November 2012. Further reading [ edit ] Beaton, Cecil Sir & Boddington, Jennie (/wiki/Jennie_Boddington) , 1922– & National Gallery of Victoria (1975). Cecil Beaton's camera. National Gallery of Victoria, Melbourne Spencer, Charles (1995). Cecil Beaton Stage and Film Designs . London: Academy Editions. ISBN (/wiki/ISBN_(identifier)) 1-85490-398-5 . Vickers, Hugo (1985). Cecil Beaton . New York: Donald I. Fine. ISBN (/wiki/ISBN_(identifier)) 1-55611-021-9 . Vickers, Hugo (2003). The Cecil Beaton Diaries, as They Were Written . New York. ISBN (/wiki/ISBN_(identifier)) 0-7538-1702-0 . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) Wild, Benjamin (2016). A Life in Fashion: The Wardrobe of Cecil Beaton . London. ISBN (/wiki/ISBN_(identifier)) 978-0500518335 . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) External links [ edit ] Wikimedia Commons has media related to Cecil Beaton (https://commons.wikimedia.org/wiki/Category:Cecil_Beaton) . Cecil Beaton (http://www.screenonline.org.uk/people/id/570903/) at the BFI (/wiki/British_Film_Institute) 's Screenonline (/wiki/Screenonline) Sir Cecil Beaton (https://www.fashionmodeldirectory.com/designers/sir-cecil-beaton/) at FMD (/wiki/Fashion_Model_Directory) Cecil Beaton (https://www.ibdb.com/broadway-cast-staff/24657) at the Internet Broadway Database (/wiki/Internet_Broadway_Database) Cecil Beaton (https://www.imdb.com/name/nm0064100/) at IMDb (/wiki/IMDb_(identifier)) Portraits of Cecil Beaton (https://www.npg.org.uk/collections/search/person.php?LinkID=mp05064) at the National Portrait Gallery, London (/wiki/National_Portrait_Gallery,_London) Theatre Archive University of Bristol (https://web.archive.org/web/20160303181858/http://www.bris.ac.uk/theatrecollection/search/people_sub_plays?forename=Cecil&surname=BEATON&job=Designer&pid=69&image_view=Yes&x=19&y=17) "Selection of photographs by Cecil Beaton" (http://www.vam.ac.uk/vastatic/microsites/photography/photographerframe.php?photographerid=ph009) . Victoria and Albert Museum (/wiki/Victoria_and_Albert_Museum) . 29 July 2015. Cecil Beaton textile designs designed in 1948 for Zika Ascher (https://web.archive.org/web/20100529000754/http://www.cecilbeatonfabrics.com/) Cecil Beaton (https://www.bbc.co.uk/programmes/p009mwlh) interview on BBC Radio 4 Desert Island Discs (/wiki/Desert_Island_Discs) , 1 February 1980 Archival resources [ edit ] Papers of Sir Cecil Beaton (http://janus.lib.cam.ac.uk/db/node.xsp?id=EAD%2FGBR%2F0275%2FBeaton) (1922–1980, 38 archival boxes) at St John's College, Cambridge (/wiki/St_John%27s_College,_Cambridge) Cecil Beaton Papers (http://findingaids.princeton.edu/collections/C1194/#description) (1938–1979, 1 archival box) at Princeton University Library (/wiki/Princeton_University_Library) Cecil Beaton Studio Archive (https://web.archive.org/web/20151018145035/http://www.sothebys.com/en/inside/services/picture-library/overview.html) at Sotheby's (/wiki/Sotheby%27s) Picture Library W.H. Crain Costume and Scene Design Collection (https://norman.hrc.utexas.edu/fasearch/findingAid.cfm?eadID=00150) at the Harry Ransom Center (/wiki/Harry_Ransom_Center) Awards for Cecil Beaton v t e Academy Award for Best Costume Design (/wiki/Academy_Award_for_Best_Costume_Design) 1948–1956 1948 (Black and white): Roger K. Furse (/wiki/Roger_K._Furse) / (Color): Dorothy Jeakins (/wiki/Dorothy_Jeakins) and Barbara Karinska (/wiki/Barbara_Karinska) 1949 (bw): Edith Head (/wiki/Edith_Head) and Gile Steele (/wiki/Gile_Steele) / (c): Marjorie Best (/wiki/Marjorie_Best) , Leah Rhodes (/wiki/Leah_Rhodes) and William Travilla (/wiki/William_Travilla) 1950 (bw): Edith Head (/wiki/Edith_Head) , Charles LeMaire (/wiki/Charles_LeMaire) / (c): Edith Head (/wiki/Edith_Head) , Dorothy Jeakins (/wiki/Dorothy_Jeakins) , Elois Jenssen (/wiki/Elois_Jenssen) , Gile Steele (/wiki/Gile_Steele) , Gwen Wakeling (/wiki/Gwen_Wakeling) 1951 (bw): Edith Head (/wiki/Edith_Head) /(c): Orry-Kelly (/wiki/Orry-Kelly) , Walter Plunkett (/wiki/Walter_Plunkett) , Irene Sharaff (/wiki/Irene_Sharaff) 1952 (bw): Helen Rose (/wiki/Helen_Rose) / (c): Marcel Vertès (/wiki/Marcel_Vert%C3%A8s) 1953 (bw): Edith Head (/wiki/Edith_Head) / (c): Charles LeMaire (/wiki/Charles_LeMaire) , Emile Santiago (/wiki/Emile_Santiago) 1954 (bw): Edith Head (/wiki/Edith_Head) / (c): Sanzo Wada (/wiki/Sanzo_Wada) 1955 (bw): Helen Rose (/wiki/Helen_Rose) / (c): Charles LeMaire (/wiki/Charles_LeMaire) 1956 (bw): Jean Louis (/wiki/Jean_Louis) / (c): Irene Sharaff (/wiki/Irene_Sharaff) 1957–1958 1957: Orry-Kelly (/wiki/Orry-Kelly) 1958: Cecil Beaton 1959–1960 1959 (bw): Orry-Kelly (/wiki/Orry-Kelly) / (c): Elizabeth Haffenden (/wiki/Elizabeth_Haffenden) 1960 (bw): Edith Head (/wiki/Edith_Head) and Edward Stevenson (/wiki/Edward_Stevenson_(costume_designer)) / (c): Bill Thomas (/wiki/Bill_Thomas_(costume_designer)) and Arlington Valles (/wiki/Arlington_Valles) 1961–1966 1961 (bw): Piero Gherardi (/wiki/Piero_Gherardi) / (c): Irene Sharaff (/wiki/Irene_Sharaff) 1962 (bw): Norma Koch (/wiki/Norma_Koch) / (c): Mary Wills (/wiki/Mary_Wills_(costume_designer)) 1963 (bw): Piero Gherardi (/wiki/Piero_Gherardi) / (c): Renié (/wiki/Reni%C3%A9) , Vittorio Nino Novarese (/wiki/Vittorio_Nino_Novarese) and Irene Sharaff (/wiki/Irene_Sharaff) 1964 (bw): Dorothy Jeakins (/wiki/Dorothy_Jeakins) / (c): Cecil Beaton 1965 (bw): Julie Harris (/wiki/Julie_Harris_(costume_designer)) / (c): Phyllis Dalton (/wiki/Phyllis_Dalton) 1966 (bw): Irene Sharaff (/wiki/Irene_Sharaff) / (c): Joan Bridge (/wiki/Joan_Bridge) and Elizabeth Haffenden (/wiki/Elizabeth_Haffenden) 1967–1980 1967: John Truscott (/wiki/John_Truscott) 1968: Danilo Donati (/wiki/Danilo_Donati) 1969: Margaret Furse (/wiki/Margaret_Furse) 1970: Vittorio Nino Novarese (/wiki/Vittorio_Nino_Novarese) 1971: Yvonne Blake (/wiki/Yvonne_Blake) and Antonio Castillo (/wiki/Antonio_Castillo_(costume_designer)) 1972: Anthony Powell (/wiki/Anthony_Powell_(designer)) 1973: Edith Head (/wiki/Edith_Head) 1974: Theoni V. Aldredge (/wiki/Theoni_V._Aldredge) 1975: Milena Canonero (/wiki/Milena_Canonero) and Ulla-Britt Söderlund (/wiki/Ulla-Britt_S%C3%B6derlund) 1976: Danilo Donati (/wiki/Danilo_Donati) 1977: John Mollo (/wiki/John_Mollo) 1978: Anthony Powell (/wiki/Anthony_Powell_(designer)) 1979: Albert Wolsky (/wiki/Albert_Wolsky) 1980: Anthony Powell (/wiki/Anthony_Powell_(designer)) 1981–2000 1981: Milena Canonero (/wiki/Milena_Canonero) 1982: Bhanu Athaiya (/wiki/Bhanu_Athaiya) and John Mollo (/wiki/John_Mollo) 1983: Marik Vos-Lundh (/wiki/Marik_Vos-Lundh) 1984: Theodor Pištěk (/wiki/Theodor_Pi%C5%A1t%C4%9Bk_(artist)) 1985: Emi Wada (/wiki/Emi_Wada) 1986: Jenny Beavan (/wiki/Jenny_Beavan) and John Bright (/wiki/John_Bright_(costume_designer)) 1987: James Acheson (/wiki/James_Acheson) 1988: James Acheson (/wiki/James_Acheson) 1989: Phyllis Dalton (/wiki/Phyllis_Dalton) 1990: Franca Squarciapino (/wiki/Franca_Squarciapino) 1991: Albert Wolsky (/wiki/Albert_Wolsky) 1992: Eiko Ishioka (/wiki/Eiko_Ishioka) 1993: Gabriella Pescucci (/wiki/Gabriella_Pescucci) 1994: Tim Chappel (/wiki/Tim_Chappel) and Lizzy Gardiner (/wiki/Lizzy_Gardiner) 1995: James Acheson (/wiki/James_Acheson) 1996: Ann Roth (/wiki/Ann_Roth) 1997: Deborah Lynn Scott (/wiki/Deborah_Lynn_Scott) 1998: Sandy Powell (/wiki/Sandy_Powell_(costume_designer)) 1999: Lindy Hemming (/wiki/Lindy_Hemming) 2000: Janty Yates (/wiki/Janty_Yates) 2001–2020 2001: Catherine Martin (/wiki/Catherine_Martin_(designer)) and Angus Strathie (/wiki/Angus_Strathie) 2002: Colleen Atwood (/wiki/Colleen_Atwood) 2003: Ngila Dickson (/wiki/Ngila_Dickson) and Richard Taylor (/wiki/Richard_Taylor_(filmmaker)) 2004: Sandy Powell (/wiki/Sandy_Powell_(costume_designer)) 2005: Colleen Atwood (/wiki/Colleen_Atwood) 2006: Milena Canonero (/wiki/Milena_Canonero) 2007: Alexandra Byrne (/wiki/Alexandra_Byrne) 2008: Michael O'Connor (/wiki/Michael_O%27Connor_(costume_designer)) 2009: Sandy Powell (/wiki/Sandy_Powell_(costume_designer)) 2010: Colleen Atwood (/wiki/Colleen_Atwood) 2011: Mark Bridges (/wiki/Mark_Bridges_(costume_designer)) 2012: Jacqueline Durran (/wiki/Jacqueline_Durran) 2013: Catherine Martin (/wiki/Catherine_Martin_(designer)) 2014: Milena Canonero (/wiki/Milena_Canonero) 2015: Jenny Beavan (/wiki/Jenny_Beavan) 2016: Colleen Atwood (/wiki/Colleen_Atwood) 2017: Mark Bridges (/wiki/Mark_Bridges_(costume_designer)) 2018: Ruth E. Carter (/wiki/Ruth_E._Carter) 2019: Jacqueline Durran (/wiki/Jacqueline_Durran) 2020: Ann Roth (/wiki/Ann_Roth) 2021–present 2021: Jenny Beavan (/wiki/Jenny_Beavan) 2022: Ruth E. Carter (/wiki/Ruth_E._Carter) 2023: Holly Waddington (/wiki/Holly_Waddington) Black and White / Color separate (1948–1956, 1959–1966) v t e Academy Award for Best Production Design (/wiki/Academy_Award_for_Best_Production_Design) 1927–1939 Interior Decoration 1927/1928: William Cameron Menzies (/wiki/William_Cameron_Menzies) 1929/1929: Cedric Gibbons (/wiki/Cedric_Gibbons) 1929/1930: Herman Rosse (/wiki/Herman_Rosse) 1930/1931: Max Rée (/wiki/Max_R%C3%A9e) 1931/1932: Gordon Wiles (/wiki/Gordon_Wiles) 1932/1933: William S. Darling (/wiki/William_S._Darling) 1934: Cedric Gibbons (/wiki/Cedric_Gibbons) , Fredric Hope (/wiki/Fredric_Hope) 1935: Richard Day (/wiki/Richard_Day_(art_director)) 1936: Richard Day (/wiki/Richard_Day_(art_director)) 1937: Stephen Goosson (/wiki/Stephen_Goosson) 1938: Carl Jules Weyl (/wiki/Carl_Jules_Weyl) 1939: Lyle R. Wheeler (/wiki/Lyle_R._Wheeler) 1940–1946 Black & White / Color separate 1940 (bw): Cedric Gibbons (/wiki/Cedric_Gibbons) , Paul Groesse (/wiki/Paul_Groesse) / (c): Vincent Korda (/wiki/Vincent_Korda) 1941 (bw): Richard Day (/wiki/Richard_Day_(art_director)) , Nathan Juran (/wiki/Nathan_Juran) , Thomas Little (/wiki/Thomas_Little) / (c): Cedric Gibbons (/wiki/Cedric_Gibbons) , Urie McCleary (/wiki/Urie_McCleary) , Edwin B. Willis (/wiki/Edwin_B._Willis) 1942 (bw): Richard Day (/wiki/Richard_Day_(art_director)) , Joseph C. Wright (/wiki/Joseph_C._Wright) , Thomas Little (/wiki/Thomas_Little) / (c): Richard Day (/wiki/Richard_Day_(art_director)) , Joseph C. Wright (/wiki/Joseph_C._Wright) , Thomas Little (/wiki/Thomas_Little) 1943 (bw): James Basevi (/wiki/James_Basevi) , William S. Darling (/wiki/William_S._Darling) , Thomas Little (/wiki/Thomas_Little) / (c): Alexander Golitzen (/wiki/Alexander_Golitzen) , John B. Goodman (/wiki/John_B._Goodman_(art_director)) , Russell A. Gausman (/wiki/Russell_A._Gausman) , Ira S. Webb (/wiki/Ira_S._Webb) 1944 (bw): Cedric Gibbons (/wiki/Cedric_Gibbons) , William Ferrari (/wiki/William_Ferrari) , Paul Huldschinsky (/wiki/Paul_Huldschinsky) , Edwin B. Willis (/wiki/Edwin_B._Willis) / (c): Wiard Ihnen (/wiki/Wiard_Ihnen) , Thomas Little (/wiki/Thomas_Little) 1945 (bw): Wiard Ihnen (/wiki/Wiard_Ihnen) , A. Roland Fields (/wiki/A._Roland_Fields) / (c): Hans Dreier (/wiki/Hans_Dreier) , Ernst Fegté (/wiki/Ernst_Fegt%C3%A9) , Samuel M. Comer (/wiki/Samuel_M._Comer) 1946 (bw): William S. Darling (/wiki/William_S._Darling) , Lyle R. Wheeler (/wiki/Lyle_R._Wheeler) , Thomas Little (/wiki/Thomas_Little) , Frank E. Hughes (/wiki/Frank_E._Hughes) / (c): Cedric Gibbons (/wiki/Cedric_Gibbons) , Paul Groesse (/wiki/Paul_Groesse) , Edwin B. Willis (/wiki/Edwin_B._Willis) 1947–1956 renamed Art Direction - Set Decoration Black & White / Color separate 1947 (bw): John Bryan (/wiki/John_Bryan_(art_director)) , Wilfred Shingleton (/wiki/Wilfred_Shingleton) / (c): Alfred Junge (/wiki/Alfred_Junge) 1948 (bw): Roger K. Furse (/wiki/Roger_K._Furse) , Carmen Dillon (/wiki/Carmen_Dillon) / (c): Hein Heckroth (/wiki/Hein_Heckroth) , Arthur Lawson (/wiki/Arthur_Lawson_(designer)) 1949 (bw): Harry Horner (/wiki/Harry_Horner) , John Meehan (/wiki/John_Meehan_(art_director)) , Emile Kuri (/wiki/Emile_Kuri) / (c): Cedric Gibbons (/wiki/Cedric_Gibbons) , Paul Groesse (/wiki/Paul_Groesse) , Edwin B. Willis (/wiki/Edwin_B._Willis) , Jack D. Moore (/wiki/Jack_D._Moore) 1950 (bw): Hans Dreier (/wiki/Hans_Dreier) , John Meehan (/wiki/John_Meehan_(art_director)) , Samuel M. Comer (/wiki/Samuel_M._Comer) , Ray Moyer (/wiki/Ray_Moyer) / (c): Hans Dreier (/wiki/Hans_Dreier) , Walter Tyler (/wiki/Walter_H._Tyler) , Samuel M. Comer (/wiki/Samuel_M._Comer) , Ray Moyer (/wiki/Ray_Moyer) 1951 (bw): Richard Day (/wiki/Richard_Day_(art_director)) , George James Hopkins (/wiki/George_James_Hopkins) / (c): Cedric Gibbons (/wiki/Cedric_Gibbons) , E. Preston Ames (/wiki/E._Preston_Ames) , Edwin B. Willis (/wiki/Edwin_B._Willis) , F. Keogh Gleason (/wiki/F._Keogh_Gleason) 1952 (bw): Cedric Gibbons (/wiki/Cedric_Gibbons) , Edward Carfagno (/wiki/Edward_Carfagno) , Edwin B. Willis (/wiki/Edwin_B._Willis) , F. Keogh Gleason (/wiki/F._Keogh_Gleason) /(c): Paul Sheriff (/wiki/Paul_Sheriff) , Marcel Vertès (/wiki/Marcel_Vert%C3%A8s) 1953 (bw): Cedric Gibbons (/wiki/Cedric_Gibbons) , Edward Carfagno (/wiki/Edward_Carfagno) , Edwin B. Willis (/wiki/Edwin_B._Willis) , Hugh Hunt (/wiki/Hugh_Hunt) / (c): Lyle R. Wheeler (/wiki/Lyle_R._Wheeler) , George Davis (/wiki/George_Davis_(art_director)) , Walter M. Scott (/wiki/Walter_M._Scott) , Paul S. Fox (/wiki/Paul_S._Fox) 1954 (bw): Richard Day (/wiki/Richard_Day_(art_director)) / (c): John Meehan (/wiki/John_Meehan_(art_director)) , Emile Kuri (/wiki/Emile_Kuri) 1955 (bw): Hal Pereira (/wiki/Hal_Pereira) , Tambi Larsen (/wiki/Tambi_Larsen) , Samuel M. Comer (/wiki/Samuel_M._Comer) , Arthur Krams (/wiki/Arthur_Krams) / (c): William Flannery (/wiki/William_Flannery) , Jo Mielziner (/wiki/Jo_Mielziner) , Robert Priestley (/wiki/Robert_Priestley) 1956 (bw): Cedric Gibbons (/wiki/Cedric_Gibbons) , Malcolm F. Brown (/wiki/Malcolm_Brown_(art_director)) , Edwin B. Willis (/wiki/Edwin_B._Willis) , F. Keogh Gleason (/wiki/F._Keogh_Gleason) / (c): Lyle R. Wheeler (/wiki/Lyle_R._Wheeler) , John DeCuir (/wiki/John_DeCuir) , Walter M. Scott (/wiki/Walter_M._Scott) , Paul S. Fox (/wiki/Paul_S._Fox) 1957–1958 1957: Ted Haworth (/wiki/Ted_Haworth) , Robert Priestley (/wiki/Robert_Priestley) 1958: William A. Horning (/wiki/William_A._Horning) , E. Preston Ames (/wiki/E._Preston_Ames) , Henry Grace (/wiki/Henry_Grace) , F. Keogh Gleason (/wiki/F._Keogh_Gleason) 1959–1966 Black & White / Color separate 1959 (bw): Lyle R. Wheeler (/wiki/Lyle_R._Wheeler) , George Davis (/wiki/George_Davis_(art_director)) , Walter M. Scott (/wiki/Walter_M._Scott) , Stuart A. Reiss (/wiki/Stuart_A._Reiss) / (c): William A. Horning (/wiki/William_A._Horning) ( posthumous award (/wiki/List_of_posthumous_Academy_Award_winners_and_nominees) ), Edward Carfagno (/wiki/Edward_Carfagno) , Hugh Hunt (/wiki/Hugh_Hunt) 1960 (bw): Alexandre Trauner (/wiki/Alexandre_Trauner) , Edward G. Boyle (/wiki/Edward_G._Boyle) /(c): Alexander Golitzen (/wiki/Alexander_Golitzen) , Eric Orbom (/wiki/Eric_Orbom) ( posthumous award (/wiki/List_of_posthumous_Academy_Award_winners_and_nominees) ), Russell A. Gausman (/wiki/Russell_A._Gausman) , Julia Heron (/wiki/Julia_Heron) 1961 (bw): Harry Horner (/wiki/Harry_Horner) , Gene Callahan (/wiki/Gene_Callahan) / (c): Boris Leven (/wiki/Boris_Leven) , Victor A. Gangelin (/wiki/Victor_A._Gangelin) 1962 (bw): Alexander Golitzen (/wiki/Alexander_Golitzen) , Henry Bumstead (/wiki/Henry_Bumstead) , Oliver Emert (/wiki/Oliver_Emert) /(c): John Box (/wiki/John_Box) , John Stoll (/wiki/John_Stoll) , Dario Simoni (/wiki/Dario_Simoni) 1963 (bw): Gene Callahan (/wiki/Gene_Callahan) / (c): John DeCuir (/wiki/John_DeCuir) , Jack Martin Smith (/wiki/Jack_Martin_Smith) , Hilyard M. Brown (/wiki/Hilyard_M._Brown) , Herman A. Blumenthal (/wiki/Herman_A._Blumenthal) , Elven Webb (/wiki/Elven_Webb) , Maurice Pelling (/wiki/Maurice_Pelling) , Boris Juraga (/wiki/Boris_Juraga) , Walter M. Scott (/wiki/Walter_M._Scott) , Paul S. Fox (/wiki/Paul_S._Fox) , Ray Moyer (/wiki/Ray_Moyer) 1964 (bw): Vassilis Photopoulos (/wiki/Vassilis_Photopoulos) /(c): Gene Allen (/wiki/Gene_Allen_(art_director)) , Cecil Beaton , George James Hopkins (/wiki/George_James_Hopkins) 1965 (bw): Robert Clatworthy (/wiki/Robert_Clatworthy_(art_director)) , Joseph Kish (/wiki/Joseph_Kish) /(c): John Box (/wiki/John_Box) , Terence Marsh (/wiki/Terence_Marsh) , Dario Simoni (/wiki/Dario_Simoni) 1966 (bw): Richard Sylbert (/wiki/Richard_Sylbert) , George James Hopkins (/wiki/George_James_Hopkins) / (c): Jack Martin Smith (/wiki/Jack_Martin_Smith) , Dale Hennesy (/wiki/Dale_Hennesy) , Walter M. Scott (/wiki/Walter_M._Scott) , Stuart A. Reiss (/wiki/Stuart_A._Reiss) 1967–1980 1967: John Truscott (/wiki/John_Truscott) , Edward Carrere (/wiki/Edward_Carrere) , John W. Brown (/wiki/John_W._Brown_(set_decorator)) 1968: John Box (/wiki/John_Box) , Terence Marsh (/wiki/Terence_Marsh) , Vernon Dixon (/wiki/Vernon_Dixon) , Ken Muggleston (/wiki/Ken_Muggleston) 1969: John DeCuir (/wiki/John_DeCuir) , Jack Martin Smith (/wiki/Jack_Martin_Smith) , Herman A. Blumenthal (/wiki/Herman_A._Blumenthal) , Walter M. Scott (/wiki/Walter_M._Scott) , George James Hopkins (/wiki/George_James_Hopkins) , Raphaël Bretton (/wiki/Rapha%C3%ABl_Bretton) 1970: Urie McCleary (/wiki/Urie_McCleary) , Gil Parrondo (/wiki/Gil_Parrondo) , Antonio Mateos (/wiki/Antonio_Mateos) , Pierre-Louis Thévenet (/wiki/Pierre-Louis_Th%C3%A9venet) 1971: John Box (/wiki/John_Box) , Ernest Archer (/wiki/Ernest_Archer_(art_director)) , Jack Maxsted (/wiki/Jack_Maxsted) , Gil Parrondo (/wiki/Gil_Parrondo) , Vernon Dixon (/wiki/Vernon_Dixon) 1972: Rolf Zehetbauer (/wiki/Rolf_Zehetbauer) , Jurgen Kiebach (/wiki/Hans_J%C3%BCrgen_Kiebach) , Herbert Strabel (/wiki/Herbert_Strabel) 1973: Henry Bumstead (/wiki/Henry_Bumstead) , James W. Payne (/wiki/James_W._Payne) 1974: Dean Tavoularis (/wiki/Dean_Tavoularis) , Angelo P. Graham (/wiki/Angelo_P._Graham) , George R. Nelson (/wiki/George_R._Nelson) 1975: Ken Adam (/wiki/Ken_Adam) , Roy Walker (/wiki/Roy_Walker_(production_designer)) , Vernon Dixon (/wiki/Vernon_Dixon) 1976: George C. Jenkins (/wiki/George_C._Jenkins) , George Gaines (/wiki/George_Gaines_(set_decorator)) 1977: John Barry (/wiki/John_Barry_(set_designer)) , Norman Reynolds (/wiki/Norman_Reynolds) , Leslie Dilley (/wiki/Leslie_Dilley) , Roger Christian (/wiki/Roger_Christian_(filmmaker)) 1978: Paul Sylbert (/wiki/Paul_Sylbert) , Edwin O'Donovan (/wiki/Edwin_O%27Donovan) , George Gaines (/wiki/George_Gaines_(set_decorator)) 1979: Philip Rosenberg (/wiki/Philip_Rosenberg) , Tony Walton (/wiki/Tony_Walton) , Edward Stewart (/wiki/Edward_Stewart_(set_decorator)) , Gary J. Brink (/wiki/Gary_J._Brink) 1980: Pierre Guffroy (/wiki/Pierre_Guffroy) , Jack Stephens (/wiki/Jack_Stephens_(set_decorator)) 1981–2000 1981: Norman Reynolds (/wiki/Norman_Reynolds) , Leslie Dilley (/wiki/Leslie_Dilley) ; Michael D. Ford (/wiki/Michael_D._Ford) (set) 1982: Stuart Craig (/wiki/Stuart_Craig) , Robert W. Laing (/wiki/Robert_W._Laing) ; Michael Seirton (/wiki/Michael_Seirton) (set) 1983: Anna Asp (/wiki/Anna_Asp) 1984: Patrizia von Brandenstein (/wiki/Patrizia_von_Brandenstein) ; Karel Černý (/wiki/Karel_%C4%8Cern%C3%BD_(art_director)) (set) 1985: Stephen B. Grimes (/wiki/Stephen_B._Grimes) ; Josie MacAvin (/wiki/Josie_MacAvin) (set) 1986: Gianni Quaranta (/wiki/Gianni_Quaranta) , Brian Ackland-Snow (/wiki/Brian_Ackland-Snow) ; Brian Savegar (/wiki/Brian_Savegar) , Elio Altramura (/wiki/Elio_Altramura) (set) 1987: Ferdinando Scarfiotti (/wiki/Ferdinando_Scarfiotti) ; Bruno Cesari (/wiki/Bruno_Cesari) , Osvaldo Desideri (/wiki/Osvaldo_Desideri) (set) 1988: Stuart Craig (/wiki/Stuart_Craig) ; Gérard James (/wiki/G%C3%A9rard_James) (set) 1989: Anton Furst (/wiki/Anton_Furst) ; Peter Young (/wiki/Peter_Young_(set_decorator)) (set) 1990: Richard Sylbert (/wiki/Richard_Sylbert) (art); Rick Simpson (/wiki/Rick_Simpson) (set) 1991: Dennis Gassner (/wiki/Dennis_Gassner) (art); Nancy Haigh (/wiki/Nancy_Haigh) (set) 1992: Luciana Arrighi (/wiki/Luciana_Arrighi) (art); Ian Whittaker (/wiki/Ian_Whittaker) (set) 1993: Allan Starski (/wiki/Allan_Starski) (art); Ewa Braun (/wiki/Ewa_Braun) (set) 1994: Ken Adam (/wiki/Ken_Adam) (art); Carolyn Scott (/wiki/Carolyn_Scott) (set) 1995: Eugenio Zanetti (/wiki/Eugenio_Zanetti) (art) 1996: Stuart Craig (/wiki/Stuart_Craig) (art); Stephenie McMillan (/wiki/Stephenie_McMillan) (set) 1997: Peter Lamont (/wiki/Peter_Lamont) (art); Michael D. 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Indonesian cloth dyeing technique For other uses, see Batik (disambiguation) (/wiki/Batik_(disambiguation)) . Batik Batik from Surakarta (/wiki/Surakarta) in Central Java (/wiki/Central_Java) province in Indonesia; before 1997 Type Art fabric Material Cambrics (/wiki/Cambrics) , silk (/wiki/Silk) , cotton (/wiki/Cotton) Place of origin Indonesia (/wiki/Indonesia) [1] (#cite_note-UNESCO-1) [2] (#cite_note-Batik-2) [3] (#cite_note-BG-What_is_Batik?-3) Indonesian Batik UNESCO Intangible Cultural Heritage (/wiki/UNESCO_Intangible_Cultural_Heritage_Lists) Batik craftswomen in Java (/wiki/Java) drawing intricate patterns using canting (/wiki/Canting) and wax (/wiki/Wax) that are kept hot and liquid in a small heated pan, on 27 July 2011 Country Indonesia (/wiki/Indonesia) Domains Traditional craftsmanship, oral traditions and expressions, social practices, rituals and festive events Reference 00170 (https://ich.unesco.org/en/RL/00170) Region Asia and the Pacific (/wiki/Template:UNESCO_Representative_List_of_the_Intangible_Cultural_Heritage_of_Humanity/APA) Inscription history Inscription 2009 (4th session) List (/wiki/Masterpieces_of_the_Oral_and_Intangible_Heritage_of_Humanity) Representative Written batik ( batik tulis ) and stamped batik ( batik cap ) Education and training in Indonesian Batik [a] (#cite_note-4) UNESCO Intangible Cultural Heritage (/wiki/UNESCO_Intangible_Cultural_Heritage_Lists) Museum Batik Pekalongan (/wiki/Pekalongan) , Central Java (/wiki/Central_Java) Country Indonesia (/wiki/Indonesia) Domains Traditional craftsmanship, oral traditions and expressions, social practices, rituals and festive events Reference 00318 (https://ich.unesco.org/en/RL/00318) Region Asia and the Pacific (/wiki/Template:UNESCO_Representative_List_of_the_Intangible_Cultural_Heritage_of_Humanity/APA) Inscription history Inscription 2009 (4th session) List (/wiki/Masterpieces_of_the_Oral_and_Intangible_Heritage_of_Humanity) Good Safeguarding Practices This article contains letters from the Javanese script (/wiki/Javanese_script) . Without proper rendering support (/wiki/Help:Multilingual_support#Javanese) , you may see question marks, boxes, or other symbols (/wiki/Specials_(Unicode_block)#Replacement_character) instead of Javanese characters. Batik [b] (#cite_note-5) is an Indonesian (/wiki/National_costume_of_Indonesia) technique of wax-resist (/wiki/Resist_dyeing) dyeing (/wiki/Dye) applied to the whole cloth. [1] (#cite_note-UNESCO-1) [4] (#cite_note-6) [2] (#cite_note-Batik-2) [5] (#cite_note-Robert_Pore-7) [6] (#cite_note-Sucheta_Rawal-8) This technique originated from the island of Java (/wiki/Java) , Indonesia (/wiki/Indonesia) . [3] (#cite_note-BG-What_is_Batik?-3) Batik is made either by drawing dots and lines of wax with a spouted tool called a canting (/wiki/Canting) , [c] (#cite_note-9) or by printing the wax with a copper (/wiki/Copper) stamp called a cap . [d] (#cite_note-10) [7] (#cite_note-JP-Life-Batik-11) The applied wax resists dyes and therefore allows the artisan to colour selectively by soaking the cloth in one colour, removing the wax with boiling water, and repeating if multiple colours are desired. [3] (#cite_note-BG-What_is_Batik?-3) Indonesian coastal batik ( batik pesisir ) made in the island of Java (/wiki/Java) has a history of acculturation (/wiki/Acculturation) , a mixture of native and foreign cultures. [8] (#cite_note-br-12) It is a newer model compared to inland batik, and it uses more colors, though the patterns are less intricate. This is because inland batik used to be made by select experts living in palace areas, while coastal batik can be made by anyone. [ citation needed ] Batik is very important to Indonesians and many people wear it to formal or casual events. Batik is commonly used by Indonesians (/wiki/Indonesian_people) in various rituals, ceremonies, traditions, celebrations, and even in daily uses. [9] (#cite_note-Rebecca_Shamasundari-13) On October 2, 2009, UNESCO (/wiki/UNESCO) officially recognized the batik—written batik ( batik tulis ) and stamped batik ( batik cap )—as a Masterpiece of Oral and Intangible Heritage of Humanity (/wiki/Masterpieces_of_the_Oral_and_Intangible_Heritage_of_Humanity) from Indonesia (/wiki/Indonesia) , and encouraged the Indonesian people and the Indonesian government to safeguard, transmit, promote, and develop the craftsmanship of batik. [1] (#cite_note-UNESCO-1) Since then, Indonesia celebrates " the National Batik Day (/wiki/Batik_Day) " ( Indonesian (/wiki/Indonesian_language) : Hari Batik Nasional ) annually on October 2. Nowadays, Indonesians wear batik in honor of this ancient tradition. [9] (#cite_note-Rebecca_Shamasundari-13) In the same year, UNESCO (/wiki/UNESCO) also recognized "Education and training in Indonesian Batik intangible cultural heritage for elementary, junior, senior, vocational school and polytechnic students, in collaboration with the Batik Museum in Pekalongan (/wiki/Pekalongan) " as a Masterpiece of Oral and Intangible Heritage of Humanity (/wiki/Masterpieces_of_the_Oral_and_Intangible_Heritage_of_Humanity) in the Register of Good Safeguarding Practices List. [10] (#cite_note-14) Etymology [ edit ] The word batik is Javanese (/wiki/Javanese_language) in origin. The word bathikan also means "drawing" or "writing" in Javanese. [11] (#cite_note-15) When the word is absorbed to Indonesian (/wiki/Indonesian_language) , the " th (/wiki/Voiceless_retroflex_plosive) -" sound is reduced (/wiki/Lenition) to a " t (/wiki/Voiceless_alveolar_plosive) - " sound more pronounceable to non-Javanese speakers. The word batik is first recorded in English (/wiki/English_language) in the Encyclopædia Britannica (/wiki/Encyclop%C3%A6dia_Britannica) of 1880, in which it is spelled as battik . It is attested in the Indonesian Archipelago (/wiki/Indonesian_Archipelago) during the Dutch (/wiki/Netherlands) colonial period in various forms such as mbatik , mbatek , batik and batek . [12] (#cite_note-16) [13] (#cite_note-17) [14] (#cite_note-18) Batik known as euyeuk in Sundanese (/wiki/Sundanese_language) , cloth can be processed into a form of batik by a pangeyeuk ( batik maker). [15] (#cite_note-19) History [ edit ] Jlamprang or ceplok batik motif of clothes of 13th-century East Javanese (/wiki/East_Java) Prajnaparamita (/wiki/Prajnaparamita_of_Java) statue resembles batik, National Museum of Indonesia (/wiki/National_Museum_of_Indonesia) , Jakarta (/wiki/Jakarta) Batik is an ancient fabric wax-resist dyeing tradition of Java (/wiki/Java) , Indonesia (/wiki/Indonesia) . [16] (#cite_note-20) The art of batik is most highly developed and some of the best batiks in the world still made there. In Java, all the materials for the process are readily available—cotton and beeswax and plants from which different vegetable dyes are made. [17] (#cite_note-BGJava-21) Indonesian batik predates written records: G. P. Rouffaer argues that the technique might have been introduced during the 6th or 7th century from India or Sri Lanka. [18] (#cite_note-ReferenceA-22) On the other hand, the Dutch archaeologist J.L.A. Brandes and the Indonesian archaeologist F.A. Sutjipto believe Indonesian batik is a native (/wiki/Pribumi) tradition, since several regions in Indonesia such as Toraja (/wiki/Toraja) , Flores (/wiki/Flores) , and Halmahera (/wiki/Halmahera) which were not directly influenced by Hinduism (/wiki/Hinduism) , have attested batik making tradition as well. [19] (#cite_note-books.google.com.my-23) The existence of the oldest Batik activities came from Ponorogo (/wiki/Ponorogo) which was still called Wengker before the 7th century, the Kingdom in Central Java learned batik from Ponorogo. Because of this, Ponorogo batik is somewhat similar to batik circulating in Central Java, except that the batik produced by Ponorogo is generally dark black or commonly called batik irengan because it is close to magical elements so that it was developed by the kingdoms in Central Java and Yogyakarta. [20] (#cite_note-Batik_Jawa_Timuran-24) Pre-1867 Javanese batik probably from the Semarang (/wiki/Semarang) workshop owned by Carolina Josephina von Franquemont (1817–1867). This sarong (/wiki/Sarong) was purchased by the King of Siam (/wiki/King_of_Siam) during a state visit (/wiki/State_visit) , most likely c. 1871 . There are few surviving pieces of 19th-century commercial batik wearing-apparel. Based on the contents of the Sundanese Manuscript, Sundanese people (/wiki/Sundanese_people) have known about Batik since the 12th century. Based on ancient Sundanese manuscript Sanghyang Siksa Kandang Karesian (/wiki/Sanghyang_Siksa_Kandang_Karesian) written 1518 AD, it is recorded that Sundanese having batik which is identical and representative of Sundanese culture in general. Several motif are even noted in the text, based on those data sources the process of Batik Sundanese creation begins step by step. [21] (#cite_note-25) Rouffaer reported that the gringsing pattern was already known by the 12th century in Kediri (/wiki/Kediri_(historical_kingdom)) , East Java (/wiki/East_Java) . He concluded that this delicate pattern could be created only by using the canting (/wiki/Canting) , an etching tool that holds a small reservoir of hot wax invented in Java around that time. [19] (#cite_note-books.google.com.my-23) The carving details of clothes worn by East Javanese Prajnaparamita (/wiki/Prajnaparamita_of_Java) statues from around the 13th century show intricate floral patterns within rounded margins, similar to today's traditional Javanese jlamprang or ceplok batik motif. [22] (#cite_note-26) [ better source needed ] The motif is thought to represent the lotus (/wiki/Nelumbo_nucifera) , a sacred flower in Hindu-Buddhist beliefs. This evidence suggests that intricate batik fabric patterns applied with the canting existed in 13th-century Java or even earlier. [23] (#cite_note-Volkenkunde-27) By the last quarter of the 13th century, the batik cloth from Java has been exported to Karimata islands (/wiki/Karimata_Islands) , Siam (/wiki/Thailand) , even as far as Mosul (/wiki/Mosul) . [24] (#cite_note-28) [ page needed ] In Europe (/wiki/Europe) , the technique was described for the first time in the "History of Java", published in London in 1817 by Stamford Raffles (/wiki/Stamford_Raffles) , who had been a British governor of Bengkulu (/wiki/Bengkulu) , Sumatra (/wiki/Sumatra) . In 1873 the Dutch merchant Van Rijckevorsel (/wiki/Van_Rijckevorsel) gave the pieces he collected during a trip to Indonesia to the ethnographic museum in Rotterdam (/wiki/Rotterdam) . Today the Tropenmuseum (/wiki/Tropenmuseum) houses the biggest collection of Indonesian batik in the Netherlands (/wiki/Netherlands) . Displayed at the Exposition Universelle (/wiki/Exposition_Universelle_(1900)) at Paris in 1900, the Indonesian batik impressed the public and artists. [18] (#cite_note-ReferenceA-22) The Dutch Indo Europeans and Chinese settlers were active in developing batik, particularly coastal batik, in the late colonial era. They introduced new patterns as well as the use of the cap (copper block stamps) to mass-produce batiks. Between 1811 and 1946, there was a breed of batik known as Batik Belanda. Which was basically a batik industry ran by the Indo Europeans in the East Indies. The patterns and styles reflected European style and taste with a fusion of local indigenous culture. It was quite successful, as such several prominent batik ateliers appeared and was exported to Singapore, and the Netherlands. The industry itself collapsed after WW II and the Indonesian independence. [25] (#cite_note-artnouveau.eu-29) In the 1920s, Javanese batik makers migrating to Malay Peninsula (/wiki/Malay_Peninsula) (present-day Malaysia (/wiki/Malaysia) , South Thailand (/wiki/South_Thailand) , and southern tip of Myanmar (/wiki/Myanmar) ) introduced the use of wax and copper blocks to its east coast. [26] (#cite_note-30) In Subsaharan Africa (/wiki/Subsaharan_Africa) , Javanese batik was introduced in the 19th century by Dutch and English merchants and batik makers. The local people there adapted the Javanese batik, making larger motifs with thicker lines and more colours. Locally it is known as African wax prints (/wiki/African_wax_prints) or Dutch wax prints. In the 1970s, batik was introduced to Australia (/wiki/Australia) , where aboriginal artists at Erna Bella have developed it as their own craft. [27] (#cite_note-31) In Africa (/wiki/Africa) , it was originally practised by the Yoruba (/wiki/Yoruba_people) tribe in Nigeria (/wiki/Nigeria) , Soninke (/wiki/Soninke_people) and Wolof (/wiki/Wolof_people) in Senegal. [18] (#cite_note-ReferenceA-22) This African version, however, uses cassava (/wiki/Cassava) starch or rice paste, or mud as a resist instead of beeswax (/wiki/Beeswax) . [28] (#cite_note-BGAfrica-32) Some ancient Indonesian statues that use batik motifs Kawung batik motif on Mahakala statue, from temple at Singhasari (/wiki/Singhasari) , East Java (/wiki/East_Java) , 1275–1300 Kawung batik motif on Nandishvara statue (foreground, 13th century) Batik motif on Durga Mahishasuramardini statue, Singhasari, 1275–1300 Techniques [ edit ] Written batik ( batik tulis ), drawing patterns with wax using canting in Java (/wiki/Java) Initially, batik making techniques only used "written batik" ( batik tulis ) techniques. This batik tulis is known as the original batik from generation to generation from the Indonesian nation's ancestors because the process and workmanship are still very traditional and manual. Then the technique developed with the discovery of the stamped batik ( batik cap ) technique which made batik work faster. The batik tulis and batik cap techniques are recognized by UNESCO (/wiki/UNESCO) as a Masterpiece of Oral and Intangible Heritage of Humanity (/wiki/Masterpiece_of_Oral_and_Intangible_Heritage_of_Humanity) from Indonesia (/wiki/Indonesia) because it still uses waxes in the making process. [1] (#cite_note-UNESCO-1) Written batik ( batik tulis ) [ edit ] See also: Canting (/wiki/Canting) Written batik or batik tulis ( Javanese script (/wiki/Javanese_script) : ꦧꦠꦶꦏ꧀ꦠꦸꦭꦶꦱ꧀; Pegon (/wiki/Pegon_script) : باتيق توليس) is made by writing wax liquid on the surface of the cloth with a tool called canting . Canting made of copper with a handle made of bamboo or wood. The making of hand-written batik takes approximately 1–3 months depending on the complexity and detail of batik. Because the working techniques are still traditional and manual, making hand-written batik takes longer and is more complicated than other batik techniques. In addition, the fundamental difference between written batik compared to other batik is that there are differences in each pattern, for example, a number of points or curved lines that are not the same because they are made manually. This characteristic of hand-written batik makes hand-written batik more valuable and unique compared to other batiks. [29] (#cite_note-the_batik-33) [ better source needed ] Stamped batik ( batik cap ), stamp wax-resin resist for batik with a cap tool in Java (/wiki/Java) Written batik technique is the most complicated, smooth, and longest process to work with, so a piece of original batik tulis cloth is usually sold at a higher price. However, this is the advantage of batik with the written process, which is more exclusive because it is purely handmade. In Indonesia, premium hand-written batik clothes are usually only worn by certain people at special events, in the form of long-sleeved shirts or modern batik dresses. The batik motif in Indonesia has developed depending on its history and place of origin. [30] (#cite_note-jnjbatik-34) [ better source needed ] Stamped batik ( batik cap ) [ edit ] Stamped batik or batik cap (Javanese script: ꦧꦠꦶꦏ꧀ꦕꦥ꧀; Pegon: باتيق چڤ) is batik whose manufacturing process uses a stamp tool. This stamp tool is made of copper plates which form a batik motif on one of its surfaces. Stamp tool or canting cap is made by people who are experts in that field. Making batik with cap works the same way as using a stamp, but using waxes, not ink. This experience process is not easy to do. To make one piece of batik cloth, the process of deepening is carried out several times depending on the number of colors desired. [29] (#cite_note-the_batik-33) Cap is used to replacing the canting function so that it can shorten the manufacturing time. Batik cap is produced from the process of dyeing a tool made of copper which has been shaped in such a way on the cloth. The batik cap motif is considered to have less artistic value because all the motifs are exactly the same. The price of printed batik is cheaper than written batik because it can be made en masse. [31] (#cite_note-Muchlisin_Riadi-35) [ better source needed ] Painted batik ( batik lukis ): a woman is making batik with a Rangda (/wiki/Rangda) motif by using a brush. The distinctive feature of batik cap can be seen from the repeating pattern and/or ornament motif. Historically, this batik cap process was discovered and popularized by the brethren as a solution to the limited capacity of batik production if it was only processed with hand-written techniques ( batik tulis ). The process of making this type of batik takes approximately 2–3 days. The advantages of batik cap are easier, faster batik processing, and the most striking of which is the more neat and repetitive motifs. While the drawbacks of batik cap include the mainstream design because it usually goes into mass production, in terms of art it looks stiffer and the motifs are not too detailed, and what is certain is the possibility of having the same batik as other people is greater. [30] (#cite_note-jnjbatik-34) [ better source needed ] Painted batik ( batik lukis ) [ edit ] Indonesian Batik painting representing Rama-Sinta wayang (/wiki/Wayang) figures Painted batik, batik painting, or batik lukis (Javanese script: ꦧꦠꦶꦏ꧀ꦭꦸꦏꦶꦱ꧀; Pegon: باتيق لوكيس) is a technique of making batik by painting (with or without a pattern) on a white cloth using a medium or a combined medium like canting , brush, banana stalk, broomsticks, cotton, toothpicks, patchwork, or other media depending on the expression of a painter. Batik painting is the result of the development of batik art. The essence of batik painting is the process of making batik that does not use traditional motifs that are commonly found. The resulting motifs are the creation of the maker, usually producing contemporary (free) motifs or patterns with brighter, more striking colors, and more diverse color variations. The coloring in painted batik tends to be free and plays with many colors that are not often found in written batik ( batik tulis ). There are also gradation effects and other painting effects. The drawings are made as if painted batik is an ordinary painting poured on cloth using wax as the medium. [32] (#cite_note-Nafiun-36) In principle, painted batik is almost the same way with written batik in the making process. Because of the development of classic written batik, painted batik still contains the same elements as written batik in the aspects of materials, processing, coloring, and highlighting (removing the wax). But there are also many differences due to the influence of modern painting, such as in terms of appearance, especially in motifs and colors. The most important thing in making painted batik is the combination of the batik work and coloring depending on the taste of the batik maker. Painted batik is popular because it has a very affordable price and a very creative manufacturing process. Painted batik can be used as decoration or ready-to-wear clothing (fashion). Painted batik which has human objects, landscapes, still objects, and other objects, are in high demand for display paintings. [33] (#cite_note-Fitinline-37) [ better source needed ] Making process [ edit ] The making of Indonesian batik is a labor-intensive process. [5] (#cite_note-Robert_Pore-7) The following are the stages in the process of making the original batik tulis cloth from the first steps to the last process: nyungging , njaplak , nglowong , ngiseni , nyolet , mopok , nembok , ngelir , nembok , the first nglorod , ngrentesi , nyumri , nyoja , and the second nglorod . [34] (#cite_note-wirawanbatik-38) [ better source needed ] [35] (#cite_note-kompas-39) [ better source needed ] Firstly, a cloth is washed, soaked, and beaten with a large mallet. Patterns are drawn with pencil and later redrawn using hot wax, usually made from a mixture of paraffin (/wiki/Alkane) or beeswax (/wiki/Beeswax) , sometimes mixed with plant resins, which functions as a dye-resist. The wax can be applied with a variety of tools. A pen-like instrument called a canting (/wiki/Canting) ( Javanese pronunciation: [tʃantiŋ] (/wiki/Help:IPA) , sometimes spelled with old Dutch orthography (/wiki/Van_Ophuijsen_Spelling_System) tjanting ) is the most common. A canting is made from a small copper reservoir with a spout on a wooden handle. The reservoir holds the resist which flows through the spout, creating dots and lines as it moves. For larger patterns, a stiff brush may be used. [36] (#cite_note-rita-40) Alternatively, a copper block stamp called a cap ( Javanese pronunciation: [tʃap] (/wiki/Help:IPA) ; old spelling tjap ) is used to cover large areas more efficiently. [37] (#cite_note-41) [ citation needed ] After the cloth is dry, the resist is removed by boiling or scraping the cloth. The areas treated with resist keep their original colour; when the resist is removed the contrast between the dyed and undyed areas forms the pattern. [38] (#cite_note-charan-42) [ better source needed ] This process is repeated as many times as the number of colours desired. The most traditional type of batik, called written batik ( batik tulis ), is drawn using only the canting . The cloth needs to be drawn on both sides and dipped in a dye bath three to four times. The whole process may take up to a year; it yields considerably finer patterns than stamped batik ( batik cap ). Batik making process Initial pattern drawn with a pencil Processing "nembok", traditional way to make batik tulis (handmade batik) Batik craftswomen in Java handmarking resist on batik tulis cloth with canting Selection of cap copper printing blocks with traditional batik patterns Applying waxes using cap (copper plate stamps) Dyeing the cloth in colour Two Javanese (/wiki/Javanese_people) women making batik cloths in a village in Java (/wiki/Java) , between 1870 and 1900 Portrait of Javanese women making batik in Java, between 1870 and 1900 Culture [ edit ] Batik is an ancient cultural element that is widespread in Indonesia. Making batik, in the sense of written batik, is not only a physical activity but has a deep dimension that contains prayer, hope, and lessons. [39] (#cite_note-kemdikbud-43) Batik motifs in ancient Javanese society have a symbolic meaning and can be used as a means of communication for ancient Javanese people. The ancient Javanese community realized that through batik motifs the social stratification of society could be identified. [40] (#cite_note-unnes.ac.id-44) Many Indonesian batik patterns are symbolic. Infants are carried in batik slings decorated with symbols designed to bring the child luck, and certain batik designs are reserved for brides and bridegrooms, as well as their families. [41] (#cite_note-unesco.org-45) Batik garments play a central role in certain Javanese rituals, such as the ceremonial casting of royal batik into a volcano. In the Javanese naloni mitoni ceremony, the mother-to-be is wrapped in seven layers of batik, wishing her good things. Batik is also prominent in the tedak siten ceremony when a child touches the earth for the first time. [42] (#cite_note-batik_days-46) Specific pattern requirement are often reserved for traditional and ceremonial contexts. [43] (#cite_note-thejakartapost.com-47) Batik in 19th century Java A Javanese man in court dress, from The History of Java (/wiki/The_History_of_Java) by Thomas Stamford Raffles (/wiki/Thomas_Stamford_Raffles) (1817) A Javanese chief, in his ordinary dress, from The History of Java by Thomas Stamford Raffles (1817) A Javanese man in war dress, from The History of Java by Thomas Stamford Raffles (1817) A Javanese man of the lower class, from The History of Java by Thomas Stamford Raffles (1817) A Javanese ronggeng (/wiki/Ronggeng) dancer, from The History of Java by Thomas Stamford Raffles (1817) Traditional costume in the Javanese royal palace [ edit ] Batik is the traditional costume of the royal and aristocratic families in Java (/wiki/Java) for many centuries until now. The use of batik is still sustainable and is a mandatory traditional dress in the rules of the Javanese palaces to this day. Initially, the tradition of making batik was considered a tradition that could only be practiced in the palace and was designated as the clothes of the king, family, and their followers, thus becoming a symbol of Javanese feudalism. Because many of the king's followers lived outside the palace, this batik art was brought by them outside the palace and carried out in their respective places. The batik motifs of each social class are differentiated according to social strata and nobility in the palace. [44] (#cite_note-Government_of_West_Java-48) The motifs of the Parang Rusak , semen gedhe , kawung , and udan riris are the batik motifs used by the aristocrats and courtiers in garebeg (/wiki/Sekaten) ceremonies, pasowanan , and welcoming honor guests. During the colonial era, Javanese courts (/wiki/Kraton_(Indonesia)) issued decrees that dictated certain patterns to be worn according to a person's rank and class within the society. Sultan Hamengkubuwono VII (/wiki/Hamengkubuwono_VII) , who ruled the Yogyakarta Sultanate (/wiki/Yogyakarta_Sultanate) from 1921 to 1939, reserved several patterns such as the Parang Rusak and Semen Agung for members of the Yogyakartan royalties and restricted commoners from wearing them. [45] (#cite_note-49) Sultan Hamengkubuwono VI (/wiki/Hamengkubuwono_VI) , King of Yogyakarta Sultanate (/wiki/Yogyakarta_Sultanate) (1855–1877), dressed in royal majesty attire (batik) Pakubuwono X (/wiki/Pakubuwono_X) , the King of Surakarta Sunanate (/wiki/Surakarta_Sunanate) in kain batik, c. 1910 The Ratoe Kedaton wearing batik, the head wife of Hamengkubuwono V (/wiki/Hamengkubuwono_V) of Kraton Ngayogyakarta Hadiningrat (/wiki/Kraton_Ngayogyakarta_Hadiningrat) , c. 1865 Princes (/wiki/Princes) and princess (/wiki/Princess) wearing batik of Kraton Ngayogyakarta Hadiningrat (/wiki/Kraton_Ngayogyakarta_Hadiningrat) , c. 1870 Traditional dance costumes [ edit ] Batik is used for traditional dance performances in Java. Costume is one of the main things in presenting traditional Javanese dance (/wiki/Javanese_dance) . Kemben (/wiki/Kemben) is a piece of cloth worn from the chest to the waist. Tapih is used to fasten the jarit of the dancers, it is decorated with a distinctive batik motif, and fastened with a stagen belt. Sampur is used by wrapping them around the dancer's body. This cloth is also known as Kancrik Prade which is usually dominated by yellow or red. Jarit is a subordinate, uses a long batik cloth. [46] (#cite_note-Tari_Tradisional-50) [ better source needed ] Some examples of Javanese dances include Bedhaya (/wiki/Bedhaya) , Srimpi (/wiki/Srimpi) , Golek, Beksan, wayang wong (/wiki/Wayang_wong) , gambyong, and so on. Bedhaya (/wiki/Bedhaya) dance performance at Mangkunegaran (/wiki/Mangkunegaran) royal palace at Solo (/wiki/Surakarta) , Java (/wiki/Java) , in January 1921 Topeng dance (/wiki/Topeng_dance) performance from Cirebon (/wiki/Cirebon) , West Java (/wiki/West_Java) , Indonesia (/wiki/Indonesia) King Duryodana (/wiki/Duryodana) in Wayang wong performance in Taman Budaya Rahmat Saleh, Semarang (/wiki/Semarang) , Jawa Tengah (/wiki/Jawa_Tengah) , Indonesia (/wiki/Indonesia) Golek Ayun-Ayun Dance performance accompanied by Gamelan Ensemble at Bangsal Sri Manganti Keraton Yogyakarta (/wiki/Keraton_Yogyakarta) Birth ceremonies ( mitoni , tedak siten ) [ edit ] In Javanese (/wiki/Javanese_people) tradition, when a mother-to-be reaches her seventh month of pregnancy, a seven-month event or a mitoni ceremony will be held. One of the things that must be done in the ceremony is that the prospective mother must try on the seven kebayas and seven batik cloths. The batik used has rules and is not just any batik. Each batik cloth has a high philosophical value which is also a strand and hope for the Almighty so that the baby who is born has a good personality. [47] (#cite_note-Kharina_Triananda-51) Prospective mothers must alternate wearing 6 batik cloths and 1 striated batik cloth. This batik substitution has a rule, that the last batik to be worn is the one with a simple motif. The motif rulers include: [48] (#cite_note-Sakina_Rakhma_Diah_Setiawan-52) [ better source needed ] Wahyu tumurun motif – This motif contains the hope that the baby will have a good position. Cakar motif – This motif is expected to make the child diligent in seeking sustenance. Udan liris motif – It is hoped that the child will have a tough character. Kesatrian motif – It is hoped the child has a chivalrous nature. Sidomukti motif – It is hoped that the child's life will be good and honorable. Babon angrem motif – Motif depicting a hatchling hen, symbolizes the mother's love for her child. Lurik lasem motif – The simplest motif. It has a philosophy that human life should be simple. There is also another philosophy, there are two lines in lurik lasem batik, namely the vertical line indicating the relationship between humans and God and the horizontal line indicating the relationship between humans and fellow humans. Wedding ceremonies ( siraman , midodareni , akad , panggih ) [ edit ] Every motif in classical Javanese batik always has its own meaning and philosophy, including for wedding ceremonies. Because each motif attached to Javanese batik has a different story and philosophy. In Javanese wedding ceremony, certain batik designs are reserved for brides and bridegrooms, as well as their families. [41] (#cite_note-unesco.org-45) Such as the truntum motif (flower motif in the shape of the sun) is used for midodareni ceremony (the procession of the night before the wedding ceremony, symbolizing the last night before the child separates from parents). This motif is also used during the panggih ceremony (the procession when the bride and groom meet after being secluded) by the parents of the bride and groom. The truntum motif means a symbol of love that never ends, when used by the parents of the bride and groom, it symbolizes the love of the parents for the child that never ends. [49] (#cite_note-Motif_Batik_Indonesia-53) Some of the batik motifs that can be used for weddings are the grompol motif (hopefully the bride and groom will get a blessing and a bright future), Sidho asih motif (hopefully that the bride and groom will love each other), Sidho luhur motif (hopefully that the bride will have a noble and praiseworthy character), and ceker ayam motif (hopefully the bride and groom have the spirit of being married and given prosperity). Javanese Royal wedding in Mangkunegaran royal palace, January 1921 Kacar-kucur ceremony, groom pouring rice and coins into bride's scarf, c. 1960 Panggih ceremony, meeting between bride and groom on their wedding day Batik is used in a traditional Javanese wedding ceremony. Death ceremonies ( lurub layon ) [ edit ] In Javanese (/wiki/Javanese_people) society batik cloth is also used for death ceremonies, namely as a cover for the body or what is known as the lurub layon ceremony. The batik motif that symbolizes grief is the slobok motif. This batik motif symbolizes the hope that spirits will find it easy and smooth on their way to God. The word slobog is taken from the Javanese word lobok , which means loose. This motif is a geometric triangular shape that is usually black and white. The basic color of this batik is often black or brown with a natural dye which is often called soga . [50] (#cite_note-indozone.id-54) [ better source needed ] In Madurese (/wiki/Madura) society, one of the batik motifs used for the cloth covering the corpse from generation to generation is the biren rice tompah motif. This biren leaf motif is filled with spilled rice using natural dyes. The washing also uses natural ingredients, squeezed papaya leaves. [51] (#cite_note-gpswisataindonesia.info-55) Formal and informal daily dress [ edit ] Contemporary practice often allows people to pick any batik patterns according to one's taste and preference from casual to formal situations, and Batik makers often modify, combine, or invent new iterations of well-known patterns. Besides that, now batik has become a daily dress whether it is at work, school, or formal and non-formal events in Indonesia. Many young designers have started their fashion design work by taking batik as their inspiration for making clothes designs. The creativity of these young designers has given birth to various designs of batik clothes that are very elegant and meet the demands of a modern lifestyle. [43] (#cite_note-thejakartapost.com-47) Nelson Mandela (/wiki/Nelson_Mandela) wearing batik A Javanese man wearing typical contemporary batik shirt An elderly Sundanese (/wiki/Sundanese_people) woman wearing batik sarong (/wiki/Sarong) and headdress In October 2009, UNESCO (/wiki/UNESCO) designated Indonesian batik as a Masterpiece of Oral and Intangible Heritage of Humanity (/wiki/Masterpieces_of_the_Oral_and_Intangible_Heritage_of_Humanity) . As part of the acknowledgment, UNESCO insisted that Indonesia preserve its heritage. [41] (#cite_note-unesco.org-45) The day, 2 October 2009 has been stated by Indonesian government as National Batik Day (/wiki/Batik_Day) , [52] (#cite_note-56) as also at the time the map of Indonesian batik diversity by Hokky Situngkir (/wiki/Hokky_Situngkir) was opened for public for the first time by the Indonesian Ministry of Research and Technology. [53] (#cite_note-57) Study of the geometry of Indonesian batik has shown the applicability of fractal (/wiki/Fractal) geometry (/wiki/Geometry) in traditional designs. [54] (#cite_note-58) Patterns and motifs [ edit ] The popularity of batik in Indonesia (/wiki/Indonesia) has varied. Historically, it was essential for ceremonial costumes and it was worn as part of a kebaya (/wiki/Kebaya) dress, commonly worn every day. The use of batik was already recorded in the 12th century, and the textile has become a strong source of identity for Indonesians crossing religious, racial, and cultural boundaries. It is also believed the motif made the batik famous. [55] (#cite_note-59) Cultural influences on batik patterns and motifs [56] (#cite_note-SMH-60) Cultural influences Batik patterns Geographic locations Sample Native Indonesian Kawung (/wiki/Flower_of_Life_(geometry)) , ceplok , gringsing , parang (/wiki/Parang_(batik)) , lereng , truntum , sekar jagad (combination of various motifs) and other decorative motifs of Javanese (/wiki/Javanese_people) , Dayak (/wiki/Dayak_people) , Batak (/wiki/Batak) , Papuan (/wiki/Indigenous_people_of_New_Guinea) , Riau Malay (/wiki/Malay_Indonesians) , etc. Respective areas Hindu (/wiki/Hindu_culture) – Buddhist (/wiki/Buddhist_culture) Garuda (/wiki/Garuda) , banji , cuwiri , kalpataru (/wiki/Kalpataru) , meru or gunungan , semen rama , pringgondani , sidha asih , sidha mukti , sidha luhur Java Islamic (/wiki/Islamic_culture) Besurek or Arabic calligraphy (/wiki/Arabic_calligraphy) , buraq (/wiki/Buraq) Bengkulu (/wiki/Bengkulu) , Cirebon (/wiki/Cirebon) , Jambi (/wiki/Jambi) Chinese (/wiki/Chinese_culture) Burung hong (/wiki/Fenghuang) (Chinese phoenix), liong (/wiki/Chinese_dragon) (Chinese dragon), qilin (/wiki/Qilin) , wadasan , megamendung (Chinese-style cloud), lok tjan Lasem (/w/index.php?title=Lasem,_Rembang&action=edit&redlink=1) [ id (https://id.wikipedia.org/wiki/Lasem,_Rembang) ] , Cirebon, Pekalongan, Tasikmalaya (/wiki/Tasikmalaya) , Ciamis (/wiki/Ciamis) Indian (/wiki/Indian_culture) Jlamprang , peacock, elephant Cirebon, Garut (/wiki/Garut) , Pekalongan (/wiki/Pekalongan) , Madura (/wiki/Madura) European (/wiki/European_culture) (colonial era) Buketan (floral bouquet), European fairytale, colonial images such as house, horses, carriage, bicycle and European-dressed people Java Japanese (/wiki/Japanese_culture) sakura (/wiki/Sakura) , hokokai , chrysanthemum, butterfly Java Kawung [ edit ] The Batik kawung (/wiki/Batik_kawung) motif originated in the city of Yogyakarta (/wiki/Yogyakarta) and comes in a variety of styles. The motif has a geometrically organized pattern of spheres that resembles the kawung fruit (palm fruit). This pattern is thought to also be a representation of a lotus flower with four blooming crown petals, representing purity. [57] (#cite_note-61) The geometrically organized kawung pattern is seen as a representation of authority in Javanese society. Power is symbolized by the dot in the center of the geometrically aligned ovals. [58] (#cite_note-:2-62) This reflects the position of rulers being the center of authority, which may now be understood as a depiction of the relationship between the people and the government. Other kawung symbolisms are connected to wisdom, such as representing the ancient Javanese philosophy of life of sedulur papat lima pancer. [58] (#cite_note-:2-62) As a result, it is intended signify human existence, in the hopes that a person would not forget their roots. The color scheme of the kawung batik pattern, which includes a combination of dark and bright hues represents human traits. As the kawung pattern is frequently regarded as a palm tree's fruit that is thought to be extremely beneficial for people, it is believed that whoever uses this motif will have a positive influence on the environment. [58] (#cite_note-:2-62) Furthermore, the kawung batik motif is seen as a sign of power and justice. [59] (#cite_note-63) Since the Kawung motif is frequently associated with a symbolism of authority and has many philosophical meanings, it was formerly used only by the Javanese royal family. [60] (#cite_note-:3-64) Over time, numerous influences such as colonization have influenced its exclusivity, enabling the kawung motif to be utilized by the general public. [60] (#cite_note-:3-64) Parang [ edit ] Main article: Parang (batik) (/wiki/Parang_(batik)) The word Parang (/wiki/Parang_(batik)) comes from the word coral or rock. The motif depicts a diagonal line descending from high to low and has a slope of 45 degrees. The basic pattern is the letter S. The meaning of the parang motif can be interpreted in two ways. Some speculate this theme is derived from the pattern of the sword worn by knights and kings when fighting. Others say Panembahan Senapati designed the pattern while watching the South Sea waves crash against the beach's rocks, with the ocean waves symbolizing the center of natural energy, or the king. [60] (#cite_note-:3-64) The parang motif's oblique construction is also a sign of strength, greatness, authority, and speed of movement. The parang motif, like the kawung design, is a batik larang as it is exclusively worn by the monarch and his relatives. [60] (#cite_note-:3-64) The size of the parang motif also represents the wearer's position in the royal family's hierarchy. [61] (#cite_note-65) The parang pattern has many variations, each of which has its own meaning and is allocated to a certain member of the royal family based on their rank. Barong, rusak, gendreh, and klithik are some variations of the parang motif. [60] (#cite_note-:3-64) In general, the motif is meant to represent a person's strong will and determination. It also represents a strong relationship and bond, both in terms of efforts to improve oneself, efforts to fight for prosperity, as well as forms of family ties. [60] (#cite_note-:3-64) Since members of the royal family are the only ones who may wear the parang motif, the parang batik is often passed down among generations. Mega mendung [ edit ] The mega mendung pattern has become a symbol of the city of its origin, Cirebon (/wiki/Cirebon) , due to its widespread popularity. The entrance of the Chinese traders is credited with the birth of the mega mendung motif. [62] (#cite_note-:1-66) The motif is formed like a cloud, representing nirvana and the transcendental notion of divinity in Chinese culture. In another variant, the inspiration for this motif came from someone having seen a cloud reflected in a puddle of water while the weather was overcast. Mega mendung motifs must have a seven color gradations. The motif's name means "the sky will rain", and the motif's seven color gradations are supposed to represent the seven layers of the sky. [62] (#cite_note-:1-66) The term mendung, which means "cloudy", is used in the pattern's name to represent patience. [62] (#cite_note-:1-66) This means humans should not be quick to anger and should exercise patience even when confronted with emotional events. The cloud's structure should also be consistent, as the direction must be horizontal rather than vertical. [62] (#cite_note-:1-66) The clouds must also be flat, as the cloud's purpose is to shield those beneath it from the scorching sun. [62] (#cite_note-:1-66) As a result, the mega mendung design communicates that leaders must protect their people. Tujuh Rupa [ edit ] Main article: Tujuh rupa (batik) (/wiki/Tujuh_rupa_(batik)) This pattern originates in Pekalongan and is the product of a fusion of Indonesian and Chinese cultures. [63] (#cite_note-:5-67) Ceramic ornaments from China are frequently used in the Tujuh Rupa motif. [63] (#cite_note-:5-67) However, the embellishments on these motifs sometimes include brilliantly colored ornaments of natural elements such as animals and plants. The Tujuh Rupa motifs signifies ancestral ties and to represent gentleness and compassion. [64] (#cite_note-:6-68) The motifs portrayed frequently represent aspects of coastal people's life, such as their ability to adapt to other cultures. [64] (#cite_note-:6-68) Truntum [ edit ] The Truntum (/w/index.php?title=Truntum&action=edit&redlink=1) [ id (https://id.wikipedia.org/wiki/Batik_Truntum) ] pattern was developed by Kanjeng Ratu Kencana (Queen Sunan Paku Buwana III) in the years 1749-1799 as a symbol of true, unconditional, and eternal love. It embodies a hope that as love becomes stronger, it will become more fruitful. [65] (#cite_note-:7-69) Truntum comes from the word nuntun (guide). According to legend, Kanjeng Ratu Kencana's spouse disregarded her because he was preoccupied with his new concubine. She was inspired to design a batik with a truntum motif shaped like a star after looking up at the clear, star-studded sky. The king subsequently discovered the Queen creating the lovely pattern, and his feelings for her grew stronger with each passing day. Furthermore, the truntum pattern represents loyalty and devotion. [65] (#cite_note-:7-69) The parents of the bride and groom usually use this motif on the wedding day. The hope is that the bride and groom would experience such steadfast love. Sogan [ edit ] As the coloring technique of this Soga motif employs natural dyes extracted from the trunk of the soga tree, the batik motif is therefore known as Sogan. Traditional Sogan batik is a kind of batik unique to the Javanese Keraton, specifically Keraton Yogyakarta and Keraton Solo. The traditional Keraton patterns are generally followed by this Sogan motifs.The colors of Sogan Yogya and Solo are what differentiates the two Sogan motif variations from each other. Yogya sogan motifs are predominantly dark brown, black, and white, whereas Solo sogan motifs are often orange-brown and brown. The Sogan motif uses five primary colors to represent the human nature: black, red, yellow, white, and green are the five colors. [66] (#cite_note-70) The color black is used to represent worldliness, while red represents anger, yellow represents desire, and white represents righteousness. Brown, on the other hand, is a hue associated with solemnity and the distinctiveness of the Javanese culture, which places a strong emphasis on the inner self as a means of expression and impression. Furthermore, the color brown can be viewed as a symbol of modesty and humility, signifying a closeness to nature, which in turn implies a connection to the people. Lasem [ edit ] Lasem batik is a form of coastal batik that developed through a cross-cultural exchange between native Javanese batik that were influenced by the Keraton motif and the incorporation of foreign cultural aspects, particularly Chinese culture. Therefore, the Lasem Batik has a distinct look and is rich in Chinese and Javanese cultural subtleties. The Lasem motif is distinguished by its distinctive red hue, known as getih pitik or 'chicken blood'. [67] (#cite_note-71) This is not to imply it is coloured with chicken blood, but in the past, the dye powder, which was generally imported from Europe, was combined with Lasem water to turn it crimson. Even if it is close to the traditional Lasem hue, the red colour is now a little different. The Lasem motif comes in many variations, but the most common is that of China's famed Hong bird. The origin of the motif started when Admiral Cheng Ho's crew member Bi Nang Un is reported to have moved to Central Java with his wife Na Li Ni, where she learnt to create batik motifs. Na Li Ni is credited as being the first to use dragon designs, hong birds, Chinese money, and the color red in batik. [68] (#cite_note-72) As a result, the Lasem patterns and colors have symbolic connotations linked to Chinese and Javanese philosophy, resulting in the motif carrying a meaning of unity and a representation of Chinese and Javanese acculturation. [69] (#cite_note-73) Sidomukti [ edit ] The Sidomukti (/w/index.php?title=Sidomukti&action=edit&redlink=1) [ id (https://id.wikipedia.org/wiki/Batik_Sida_Mukti) ] batik motif is a Surakarta, Central Java-based motif. The Sidomulyo motif has been developed into this motif, whereby Paku Buwono IV altered the backdrop of the white Sidomulyo batik motif to the ukel motif, which was eventually dubbed the Sidomukti batik motif. This batik design is a kind of Keraton batik produced using natural soga dyes. [70] (#cite_note-:4-74) On Sidomukti batik cloth, the color of soga or brown is the traditional batik colour. The term Sidomukti comes from the word Sido, which means "to become" or "accepted", and "mukti", which means "noble", "happy", "powerful", "respected", and "prosperous". [70] (#cite_note-:4-74) As a result, the Sidomukti motif represents the desire to achieve inner and external happiness, or for married couples, the hope of a bright and happy future for the bride and groom. The Sidomukti motifs are made up of various ornaments with different meanings and philosophies. [71] (#cite_note-75) A butterfly is the main ornament of this motif. Enlightenment, liberty, and perfection are all associated with this ornamentation. Furthermore, the butterfly represents beauty, great aspirations, and a brighter future. The Singgasana ornament, also known as the throne ornament, is the second ornament. This ornament is meant to important positions, implying that the person who wears it will ascend in rank and status. It is also envisioned that the individual would be recognized and appreciated by a large number of people. The Meru ornament, often known as mountain ornaments, is the third ornament. Meru is defined as a lofty mountain top where the gods live in Javanese Hindu tradition. Because the Meru ornament represents grandeur, magnificence, and firmness, it represents a want for the wearer to be successful. The flower ornament is the last ornament, and it is intended to represent beauty. This ornament represents the hope for something wonderful in life that is sturdy and substantial to hang on to, despite the numerous challenges that may arise. [70] (#cite_note-:4-74) Sidomulyo [ edit ] The Sidomulyo (/w/index.php?title=Sidomulyo&action=edit&redlink=1) [ id (https://id.wikipedia.org/wiki/Batik_Sida_Mulya) ] batik motif dates back to the Kartasura Mataram period, when Sultan Pakubuwono IV changed the pattern's base with isen-isen ukel. The Sidomulyo pattern is a type of Keraton batik, and originates from Surakarta, Central Java. [70] (#cite_note-:4-74) Sido means "to become" or "accepted" in Javanese, whereas mulyo means "noble”. During the wedding ceremony, a bride and groom generally wear a batik fabric with the Sidomulyo motif in the hope that the family would thrive in the future. [70] (#cite_note-:4-74) Because the Sidomulyo and Sidolmukti batik motifs are essentially the same with the only difference being the minor color variations, the ornamentations and meanings of the two motifs are the same. Sekar Jagad [ edit ] The Sekar Jagad (/w/index.php?title=Sekar_Jagad&action=edit&redlink=1) [ id (https://id.wikipedia.org/wiki/Batik_Sekar_Jagad) ] motif has been popular since the 18th century. The name Sekar Jagad is derived from the words kaart, meaning map in Dutch, and Jagad, meaning means world in Javanese, as the pattern resembles a map when viewed from above. [72] (#cite_note-76) [ better source needed ] As a result, Batik Sekar Jagad is intended to depict the beauty and diversity of the world's various ethnic groups. There are also others who claim that the Sekar Jagad motif is derived from the Javanese words sekar (flower) and jagad (world), as the motif could also symbolize the beauty of the flowers that are spread all over the world. [73] (#cite_note-:8-77) The existence of curving lines matching the shape of islands that are adjacent to each other is one of the features of the Sekar Jagad motif, making it look like a map. This motif is distinct in that it is irregularly patterned, as opposed to other batik motifs that have a repeating pattern. The Sekar Jagad motif itself is also characterized by the presence of isen-isen in the island shaped lines of the motif that contains various motifs such as kawung, truntum, slopes, flora and fauna and others. [73] (#cite_note-:8-77) Terminology [ edit ] Terminology of Indonesian batik Batik is traditionally sold in 2.25-metre lengths used for kain panjang or sarong (/wiki/Sarong) . It is worn by wrapping it around the hip, or made into a hat known as blangkon (/wiki/Blangkon) . The cloth can be filled continuously with a single pattern or divided into several sections. Certain patterns are only used in certain sections of the cloth. For example, a row of isosceles triangles (/wiki/Isosceles_triangle) , forming the pasung motif, as well as diagonal floral motifs called dhlorong , are commonly used for the head. However, pasung and dhlorong are occasionally found in the body. Other motifs such as buketan (flower bouquet) and birds are commonly used in either the head or the body. [8] (#cite_note-br-12) The head is a rectangular section of the cloth which is worn at the front. The head section can be at the middle of the cloth, or placed at one or both ends. The papan inside of the head can be used to determine whether the cloth is kain panjang or sarong. [8] (#cite_note-br-12) The body is the main part of the cloth, and is filled with a wide variety of patterns. The body can be divided into two alternating patterns and colours called pagi-sore ('dawn-dusk'). Brighter patterns are shown during the day, while darker pattern are shown in the evening. The alternating colours give the impression of two batik sets. [8] (#cite_note-br-12) Margins are often plain, but floral and lace-like patterns, as well as wavy lines described as a dragon, are common in the area beside seret . [8] (#cite_note-br-12) Types [ edit ] As each region has its own traditional pattern, batiks are commonly distinguished by the region they originated in, such as batik Solo (/wiki/Surakarta) , batik Yogyakarta (/wiki/Yogyakarta) , batik Pekalongan (/wiki/Pekalongan) , and batik Madura (/wiki/Madura) . Batiks from Java can be distinguished by their general pattern and colours into batik pedalaman (inland batik) or batik pesisiran (coastal batik). [74] (#cite_note-:0-78) Batiks which do not fall neatly into one of these two categories are only referred to by their region. A mapping of batik designs from all places in Indonesia depicts the similarities and reflects cultural assimilation within batik designs. [75] (#cite_note-79) Javanese batik [ edit ] Inland batik ( batik pedalaman ) [ edit ] A typical inland batik has deep earthy colours with various indigenous patterns (contemporary kain panjang with sidha pattern from Solo). Inland batik, batik pedalaman or batik kraton (Javanese court batik) is the oldest form of batik tradition known in Java. Inland batik has earthy colour [76] (#cite_note-pameran-80) such as black, indigo, brown, and sogan (brown-yellow colour made from the tree Peltophorum pterocarpum (/wiki/Peltophorum_pterocarpum) ), sometimes against a white background, with symbolic patterns that are mostly free from outside influence. Certain patterns are worn and preserved by the royal courts (/wiki/Kraton_(Indonesia)) , while others are worn on specific occasions. At a Javanese wedding for example, the bride wears specific patterns at each stage of the ceremony. [77] (#cite_note-81) Noted inland batiks are produced in Solo (/wiki/Surakarta) and Jogjakarta (/wiki/Jogjakarta) , cities traditionally regarded as the centre of Javanese culture (/wiki/Javanese_culture) . Batik Solo typically has sogan background and is preserved by the Susuhunan (/wiki/Susuhunan) and Mangkunegaran Court (/wiki/Mangkunegaran) . Batik Jogja typically has white background and is preserved by the Yogyakarta Sultanate (/wiki/Yogyakarta_Sultanate) and Pakualaman Court (/wiki/Pakualaman) . [42] (#cite_note-batik_days-46) Coastal batik ( batik pesisiran ) [ edit ] In contrast, a typical coastal batik has vibrant colours with patterns drawn from numerous cultures ( kain panjang with lotus motifs from Semarang, 1880). Coastal batik or batik pesisiran is produced in several areas of northern Java (/wiki/Java) and Madura (/wiki/Madura) . In contrast to inland batik, coastal batiks have vibrant colours and patterns inspired by a wide range of cultures as a consequence of maritime trading. [76] (#cite_note-pameran-80) Recurring motifs include European flower bouquets, Chinese phoenix (/wiki/Chinese_phoenix) , and Persian peacocks. [41] (#cite_note-unesco.org-45) Noted coastal batiks are produced in Pekalongan (/wiki/Pekalongan) , Cirebon (/wiki/Cirebon) , Lasem (/wiki/Rembang_Regency) , Tuban (/wiki/Tuban) , and Madura (/wiki/Madura) . Pekalongan has the most active batik industry. [8] (#cite_note-br-12) Princess Raden Ayu Mursilah wearing Kebaya (/wiki/Kebaya) and Batik from the Keraton Yogyakarta (/wiki/Keraton_Yogyakarta) Hadiningrat, c. 1870 A notable sub-type of coastal batik called Jawa Hokokai [78] (#cite_note-82) is not attributed to a particular region. During the Japanese occupation of the Dutch East Indies (/wiki/Japanese_occupation_of_the_Dutch_East_Indies) in early 1940, the batik industry greatly declined due to material shortages. The workshops funded by the Japanese however were able to produce extremely fine batiks called Jawa Hokokai . [8] (#cite_note-br-12) Common motifs of Hokokai includes Japanese cherry blossoms (/wiki/Cherry_blossoms) , butterflies, and chrysanthemums. Another coastal batik called tiga negeri (batik of three lands) is attributed to three regions: Lasem, Pekalongan, and Solo, where the batik would be dipped in red, blue, and sogan dyes respectively. As of 1980, batik tiga negeri was only produced in one city. [8] (#cite_note-br-12) Blackstyle batik ( batik Irengan ) [ edit ] "Black-style Batik" or "Irengan batik" is batik with an average black background, this is because Ponorogo (/wiki/Ponorogo) has always had activities that are close to magical practices, so most irengan batik from Ponorogo is used as a black magic ritual, Dutch people know batik irengan this with gothic batik. [20] (#cite_note-Batik_Jawa_Timuran-24) Sundanese batik [ edit ] There are several types of batik that come from Sundanese land. Parahyangan batik [ edit ] Sundanese (/wiki/Sundanese_people) or Parahyangan Batik is the term for batik from the Parahyangan (/wiki/Parahyangan) region of West Java (/wiki/West_Java) and Banten (/wiki/Banten) . [79] (#cite_note-83) Although Parahyangan batiks can use a wide range of colours, a preference for indigo (/wiki/Indigo) is seen in some of its variants. Natural indigo dye (/wiki/Indigo_dye) made from Indigofera (/wiki/Indigofera) is among the oldest known dyes in Java, and its local name tarum has lent its name to the Citarum river (/wiki/Citarum_river) and the Tarumanagara (/wiki/Tarumanagara) kingdom, which suggests that ancient West Java was once a major producer of natural indigo. Noted Parahyangan batik is produced in Ciamis (/wiki/Ciamis) , Garut (/wiki/Garut) , and Tasikmalaya (/wiki/Tasikmalaya) . Other traditions include Batik Kuningan (/wiki/Kuningan) influenced by batik Cirebon, batik Banten (/wiki/Banten) that developed quite independently, and an older tradition of batik Baduy (/wiki/Baduy_people) . Bantenese batik [ edit ] Bantenese (/wiki/Bantenese_people) batik employs bright pastel colours (/wiki/Pastel_colours) and represents a revival of a lost art from the Sultanate of Banten (/wiki/Sultanate_of_Banten) , rediscovered through archaeological work during 2002–2004. Twelve motifs from locations such as Surosowan and several other places have been identified. [80] (#cite_note-84) It is said that tribal people used to wear it. Baduy batik [ edit ] Contemporary men's batik shirt in Solo (/wiki/Surakarta) style, sogan (/wiki/Peltophorum_pterocarpum) colour with lereng motif Baduy (/wiki/Baduy_people) batik only employs indigo (/wiki/Indigo) colour in shades ranged from bluish black to deep blue. It is traditionally worn as iket , a type of Sundanese (/wiki/Sundanese_people) headress similar to Balinese (/wiki/Balinese_people) udeng , by Outer Baduy people of Lebak Regency (/wiki/Lebak_Regency) , Banten (/wiki/Banten) . [81] (#cite_note-85) Malay batik [ edit ] Trade relations between the Melayu Kingdom (/wiki/Melayu_Kingdom) in Jambi (/wiki/Jambi) and Javanese coastal cities have thrived since the 13th century. Therefore, coastal batik from northern Java probably influenced Jambi. In 1875, Haji Mahibat from Central Java revived the declining batik industry in Jambi. The village of Mudung Laut in Pelayangan district is known for producing batik Jambi. Batik Jambi, as well as Javanese batik, influenced the Malaysian batik. [82] (#cite_note-National_Geographic_Traveller_Indonesia_2009,_page_54-86) The batik from Bengkulu (/wiki/Bengkulu) , a city on west coast of Sumatra, is called batik besurek , which literary means "batik with letters" as they draw inspiration from Arabic calligraphy (/wiki/Arabic_calligraphy) . Minangkabau batik [ edit ] The Minangkabau people (/wiki/Minangkabau_people) also produce batik called batiak tanah liek (clay batik), which use clay as dye for the fabric. The fabric is immersed in clay for more than one day and later designed with motifs of animal and flora. [83] (#cite_note-87) Balinese batik [ edit ] Batik making in the island of Bali (/wiki/Bali) is relatively new, but a fast-growing industry. Many patterns are inspired by local designs, which are favoured by the local Balinese (/wiki/Balinese_people) and domestic tourists. [84] (#cite_note-88) Objects from nature such as frangipani (/wiki/Frangipani) and hibiscus (/wiki/Hibiscus) flowers, birds or fishes, and daily activities such as Balinese dancer (/wiki/Balinese_dance) and ngaben (/wiki/Ngaben) processions or religious and mythological creatures such as barong (/wiki/Barong_(mythology)) , kala (/wiki/K%C4%81la_(time)) and winged lion are common. Modern batik artists express themselves freely in a wide range of subjects. [85] (#cite_note-balibatik-89) Contemporary batik is not limited to traditional or ritual wearing in Bali. Some designers promote Balinese batik as an elegant fabric that can be used to make casual or formal cloth. [6] (#cite_note-Sucheta_Rawal-8) Using high class batik, like hand made batik tulis , can show social status. [85] (#cite_note-balibatik-89) Popularity [ edit ] Further information: Solo Batik Carnival (/wiki/Solo_Batik_Carnival) The leader of APEC (/wiki/APEC) wearing batik at APEC (/wiki/APEC) 2013 meeting in Bali The batik industry of Java flourished from the late 1800s to the early 1900s, but declined during the Japanese occupation of the Dutch East Indies (/wiki/Japanese_occupation_of_the_Dutch_East_Indies) . [8] (#cite_note-br-12) With increasing preference of western clothing, the batik industry further declined following the Indonesian independence. Batik has somewhat revived at the turn of the 21st century, through the efforts of Indonesian fashion designers to innovate batik by incorporating new colors, fabrics, and patterns. Batik has become a fashion item for many Indonesians, and may be seen on shirts, dresses, or scarves for casual wear; it is a preferred replacement for jacket-and-tie at certain receptions. Traditional batik sarongs (/wiki/Sarong) are still used in many occasions. [56] (#cite_note-SMH-60) After the UNESCO recognition for Indonesian batik on 2 October 2009, the Indonesian administration asked Indonesians to wear batik on Fridays, and wearing batik every Friday has been encouraged in government offices and private companies ever since. [86] (#cite_note-batikday-90) 2 October is also celebrated as National Batik Day in Indonesia. [9] (#cite_note-Rebecca_Shamasundari-13) Batik had helped improve the small business (/wiki/Small_business) local economy, batik sales in Indonesia had reached Rp 3.9 trillion (US$436.8 million) in 2010, an increase from Rp 2.5 trillion in 2006. The value of batik exports, meanwhile, increased from $14.3 million in 2006 to $22.3 million in 2010. [87] (#cite_note-91) Batik is popular in the neighboring countries of Singapore and Malaysia. It is produced in Malaysia with similar, but not identical, methods to those used in Indonesia. Batik is featured in the national airline uniforms of the three countries, represented by batik prints worn by flight attendants of Singapore Airlines (/wiki/Singapore_Airlines) , Garuda Indonesia (/wiki/Garuda_Indonesia) and Malaysian Airlines (/wiki/Malaysian_Airline_System) . The female uniform of Garuda Indonesia flight attendants is a modern interpretation of the Kartini style kebaya (/wiki/Kebaya) with parang gondosuli motifs. [88] (#cite_note-92) [89] (#cite_note-93) Batik museums [ edit ] Indonesia as the origin and paradise of batik has several museums that store various types of batik cloth that are hundreds of years old and a collection of equipment for batik that is still well preserved and maintained. Here are some museums in Indonesia that hold various types of batik collections: Museum Batik Keraton Yogyakarta [ edit ] Museum Batik Keraton Yogyakarta lies in the Kraton Ngayogyakarta Hadiningrat (/wiki/Kraton_Ngayogyakarta_Hadiningrat) complex. Museum Batik Keraton Yogyakarta is located inside the Palace of Yogyakarta Sultanate (/wiki/Yogyakarta_Sultanate) , Yogyakarta (/wiki/Yogyakarta) . The museum which was inaugurated by Sultan Hamengku Buwono X (/wiki/Hamengkubuwono_X) on 31 October 2005 has thousands of batik collections. Some of batik collections here include kawung , semen , gringsing , nitik , cuwiri , parang , barong , grompol , and other motifs. These batik collections come from different eras, from the era of Sultan Hamengkubuwono VIII (/wiki/Hamengkubuwono_VIII) to Sultan Hamengkubuwono X (/wiki/Hamengkubuwono_X) . The batik collections come from gifts from sultans, batik entrepreneurs, and batik collectors. Not only batik, visitors can also see equipment for making batik, raw materials for dyes, irons, sculptures, paintings, and batik masks. Unlike other museums in the Yogyakarta Palace complex, the Batik Museum management does not allow visitors to bring in cameras. This is in order to protect the batik from being photographed by irresponsible people, to then imitate the motive. This museum is part of a tour package offered by the Yogyakarta Palace. Open every day from 08.00 to 13.30 WIB, on Fridays at 08.00–13.00 WIB, and closes at the palace ceremony day. [90] (#cite_note-Siti_Nur_Azizah_Fitriani_Akbar-94) Museum Batik Yogyakarta [ edit ] Museum Batik Yogyakarta is located at Jalan Dr. Sutomo 13A, Bausasran, Yogyakarta (/wiki/Yogyakarta) . This museum is managed by the married couple Hadi and Dewi Nugroho. On 12 May 1977, this museum was inaugurated by the Yogyakarta Special Region Regional Office of P&K. This museum occupies an area of 400 m2 and is also used as the owner's residence. In 2000, this museum received an award from MURI for the work 'The Biggest Embroidery', batik measuring 90 x 400 cm2. Then in 2001, this museum received another award from MURI as the initiator of the establishment of the first Embroidery Museum in Indonesia. [91] (#cite_note-Visiting_Jogja-95) This museum holds more than 1,200 batik collections consisting of 500 pieces of written batik, 560 stamped batik, 124 canting (batik tools), and 35 pans and coloring materials, including wax. Its excellent collection consists of various batik fabrics from the 18th to early 19th centuries in the form of long cloths and sarongs. Other collections include batik by Van Zuylen and Oey Soe Tjoen, as well as batik made in the 1700s. Yogyakarta Batik Museum also provides batik training for visitors who want to learn to make batik, which results can be taken home. The museum is open every Monday to Saturday at 09.00–15.00. [92] (#cite_note-Museum_Batik_Yogyakarta-96) Museum Batik Pekalongan [ edit ] Museum Batik Pekalongan is located at Jalan Jetayu No.1, Pekalongan (/wiki/Pekalongan) , Central Java (/wiki/Central_Java) . This museum has 1.149 batik collections, including batik cloth, hundreds of years old of batik wayang beber (/wiki/Wayang) , and traditional weaving tools. Museum Batik Pekalongan maintains a large collection of old to modern batik, both those from coastal areas, inland areas, other areas of Java (/wiki/Java) , and batik from various regions in Nusantara (/wiki/Nusantara_(archipelago)) such as from Sumatra (/wiki/Sumatra) , Kalimantan (/wiki/Kalimantan) , Papua (/wiki/Papua_(province)) , and batik technique type fabrics from abroad. Not only displaying batik collections, but Museum Batik Pekalongan is also a batik training center and a batik learning center. Students and general visitors can learn to make batik or do research on batik culture. The museum opens every day from 08.00 to 15.00. [93] (#cite_note-Museum_Batik_Pekalongan-97) Museum Batik Danar Hadi [ edit ] Museum Batik Danar Hadi, the owner of Batik label Danar Hadi, located in Jl. Slamet Riyadi, Solo City Museum Batik Danar Hadi is located on Jalan Slamet Riyadi, Solo City (/wiki/Solo_City) ( Surakarta (/wiki/Surakarta) ), Central Java (/wiki/Central_Java) . The museum, which was founded in 1967, offers the best quality batik collections from various regions such as the original Javanese Batik Keraton, Javanese Hokokai batik (batik influenced by Japanese culture), coastal batik ( Kudus (/wiki/Kudus,_Indonesia) , Lasem (/wiki/Rembang_Regency) , and Pekalongan (/wiki/Pekalongan) ), Sumatran batik, and various types of batik. This museum has a collection of batik cloth reaching 1000 pieces and has been recognized by MURI (Indonesian Record Museum) as the museum with the largest collection of batik. Visitors can see the process of making batik and can even take part in batik making workshop in person. Museum Batik Danar Hadi is open every day from 09:00 WIB in the morning to 16:30 WIB in the afternoon. [94] (#cite_note-Government_of_Surakarta-98) Museum Batik Indonesia [ edit ] Museum Batik Indonesia which is located in Taman Mini Indonesia Indah (/wiki/Taman_Mini_Indonesia_Indah) (TMII), Cipayung (/wiki/Cipayung) , Jakarta (/wiki/Jakarta) is divided into six areas, namely the area of introduction, treasures, batik techniques, forms, and types of decoration, development of the batik world and the gallery of fame. Visitors can also enjoy the hundreds of batik motifs available in this place. The museum opens every day at 09.00 AM–15.00 PM. Museum Tekstil Jakarta [ edit ] Museum Tekstil, Jakarta (/wiki/Jakarta) Textile Museum (Jakarta) (/wiki/Textile_Museum_(Jakarta)) is located on Jalan KS Tubun No. 4, Petamburan, West Jakarta (/wiki/West_Jakarta) . On June 28, 1976, this building was inaugurated as a textile museum by Mrs. Tien Soeharto (First Lady at that time) witnessed by Mr. Ali Sadikin as the Governor of DKI Jakarta (/wiki/Jakarta) . The initial collections collected at the Textile Museum were obtained from donations from Wastraprema (about 500 collections), then further increased through purchases by the Museum and History Service, as well as donations from the community, both individually and in groups. Until now, the Textile Museum's collection was recorded at 1.914 collections. The batik gallery is designed to showcase a number of ancient batik and batik developments (contemporary) from time to time. The batik gallery itself is the embryo of the National Batik Museum which is managed by the Indonesian Batik Foundation and the Jakarta Textile Museum. The museum opens on Tuesday–Sunday at 09.00–15.00. [95] (#cite_note-Museum_Tekstil_Jakarta-99) Batik outside Indonesia [ edit ] Malaysia [ edit ] Main article: Malaysian batik (/wiki/Malaysian_batik) A batik craftsman making batik. Malaysian batik are usually patterned with floral motifs with light colouring. The origin of batik production in Malaysia it is known trade relations between the Melayu Kingdom (/wiki/Melayu_Kingdom) in Jambi (/wiki/Jambi) and Javanese coastal cities have thrived since the 13th century, the northern coastal batik producing areas of Java (/wiki/Java) (Cirebon, Lasem, Tuban, and Madura) has influenced Jambi batik. This Jambi (Sumatran) batik, as well as Javanese batik, has influenced the batik craft in the Malay Peninsula (/wiki/Malay_Peninsula) . [82] (#cite_note-National_Geographic_Traveller_Indonesia_2009,_page_54-86) Dr. Fiona Kerlogue of the Horniman museum (/wiki/Horniman_museum) argued that the Malaysian printed wax textiles, made for about a century, are a different tradition from traditional Indonesian batik. [96] (#cite_note-100) The method of producing Malaysian batik is different, as the patterns are larger and simpler with only occasional use of the canting for intricate patterns. It relies heavily on brush (/wiki/Brush) painting to apply colours to fabrics. The colours also tend to be lighter and more vibrant than deep coloured Javanese batik. The most popular motifs are leaves and flowers. Malaysian batik often displays plants and flowers to avoid the interpretation of human and animal images as idolatry, in accordance with local Islamic doctrine. [97] (#cite_note-101) India [ edit ] Indians (/wiki/Indian_people) are known to use resist-dyeing with cotton fabrics. Initially, wax and even rice starch were used for printing on fabrics. Until recently batik was made only for dresses and tailored garments, but modern batik is applied in numerous items, such as murals, wall hangings, paintings, household linen, and scarves, with livelier and brighter patterns. Contemporary batik making in India (/wiki/India) is also done by the Deaf women of Delhi (/wiki/Delhi) , these women are fluent in Indian Sign Language (/wiki/Indian_Sign_Language) and also work in other vocational programs. [98] (#cite_note-102) A batik craftswoman brush painting with wax in Kandy (/wiki/Kandy) , Sri Lanka (/wiki/Sri_Lanka) Sri Lanka [ edit ] Main article: Batik industry in Sri Lanka (/wiki/Batik_industry_in_Sri_Lanka) Over the past century, batik making in Sri Lanka (/wiki/Sri_Lanka) has become firmly established. The batik industry in Sri Lanka is a small scale industry which can employ individual design talent and mainly deals with foreign customers for profit. It is now the most visible of the island's crafts with galleries and factories, large and small, having sprung up in many tourist areas. Rows of small stalls selling batiks can be found all along Hikkaduwa (/wiki/Hikkaduwa) 's Galle Road strip. Mahawewa (/wiki/Mahawewa_Divisional_Secretariat) , on the other hand, is famous for its batik factories. [99] (#cite_note-103) [100] (#cite_note-SundayObserver-104) China [ edit ] Miao (/wiki/Miao_people) batik baby-carrying quilt. Exhibited in the Yunnan Nationalities Museum, Kunming (/wiki/Kunming) . Batik is done by the ethnic people in the South-West of China (/wiki/China) . The Miao (/wiki/Miao_people) , Bouyei (/wiki/Bouyei_people) and Gejia (/wiki/Gejia_people) people use a dye resist method for their traditional costumes. The traditional costumes are made up of decorative fabrics, which they achieve by pattern weaving and wax resist. Almost all the Miao (/wiki/Miao_people) decorate hemp and cotton by applying hot wax then dipping the cloth in an indigo dye. The cloth is then used for skirts, panels on jackets, aprons and baby carriers. Like the Javanese (/wiki/Java) , their traditional patterns also contain symbolism; the patterns include the dragon (/wiki/Dragon) , phoenix (/wiki/Phoenix_(mythology)) , and flowers. [101] (#cite_note-105) Africa [ edit ] Main article: African wax prints (/wiki/African_wax_prints) Lady selling colorful waxprint fabrics in Togo (/wiki/Togo) The African wax prints (/wiki/African_wax_prints) (Dutch wax prints) was introduced during the colonial era, through Dutch (/wiki/Netherlands) 's textile industry's effort to imitate the batik making process. The imitation was not successful in Europe (/wiki/Europe) , but experienced a strong reception in Africa instead. [102] (#cite_note-kroese-106) [103] (#cite_note-lagamma-107) : 20 Nowadays batik is produced in many parts of Africa and it is worn by many Africans (/wiki/African_people) as one of the symbols of culture. Nelson Mandela (/wiki/Nelson_Mandela) was a noted wearer of batik during his lifetime. Mandela regularly wore patterned loose-fitting shirt to many business and political meetings during 1994–1999 and after his tenure as President of South Africa (/wiki/President_of_South_Africa) , subsequently dubbed as a Madiba shirt (/wiki/Madiba_shirt) based on Mandela's Xhosa clan name (/wiki/Xhosa_clan_names) . [104] (#cite_note-FOOTNOTEGrantNodoba2009361-108) There are many who claim the Madiba shirt's invention. But in fact, according to Yusuf Surtee, a clothing-store owner who supplied Mandela with outfits for decades, said the Madiba design is based on Mandela's request for a shirt similar to Indonesian (/wiki/Indonesia) president Suharto (/wiki/Suharto) 's batik attire. [105] (#cite_note-FOOTNOTESmith2014103-109) Gallery [ edit ] People wearing batik in Indonesia [ edit ] Bedhaya (/wiki/Bedhaya) dancers from Solo wearing batik Servants in Kraton Ngayogyakarta Hadiningrat wearing batik Portrait of a woman in sarong and kebaya with child A woman applying "malam" (liquid wax) following pattern on fabric using "canting" in a method of batik-making called "Batik Tulis" Three young women doing batik at Yogyakarta, c. 1915 Some Indonesian batik motifs [ edit ] Gajah oling batik motif from Banyuwangi (/wiki/Banyuwangi_Regency) , East Java (/wiki/East_Java) Mega mendung batik motif and pattern from Cirebon (/wiki/Cirebon) , West Java (/wiki/West_Java) Head of a sarong from Banyumas (/wiki/Banyumas) , Java (/wiki/Java) , c. 1880s Batik of sidha drajat motif from Solo (/wiki/Surakarta) , Central Java (/wiki/Central_Java) Batik of sidha drajat motif from Solo (/wiki/Surakarta) , Central Java (/wiki/Central_Java) Parang klithik pattern from Solo (/wiki/Surakarta) , Central Java (/wiki/Central_Java) Typical inland batik ( batik pedalaman ) from Yogyakarta (/wiki/Yogyakarta) Sarong (/wiki/Sarong) from northern Java, c. 1900s Pasung or pucuk rebung pattern of batik Coastal batik ( batik pesisiran ) with buketan motif from Pekalongan (/wiki/Pekalongan) , Central Java (/wiki/Central_Java) Various motifs of batik trusmi (/wiki/Trusmi_Batik_Village) in Cirebon (/wiki/Cirebon) , West Java (/wiki/West_Java) Batik tulis in a cotton kain panjang, 1930, Honolulu Museum of Art (/wiki/Honolulu_Museum_of_Art) See also [ edit ] Clothing portal (/wiki/Portal:Clothing) Fashion portal (/wiki/Portal:Fashion) Indonesia portal (/wiki/Portal:Indonesia) African wax prints (/wiki/African_wax_prints) Bagh print (/wiki/Bagh_print) Balinese textiles (/wiki/Balinese_textiles) Batik shirt (/wiki/Batik_shirt) Canting (/wiki/Canting) Folk costume (/wiki/Folk_costume) Ikat (/wiki/Ikat) Madiba shirt (/wiki/Madiba_shirt) Kawung (batik) (/wiki/Kawung_(batik)) Parang (batik) (/wiki/Parang_(batik)) Megamendung (batik) (/wiki/Megamendung_(batik)) Tujuh rupa (batik) (/wiki/Tujuh_rupa_(batik)) Malong (/wiki/Malong) National costume of Indonesia (/wiki/National_costume_of_Indonesia) Sarong (/wiki/Sarong) Screen printing (/wiki/Screen_printing) Songket (/wiki/Songket) Textile printing (/wiki/Textile_printing) Thetis Blacker (/wiki/Thetis_Blacker) , English batik artist T'nalak (/wiki/T%27nalak) Notes [ edit ] ^ (#cite_ref-4) Education and training in Indonesian Batik intangible cultural heritage for elementary, junior, senior, vocational school and polytechnic students, in collaboration with the Batik Museum in Pekalongan ^ (#cite_ref-5) Javanese (/wiki/Javanese_language) : ꦧꦛꦶꦏ꧀ (in aksara (/wiki/Javanese_script) ) or باتيق (in Pegon (/wiki/Pegon_script) ) , Javanese pronunciation: [ˈb̥aʈɪʔ] (/wiki/Help:IPA) ; Indonesian: [ˈbatɪk] (/wiki/Help:IPA/Malay) ^ (#cite_ref-9) Javanese (/wiki/Javanese_language) : ꦕꦤ꧀ꦛꦶꦁ, Javanese pronunciation: [ˈt͡ʃaɳʈɪŋ] (/wiki/Help:IPA) , also spelled tjanting ^ (#cite_ref-10) Javanese (/wiki/Javanese_language) : ꦕꦥ꧀, Javanese pronunciation: [ˈt͡ʃap̚] (/wiki/Help:IPA) , also spelled tjap References [ edit ] ^ Jump up to: a b c d "Indonesia Batik" (https://ich.unesco.org/en/RL/indonesian-batik-00170) . UNESCO. Archived (https://web.archive.org/web/20201208025553/https://ich.unesco.org/en/RL/indonesian-batik-00170) from the original on 8 December 2020 . Retrieved 21 October 2019 . ^ Jump up to: a b "Batik" (https://www.merriam-webster.com/dictionary/batik) . Merriam-Webster . Archived (https://web.archive.org/web/20210202171640/https://www.merriam-webster.com/dictionary/batik) from the original on 2 February 2021 . Retrieved 2 January 2021 . ^ Jump up to: a b c "What is Batik?" (http://www.batikguild.org.uk/batik/what-is-batik) . The Batik Guild . Archived (https://web.archive.org/web/20191113211203/https://www.batikguild.org.uk/batik/what-is-batik) from the original on 13 November 2019 . Retrieved 17 July 2017 . ^ (#cite_ref-6) "Batik" (https://dictionary.cambridge.org/dictionary/english/batik) . Cambridge . Archived (https://web.archive.org/web/20220503091333/https://dictionary.cambridge.org/dictionary/english/batik) from the original on 3 May 2022 . Retrieved 2 January 2021 . ^ Jump up to: a b Robert Pore (12 February 2017). "A unique style, Hastings artist captures wonder of crane migration" (https://www.theindependent.com/news/local/a-unique-style/article_ed4deba4-f1aa-11e6-a453-2356dcfbaebe.html) . The Independent . Archived (https://web.archive.org/web/20190626032200/https://www.theindependent.com/news/local/a-unique-style/article_ed4deba4-f1aa-11e6-a453-2356dcfbaebe.html) from the original on 26 June 2019 . Retrieved 17 July 2017 . ^ Jump up to: a b Sucheta Rawal (4 October 2016). "The Many Faces of Sustainable Tourism – My Week in Bali" (http://www.huffingtonpost.com/sucheta-rawal/sustainable-tourism-in-ba_b_8242318.html) . Huffingtonpost . Archived (https://web.archive.org/web/20170617213948/http://www.huffingtonpost.com/sucheta-rawal/sustainable-tourism-in-ba_b_8242318.html) from the original on 17 June 2017 . Retrieved 17 July 2017 . ^ (#cite_ref-JP-Life-Batik_11-0) The Jakarta Post Life team. "Batik: a cultural dilemma of infatuation and appreciation" (http://www.thejakartapost.com/longform/2016/11/29/batik-a-cultural-dilemma-of-infatuation-and-appreciation.html) . The Jakarta Post . Archived (https://web.archive.org/web/20190905131356/https://www.thejakartapost.com/longform/2016/11/29/batik-a-cultural-dilemma-of-infatuation-and-appreciation.html) from the original on 5 September 2019 . Retrieved 17 July 2017 . ^ Jump up to: a b c d e f g h i Sumarsono, Hartono; Ishwara, Helen; Yahya, L.R. Supriyapto; Moeis, Xenia (2013). Benang Raja: Menyimpul Keelokan Batik Pesisir . Jakarta: Kepustakaan Populer Gramedia. ISBN (/wiki/ISBN_(identifier)) 978-979-9106-01-8 (/wiki/Special:BookSources/978-979-9106-01-8) . ^ Jump up to: a b c Rebecca Shamasundari (7 February 2021). "Celebrating Indonesia's cultural heritage, batik" (https://theaseanpost.com/article/celebrating-indonesias-cultural-heritage-batik) . The ASEAN Post . Archived (https://web.archive.org/web/20210417152404/https://theaseanpost.com/article/celebrating-indonesias-cultural-heritage-batik) from the original on 17 April 2021 . Retrieved 6 February 2021 . ^ (#cite_ref-14) "Education and training in Indonesian Batik intangible cultural heritage for elementary, junior, senior, vocational school and polytechnic students, in collaboration with the Batik Museum in Pekalongan" (https://ich.unesco.org/en/BSP/education-and-training-in-indonesian-batik-intangible-cultural-heritage-for-elementary-junior-senior-vocational-school-and-polytechnic-students-in-collaboration-with-the-batik-museum-in-pekalongan-00318) . UNESCO . Archived (https://web.archive.org/web/20201208035305/https://ich.unesco.org/en/BSP/education-and-training-in-indonesian-batik-intangible-cultural-heritage-for-elementary-junior-senior-vocational-school-and-polytechnic-students-in-collaboration-with-the-batik-museum-in-pekalongan-00318) from the original on 8 December 2020 . Retrieved 5 February 2021 . ^ (#cite_ref-15) Poerwadharminta, WJS. Bausastra . ^ (#cite_ref-16) Oxford English Dictionary: (http://dictionary.oed.com/cgi/entry/50018371?single=1&query_type=word&queryword=batik&first=1&max_to_show=10) Batik ^ (#cite_ref-17) "Dictionary.com: (http://dictionary.reference.com/search?r=2&q=batik) Batik " (http://dictionary.reference.com/search?r=2&q=batik) . Archived (https://web.archive.org/web/20050824045217/http://dictionary.reference.com/search?r=2&q=Batik) from the original on 24 August 2005 . Retrieved 19 March 2008 . ^ (#cite_ref-18) Blust, Robert (/wiki/Robert_Blust) (Winter 1989). "Austronesian Etymologies – IV". Oceanic Linguistics . 28 (2): 111–180. doi (/wiki/Doi_(identifier)) : 10.2307/3623057 (https://doi.org/10.2307%2F3623057) . JSTOR (/wiki/JSTOR_(identifier)) 3623057 (https://www.jstor.org/stable/3623057) . ^ (#cite_ref-19) Ekajati, Edi Suhardi (2005). Kebudayaan Sunda: Zaman Pajajaran (in Indonesian). Pustaka Jaya. p. 161. ISBN (/wiki/ISBN_(identifier)) 978-979-419-334-1 . Archived (https://web.archive.org/web/20230707145612/https://books.google.com/books?id=chJvAAAAMAAJ&q=sanghyang+siksa+kandang+karesian+batik) from the original on 7 July 2023 . Retrieved 24 November 2020 . ^ (#cite_ref-20) "What is Batik?" (https://www.batikguild.org.uk/batik/what-is-batik) . The Batik Guild. Archived (https://web.archive.org/web/20191113211203/https://www.batikguild.org.uk/batik/what-is-batik) from the original on 13 November 2019 . Retrieved 27 November 2020 . ^ (#cite_ref-BGJava_21-0) "Batik in Java" (http://www.batikguild.org.uk/historyJava.asp) . The Batik Guild. Archived (https://web.archive.org/web/20140409070831/http://www.batikguild.org.uk/historyJava.asp) from the original on 9 April 2014 . Retrieved 29 April 2014 . ^ Jump up to: a b c Nadia Nava, Il batik – Ulissedizioni – 1991 ISBN (/wiki/ISBN_(identifier)) 88-414-1016-7 (/wiki/Special:BookSources/88-414-1016-7) ^ Jump up to: a b Iwan Tirta, Gareth L. Steen, Deborah M. Urso, Mario Alisjahbana, 'Batik: a play of lights and shades, Volume 1', By Gaya Favorit Press, 1996 (https://books.google.com/books?id=yJVgQAAACAAJ&q=iwan+tirta) [ permanent dead link ] ISBN (/wiki/ISBN_(identifier)) 979-515-313-7 (/wiki/Special:BookSources/979-515-313-7) ISBN (/wiki/ISBN_(identifier)) 978-979-515-313-9 (/wiki/Special:BookSources/978-979-515-313-9) [ page needed ] ^ Jump up to: a b Batik Jawa Timuran (https://jawatimuran.disperpusip.jatimprov.go.id/2012/10/19/batik-jawa-timur-2/) Archived (https://web.archive.org/web/20210929235235/https://jawatimuran.disperpusip.jatimprov.go.id/2012/10/19/batik-jawa-timur-2/) 29 September 2021 at the Wayback Machine (/wiki/Wayback_Machine) . Retrieved 7 October 2012. (in Indonesian) ^ (#cite_ref-25) Russanti, Irma. History of The Development of Kebaya Sunda . Pantera Publishing. p. 42. ISBN (/wiki/ISBN_(identifier)) 978-623-91996-0-9 . 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"Arti dan Cerita di balik Motif Batik Klasik Jawa" (https://web.archive.org/web/20150925134318/http://www.batik-indo.com/) . Archived from the original (http://www.batik-indo.com/) on 25 September 2015 . Retrieved 9 April 2014 . (in Indonesian) ^ (#cite_ref-82) Note: Jawa Hokokai (/wiki/H%C5%8Dk%C5%8Dkai) (ジャワ奉公会) was a Japanese-led organization of locals for war-cooperation. ^ (#cite_ref-83) Pradito, Didit; Jusuf, Herman; Atik, Saftyaningsih Ken (2010). The Dancing Peacock: Colours and Motifs of Priangan Batik . Jakarta: Gramedia Pustaka Utama. ISBN (/wiki/ISBN_(identifier)) 978-979-22-5825-7 (/wiki/Special:BookSources/978-979-22-5825-7) . Page 5 ^ (#cite_ref-84) Uke Kurniawan, Memopulerkan Batik Banten (http://www.haki.lipi.go.id/utama.cgi?cetakfenomena&1113177052) Archived (https://web.archive.org/web/20110721120834/http://www.haki.lipi.go.id/utama.cgi?cetakfenomena&1113177052) 21 July 2011 at the Wayback Machine (/wiki/Wayback_Machine) , haki.lipi.go.id, accessed 4 October 2009 ^ (#cite_ref-85) "Batik Baduy diminati pengunjung Jakarta Fair" (https://web.archive.org/web/20130729004247/http://www.antaranews.com/berita/316176/batik-baduy-diminati-pengunjung-jakarta-fair) (in Indonesian). Antara News.com. 15 June 2012. Archived from the original (http://www.antaranews.com/berita/316176/batik-baduy-diminati-pengunjung-jakarta-fair) on 29 July 2013 . Retrieved 9 July 2012 . ^ Jump up to: a b National Geographic Traveller Indonesia, Vol 1, No 6, 2009, Jakarta, Indonesia, page 54 ^ (#cite_ref-87) "Pesona Batik Jambi" (https://web.archive.org/web/20130817170529/http://lovejambi.com/inilah-sejarah-lengkap-batik-jambi.html) (in Indonesian). Padang Ekspres. 16 November 2008. Archived from the original (http://lovejambi.com/inilah-sejarah-lengkap-batik-jambi.html) on 17 August 2013 . Retrieved 24 October 2011 . ^ (#cite_ref-88) "Batik Asli Indonesia" (https://web.archive.org/web/20120109021351/http://batikasliindonesia.blogdetik.com/) . Archived from the original (http://batikasliindonesia.blogdetik.com/) on 9 January 2012 . Retrieved 30 April 2014 . ^ Jump up to: a b "Bali Batik, Bali Sarong, Kimono - Bali Textiles, Bali Garment, Clothing - balibatiku.com" (http://www.balibatiku.com/balibatik.html) . balibatiku.com . Archived (https://web.archive.org/web/20140502002329/http://www.balibatiku.com/balibatik.html) from the original on 2 May 2014 . Retrieved 30 April 2014 . ^ (#cite_ref-batikday_90-0) "Administration calls for all-in batik day this Friday" (http://www.thejakartapost.com/news/2009/09/29/administration-calls-allin-batik-day-friday.html) . thejakartapost.com . Archived (https://web.archive.org/web/20111009230556/http://www.thejakartapost.com/news/2009/09/29/administration-calls-allin-batik-day-friday.html) from the original on 9 October 2011 . Retrieved 22 January 2011 . ^ (#cite_ref-91) "Let's use batik as diplomatic tool: SBY" (https://web.archive.org/web/20111001182019/http://www.thejakartapost.com/news/2011/09/28/let%E2%80%99s-use-batik-diplomatic-tool-sby.html) . thejakartapost.com . Archived from the original (http://www.thejakartapost.com/news/2011/09/28/let%E2%80%99s-use-batik-diplomatic-tool-sby.html) on 1 October 2011. ^ (#cite_ref-92) Indriasari, Lusiana; Yulia Sapthiani (26 September 2010). "Terbang Bersama Kebaya" (http://female.kompas.com/read/xml/2010/09/26/11502730/terbang.bersama.kebaya) (in Indonesian). Female Kompas.com. Archived (https://web.archive.org/web/20101121133223/http://female.kompas.com/read/xml/2010/09/26/11502730/terbang.bersama.kebaya) from the original on 21 November 2010 . Retrieved 24 October 2011 . ^ (#cite_ref-93) Pujobroto, PT (2 June 2010). "Garuda Indonesia Launches New Uniform" (https://web.archive.org/web/20110929225218/http://www.garuda-indonesia.com/news/2010/06/02/garuda-indonesia-launches-new-uniform) . Garuda Indonesia.com. Archived from the original (http://www.garuda-indonesia.com/news/2010/06/02/garuda-indonesia-launches-new-uniform) on 29 September 2011 . Retrieved 24 October 2011 . ^ (#cite_ref-Siti_Nur_Azizah_Fitriani_Akbar_94-0) "Sejarah Museum Keraton Yogyakarta dan Bagian-Bagiannya" (https://sejarahlengkap.com/bangunan/sejarah-museum-keraton-yogyakarta) . sejarahlengkap.com. 4 February 2019. Archived (https://web.archive.org/web/20210129122152/https://sejarahlengkap.com/bangunan/sejarah-museum-keraton-yogyakarta) from the original on 29 January 2021 . Retrieved 22 January 2021 . ^ (#cite_ref-Visiting_Jogja_95-0) "Museum Batik Yogyakarta" (https://visitingjogja.com/28379/museum-batik-yogyakarta/) . Dinas Pariwisata Daerah Istimewa Yogyakarta. Archived (https://web.archive.org/web/20210119024043/https://visitingjogja.com/28379/museum-batik-yogyakarta/) from the original on 19 January 2021 . Retrieved 21 January 2021 . ^ (#cite_ref-Museum_Batik_Yogyakarta_96-0) "Profile of Museum Batik Yogyakarta" (https://www.museumbatik.com/) . Museum Batik Yogyakarta. Archived (https://web.archive.org/web/20210123012153/https://www.museumbatik.com/) from the original on 23 January 2021 . Retrieved 21 January 2021 . ^ (#cite_ref-Museum_Batik_Pekalongan_97-0) "Sejarah Museum Batik Pekalongan" (https://museumbatikpekalongan.info/?page_id=8) . Museum Batik Pekalongan. Archived (https://web.archive.org/web/20210120065330/https://museumbatikpekalongan.info/?page_id=8) from the original on 20 January 2021 . Retrieved 22 January 2021 . ^ (#cite_ref-Government_of_Surakarta_98-0) "Museum Batik Danar Hadi" (https://pariwisatasolo.surakarta.go.id/destinations/museum-batik-danar-hadi/) . Dinas Pariwisata Kota Surakarta. Archived (https://web.archive.org/web/20210128042626/https://pariwisatasolo.surakarta.go.id/destinations/museum-batik-danar-hadi/) from the original on 28 January 2021 . Retrieved 21 January 2021 . ^ (#cite_ref-Museum_Tekstil_Jakarta_99-0) "Museum Tekstil Jakarta" (https://www.museumjakarta.com/museum-tekstil-jakarta/) . Museum Jakarta. Archived (https://web.archive.org/web/20210929235232/https://www.museumjakarta.com/museum-tekstil-jakarta/) from the original on 29 September 2021 . Retrieved 22 January 2021 . ^ (#cite_ref-100) Indonesians tell Malaysians 'Hands off our batik' (https://www.telegraph.co.uk/expat/expatnews/6251806/Indonesians-tell-Malaysians-Hands-off-our-batik.html) Archived (https://web.archive.org/web/20171004173222/http://www.telegraph.co.uk/expat/expatnews/6251806/Indonesians-tell-Malaysians-Hands-off-our-batik.html) 4 October 2017 at the Wayback Machine (/wiki/Wayback_Machine) Telegraph.co.uk, accessed 8 October 2009 ^ (#cite_ref-101) "Figural Representation in Islamic Art" (http://www.metmuseum.org/toah/hd/figs/hd_figs.htm) . metmuseum.org . Archived (https://web.archive.org/web/20221209083853/http://www.metmuseum.org/toah/hd/figs/hd_figs.htm) from the original on 9 December 2022 . Retrieved 24 February 2010 . ^ (#cite_ref-102) Burch, Susan; Kaferq, Alison (2010). Deaf and Disability Studies . Washington D.C: GU Press. p. 52. ISBN (/wiki/ISBN_(identifier)) 978-1-56368-464-7 . ^ (#cite_ref-103) "Sri Lankan Batik Textiles" (https://us.lakpura.com/pages/batik) . Lakpura Travels. Archived (https://web.archive.org/web/20230130102819/https://us.lakpura.com/pages/batik) from the original on 30 January 2023 . Retrieved 1 May 2014 . ^ (#cite_ref-SundayObserver_104-0) Kannangara, Ananda (10 June 2012). "Brighter future for batik industry" (https://archives.sundayobserver.lk/2012/06/10/fea05.asp) . Sunday Observer (Sri Lanka). Archived (https://web.archive.org/web/20140502003257/http://www.sundayobserver.lk/2012/06/10/fea05.asp) from the original on 2 May 2014 . Retrieved 1 May 2014 . ^ (#cite_ref-105) Batik in China (http://www.batikguild.org.uk/historyChina.asp,) Archived (https://web.archive.org/web/20110905031019/http://www.batikguild.org.uk/historyChina.asp%2C) 5 September 2011 at the Wayback Machine (/wiki/Wayback_Machine) The Batik Guild, 1999 ^ (#cite_ref-kroese_106-0) Kroese, W.T. (1976). The origin of the Wax Block Prints on the Coast of West Africa . Hengelo: Smit. ISBN (/wiki/ISBN_(identifier)) 9062895018 . ^ (#cite_ref-lagamma_107-0) LaGamma, Alisa (2009). The Essential Art of African Textiles: Design Without End . New York: The Metropolitan Museum of Art. ^ (#cite_ref-FOOTNOTEGrantNodoba2009361_108-0) Grant & Nodoba 2009 (#CITEREFGrantNodoba2009) , p. 361. ^ (#cite_ref-FOOTNOTESmith2014103_109-0) Smith 2014 (#CITEREFSmith2014) , p. 103. Sources [ edit ] Doellah, H.Santosa. (2003). Batik : The Impact of Time and Environment , Solo : Danar Hadi. ISBN (/wiki/ISBN_(identifier)) 979-97173-1-0 (/wiki/Special:BookSources/979-97173-1-0) Elliott, Inger McCabe. (1984) Batik : fabled cloth of Java photographs, Brian Brake ; contributions, Paramita Abdurachman, Susan Blum, Iwan Tirta ; design, Kiyoshi Kanai. New York : Clarkson N. Potter Inc., ISBN (/wiki/ISBN_(identifier)) 0-517-55155-1 (/wiki/Special:BookSources/0-517-55155-1) Fraser-Lu, Sylvia.(1986) Indonesian batik : processes, patterns, and places Singapore : Oxford University Press. ISBN (/wiki/ISBN_(identifier)) 0-19-582661-2 (/wiki/Special:BookSources/0-19-582661-2) Gillow, John; Dawson, Barry. (1995) Traditional Indonesian Textiles . Thames and Hudson. ISBN (/wiki/ISBN_(identifier)) 0-500-27820-2 (/wiki/Special:BookSources/0-500-27820-2) Grant, Terri; Nodoba, Gaontebale (August 2009), "Dress Codes in Post-Apartheid South African Workplaces" (https://www.researchgate.net/publication/247761225) , Business Communication Quarterly (/wiki/Business_and_Professional_Communication_Quarterly) , 72 (3): 360–365, doi (/wiki/Doi_(identifier)) : 10.1177/1080569909340683 (https://doi.org/10.1177%2F1080569909340683) , S2CID (/wiki/S2CID_(identifier)) 167453202 (https://api.semanticscholar.org/CorpusID:167453202) QuaChee & eM.K. (2005) Batik Inspirations: Featuring Top Batik Designers . ISBN (/wiki/ISBN_(identifier)) 981-05-4447-2 (/wiki/Special:BookSources/981-05-4447-2) Raffles, Sir Thomas Stamford. (1817) History of Java , Black, Parbury & Allen, London. Smith, Daniel (2014), How to Think Like Mandela , Michael O'Mara (/wiki/Michael_O%27Mara_Books) , ISBN (/wiki/ISBN_(identifier)) 9781782432401 Sumarsono, Hartono; Ishwara, Helen; Yahya, L.R. Supriyapto; Moeis, Xenia (2013). Benang Raja: Menyimpul Keelokan Batik Pesisir . Jakarta: Kepustakaan Populer Gramedia. ISBN (/wiki/ISBN_(identifier)) 978-979-9106-01-8 (/wiki/Special:BookSources/978-979-9106-01-8) . Tirta, Iwan; Steen, Gareth L.; Urso, Deborah M.; Alisjahbana, Mario. (1996) "Batik: a play of lights and shades, Volume 1", Indonesia : Gaya Favorit. ISBN (/wiki/ISBN_(identifier)) 979-515-313-7 (/wiki/Special:BookSources/979-515-313-7) , ISBN (/wiki/ISBN_(identifier)) 978-979-515-313-9 (/wiki/Special:BookSources/978-979-515-313-9) Nadia Nava, Il batik – Ulissedizioni – 1991 ISBN (/wiki/ISBN_(identifier)) 88-414-1016-7 (/wiki/Special:BookSources/88-414-1016-7) External links [ edit ] The dictionary definition of batik at Wiktionary Media related to Batik (https://commons.wikimedia.org/wiki/Category:Batik) at Wikimedia Commons UNESCO: Indonesian Batik, Representative of the Intangible Cultural Heritage of Humanity – 2009 (https://www.youtube.com/watch?v=wylWYSHkzoQ) Early Indonesian textiles from three island cultures: Sumba, Toraja, Lampung (http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/58864) , exhibition catalogue from Metropolitan Museum of Art Libraries Batik, the Traditional Fabric of Indonesia (http://www.expat.or.id/info/batik.html) , an article about batik from Living in Indonesia iWareBatik | Indonesian Batik Textile Heritage (https://www.iwarebatik.org/) A website devoted to Batik, Indonesian Textile enlisted by UNESCO as Intangible Cultural Heritage. It links Batik production with Tourism and Fashion in Indonesia Batiks, and how to make them (https://www.gutenberg.org/ebooks/73820) (1919) by Pieter Mijer through New York: Dodd, Mead and Company, Inc. v t e Indonesia (/wiki/Indonesia) articles (/wiki/Index_of_Indonesia-related_articles) History (/wiki/History_of_Indonesia) Timeline (/wiki/Timeline_of_Indonesian_history) Prehistoric (/wiki/Prehistoric_Indonesia) Hinduism-Buddhism era (/wiki/History_of_Indonesia#Hindu-Buddhist_civilizations) Spread of Islam (/wiki/Spread_of_Islam_in_Indonesia) Portuguese era (1512–1605) (/wiki/Portuguese_Empire_in_the_Indonesian_Archipelago) VOC era (1603–1800) (/wiki/Company_rule_in_the_Dutch_East_Indies) French and British era (1806–1816) (/wiki/French_and_British_interregnum_in_the_Dutch_East_Indies) Dutch East Indies (1800–1942) (/wiki/Dutch_East_Indies) Japanese occupation (1942–45) (/wiki/Japanese_occupation_of_the_Dutch_East_Indies) National Revolution (1945–49) 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Clothing identified with Indonesian culture (/wiki/Culture_of_Indonesia) and still worn today Textiles and weaving Geringsing (/wiki/Geringsing) Kain Bali (/wiki/Balinese_textiles) Kain Sumba (/wiki/Textiles_of_Sumba) Kain kulit kayu (/wiki/Barkcloth) Lurik Songket (/wiki/Songket) Tapis (/wiki/Tapis_(Indonesian_weaving_style)) Tenun (/wiki/Tenun) Ulos (/wiki/Ulos) Dyeing Batik Ikat (/wiki/Ikat) Jumputan (/wiki/Tie-dye) Prada Clothing Angkin (/wiki/Sash) Baju Bodo (/wiki/Bodo_blouse) Baju kain rumput Baju Koko Baju Kurung (/wiki/Baju_Kurung) Baju Melayu (/wiki/Baju_Melayu) Beskap Cawat (/wiki/Loincloth) Kain jarik Kain panjang Kain samping (/wiki/Samping) Kebaya (/wiki/Kebaya) Kemben (/wiki/Kemben) Kemeja Batik Koje Koteka (/wiki/Koteka) Rok Rumbia Sarung (/wiki/Sarong) Selendang (/wiki/Sash) Surjan Uis Gara Headgear Beluko Blangkon (/wiki/Blangkon) Caping (/wiki/Asian_conical_hat) Iket Jamang Hijab (/wiki/Hijab) Kerudung (/wiki/Veil) Kopiah (/wiki/Kupiah) Konde or sanggul (/wiki/Bun_(hairstyle)) ( hair extension (/wiki/Artificial_hair_integrations) ) Makuta (/wiki/Maku%E1%B9%ADa) Peci (/wiki/Songkok) Siger Suntiang Tanjak (/wiki/Tanjak) (destar) Tengkuluk Tudung (/wiki/Tudong) Udeng Jewelry and ornaments Anting-anting (/wiki/Earring) Cincin (/wiki/Ring_(jewellery)) Gelang (/wiki/Bracelet) Giwang Gesper (/wiki/Belt_buckle) Kembang goyang (cunduk mentul) Kelat bahu (/wiki/Arm_ring) Kerongsang Pending Sabuk (/wiki/Belt_(clothing)) Subang Sumping Tusuk konde (/wiki/Hairpin) Upawita (/wiki/Upavita) Armour Baju Empurau (/wiki/Baju_Empurau) Baju Lamina (/wiki/Baju_Lamina) Baju Rantai (/wiki/Baju_Rantai) Baru Lema'a (/wiki/Baru_Lema%27a) Baru Öröba (/wiki/Baru_%C3%96r%C3%B6ba) Karambalangan (/wiki/Karambalangan) Kawaca (/wiki/Kawaca) Siping-siping (/wiki/Siping-siping) Footwear Bakiak (kelom) (/wiki/Clog) Sandals (/wiki/Sandal) Selop Sepatu v t e Folk costumes (/wiki/Folk_costume) Africa (/wiki/Clothing_in_Africa) Balgha (/wiki/Balgha) Boubou (/wiki/Agbada) Dashiki (/wiki/Dashiki) Djellaba (/wiki/Djellaba) Head tie (/wiki/Head_tie) Jellabiya (/wiki/Jellabiya) Kanzu (/wiki/Kanzu) Kente cloth (/wiki/Kente_cloth) Kufi (/wiki/Kufi) Litham (/wiki/Litham) Pareo (/wiki/Pareo) Senegalese kaftan (/wiki/Senegalese_kaftan) Tagelmust (/wiki/Tagelmust) Wrapper (/wiki/Wrapper_(clothing)) Asia Central Afghanistan (/wiki/Pashtun_clothing) Pakol (/wiki/Pakol) Chapan (/wiki/Chapan) Deel (/wiki/Deel_(clothing)) Malahai (/wiki/Malahai) Paranja (/wiki/Paranja) East China (/wiki/Chinese_clothing) Cheongsam (/wiki/Cheongsam) Hanfu (/wiki/Hanfu) Mao suit (/wiki/Mao_suit) Tangzhuang (/wiki/Tangzhuang) Japan (/wiki/Japanese_clothing) Hachimaki (/wiki/Hachimaki) Kimono (/wiki/Kimono) Obi (/wiki/Obi_(sash)) Korea (/wiki/List_of_Korean_clothing) Cheopji (/wiki/Cheopji) Daenggi (/wiki/Daenggi) Gache (/wiki/Gache) Hanbok (/wiki/Hanbok) Hwagwan (/wiki/Hwagwan) Jokduri (/wiki/Jokduri) Manggeon (/wiki/Wangjin) South Bhutan Gho (/wiki/Gho) Kira (/wiki/Kira_(Bhutan)) Dhoti (/wiki/Dhoti) Dupatta (/wiki/Dupatta) India (/wiki/Clothing_in_India) Lungi (/wiki/Lungi) Nepal (/wiki/Newar_traditional_clothing) Pakistan (/wiki/Pakistani_clothing) Pathin (/wiki/Pathin) Perak (/wiki/Perak_(headdress)) Peshawari pagri (/wiki/Peshawari_turban) Sari (/wiki/Sari) Shalwar kameez (/wiki/Shalwar_kameez) Sherwani (/wiki/Sherwani) Southeast Burma (/wiki/Burmese_clothing) Longyi (/wiki/Longyi) Gaung baung (/wiki/Gaung_baung) Cambodia (/wiki/Khmer_clothing) Chong Kben (/wiki/Sompot_Chong_Kben) Krama (/wiki/Krama) Sompot (/wiki/Sompot) Sbai (/wiki/Sbai) Indonesia (/wiki/National_costume_of_Indonesia) Baju bodo (/wiki/Bodo_blouse) Batik Blangkon (/wiki/Blangkon) Ikat (/wiki/Ikat) Kebaya (/wiki/Kebaya) Kemben (/wiki/Kemben) Kupiah (/wiki/Kupiah) Songket (/wiki/Songket) Songkok (/wiki/Songkok) Tanjak (/wiki/Tengkolok) Ulos (/wiki/Ulos) Laos (/wiki/Culture_of_Laos#Traditional_clothing) Xout lao (/wiki/Xout_lao) Suea pat (/wiki/Suea_pat) Sinh (/wiki/Sinh_(clothing)) Malaysia (/wiki/Malaysian_cultural_outfits) Baju Kurung (/wiki/Baju_Kurung) Baju Melayu (/wiki/Baju_Melayu) Songket (/wiki/Songket) Songkok (/wiki/Songkok) Tengkolok (/wiki/Tengkolok) Philippines (/wiki/Fashion_and_clothing_in_the_Philippines) Barong tagalog (/wiki/Barong_tagalog) Baro't saya (/wiki/Baro%27t_saya) Buntal hat (/wiki/Buntal_hat) Malong (/wiki/Malong) Maria Clara gown (/wiki/Maria_Clara_gown) Patadyong (/wiki/Patadyong) Salakot (/wiki/Salakot) Thailand (/wiki/Traditional_Thai_clothing) Banong (/wiki/Traditional_Thai_clothing#Banong) Chong kraben (/wiki/Chong_kraben) Chut Thai (/wiki/Traditional_Thai_clothing) Formal Chut Thai (/wiki/Formal_Thai_national_costume) Pha khao ma (/wiki/Traditional_Thai_clothing#Pha_khao_ma) Pha nung (/wiki/Pha_nung) Raj pattern (/wiki/Raj_pattern) Sabai (/wiki/Sabai) Sinh (/wiki/Sinh_(clothing)) Suea pat (/wiki/Suea_pat) Tabengman (/wiki/Traditional_Thai_clothing#Tabengman) Tudong (/wiki/Tudong) Vietnam (/wiki/Vietnamese_clothing) Áo bà ba (/wiki/%C3%81o_b%C3%A0_ba) Áo dài (/wiki/%C3%81o_d%C3%A0i) Áo giao lĩnh (/wiki/%C3%81o_giao_l%C4%A9nh) Áo tứ thân (/wiki/%C3%81o_t%E1%BB%A9_th%C3%A2n) Middle East Abaya (/wiki/Abaya) Agal (/wiki/Agal_(accessory)) Assyria (/wiki/Assyrian_clothing) Bisht (/wiki/Bisht_(clothing)) Boshiya (/wiki/Boshiya) Burqa (/wiki/Burqa) Chador (/wiki/Chador) Izaar (/wiki/Izaar) Jewish (/wiki/Jewish_religious_clothing) Kippah (/wiki/Kippah) Sheitel (/wiki/Sheitel) Tallit (/wiki/Tallit) Tallit katan (/wiki/Tallit_katan) Tefillin (/wiki/Tefillin) Tzitzit (/wiki/Tzitzit) Jilbāb (/wiki/Jilb%C4%81b) Keffiyeh (/wiki/Keffiyeh) Kurdish (/wiki/Kurdish_clothing) Niqāb (/wiki/Niq%C4%81b) Palestine (/wiki/Palestinian_costumes) Pandama (/wiki/Pandama) Thawb (/wiki/Thawb) Turban (/wiki/Turban) Hejazi (/wiki/Hejazi_turban) Europe Balkan Traditional Albanian clothing (/wiki/Traditional_Albanian_clothing) Brez (/wiki/Brez_(clothing)) Çorape (/wiki/%C3%87orape) Opinga (/wiki/Opinga) Qeleshe (/wiki/Qeleshe) Xhamadan (/wiki/Xhamadan) Xhubleta (/wiki/Xhubleta) Aromanian (/w/index.php?title=Aromanian_traditional_clothing&action=edit&redlink=1) Croatia (/wiki/Croatian_national_costume) Fustanella (/wiki/Fustanella) Greek (/wiki/Greek_dress) Chiton (/wiki/Chiton_(costume)) Chlamys (/wiki/Chlamys) Himation (/wiki/Himation) Macedonia (/wiki/Macedonian_national_costume) Romania (/wiki/Romanian_dress) Serbia (/wiki/Serbian_traditional_clothing) Kosovo (/wiki/Traditional_clothing_of_Kosovo) British Isles Britain Country (/wiki/British_country_clothing) Court (/wiki/Court_uniform_and_dress_in_the_United_Kingdom) Windsor uniform (/wiki/Windsor_uniform) Ireland (/wiki/Irish_clothing) Scottish highlands (/wiki/Highland_dress) Aboyne (/wiki/Aboyne_dress) Feather bonnet (/wiki/Feather_bonnet) Kilt (/wiki/Kilt) Sporran (/wiki/Sporran) Wales (/wiki/Traditional_Welsh_costume) Central Dirndl (/wiki/Dirndl) Lederhosen (/wiki/Lederhosen) Poland (/wiki/National_costumes_of_Poland) Tracht (/wiki/Tracht) Eastern Armenia (/wiki/Armenian_dress) Azerbaijan (/wiki/Azerbaijani_traditional_clothing) Kelaghayi (/wiki/Kelaghayi) Ukraine (/wiki/Ukrainian_national_clothing) Kobeniak (/wiki/Kobeniak) Kozhukh (/wiki/Kozhukh) Kozhushanka (/wiki/Kozhushanka) Ochipok (/wiki/Ochipok) Sharovary (/wiki/Sharovary) Vyshyvanka (/wiki/Vyshyvanka) Ukrainian wreath (/wiki/Ukrainian_wreath) Russia Kokoshnik (/wiki/Kokoshnik) Kosovorotka (/wiki/Kosovorotka) Lapti (/wiki/Bast_shoe) Orenburg shawl (/wiki/Orenburg_shawl) Sarafan (/wiki/Sarafan) Western Netherlands Poffer (/wiki/Poffer) Kraplap (/wiki/Kraplap) Oorijzer (/wiki/Oorijzer) France Breton costume (/wiki/Breton_costume) Spain Traje de flamenca (/wiki/Traje_de_flamenca) Barretina (/wiki/Barretina) Cachirulo (/wiki/Cachirulo) Cordovan hat (/wiki/Cordovan_hat) Sombrero de catite (/wiki/Sombrero_de_catite) Mantilla (/wiki/Mantilla) Italy Ciocia (/wiki/Ciocia) Coppola cap (/wiki/Coppola_cap) Scandinavian Bunad (/wiki/Bunad) Gákti (/wiki/G%C3%A1kti) Iceland (/wiki/Icelandic_national_costume) Sweden (/wiki/Culture_of_Sweden#Folk_costuming) Nationella dräkten (/wiki/Nationella_dr%C3%A4kten) Bäckadräkten (/wiki/B%C3%A4ckadr%C3%A4kten) Sverigedräkten (/w/index.php?title=Sverigedr%C3%A4kten&action=edit&redlink=1) South America Aguayo (/wiki/Aguayo_(cloth)) Chile Chamanto (/wiki/Chamanto) Chilote cap (/wiki/Chilote_cap) Chilote poncho (/wiki/Chilote_poncho) Chupalla (/wiki/Chupalla) Chullo (/wiki/Chullo) Guayabera (/wiki/Guayabera) Liqui liqui (/wiki/Liqui_liqui) Lliklla (/wiki/Lliklla) Panama hat (/wiki/Panama_hat) Pollera (/wiki/Pollera) Poncho (/wiki/Poncho) Ruana (/wiki/Ruana) North America Inuit skin clothing (/wiki/Inuit_clothing) Tignon (/wiki/Tignon) Ceinture fléchée (/wiki/Ceinture_fl%C3%A9ch%C3%A9e) Western wear (/wiki/Western_wear) Bolo tie (/wiki/Bolo_tie) Chaps (/wiki/Chaps) Huipil (/wiki/Huipil) Mexico Huarache (/wiki/Huarache_(shoe)) Mexican pointy boots (/wiki/Mexican_pointy_boots) Rebozo (/wiki/Rebozo) Serape (/wiki/Serape) Sombrero (/wiki/Sombrero) Quechquemitl (/wiki/Quechquemitl) Oceania Grass skirt (/wiki/Grass_skirt) Feather cloak (/wiki/Feather_cloak) I-sala (/wiki/I-sala) Lap-lap (/wiki/Lap-lap) Lavalava (/wiki/Lavalava) Kiekie (/wiki/Kiekie_(clothing)) Pareo (/wiki/Pareo) Sulu (/wiki/Sulu_(skirt)) Taʻovala (/wiki/Ta%CA%BBovala) Tēfui (/wiki/T%C4%93fui) Tupenu (/wiki/Tupenu) v t e Dyeing (/wiki/Dyeing) Techniques Batik Dyeing (/wiki/Dyeing) Ikat (/wiki/Ikat) Kasuri (/wiki/Kasuri) Kalamkari (/wiki/Kalamkari) Katazome (/wiki/Katazome) Leheria (/wiki/Leheria) Mordant (/wiki/Mordant) Reactive dye printing (/wiki/Reactive_dye_printing) Resist (/wiki/Resist_dyeing) Ring dyeing (/wiki/Ring_dyeing) Rōketsuzome (/wiki/R%C5%8Dketsuzome) Shibori (/wiki/Shibori) Tie-dye (/wiki/Tie-dye) Tsutsugaki (/wiki/Tsutsugaki) Yūzen (/wiki/Y%C5%ABzen) Types of dyes Dyes (/wiki/Dye) Natural (/wiki/Natural_dye) Acid (/wiki/Acid_dye) Reactive (/wiki/Reactive_dye) Solvent (/wiki/Solvent_dye) Substantive (/wiki/Substantive_dye) Sulfur (/wiki/Sulfur_dye) Vat (/wiki/Vat_dye) Disperse (/wiki/Disperse_dye) Discharge (/wiki/Discharge_printing) Pigment (/wiki/Pigment) Traditional textile dyes Armenian cochineal (/wiki/Armenian_cochineal) Black walnut (/wiki/Juglans_nigra) Bloodroot (/wiki/Sanguinaria) Brazilin (/wiki/Brazilin) Cochineal (/wiki/Cochineal#Dye) Cudbear (/wiki/Orcein) Cutch (/wiki/Catechu) Dyewoods (/wiki/Dyewoods) Fustic (/wiki/Maclura_tinctoria) Gamboge (/wiki/Gamboge) Dyer's broom (/wiki/Genista_tinctoria) Henna (/wiki/Henna) Indigo (/wiki/Indigo_dye) Kermes (/wiki/Kermes_(dye)) Logwood (/wiki/Haematoxylum_campechianum) Madder (/wiki/Rubia) Polish cochineal (/wiki/Polish_cochineal) Saffron (/wiki/Saffron) Turmeric (/wiki/Turmeric#Dye) Tyrian purple (/wiki/Tyrian_purple) Weld (/wiki/Reseda_(plant)) Woad (/wiki/Isatis_tinctoria) History Use of saffron (/wiki/Trade_and_use_of_saffron) Traditional dyes of the Scottish Highlands (/wiki/Traditional_dyes_of_the_Scottish_Highlands) Craft dyes Dylon (/wiki/Dylon) Inkodye (/wiki/Lumi_(company)) Procion (/wiki/Procion) Rit (/wiki/Rit_(dye)) Reference Glossary of dyeing terms (/wiki/Glossary_of_dyeing_terms) List of dyes (/wiki/List_of_dyes) v t e Fabric (/wiki/Textile) Types Woven (/wiki/Woven_fabric) Abacá cloth (/wiki/Abac%C3%A1#Textiles) (Medriñaque) Aertex (/wiki/Aertex) Armazine (/wiki/Armazine) Almerían silk (/wiki/Almer%C3%ADan_silk) Barathea (/wiki/Barathea) Barkcloth (/wiki/Barkcloth) Batiste (/wiki/Batiste) Bedford cord (/wiki/Bedford_cord) Bengaline (/wiki/Bengaline) Beta cloth (/wiki/Beta_cloth) Bombazine (/wiki/Bombazine) Brilliantine (/wiki/Brilliantine_(fabric)) Broadcloth (/wiki/Broadcloth) Buckram (/wiki/Buckram) Bunting (/wiki/Bunting_(textile)) Burlap (/wiki/Hessian_fabric) Byrd Cloth (/wiki/Byrd_Cloth) C change (/wiki/C_change) Calico (/wiki/Calico) Cambric (/wiki/Cambric) Canvas (/wiki/Canvas) Chambray (/wiki/Cambric) Capilene (/wiki/Capilene) Cedar bark textile (/wiki/Cedar_bark_textile) Challis (/wiki/Challis_(fabric)) Char cloth (/wiki/Char_cloth) Charmeuse (/wiki/Charmeuse) Charvet (/wiki/Charvet_(fabric)) Cheesecloth (/wiki/Cheesecloth) Chiffon (/wiki/Chiffon_(fabric)) Chino (/wiki/Chino_cloth) Chintz (/wiki/Chintz) Cloqué (/wiki/Cloqu%C3%A9) Cloth of gold (/wiki/Cloth_of_gold) Cordura (/wiki/Cordura) Corduroy (/wiki/Corduroy) Cotton duck (/wiki/Cotton_duck) Coutil (/wiki/Coutil) Crêpe (/wiki/Cr%C3%AApe_(textile)) Cretonne (/wiki/Cretonne) Denim (/wiki/Denim) Dimity (/wiki/Dimity) Donegal tweed (/wiki/Donegal_tweed) Dornix (/wiki/Dornix) Dowlas (/wiki/Dowlas) Drill (/wiki/Drill_(fabric)) Drugget (/wiki/Drugget) Eolienne (/wiki/Eolienne) Flannel (/wiki/Flannel) Foulard (/wiki/Foulard) Fustian (/wiki/Fustian) Gabardine (/wiki/Gabardine) Gauze (/wiki/Gauze) Gazar (/wiki/Gazar) Georgette (/wiki/Georgette_(fabric)) Ghalamkar (/wiki/Ghalamkar) Gingham (/wiki/Gingham) Grenadine (/wiki/Grenadine_(cloth)) Grenfell Cloth (/wiki/Grenfell_Cloth) Grosgrain (/wiki/Grosgrain) Habutai (/wiki/Habutai) Haircloth (/wiki/Haircloth) Harris tweed (/wiki/Harris_tweed) Herringbone (/wiki/Herringbone_(cloth)) Himroo (/wiki/Himroo) Hodden (/wiki/Hodden) Irish linen (/wiki/Irish_linen) Jamdani (/wiki/Jamdani) Kerseymere (/wiki/Kerseymere) Khādī (/wiki/Kh%C4%81d%C4%AB) Khaki drill (/wiki/Khaki_drill) Kijōka-bashōfu (/wiki/Kij%C5%8Dka-bash%C5%8Dfu) Kente cloth (/wiki/Kente_cloth) Lamé (/wiki/Lam%C3%A9_(fabric)) Lawn (/wiki/Lawn_cloth) Linsey-woolsey (/wiki/Linsey-woolsey) Loden (/wiki/Loden_cape) Longcloth (/wiki/Longcloth) Mackinaw (/wiki/Mackinaw_cloth) Madapollam (/wiki/Madapollam) Madras (/wiki/Madras_(cloth)) Moleskin (/wiki/Moleskin) Muslin (/wiki/Muslin) Nainsook (/wiki/Nainsook) Nankeen (/wiki/Nankeen) Ninon (/wiki/Ninon) Oilskin (/wiki/Oilskin) Organdy (/wiki/Organdy) Organza (/wiki/Organza) Osnaburg (/wiki/Osnaburg) Ottoman (/wiki/Ottoman_(textile)) Oxford (/wiki/Oxford_(cloth)) Paduasoy (/wiki/Paduasoy) Percale (/wiki/Percale) Perpetuana (/wiki/Perpetuana) Pongee (/wiki/Pongee) Poplin (/wiki/Poplin) Rakematiz (/wiki/Rakematiz) Rayadillo (/wiki/Rayadillo) Rep (/wiki/Rep_(fabric)) Ripstop (/wiki/Ripstop) Russell cord (/wiki/Russell_cord) Saga Nishiki (/wiki/Saga_Nishiki) Samite (/wiki/Samite) Sateen (/wiki/Sateen) Satin (/wiki/Satin) Saye (/wiki/Saye) Scarlet (/wiki/Scarlet_(cloth)) Seerhand muslin (/wiki/Seerhand_muslin) Seersucker (/wiki/Seersucker) Sendal (/wiki/Sendal) Serge (/wiki/Serge_(fabric)) Scrim (/wiki/Scrim_(material)) Shot silk (/wiki/Shot_silk) Stuff (/wiki/Stuff_(cloth)) Taffeta (/wiki/Taffeta) Tais (/wiki/Tais) Tartan (/wiki/Tartan) Ticking (/wiki/Ticking) Toile (/wiki/Toile) Tucuyo (/wiki/Tucuyo) Tweed (/wiki/Tweed) Twill (/wiki/Twill) Ultrasuede (/wiki/Ultrasuede) Vegetable flannel (/wiki/Vegetable_flannel) Ventile (/wiki/Ventile) Vinyl coated polyester (/wiki/Vinyl_coated_polyester) Viyella (/wiki/Viyella) Voile (/wiki/Voile) Wadmal (/wiki/Wadmal) Waffle (/wiki/Waffle_fabric) Wigan (/wiki/Wigan_(fabric)) Whipcord (/wiki/Whipcord) Zephyr (/wiki/Zephyr_cloth) Zorbeez (/wiki/Zorbeez) Figured woven Brocade (/wiki/Brocade) Camlet (/wiki/Camlet) Damask (/wiki/Damask) Lampas (/wiki/Lampas) Songket (/wiki/Songket) Rinzu (/wiki/Rinzu) Pile woven (/wiki/Pile_(textile)) Baize (/wiki/Baize) Chenille (/wiki/Chenille_fabric) Corduroy (/wiki/Corduroy) Crimplene (/wiki/Crimplene) Fustian (/wiki/Fustian) Mockado (/wiki/Mockado) Moquette (/wiki/Moquette) Plush (/wiki/Plush) Polar fleece (/wiki/Polar_fleece) Terrycloth (/wiki/Terrycloth) Velours du Kasaï (/wiki/Velours_du_Kasa%C3%AF) Velvet (/wiki/Velvet) Velveteen (/wiki/Velveteen) Zibeline (/wiki/Zibeline) Nonwoven (/wiki/Nonwoven_fabric) Felt (/wiki/Felt) Cedar bark (/wiki/Cedar_bark_textile) Knitted (/wiki/Knitted_fabric) Boiled wool (/wiki/Boiled_wool) Coolmax (/wiki/Coolmax) Machine knitting (/wiki/Knitting_machine) Milliskin (/wiki/Milliskin) Jersey (/wiki/Jersey_(fabric)) Velour (/wiki/Velour) Netted (/wiki/Net_(textile)) Bobbinet (/wiki/Bobbinet) Carbon fibers (/wiki/Carbon_fibers) Lace (/wiki/Lace) Mesh (/wiki/Mesh) Needlerun net (/wiki/Needlerun_net) Ninon (/wiki/Ninon) Tulle (/wiki/Tulle_netting) Technical (/wiki/Technical_textile) Ballistic nylon (/wiki/Ballistic_nylon) Ban-Lon (/wiki/Ban-Lon) Conductive textile (/wiki/Conductive_textile) Darlexx (/wiki/Darlexx) E-textiles (/wiki/E-textiles) Gannex (/wiki/Gannex) Gore-Tex (/wiki/Gore-Tex) Lenticular fabric (/wiki/Lenticular_fabric) Silnylon (/wiki/Silnylon) Spandex (/wiki/Spandex) Stub-tex (/wiki/Stub-tex) SympaTex (/wiki/SympaTex) Windstopper (/wiki/Windstopper) Patterns Argyle (/wiki/Argyle_(pattern)) Bizarre silk (/wiki/Bizarre_silk) Check (/wiki/Check_(pattern)) Chiné (/wiki/Warp_printing) Glen plaid (/wiki/Glen_plaid) Herringbone (/wiki/Herringbone_(cloth)) Houndstooth (/wiki/Houndstooth) Kelsch (/wiki/Kelsch_d%27Alsace) Paisley (/wiki/Paisley_(design)) Pinstripes (/wiki/Pinstripes) Polka dot (/wiki/Polka_dot) Shweshwe (/wiki/Shweshwe) Tartan or plaid (/wiki/Tartan) Tattersall (/wiki/Tattersall_(cloth)) Textile fibers (/wiki/Fiber) Abacá (/wiki/Abac%C3%A1) (Manila hemp) Acrylic (/wiki/Acrylic_fiber) Alpaca (/wiki/Alpaca_fiber) Angora (/wiki/Angora_wool) Bashō (/wiki/Musa_basjoo) Cashmere (/wiki/Cashmere_wool) Coir (/wiki/Coir) Cotton (/wiki/Cotton) Eisengarn (/wiki/Eisengarn) Hemp (/wiki/Hemp) Jute (/wiki/Jute) Kevlar (/wiki/Kevlar) Linen (/wiki/Linen) Mohair (/wiki/Mohair) Nylon (/wiki/Nylon) Microfiber (/wiki/Microfiber) Olefin (/wiki/Olefin_fiber) Pashmina (/wiki/Pashmina) Polyester (/wiki/Polyester) Piña (/wiki/Pi%C3%B1a) Ramie (/wiki/Ramie) Rayon (/wiki/Rayon) Sea silk (/wiki/Sea_silk) Silk (/wiki/Silk) Sisal (/wiki/Sisal) Spandex (/wiki/Spandex) Spider silk (/wiki/Spider_silk) Wool (/wiki/Wool) Finishing (/wiki/Finishing_(textiles)) and printing (/wiki/Textile_printing) Androsia (/wiki/Androsia) Batik Beetling (/wiki/Beetling) Bingata (/wiki/Bingata) Bògòlanfini (/wiki/B%C3%B2g%C3%B2lanfini) Burnout (/wiki/Devor%C3%A9) Calendering (/wiki/Calendering_(textiles)) Decatising (/wiki/Decatising) Devoré (/wiki/Devor%C3%A9) Finishing (/wiki/Finishing_(textiles)) Fulling (/wiki/Fulling) Heatsetting (/wiki/Heatsetting) Indienne (/wiki/Indienne) Kasuri (/wiki/Kasuri) Katazome (/wiki/Katazome) Mercerization (/wiki/Mercerised_cotton) Moire (/wiki/Moire_(fabric)) Nap (/wiki/Nap_(textile)) Parchmentising (/wiki/Parchmentising) Rogan printing (/wiki/Rogan_printing) Rōketsuzome (/wiki/R%C5%8Dketsuzome) Roller printing (/wiki/Roller_printing_on_textiles) Sanforization (/wiki/Sanforization) Tenterhook (/wiki/Tenterhook) Textile printing (/wiki/Textile_printing) Tsutsugaki (/wiki/Tsutsugaki) Warp printing (/wiki/Warp_printing) Waxed cotton (/wiki/Waxed_cotton) Woodblock printing (/wiki/Woodblock_printing_on_textiles) Yūzen (/wiki/Y%C5%ABzen) Fabric mills Carlo Barbera (/wiki/Carlo_Barbera) Cerruti (/wiki/Lanificio_Fratelli_Cerruti) Dormeuil (/wiki/Dormeuil) E. Thomas (/wiki/E._Thomas) Holland & Sherry (/wiki/Holland_%26_Sherry) Larusmiani (/wiki/Larusmiani) Loro Piana (/wiki/Loro_Piana) Piacenza (/wiki/Fratelli_Piacenza) Reda (/wiki/Reda_(fabric_mill)) Scabal (/wiki/Scabal) Vitale Barberis Canonico (/wiki/Vitale_Barberis_Canonico) Zegna (/wiki/Zegna) Manufacturing industry Design (/wiki/Textile_design) Manufacturing (/wiki/Textile_manufacturing) Performance (/wiki/Textile_performance) Preservation (/wiki/Textile_preservation) Recycling (/wiki/Textile_recycling) Terminology (/wiki/Glossary_of_textile_manufacturing) Related Dyeing (/wiki/Dyeing) Fiber (/wiki/Fiber) History of textiles (/wiki/History_of_clothing_and_textiles) History of silk (/wiki/History_of_silk) Knitting (/wiki/Knitting) Pandy (/wiki/Fulling_mill) Shrinkage (/wiki/Shrinkage_(fabric)) Swatches and strike-offs (/wiki/Textile_sample) Synthetic fabric (/wiki/Synthetic_fabric) Weaving (/wiki/Weaving) Yarn (/wiki/Yarn) v t e Islamic art (/wiki/Islamic_art) Architecture (/wiki/Islamic_architecture) Regional styles Abbasid (/wiki/Abbasid_architecture) Ayyubid (/wiki/Ayyubid_dynasty#Architecture) Anatolian Seljuk (/wiki/Anatolian_Seljuk_architecture) Chinese (/wiki/Chinese_Islamic_architecture) Fatimid (/wiki/Fatimid_architecture) Great Seljuk (/wiki/Great_Seljuk_architecture) Hausa (/wiki/Hausa_architecture) Indo-Islamic (/wiki/Indo-Islamic_architecture) Bengali (/wiki/Bengali_Muslim_architecture) Deccan (/wiki/Architecture_of_the_Deccan_sultanates) Mughal (/wiki/Mughal_architecture) Indonesian (/wiki/Mosque_architecture_in_Indonesia) / Malaysian (/wiki/Islamic_architecture#Malaysia) Iranian (/wiki/Iranian_architecture) Mamluk (/wiki/Mamluk_architecture) Moorish (/wiki/Moorish_architecture) Ottoman (/wiki/Ottoman_architecture) Sudano-Sahelian (/wiki/Sudano-Sahelian_architecture) Swahili (/wiki/Swahili_architecture) Tatar (/wiki/Tatar_mosque) Timurid (/wiki/Timurid_architecture) Umayyad (/wiki/Umayyad_architecture) Yemeni 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A. 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Invisible World (/wiki/Islamic_Art:_Mirror_of_the_Invisible_World) Aniconism in Islam (/wiki/Aniconism_in_Islam) Indo-Saracenic Revival (/wiki/Indo-Saracenic_Revival_architecture) Islamic world contributions to Medieval Europe (/wiki/Islamic_world_contributions_to_Medieval_Europe) Influences on Western art (/wiki/Islamic_influences_on_Western_art) Grotesque (/wiki/Grotesque) Moresque (/wiki/Moresque) Mathematics and architecture (/wiki/Mathematics_and_architecture) Moorish Revival (/wiki/Moorish_Revival_architecture) Mudéjar (/wiki/Mud%C3%A9jar) Oriental carpets in Renaissance painting (/wiki/Oriental_carpets_in_Renaissance_painting) Pseudo-Kufic (/wiki/Pseudo-Kufic) Stilfragen (/wiki/Stilfragen) Topkapı Scroll (/wiki/Topkap%C4%B1_Scroll) v t e UNESCO Oral and Intangible Heritage (/wiki/UNESCO_Intangible_Cultural_Heritage_Lists) : Representative List Africa Aka music (/wiki/Aka_people#Music) Chopi timbila (/wiki/Timbila) Garifuna culture (/wiki/Garifuna) Afounkaha Gbofe 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(/wiki/Chhau_dance) Chinese architecture (/wiki/Chinese_architecture) Chinese block printing (/wiki/Woodblock_printing#Origins_in_Asia) Chinese calligraphy (/wiki/Chinese_calligraphy) Chinese paper cutting (/wiki/Chinese_paper_cutting) Chinese seal engraving (/wiki/Seal_carving) Chinese shadow puppetry (/wiki/Shadow_play#Chinese) Daemokjang (/wiki/Daemokjang) Daimokutate (/wiki/Daimokutate) Dainichido Bugaku (/wiki/Dainichido_Bugaku) Darangen Epic (/wiki/Darangen_Epic) Dragon Boat Festival (/wiki/Dragon_Boat_Festival) Drametse Ngacham (/wiki/Drametse_Ngacham) Durga Puja in Kolkata (/wiki/Durga_Puja_in_Kolkata) Epic of King Gesar (/wiki/Epic_of_King_Gesar) Gagaku (/wiki/Gagaku) Gagok (/wiki/Gagok) Ganggangsullae (/wiki/Ganggangsullae) Gangneung Danoje Festival (/wiki/Gangneung_Danoje) Gimjang (/wiki/Gimjang) Gióng Festival (/wiki/Gi%C3%B3ng_Festival) Gong culture (/wiki/Space_of_gong_culture) Grand Song (/wiki/Dong_people#Culture) Guqin (/wiki/Guqin) Guqin music (/wiki/History_of_the_guqin) Haenyeo (/wiki/Haenyeo) Hansan Mosi (/wiki/Hansan_Mosi) Hayachine Kagura (/wiki/Hayachine_Kagura) Hitachi Furyumono (/wiki/Hitachi_Furyumono) Hua'er (/wiki/Shan%27ge) Hudhud Chants (/wiki/Rice_Terraces_of_the_Philippine_Cordilleras#The_Ifugao_epic_Hudhud) Indonesian kris (/wiki/Kris) Jamdani (/wiki/Jamdani) Jeju Chilmeoridang Yeongdeunggut (/wiki/Jeju_Chilmeoridang_Yeongdeunggut) Jultagi (/wiki/Jultagi) Kabuki (/wiki/Kabuki) Kalbelia (/wiki/Kalbelia) Kashan rug (/wiki/Persian_carpet) Katta Ashula (/w/index.php?title=Katta_Ashula&action=edit&redlink=1) Khon (/wiki/Khon) Khoomei (/wiki/Tuvan_throat_singing) Koshikijima no Toshidon (/w/index.php?title=Koshikijima_no_Toshidon&action=edit&redlink=1) Kumbh Mela (/wiki/Kumbh_Mela) Kumiodori (/wiki/Kumi_Odori) Kunqu (/wiki/Kunqu) Koodiyattam (/wiki/Koodiyattam) Ladkah Buddhist chantings (/wiki/Ladakh_chant) Lakalaka (/wiki/Lakalaka) Lenj boats (/w/index.php?title=Lenj_boat&action=edit&redlink=1) Lhamo (/wiki/Lhamo) Longquan celadon (/wiki/Longquan_celadon) Mak yong (/wiki/Mak_yong) Manipuri Sankirtana (/wiki/Meitei_Sankirtana) Mangal Shobhajatra (/wiki/Mangal_Shobhajatra) Mazu belief (/wiki/Mazu) Meshrep (/wiki/Meshrep) Mibu no Hana Taue (/wiki/Mibu_no_Hana_Taue) Morin khuur (/wiki/Morin_khuur) Mosie ramie (/w/index.php?title=Mosie_weaving&action=edit&redlink=1) Mudiyett (/wiki/Mudiyett) Muqam (/wiki/Muqam) Naadam (/wiki/Naadam) Namsadang Nori (/wiki/Namsadang) Nanyin (/wiki/Nanguan_music) Naqqāli (/wiki/Naqq%C4%81li) Nhã nhạc (/wiki/Nh%C3%A3_nh%E1%BA%A1c) Noh (/wiki/Noh) Nora (/wiki/Menora_(dance)) Nowruz (/wiki/Nowruz) Afghan (/wiki/Nowruz_in_Afghanistan) Uzbekistani (/wiki/Navruz_in_Uzbekistan) Nuad Thai (/wiki/Thai_massage) Oku-noto no Aenokoto (/wiki/Oku-noto_no_Aenokoto) Pencak silat (/wiki/Pencak_silat) Pahlevani and zoorkhaneh rituals (/wiki/Pahlevani_and_zoorkhaneh_rituals) Pansori (/wiki/Pansori) Pinisi (/wiki/Pinisi) Pungmul (/wiki/Pungmul) Quan họ (/wiki/Quan_h%E1%BB%8D) Radif 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and North America Albanian iso-polyphony (/wiki/Iso-Polyphony) Ashiqs of Azerbaijan (/wiki/Ashiqs_of_Azerbaijan) Ashik (/wiki/Ashik) Aubusson tapestry (/wiki/Aubusson_tapestry) Azerbaijani carpet (/wiki/Azerbaijani_carpet) weaving (/wiki/Azerbaijani_carpet_weaving) Azerbaijani tar (/wiki/Tar_(Azerbaijani_instrument)) Baltic song and dance celebrations Bećarac (/wiki/Be%C4%87arac) Busójárás (/wiki/Bus%C3%B3j%C3%A1r%C3%A1s) Călușari (/wiki/C%C4%83lu%C8%99ari) Cante Alentejano (/wiki/Cante_Alentejano) Cantu a tenore (/wiki/Cantu_a_tenore) Carnival of Binche (/wiki/Carnival_of_Binche) Castell (/wiki/Castell) Chovgan (/wiki/Chovgan) Christmas Tsars (/wiki/Rite_of_the_Kalyady_Tsars) Council of Wise Men of the plain of Murcia (/wiki/Council_of_Wise_Men_of_the_plain_of_Murcia) and Water Tribunal of the plain of Valencia (/wiki/Water_Tribunal_of_the_plain_of_Valencia) Copper craftsmanship of Lahij (/wiki/Lah%C4%B1c_copper_craft) Croatian lacemaking (/wiki/Lacemaking_in_Croatia) Daina (/wiki/Daina_(Lithuania)) Dancing procession of Echternach (/wiki/Dancing_procession_of_Echternach) Daredevils of Sassoun (/wiki/Daredevils_of_Sassoun) Doina (/wiki/Doina) Duduk (/wiki/Duduk) Fado (/wiki/Fado) Falconry (/wiki/Falconry) Falles of the Pyrenees La Mare de Déu de la Salut Festival (/wiki/La_Mare_de_D%C3%A9u_de_la_Salut_Festival) Festivity of Saint Blaise (/wiki/Festivity_of_Saint_Blaise) Flamenco (/wiki/Flamenco) French timber framing scribing Fujara (/wiki/Fujara) Georgian vocal polyphony (/wiki/Georgian_vocal_polyphony) Horezu ceramics (/wiki/Horezu_ceramics) Houtem Jaarmarkt (/wiki/Houtem_Jaarmarkt) Istrian scale (/wiki/Istrian_scale) Jem (/wiki/Jem_(Alevism)) Karagöz and Hacivat (/wiki/Karag%C3%B6z_and_Hacivat) Kelaghayi (/wiki/Kelaghayi) Keşkek (/wiki/Ke%C5%9Fkek) Khachkar (/wiki/Khachkar) Kihnu culture (/wiki/Kihnu_culture) Kırkpınar (/wiki/K%C4%B1rkp%C4%B1nar) Klapa (/wiki/Klapa) Lithuanian cross crafting (/wiki/Lithuanian_cross_crafting) Kvevri wine (/wiki/Kvevri) La Patum (/wiki/Patum_de_Berga) Lefkaritika (/wiki/Lefkara_lace) Licitar (/wiki/Licitar) Ljelje (/wiki/Ljelje) / Kraljice (/wiki/Kraljice) Makishi Festival (/wiki/Makishi_Festival) Moldovan Christmas Carols Maloya (/wiki/Maloya) Manas (/wiki/Epic_of_Manas) Meddah (/wiki/Meddah) Mediterranean diet (/wiki/Mediterranean_cuisine) Mesir Macunu (/wiki/Mesir_macunu) Mugham (/wiki/Mugham) Mystery Play of Elche (/wiki/Mystery_Play_of_Elche) Nestinarstvo (/wiki/Nestinarstvo) Nijemo Kolo (/wiki/Nijemo_Kolo) Nowruz (/wiki/Nowruz) Azerbaijani (/wiki/Novruz_in_Azerbaijan) Turkish Ojkanje (/wiki/Ojkanje) Olonkho (/wiki/Olonkho) Opera dei Pupi (/wiki/Opera_dei_Pupi) Petrykivka decorative painting (/wiki/Petrykivka_painting) Procession of the Holy Blood (/wiki/Procession_of_the_Holy_Blood) Sama (/wiki/Sama_(Sufism)) Sauna culture in Finland (/wiki/Finnish_sauna) Semeiskie culture (/wiki/Semeiskie) Seto leelo (/wiki/Seto_leelo) Silbo Gomero (/wiki/Silbo_Gomero) Sinjska alka (/wiki/Sinjska_alka) Slovácko Verbuňk (/wiki/Slov%C3%A1cko_Verbu%C5%88k) Turkish Sohbet (/wiki/Traditional_Sohbet_meetings) The Song of the Sibyl (/wiki/The_Song_of_the_Sibyl) Suiti Cultural Space (/wiki/Suiti) Sutartinės (/wiki/Sutartin%C4%97s) Táncház (/wiki/T%C3%A1nch%C3%A1z) Turkish coffee (/wiki/Turkish_coffee) Violins craftsmanship of Cremona (/wiki/Traditional_violin_craftsmanship_in_Cremona) Wajãpi culture (/wiki/Wayampi) Wooden toys of Hrvatsko Zagorje (/wiki/Wooden_toys_of_Hrvatsko_Zagorje) Za križen (/wiki/Za_kri%C5%BEen) Zvončari (/wiki/Zvon%C4%8Dari) Caribbean and Latin America Carnaval de Barranquilla (/wiki/Barranquilla%27s_Carnival) Brotherhood of the Holy Spirit of the Congos of Villa Mella (/wiki/Villa_Mella) Candombe (/wiki/Candombe) Carnaval de Negros y Blancos (/wiki/Blacks_and_Whites%27_Carnival) Bumba-meu-boi from Maranhão (/wiki/Bumba_Meu_Boi#Bumba_meu_boi_in_Maranhão) Carnaval de Oruro (/wiki/Carnaval_de_Oruro) Ceviche (/wiki/Ceviche) Círio de Nazaré (/wiki/C%C3%ADrio_de_Nazar%C3%A9) Cocolo 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Palenque (/wiki/San_Basilio_de_Palenque) South Pacific Colombian marimba (/w/index.php?title=South_Pacific_Colombian_marimba&action=edit&redlink=1) Tango (/wiki/Tango) Taquile textiles (/w/index.php?title=Taquile_textiles&action=edit&redlink=1) Tumba francesa (/wiki/Tumba_francesa) Vallenato (/wiki/Vallenato) Wajãpi culture (/wiki/Wayampi) Yaokwa (/wiki/Enawene_Nawe) Záparo culture (/wiki/Z%C3%A1paro_culture) v t e National Intangible Cultural Heritage of Indonesia (/wiki/National_Intangible_Cultural_Heritage_of_Indonesia) in Indonesia (/wiki/Indonesia) Wayang (/wiki/Wayang) (2008) Keris (/wiki/Keris) (2008) Batik (2009) Angklung (/wiki/Angklung) (2010) Pinisi (/wiki/Pinisi) , art of boatbuilding in South Sulawesi (2017) Three Genres of Traditional Dance in Bali (/wiki/Balinese_dance) (2019) Pencak silat (/wiki/Pencak_silat) (2019) Pantun (/wiki/Pantun) (2020) Gamelan (/wiki/Gamelan) (2021) List of Intangible Cultural Heritage in Need of Urgent Safeguarding Noken (/wiki/Noken) (2011) 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Woman's draped garment of the Indian subcontinent This article is about the Indian garment. For other uses, see Sari (disambiguation) (/wiki/Sari_(disambiguation)) . "Saris" redirects here. For other uses, see Saris (disambiguation) (/wiki/Saris_(disambiguation)) . Woman and child dressed in Maharashtrian (/wiki/Maharashtra) sari Handloom silk saris on display 20th century, Honolulu Museum of Art. A sari (sometimes also saree [1] (#cite_note-1) or sadi ) [note 1] (#cite_note-2) is a women's (/wiki/Women) garment (/wiki/Clothing) from Pakistan (/wiki/Pakistan) [2] (#cite_note-3) during the Indus Valley civilisation which was located in modern day Pakistan [3] (#cite_note-4) . It consists of an un-stitched stretch of woven fabric (/wiki/Woven_fabric) arranged over the body as a robe (/wiki/Robe) , with one end attached to the waist, while the other end rests over one shoulder as a stole (shawl) (/wiki/Stole_(shawl)) , [4] (#cite_note-5) sometimes baring a part of the midriff (/wiki/Midriff) . [5] (#cite_note-alkazi-6) [6] (#cite_note-Boulanger-7) [7] (#cite_note-Ghurye-8) It may vary from 4.1 to 8.2 metres (4.5 to 9 yards) in length, [8] (#cite_note-9) and 60 to 120 centimetres (24 to 47 inches) in breadth, [9] (#cite_note-10) and is a form of ethnic wear (/wiki/Ethnic_wear) in India (/wiki/India) , Sri Lanka (/wiki/Sri_Lanka) , Nepal (/wiki/Nepal) , Bangladesh (/wiki/Bangladesh) , Pakistan (/wiki/Pakistan) . There are various names and styles of sari manufacture and draping, the most common being the Nivi (#Nivi) style. [10] (#cite_note-:0-11) [11] (#cite_note-Linda_Lynton_1995-12) The sari is worn with a fitted bodice (/wiki/Bodice) also called a choli (/wiki/Choli) ( ravike or kuppasa in southern India, and cholo in Nepal) and a petticoat (/wiki/Petticoat) called ghagra (/wiki/Ghagra_choli) , parkar , or ul-pavadai . [12] (#cite_note-Vijay_Singh_Katiyar-13) It remains fashionable in the Indian subcontinent today. [13] (#cite_note-hinduismtoday-14) Etymology [ edit ] The Hindustani (/wiki/Hindustani_language) word sāṛī ( साड़ी , ساڑھی ), [14] (#cite_note-Annandale1892-15) described in Sanskrit (/wiki/Sanskrit) śāṭī [15] (#cite_note-Oxford_University_Press-16) which means 'strip of cloth' [16] (#cite_note-Monier-Williams_1995_1063-17) and शाडी śāḍī or साडी sāḍī in Pali (/wiki/Pali) , ಸೀರೆ or sīre in Kannada (/wiki/Kannada) and which evolved to sāṛī in modern Indian languages. [17] (#cite_note-Kapoor_2002_6422_pg_no._starts_from_6130-18) The word śāṭika is mentioned as describing women's dharmic (/wiki/Dharmic) attire in Sanskrit (/wiki/Sanskrit) literature and Buddhist literature called Jatakas (/wiki/Jatakas) . [18] (#cite_note-Sachidanand-19) This could be equivalent to the modern day sari. [18] (#cite_note-Sachidanand-19) The term for female bodice (/wiki/Bodice) , the choli (/wiki/Choli) evolved from ancient stanapaṭṭa . [19] (#cite_note-Prachya_Pratibha_p.121-20) [20] (#cite_note-Agam_Kala_Prakashan_p.118-21) Rajatarangini (/wiki/Rajatarangini) , a tenth-century literary work by Kalhana (/wiki/Kalhana) , states that the choli from the Deccan was introduced under the royal order in Kashmir. [12] (#cite_note-Vijay_Singh_Katiyar-13) The petticoat is called sāyā ( साया , سایہ ) in Hindi-Urdu (/wiki/Hindi-Urdu) , [14] (#cite_note-Annandale1892-15) parkar ( परकर ) in Marathi (/wiki/Marathi_language) , ulpavadai ( உள்பாவாடை ) in Tamil (/wiki/Tamil_language) ( pavada in other parts of South India: Malayalam (/wiki/Malayalam_language) : പാവാട , romanized (/wiki/Romanization_of_Malayalam) : pāvāṭa , Telugu (/wiki/Telugu_language) : పావడ , romanized (/wiki/Romanization_of_Telugu) : pāvaḍa , Kannada (/wiki/Kannada_language) : ಪಾವುಡೆ , romanized: pāvuḍe ), sāẏā ( সায়া ) in Bengali (/wiki/Bengali_language) and eastern India, and sāya ( සාය ) in Sinhalese (/wiki/Sinhala_language) . Apart from the standard "petticoat", it may also be called "inner skirt" [21] (#cite_note-22) or an inskirt. Origins and history [ edit ] Terracotta figurine in Sari-like drape, 200–100 BCE from Bengal (/wiki/Bengal) . Tara (/wiki/Tara_(Buddhism)) depicted in ancient three-piece attire, c. 11th century CE. Lady being offered wine, Deccan, c. 1630 CE. Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (/wiki/Chhatrapati_Shivaji_Maharaj_Vastu_Sangrahalaya) The history of sari-like drapery can be traced back to the Indus Valley civilisation (/wiki/Indus_Valley_civilisation) , which flourished during 2800–1800 BCE around the northwestern part of the Indian subcontinent (/wiki/Indian_subcontinent) . [6] (#cite_note-Boulanger-7) [7] (#cite_note-Ghurye-8) Cotton (/wiki/Cotton) was first cultivated and woven on the Indian subcontinent around the 5th millennium BCE. [22] (#cite_note-23) Dyes used during this period are still in use, particularly indigo (/wiki/Indigo) , lac (/wiki/Lac_(resin)) , red madder (/wiki/Rubia_cordifolia) and turmeric (/wiki/Turmeric) . [23] (#cite_note-Harrapa-24) Silk (/wiki/Silk) was woven around 2450 BCE and 2000 BCE. [24] (#cite_note-nat-25) [25] (#cite_note-26) The word sari evolved from śāṭikā ( Sanskrit (/wiki/Sanskrit_language) : शाटिका ) is mentioned in early Hindu literature as women's attire. [26] (#cite_note-Mohapatra-27) [18] (#cite_note-Sachidanand-19) The sari or śāṭikā evolved from a three-piece ensemble comprising the antarīya , the lower garment; the uttarīya ; a veil worn over the shoulder or the head; and the stanapatta (/wiki/Stanapatta) , a chestband. This ensemble is mentioned in Sanskrit (/wiki/Sanskrit) literature and Buddhist Pali (/wiki/Pali) literature during the 6th century BCE. [27] (#cite_note-28) Ancient antariya (/wiki/Antariya) closely resembled the dhoti wrap in the "fishtail" version which was passed through the legs, covered the legs loosely and then flowed into long, decorative pleats at front of the legs. [5] (#cite_note-alkazi-6) [28] (#cite_note-29) [29] (#cite_note-30) It further evolved into Bhairnivasani skirt, today known as ghagri (/wiki/Gagra_choli) and lehenga . [30] (#cite_note-31) Uttariya (/wiki/Uttariya) was a shawl-like veil worn over the shoulder or head. It evolved into what is known today known as dupatta (/wiki/Dupatta) and ghoonghat (/wiki/Ghoonghat) . [31] (#cite_note-32) Likewise, the stanapaṭṭa evolved into the choli (/wiki/Choli) by the 1st century CE. [19] (#cite_note-Prachya_Pratibha_p.121-20) [20] (#cite_note-Agam_Kala_Prakashan_p.118-21) [32] (#cite_note-33) [33] (#cite_note-34) The ancient Sanskrit (/wiki/Sanskrit) work Kadambari by Banabhatta (/wiki/Banabhatta) and ancient Tamil (/wiki/Tamil_language) poetry, such as the Silappadhikaram (/wiki/Silappadhikaram) , describes women in exquisite drapery (/wiki/Drapery) or sari. [12] (#cite_note-Vijay_Singh_Katiyar-13) [34] (#cite_note-Parthasarathy-35) [35] (#cite_note-36) [36] (#cite_note-37) In ancient India, although women wore saris that bared the midriff, the Dharmasastra (/wiki/Dharmasastra) writers stated that women should be dressed such that the navel would never become visible, which may have led to a taboo on navel exposure at some times and places. [37] (#cite_note-google1-38) [38] (#cite_note-39) [6] (#cite_note-Boulanger-7) [39] (#cite_note-40) It is generally accepted that wrapped sari-like garments for lower body and sometimes shawls or scarf like garment called 'uttariya' for upper body, have been worn by Indian women for a long time, and that they have been worn in their current form for hundreds of years. In ancient couture the lower garment was called ' nivi (/wiki/Nivi_(garment)) ' or 'nivi bandha', while the upper body was mostly left bare. [18] (#cite_note-Sachidanand-19) The works of Kalidasa (/wiki/K%C4%81lid%C4%81sa) mention the kūrpāsaka , a form of tight fitting breast band that simply covered the breasts. [18] (#cite_note-Sachidanand-19) It was also sometimes referred to as an uttarāsaṅga or stanapaṭṭa . [18] (#cite_note-Sachidanand-19) Poetic references from works like Silappadikaram (/wiki/Silappadikaram) indicate that during the Sangam period (/wiki/Sangam_period) in ancient Tamil Nadu in southern India, a single piece of clothing served as both lower garment and head covering, leaving the midriff completely uncovered. [34] (#cite_note-Parthasarathy-35) Similar styles of the sari are recorded paintings by Raja Ravi Varma (/wiki/Raja_Ravi_Varma) in Kerala. [40] (#cite_note-Miller-41) Numerous sources say that everyday costume in ancient India until recent times in Kerala (/wiki/Kerala) consisted of a pleated dhoti or ( sarong (/wiki/Sarong) ) wrap, combined with a breast band called kūrpāsaka or stanapaṭṭa and occasionally a wrap called uttarīya that could at times be used to cover the upper body or head. [18] (#cite_note-Sachidanand-19) The two-piece Kerala mundum neryathum (mundu, a dhoti or sarong, neryath, a shawl, in Malayalam (/wiki/Malayalam_language) ) is a survival of ancient clothing styles. The one-piece sari in Kerala is derived from neighbouring Tamil Nadu or Deccan during medieval period based on its appearance on various temple murals in medieval Kerala. [41] (#cite_note-42) [6] (#cite_note-Boulanger-7) [7] (#cite_note-Ghurye-8) [42] (#cite_note-Mukulika-43) Early Sanskrit (/wiki/Sanskrit) literature has a wide vocabulary of terms for the veiling (/wiki/Ghoonghat) used by women, such as Avagunthana (oguntheti/oguṇthikā), meaning cloak-veil, Uttariya meaning shoulder-veil, Mukha-pata meaning face-veil and Sirovas-tra meaning head-veil. [43] (#cite_note-Govind_Sadashiv_Ghurye_1951_p.236-44) In the Pratimānātaka , a play by Bhāsa describes in context of Avagunthana veil that " ladies may be seen without any blame (for the parties concerned) in a religious session, in marriage festivities, during a calamity and in a forest ". [43] (#cite_note-Govind_Sadashiv_Ghurye_1951_p.236-44) The same sentiment is more generically expressed in later Sanskrit (/wiki/Sanskrit) literature. [44] (#cite_note-Sulochana_Ayyar_1987_p.152-45) Śūdraka (/wiki/%C5%9A%C5%ABdraka) , the author of Mṛcchakatika (/wiki/M%E1%B9%9Bcchakatika) set in fifth century BCE says that the Avagaunthaha was not used by women everyday and at every time. He says that a married lady was expected to put on a veil while moving in the public. [44] (#cite_note-Sulochana_Ayyar_1987_p.152-45) This may indicate that it was not necessary for unmarried females to put on a veil. [44] (#cite_note-Sulochana_Ayyar_1987_p.152-45) This form of veiling by married women is still prevalent in Hindi-speaking areas, and is known as ghoonghat (/wiki/Ghoonghat) where the loose end of a sari is pulled over the head to act as a facial veil. [45] (#cite_note-46) Based on sculptures and paintings, tight bodices or cholis (/wiki/Choli) are believed to have evolved between the 2nd century BCE to 6th century CE in various regional styles. [46] (#cite_note-Vijay_Singh_Katiyar_24-47) Early cholis were front covering tied at the back; this style was more common in parts of ancient northern India. This ancient form of bodice or choli is still common in the state of Rajasthan (/wiki/Rajasthan) today. [47] (#cite_note-48) Varies styles of decorative traditional embroidery like gota patti, mochi, pakko, kharak, suf, kathi, phulkari and gamthi are done on cholis . [48] (#cite_note-49) In Southern parts of India, choli is known as ravikie which is tied at the front instead of back, kasuti is traditional form of embroidery used for cholis in this region. [49] (#cite_note-hist-50) In Nepal, choli is known as cholo or chaubandi cholo and is traditionally tied at the front. [50] (#cite_note-51) Red is the most favoured colour for wedding saris (/wiki/Wedding_sari) , which are the traditional garment choice for brides in Hindu wedding (/wiki/Hindu_wedding) . [51] (#cite_note-52) Women traditionally wore various types of regional handloom saris (/wiki/Handloom_sari) made of silk, cotton, ikkat, block-print, embroidery and tie-dye textiles. Most sought after brocade (/wiki/Brocade) silk saris are Banasari, Kanchipuram (Sometimes also Kanchipuram or Kanjivaram (/wiki/Kanjivaram_Sari) ), Gadwal, Paithani, Mysore, Uppada, Bagalpuri, Balchuri, Maheshwari, Chanderi, Mekhela, Ghicha, Narayan pet and Eri etc. are traditionally worn for festive and formal occasions. [52] (#cite_note-53) Silk Ikat (/wiki/Ikat) and cotton saris known as Patola, Pochampally, Bomkai, Khandua, Sambalpuri, Gadwal, Berhampuri, Bargarh, Jamdani, Tant, Mangalagiri, Guntur, Narayan pet, Chanderi, Maheshwari, Nuapatn, Tussar, Ilkal, Kotpad and Manipuri were worn for both festive and everyday attire. [53] (#cite_note-54) Tie-dyed (/wiki/Tie-dye) and block-print (/wiki/Woodblock_printing) saris known as Bandhani, Leheria/Leheriya, Bagru, Ajrakh, Sungudi, Kota Dabu/Dabu print, Bagh and Kalamkari were traditionally worn during monsoon season. [54] (#cite_note-55) Gota Patti (/wiki/Gota_(embroidery)) is popular form of traditional embroidery (/wiki/Embroidery) used on saris for formal occasions, various other types of traditional folk embroidery such mochi, pakko, kharak, suf, kathi, phulkari and gamthi are also commonly used for both informal and formal occasion. [55] (#cite_note-wedding-56) [56] (#cite_note-57) Today, modern fabrics like polyester, georgette (/wiki/Georgette_(fabric)) and charmeuse are also commonly used. [57] (#cite_note-58) [58] (#cite_note-59) [59] (#cite_note-60) Styles of draping [ edit ] 1928 illustration of different styles of sari, gagra choli (/wiki/Gagra_choli) & shalwar kameez (/wiki/Shalwar_kameez) worn by women in India. There are more than 80 recorded ways to wear a sari. [60] (#cite_note-61) The most common style is for the sari to be wrapped around the waist, with the loose end of the drape to be worn over the shoulder, baring the midriff. [61] (#cite_note-62) However, the sari can be draped in several different styles, though some styles do require a sari of a particular length or form. Ṛta Kapur Chishti (/wiki/%E1%B9%9Ata_Kapur_Chishti) , a sari historian (/wiki/Historian) and recognised textile (/wiki/Textile) scholar, has documented 108 ways of wearing a sari in her book, 'Saris: Tradition and Beyond'. The book documents the sari drapes across fourteen states of Gujarat (/wiki/Gujarat) , Maharashtra (/wiki/Maharashtra) , Goa (/wiki/Goa) , Karnataka (/wiki/Karnataka) , Kerala (/wiki/Kerala) , Tamil Nadu (/wiki/Tamil_Nadu) , Andhra Pradesh (/wiki/Andhra_Pradesh) , Odisha (/wiki/Odisha) , West Bengal (/wiki/West_Bengal) , Jharkhand (/wiki/Jharkhand) , Bihar (/wiki/Bihar) , Chhattisgarh (/wiki/Chhattisgarh) , Madhya Pradesh (/wiki/Madhya_Pradesh) , and Uttar Pradesh (/wiki/Uttar_Pradesh) . [62] (#cite_note-63) The Sari Series, [63] (#cite_note-64) a non-profit project created in 2017 is a digital anthology [64] (#cite_note-65) documenting India's regional sari drapes providing over 80 short films on how-to-drape the various styles. The French cultural anthropologist (/wiki/Anthropology) and sari researcher Chantal Boulanger (/wiki/Chantal_Boulanger) categorised sari drapes into the following families: [6] (#cite_note-Boulanger-7) Nivi sari – style originally worn in Deccan region; besides the modern nivi, there is also the Nauvari , kaccha or kasta nivi , where the pleats are passed through the legs and tucked into at the back. This allows free movement while covering the legs. Bihar (/wiki/Bihar) , Uttar Pradesh (/wiki/Uttar_Pradesh) , Gujarati (/wiki/Gujarati_people) , Rajasthani (/wiki/Rajasthani_language) – It is worn similar to nivi style but with loose end of sari aanchal or pallu placed in the front, therefore this style is known as sidha anchal or sidha pallu . After tucking in the pleats similar to the nivi style, the loose end is taken from the back, draped across the right shoulder, and pulled across to be secured in the back. This style is also worn by Punjabi Hindus (/wiki/Punjabi_Hindus) and Sindhi Hindus (/wiki/Sindhi_Hindus) . Bengali (/wiki/Tant_sari) and Odia (/wiki/Odia_people) style is worn with single box-pleat. [65] (#cite_note-66) Traditionally the Bengali style is worn with single box pleat where the sari is wrapped around in an anti-clockwise direction around the waist and then a second time from the other direction. The loose end is a lot longer and that goes around the body over the left shoulder. There is enough cloth left to cover the head as well. The Brahmika (/wiki/Jnanadanandini_Devi) sari was introduced to Bengal by Jnanadanandini Devi (/wiki/Jnanadanandini_Devi) after her tour in Bombay in 1870. Jnanadanandini improvised upon the sari style worn by Parsi and Gujarati women, which came to be known as Brahmika style. [66] (#cite_note-67) Himalayan (/wiki/Himachal_Pradesh) – Kulluvi Pattu is traditional form of woolen sari worn in Himachal Pradesh, similar variation is also worn in Uttarakhand (/wiki/Uttarakhand) . Nepali (/wiki/Nepal) : Nepal has many different varieties of draping sari, today the most common is the Nivi drape. The traditional Newari sari drape is, folding the sari till it is below knee length and then wearing it like a nivi sari but the pallu is not worn across the chest and instead is tied around the waist and leaving it so it drops from waist to the knee, instead the pallu or a shawl is tied across the chest, by wrapping it from the right hip and back and is thrown over the shoulders. Saris are worn with blouse that are thicker and are tied several times across the front. The Bhojpuri and Awadhi speaking community wears the sari sedha pallu like the Gujrati drape. The Mithila community has its own traditional Maithili drapes like the madhubani and purniea drapes but today those are rare and most sari is worn with the pallu in the front or the nivi style. [67] (#cite_note-nivi_style-68) The women of the Rajbanshi communities traditionally wear their sari with no choli and tied below the neck like a towel but today only old women wear it in that style and the nivi and the Bengali drapes are more popular today. The Nivi drape was popularized in Nepal by the Shah (/wiki/Shah_dynasty) royals and the Ranas (/wiki/Rana_dynasty) . Nauvari (/wiki/Kasta_sari) and Kasta (/wiki/Kasta_sari) : this drape is worn similar to ancient form of navi sari worn in "Kacche" style where pleats in the front are tucked in the back, though there are many regional and societal variations. The style worn by Brahmin (/wiki/Brahmin) women differs from that of the Marathas (/wiki/Maratha) . The style also differs from community to community. This style is popular in Maharashtra (/wiki/Maharashtra) and Goa (/wiki/Goa) . Madisar (/wiki/Madisar) – this drape is typical of Iyengar/Iyer Brahmin ladies from Tamil Nadu. Traditional Madisar is worn using 9 yards sari. [68] (#cite_note-69) The Parsi (/wiki/Parsi) ‘gara’ is worn by Zoroastrian women in Gujarat in India and Sindh in Pakistan, it is worn similar to sidha pallu , it unique compared to traditional sari due to it's chinese style embroidery. Pin Kosuvam – this is the traditional Tamil Nadu style Kodagu (/wiki/Kodagu_district) style – this drape is confined to ladies hailing from the Kodagu (/wiki/Kodagu) district of Karnataka (/wiki/Karnataka) . In this style, the pleats are created in the rear, instead of the front. The loose end of the sari is draped back-to-front over the right shoulder, and is pinned to the rest of the sari. Gobbe Seere – This style is worn by women in the Malnad (/wiki/Malenadu) or Sahyadri and central region of Karnataka. It is worn with 18 molas sari with three-four rounds at the waist and a knot after crisscrossing over shoulders. Karnataka (/wiki/Karnataka) – In Karnataka, apart from traditional Nivi sari, sari is also worn in "Karnataka Kacche" drape, kacche drape which shows nivi drape in front and kacche in back, there are Four kacche styles known in Karnataka – " Hora kacche ", " Melgacche " ," Vala kacche " or " Olagacche " and " Hale Kacche ". Kerala sari (/wiki/Kerala_sari) style – the two-piece sari, or Mundum Neryathum (/wiki/Kerala_sari) , worn in Kerala (/wiki/Kerala) . Usually made of unbleached cotton and decorated with gold or coloured stripes and/or borders. Also the Kerala sari (/wiki/Kerala_sari) , a sort of mundum neryathum. Kunbi style or denthli : Goan Kunbis and Gauda, and those of them who have migrated to other states use this way of draping sari or kappad , this form of draping is created by tying a knot in the fabric below the shoulder and a strip of cloth which crossed the left shoulder was fasten on the back. [69] (#cite_note-kunbi-70) Mithila (/wiki/Mithila_(region)) - In Mithila's all Districts, Maithil women follow the Maithila sari style. Mithila sari covers upper body of women where they do not wear blouse and the pallu of the sari is rotated around the neck and brought forward. In Maithil drape loose end is draped like Odhni so that entire body gets covered. During Chhaith, the women of Mithila wear cotton dhoti without stitching where women don't wear blouse which reflects the pure traditional culture of Mithila. Riha-Mekhela, Kokalmora, Chador/Murot Mora Gamusa – This style worn in Assam (/wiki/Assam) is a wrap around style cloth similar to other Southeast Asian garments. it is originally a four-set of separate garments known Riha-Mekhela , Kokalmora , Chador or Murot Mora Gamusa . The bottom portion, draped from the waist downwards is called Mekhela . The Riha or Methoni is wrapped and often secured by tying them firmly across the chest, covering the breasts originally but now it is sometimes replaced by blouse from mainland India. The Kokalmora was used originally to tie the Mekhela around the waist and keep it firm. Innaphi and Phanek – This style of clothing worn in Manipur (/wiki/Manipur) is also worn with three-set garment known as Innaphi Viel, Phanek lower wrap and long sleeved choli . It is somewhat similar to the style of clothing worn in Assam. Jainsem – It is a Khasi style of clothing worn in Khasi (/wiki/Meghalaya) which is made up of several pieces of cloth, giving the body a cylindrical shape. Historic photographs and regional styles [ edit ] Plaque of goddess Lakshmi dressed in ancient sari, 1st century BCE Plaque with female figure dressed in ancient variation of sari, 1st century BCE. Female figure dressed in ancient form of sari, 200 BCE Female figure dressed in early form of sari, 1st century BCE Female figure dressed in early form of sari, 1st century BCE Women dressed in ancient form of sari, 1st century BCE Women in choli (blouse) and antariya c. 320 CE , Gupta Empire (/wiki/Gupta_Empire) Kalpa Sūtra (/wiki/Kalpa_S%C5%ABtra) manuscript c. 1375 CE Dancing women depicted in three-piece attire, Kalpa Sutra manuscript 1375 CE. Women dressed in sari, Kalpa sutra manuscript, ca 1375 CE. Women dressed in sari, deccan, ca.1640-50 Women dressed in sari, c.1600s. Bronze portrait of Malla queen, 1696-1722 CE, Nepal. Girl in Gujarati sari; in this style, the loose end is worn on the front Woman in Tamil sari; in this style, the loose end is wrapped around the waist Girl in Bengali sari; in this style sari is worn without any pleats Kandyan Sinhalese (/wiki/Sinhalese_people) lady wearing a traditional Kandyan sari ( osaria ) Girl in Pochampally (/wiki/Pochampally_sari) Ikkat sari worn in Nivi style, 1895 CE Woman in Nauvari sari (/wiki/Kasta_sari) Tamil dancer dressed in sari, c. 1850 Nivi style [ edit ] Women dressed in nivi sari entertaining couple, Deccan, 1591 CE Maharani Ourmilla Devi of Jubbal in modern style of Nivi sari, 1935. The Nivi is the most common style of sari worn today. It originated in the Deccan region. [10] (#cite_note-:0-11) [11] (#cite_note-Linda_Lynton_1995-12) In the Deccan region, the Nivi existed in two styles, a style similar to modern Nivi and the second style worn with front pleats of Nivi tucked in the back. [18] (#cite_note-Sachidanand-19) The increased interactions during colonial era saw most women from royal families come out of purdah (/wiki/Purdah) in the 1900s. This necessitated a change of dress. Maharani Indira Devi (/wiki/Indira_Devi) of Cooch Behar popularised the chiffon (/wiki/Chiffon_(fabric)) sari. She was widowed early in life and followed the convention of abandoning her richly woven Baroda shalus in favour of the unadorned mourning (/wiki/Mourning) white as per tradition. Characteristically, she transformed her " mourning (/wiki/Mourning) " clothes into high fashion. She had saris woven in France to her personal specifications, in white chiffon, and introduced the silk chiffon sari to the royal fashion repertoire. [70] (#cite_note-A_story_of_sartorial_amalgamation-71) Under colonial rule, the petticoat (/wiki/Petticoat) was adopted, along with Victorian styles of puffed-sleeved blouses, which was commonly seen among the elites in Bombay presidency (/wiki/Bombay_presidency) and Bengal presidency (/wiki/Bengal#Colonial_era_(1757–1947)) . [71] (#cite_note-72) [72] (#cite_note-73) Nivi drape starts with one end of the sari tucked into the waistband (/wiki/Waistband) of the petticoat (/wiki/Petticoat) , usually a plain skirt (/wiki/Skirt) . The cloth is wrapped around the lower body once, then hand-gathered into even pleats below the navel. The pleats are tucked into the waistband of the petticoat. [73] (#cite_note-Dongerkerry-74) They create a graceful, decorative effect which poets have likened to the petals of a flower. [73] (#cite_note-Dongerkerry-74) After one more turn around the waist, the loose end is draped over the shoulder. [73] (#cite_note-Dongerkerry-74) The loose end is called the aanchal , pallu , pallav , seragu , or paita depending on the language. It is draped diagonally in front of the torso. It is worn across the right hip to over the left shoulder, partly baring the midriff. [73] (#cite_note-Dongerkerry-74) The navel can be revealed or concealed by the wearer by adjusting the pallu , depending on the social setting. The long end of the pallu hanging from the back of the shoulder is often intricately decorated. The pallu may be hanging freely, tucked in at the waist, used to cover the head, or used to cover the neck, by draping it across the right shoulder as well. Some Nivi styles are worn with the pallu draped from the back towards the front, coming from the back over the right shoulder with one corner tucked by the left hip, covering the torso/waist. The Nivi sari was popularised through the paintings of Raja Ravi Varma (/wiki/Raja_Ravi_Varma) . [40] (#cite_note-Miller-41) In one of his paintings, the Indian subcontinent was shown as a mother wearing a flowing Nivi sari. [40] (#cite_note-Miller-41) The ornaments sometimes worn in the midriff region on top of a sari are waist chains (/wiki/Waist_chain) . They are sometimes worn as a part of bridal jewellery. [74] (#cite_note-75) [75] (#cite_note-76) Professional style of draping [ edit ] A female hotel staff (/wiki/Concierge) member wearing a sari as a uniform Because of the harsh extremes in temperature on the Indian subcontinent, the sari fills a practical role as well as a decorative one. It is not only warming in winter and cooling in summer, but its loose-fitting tailoring is preferred by women who must be free to move as their duties require. For this reason, [ citation needed ] it is the uniform of Biman Bangladesh Airlines (/wiki/Biman_Bangladesh_Airlines) and Air India (/wiki/Air_India) uniform for air hostesses (/wiki/Flight_attendant) . [76] (#cite_note-Air_India-77) [77] (#cite_note-78) An air hostess-style sari is draped in similar manner to a traditional sari, but most of the pleats are pinned to keep them in place. [78] (#cite_note-79) Bangladeshi (/wiki/Bangladeshis) female newsreaders and anchors also drape their sari in this particular style. Saris are worn as uniforms by the female hotel staff (/wiki/Concierge) of many five-star luxury hotels in India (/wiki/India) , Sri Lanka (/wiki/Sri_Lanka) , and Bangladesh (/wiki/Bangladesh) as the symbol of Indian (/wiki/Indian_culture) , Sri Lankan (/wiki/Sri_Lankan_culture) , and Bangladeshi culture (/wiki/Culture_of_Bangladesh) , respectively. [79] (#cite_note-80) Prime Minister of Bangladesh Sheikh Hasina (/wiki/Sheikh_Hasina) in an Ivory gold Jamdani (/wiki/Jamdani) sari Similarly, the female politicians of all three countries wear the sari in a professional manner. Bangladeshi (/wiki/Bangladeshis) politicians usually wear saris with long sleeve blouse while covering their midriff. Some politicians pair up saris with hijabs (/wiki/Hijab) or shawls (/wiki/Shawl) for more coverage. The women of the Nehru–Gandhi family (/wiki/Nehru%E2%80%93Gandhi_family) like Indira Gandhi (/wiki/Indira_Gandhi) and Sonia Gandhi (/wiki/Sonia_Gandhi) have worn a special blouse for the campaign trail which is longer than usual and is tucked in to prevent any midriff showing while waving to the crowds. Stylist Prasad Bidapa (/wiki/Prasad_Bidapa) has to say, "I think Sonia Gandhi is the country's most stylish politician. But that's because she's inherited the best collection of saris from her mother-in-law. I'm also happy that she supports the Indian handloom industry with her selection." [80] (#cite_note-81) Most female MPs in the Sri Lankan Parliament (/wiki/Parliament_of_Sri_Lanka) wear a Kandyan osari. This includes prominent women in politics, the first female premier (/wiki/List_of_elected_and_appointed_female_heads_of_state_and_government) in the world, Sirimavo Bandaranaike (/wiki/Sirimavo_Bandaranaike) and President (/wiki/President_of_Sri_Lanka) Chandrika Bandaranaike Kumaratunga (/wiki/Chandrika_Kumaratunga) . Contemporary examples include Pavithra Wanniarachchi (/wiki/Pavithra_Wanniarachchi) , the sitting health minister in Cabinet (/wiki/Cabinet_of_Sri_Lanka) . The adoption of the sari is not exclusive to Sinhalese politicians; Muslim (/wiki/Sri_Lankan_Moors) MP Ferial Ashraff (/wiki/Ferial_Ashraff) combined a hijab with her sari while in Parliament. Bangladesh [ edit ] Sari on display in Bangladesh, Jamdani (/wiki/Jamdani) is a popular handloom muslin (/wiki/Muslin) style which originated in the Bengal region Sari is the national attire for women in Bangladesh (/wiki/Women_in_Bangladesh) , Although Dhakai Jamdani (/wiki/Jamdani) (hand made sari) is worldwide known and most famous to all women who wear sari but there are also many variety of saris in Bangladesh. There are many regional variations of them in both silk and cotton. There are many regional variations of saris in both silk and cotton. e.g., Dhakai (/wiki/Dhakai) Banarasi sari (/wiki/Banarasi_sari) , Rajshahi silk (/wiki/Rajshahi_silk) , Tangail sari (/wiki/Tangail_sari) , Tant sari (/wiki/Tant_sari) , Tassar silk (/wiki/Tassar_silk) sari, Manipuri (/wiki/Manipur) sari and Katan sari. The sari is reserved as the dress of choice for important occasions and events. In 2013, the traditional art of weaving jamdani was declared a UNESCO (/wiki/UNESCO) Intangible Cultural Heritage of Humanity (/wiki/Masterpieces_of_the_Oral_and_Intangible_Heritage_of_Humanity) . In 2016, Bangladesh received geographical indication (/wiki/Geographical_indication) (GI) status for Jamdani (/wiki/Jamdani) sari. [81] (#cite_note-82) Sri Lanka [ edit ] Sinhalese (/wiki/Sinhalese_people) girl in a kandyan (/wiki/Kandy) sari locally known as Osaria Sri Lankan women wear saris in many styles. Two ways of draping the sari are popular and tend to dominate: the Indian style (classic nivi drape) and the Kandyan style (or Osariya in Sinhala). The Kandyan style is generally more popular in the hill country region of Kandy from which the style gets its name. Though local preferences play a role, most women decide on style depending on personal preference or what is perceived to be most flattering for their figure. The traditional Kandyan (Osariya) style consists of a full blouse which covers the midriff completely and is partially tucked in at the front. However, the modern intermingling of styles has led to most wearers baring the midriff. The final tail of the sari is neatly pleated rather than free-flowing. This is rather similar to the pleated rosette used in the Pin Kosuvam style noted earlier in the article. The Kandyan style is considered the national dress of Sinhalese women. It is the uniform of the air hostesses of SriLankan Airlines (/wiki/SriLankan_Airlines) . During the 1960s, the mini sari known as 'hipster' sari created a wrinkle in Sri Lankan fashion, since it was worn below the navel and barely above the line of prosecution for indecent exposure. The conservative people described the 'hipster' as " an absolute travesty of a beautiful costume almost a desecration " and " a hideous and purposeless garment ". [82] (#cite_note-83) [83] (#cite_note-84) Nepal [ edit ] Nepal women in sari during festival of Teej (/wiki/Teej) The sari is the most commonly worn women's clothing in Nepal (/wiki/Nepal) where a special style of sari draping is called haku patasihh . The sari is draped around the waist and a shawl is worn covering the upper half of the sari, which is used in place of a pallu . Pakistan [ edit ] Pakistani actor Bushra Ansari (/wiki/Bushra_Ansari) in a sari at Lux Style Awards (/wiki/Lux_Style_Awards) In Pakistan, the saris are still popular and worn on special occasions. The Shalwar kameez (/wiki/Shalwar_kameez) , however, is worn throughout the country on a daily basis. The sari nevertheless remains a popular garment among the middle and upper class for many formal functions. Saris can be seen worn commonly in metropolitan cities such as Karachi and Islamabad and are worn regularly for weddings and other business types of functions. Saris are also worn by many Muslim (/wiki/Muslim) women in Sindh to show their status or to enhance their beauty. Phulkari (/wiki/Phulkari) , Kota doria (/wiki/Kota_doria) , banarasi (/wiki/Banarasi) , Ajrak (/wiki/Ajrak) are the most worn. [84] (#cite_note-Asia_Times_—_Sari-85) The sari is worn as daily wear by Pakistani Hindus (/wiki/Hinduism_in_Pakistan) , by elderly Muslim women who were used to wearing it in pre-partition India (/wiki/Partition_of_India) [85] (#cite_note-The_Hindu_—_Sari-86) and by some of the new generation who have reintroduced the interest in saris. Black Sari Day, is an celebration of Iqbal Bano (/wiki/Iqbal_Bano) a woman who fought in a Black sari in Lahore against Zia. She sang Hum Dekhenge (/wiki/Hum_Dekhenge) . Although this event is to bring family closer and to enjoy the day of Iqbal Bano. Similarities with other Asian clothing [ edit ] While the sari is typical traditional wear for women in the Indian subcontinent, clothing worn by women in Southeast Asian (/wiki/Southeast_Asia) countries like Myanmar (/wiki/Myanmar) , Malaysia (/wiki/Malaysia) , Indonesia (/wiki/Indonesia) , the Philippines (/wiki/Philippines) , Cambodia (/wiki/Cambodia) , Thailand (/wiki/Thailand) and Laos (/wiki/Laos) resemble it, where a long rectangular piece of cloth is draped around the body. These are different from the sari as they are wrapped around the lower-half of body as a skirt, worn with a shirt/blouse and resemble a sarong (/wiki/Sarong) , as seen in the Burmese longyi (/wiki/Longyi) ( Burmese (/wiki/Burmese_language) : လုံချည် ; MLCTS (/wiki/MLC_Transcription_System) : lum hkyany ; IPA: [lòʊɰ̃dʑì] (/wiki/Help:IPA/Burmese) ), Filipino malong (/wiki/Malong) and tapis (/wiki/Tapis_(Philippine_clothing)) , Laotian xout lao (/wiki/Xout_lao) ( Lao (/wiki/Lao_language) : ຊຸດລາວ ; IPA: [sut.láːw] (/wiki/Help:IPA/Lao) ), Laotian and Thai suea pat (/wiki/Suea_pat) ( Lao (/wiki/Lao_language) : ເສື້ອປັດ ; pronounced [sɯ̏a.pát] (/wiki/Help:IPA/Lao) ) and sinh (/wiki/Sinh_(clothing)) ( Lao (/wiki/Lao_language) : ສິ້ນ , IPA: [sȉn] (/wiki/Help:IPA/Lao) ; Thai (/wiki/Thai_language) : ซิ่น , RTGS (/wiki/Royal_Thai_General_System_of_Transcription) : sin , IPA: [sîn] (/wiki/Help:IPA/Thai) ), Cambodian sbai (/wiki/Sbai) ( Khmer (/wiki/Khmer_language) : ស្បៃ ) and sampot (/wiki/Sampot) ( Khmer (/wiki/Khmer_language) : សំពត់ , saṃbát , IPA: [sɑmpʊət] (/wiki/Help:IPA/Khmer) ) and Timorese tais (/wiki/Tais) . Saris, worn predominantly in the Indian subcontinent are usually draped with one end of the cloth fastened around the waist, and the other end placed over the shoulder baring the midriff. [5] (#cite_note-alkazi-6) [6] (#cite_note-Boulanger-7) [7] (#cite_note-Ghurye-8) Ornamentation and decorative accessories [ edit ] Display of traditional saris with gota patti (/wiki/Gota_(embroidery)) embroidery for festive occasions at clothing store. Saris are woven with one plain end (the end that is concealed inside the wrap), two long decorative borders running the length of the sari, and a one to three-foot section at the other end which continues and elaborates the length-wise decoration. This end is called the pallu ; it is the part thrown over the shoulder in the nivi style of draping. In past times, saris were woven of silk (/wiki/Silk_in_the_Indian_subcontinent) or cotton. The rich could afford finely woven, diaphanous (/wiki/Transparency_and_translucency) silk saris that, according to folklore (/wiki/Folklore) , could be passed through a finger ring (/wiki/Finger_ring) . The poor wore coarsely woven cotton saris. All saris were handwoven (/wiki/Weaving) and represented a considerable investment of time or money. Simple hand-woven villagers' saris are often decorated with checks or stripes woven into the cloth. Inexpensive saris were also decorated with block printing (/wiki/Block_printing) using carved wooden blocks and vegetable dyes, or tie-dyeing (/wiki/Tie-dye) , known in India as bhandani work. More expensive saris had elaborate geometric, floral, or figurative ornaments or brocades created on the loom (/wiki/Loom#handloom) , as part of the fabric. Sometimes warp and weft threads were tie-dyed and then woven, creating ikat (/wiki/Ikat) patterns. Sometimes threads of different colours were woven into the base fabric in patterns; an ornamented border, an elaborate pallu , and often, small repeated accents in the cloth itself. These accents are called butti (/wiki/Butti) or bhutti (/w/index.php?title=Bhutti&action=edit&redlink=1) (spellings vary). For fancy saris, these patterns could be woven with gold or silver thread (/wiki/Gold_thread) , which is called zari (/wiki/Zari) work. Vaddanam or Kamarband is type of sari belt used to keep complex drapes in place. Sometimes the saris were further decorated, after weaving, with various sorts of embroidery. Resham work is embroidery done with coloured silk thread. Zardozi (/wiki/Zardozi) embroidery uses gold and silver thread, and sometimes pearls and precious stones (/wiki/Gemstone) . Cheap modern versions of zardozi use synthetic metallic thread and imitation stones, such as fake pearls and Swarovski (/wiki/Swarovski) crystals. In modern times, saris are increasingly woven on mechanical looms and made of artificial fibres, such as polyester (/wiki/Polyester) , nylon, or rayon (/wiki/Rayon) , which do not require starching or ironing (/wiki/Ironing) . They are printed by machine, or woven in simple patterns made with floats across the back of the sari. This can create an elaborate appearance on the front, while looking ugly on the back. The punchra work is imitated with inexpensive machine-made tassel trim. Fashion designer Aaditya Sharma (/w/index.php?title=Aaditya_Sharma&action=edit&redlink=1) declared, "I can drape a sari in 54 different styles". [86] (#cite_note-87) Hand-woven, hand-decorated saris are naturally much more expensive than the machine imitations. While the overall market for handweaving has plummeted (leading to much distress among Indian handweavers), hand-woven (/wiki/Weaving) saris are still popular for weddings and other grand social occasions. Saris outside the Indian subcontinent [ edit ] Aishwarya Rai (/wiki/Aishwarya_Rai_Bachchan) in a sari at the London premiere of her film Raavan (/wiki/Raavan_(2010_Hindi_film)) . The traditional sari made an impact in the United States during the 1970s. Eugene Novack who ran the New York store, Royal Sari House commented that he had initially been selling mainly to Indian women in the New York area. However, many American business women and housewives soon became his customers, favouring styles resembling western attire such as gowns. He also said that men appeared intrigued by the fragility and the femininity it confers on the wearer. [87] (#cite_note-88) Newcomers to the sari report that it is comfortable to wear, requiring no girdles or stockings and that the flowing garb feels so feminine with unusual grace. [88] (#cite_note-89) [89] (#cite_note-90) The sari has gained its popularity internationally because of the growth of Indian fashion trends globally. Many Bollywood (/wiki/Bollywood) celebrities, like Aishwarya Rai (/wiki/Aishwarya_Rai) , [90] (#cite_note-91) [91] (#cite_note-92) have worn it at international events representing India's cultural heritage (/wiki/Culture_of_India) . In 2010, Bollywood actress Deepika Padukone (/wiki/Deepika_Padukone) wanted to represent her country at an international event, wearing the national costume. On her first red carpet appearance at the Cannes International Film Festival (/wiki/Cannes_Film_Festival) , she stepped out on the red carpet in a Rohit Bal (/wiki/Rohit_Bal) sari. [92] (#cite_note-93) [93] (#cite_note-94) Many foreign celebrities have worn traditional sari attire designed by Indian fashion designers (/wiki/Fashion_designer) . [94] (#cite_note-95) American actress Pamela Anderson (/wiki/Pamela_Anderson) made a surprise guest appearance on Bigg Boss (/wiki/Bigg_Boss) , the Indian version of Big Brother (/wiki/Big_Brother_(TV_series)) , dressed in a sari that was specially designed for her by Mumbai-based fashion designer Ashley Rebello. [95] (#cite_note-96) Ashley Judd (/wiki/Ashley_Judd) donned a purple sari at the YouthAIDS (/wiki/Kate_Roberts_(YouthAIDS)) Benefit Gala in November 2007 at the Ritz Carlton in Mclean, Virginia. [96] (#cite_note-97) [97] (#cite_note-98) [98] (#cite_note-99) There was an Indian flavour to the red carpet at the annual Fashion Rocks concert in New York, with designer Rocky S walking the ramp along with Jessica, Ashley, Nicole, Kimberly and Melody – the Pussycat Dolls (/wiki/Pussycat_Dolls) – dressed in saris. [99] (#cite_note-100) in 2014, American singer Selena Gomez (/wiki/Selena_Gomez) was seen in a sari for an UNICEF (/wiki/UNICEF) charity event at Nepal. [100] (#cite_note-101) In the United States (/wiki/United_States) , the sari has recently become politicised with the digital-movement, "Sari, Not Sorry". Tanya Rawal-Jindia (/w/index.php?title=Tanya_Rawal-Jindia&action=edit&redlink=1) , a gender studies professor at UC Riverside (/wiki/University_of_California,_Riverside) , initiated this anti-xenophobia fashion-campaign on Instagram. [101] (#cite_note-102) [102] (#cite_note-103) [103] (#cite_note-104) [104] (#cite_note-105) While an international image of the modern style sari may have been popularised by airline flight attendants (/wiki/Flight_attendants) , each region in the Indian subcontinent (/wiki/Indian_subcontinent) has developed, over the centuries, its own unique sari style. Following are other well-known varieties, distinct on the basis of fabric, weaving style, or motif, in the Indian subcontinent. Handloom and textiles [ edit ] Handloom sari weaving is one of India's cottage industries (/wiki/Textile_industry_in_India) . [105] (#cite_note-106) The handloom weaving process requires several stages in order to produce the final product. Traditionally the processes of dyeing (/wiki/Dyeing) (during the yarn, fabric, or garment stage), warping (/wiki/Warp_(weaving)) , sizing, attaching the warp, weft winding and weaving (/wiki/Weaving) were done by weavers and local specialists around weaving towns and villages. Northern and Central styles [ edit ] Banarasi sari Banarasi (/wiki/Banarasi_sari) – Uttar Pradesh (/wiki/Uttar_Pradesh) Shalu (/wiki/Shalu_(sari)) – Uttar Pradesh Tanchoi – Uttar Pradesh Pattu – Himachal Pradesh (/wiki/Himachal_Pradesh) Chanderi sari (/wiki/Chanderi_sari) [106] (#cite_note-107) – Madhya Pradesh (/wiki/Madhya_Pradesh) Maheshwari – Maheshwar (/wiki/Maheshwar) , Madhya Pradesh Kosa silk (/wiki/Kosa_silk) – Chhattisgarh (/wiki/Chhattisgarh) Dhokra silk – Madhya Pradesh Eastern styles [ edit ] Tant sari (/wiki/Tant_sari) for daily wear in Bangladesh (/wiki/Bangladesh) Sambalpuri sari Jamdani (/wiki/Jamdani) sari of Bangladesh (/wiki/Bangladesh) . Silk sari from India (1970, Collection of PFF (/wiki/Peloponnesian_Folklore_Foundation) , Nauplio (/wiki/Nauplio) ). Tant sari (/wiki/Tant_sari) – throughout Bangladesh (/wiki/Bangladesh) and West Bengal (/wiki/West_Bengal) Baluchari sari (/wiki/Baluchari_sari) – Bishnupur, West Bengal Kaantha sari (/wiki/Kantha) – throughout Bengal Garode (/wiki/Garad_Saree) / Korial (/wiki/Korial_Saree) – Murshidabad, West Bengal Shantipuri cotton (/wiki/Shantipuri_sari) – Shantipur (/wiki/Shantipur) , Phulia (/wiki/Phulia) , West Bengal Jamdani / Dhakai (/wiki/Jamdani) – Dhaka, Bangladesh Murshidabad silk (/wiki/Murshidabad_silk) – Murshidabad, West Bengal Rajshahi silk / Eri (/wiki/Rajshahi_silk) – Rajshahi, Bangladesh Dhakai Katan – Dhaka, Bangladesh Georgette sari – Bangladesh (/wiki/Bangladesh) Mooga silk – Assam (/wiki/Assam) Mekhla Cotton – Assam Sambalpuri silk & cotton sari (/wiki/Sambalpuri_saree) – Sambalpur (/wiki/Sambalpur) , Odisha (/wiki/Odisha) Ikkat (/wiki/Ikat) silk & cotton sari – Bargarh (/wiki/Bargarh) , Odisha Bomkai silk sari of Odisha. Bomkai sari (/wiki/Bomkai_sari) – Bomkai, Ganjam (/wiki/Ganjam_district) , Odisha Khandua Silk & Cotton sari (/wiki/Khandua) – Nuapatna (/wiki/Nuapatna) , Cuttack, Odisha Pasapali sari (/wiki/Pasapali_sari) – Bargarh, Odisha Sonepuri Silk & Cotton sari – Subarnapur (/wiki/Subarnapur_district) , Odisha Berhampuri silk – Behrampur, Odisha Mattha Silk sari – Mayurbhanj (/wiki/Mayurbhanj) , Odisha Bapta Silk & Cotton sari – Koraput (/wiki/Koraput) , Odisha Kotpad Pata sari – Koraput, Odisha Tanta Cotton sari – Balasore (/wiki/Balasore) , Odisha Manipuri Tant sari – Manipur (/wiki/Manipur) Moirang Phi sari – Manipur Patt Silk sari – Assam Kotki sari – Orissa (/wiki/Orissa) Kotpad sari – Orissa Western styles [ edit ] Kota sari. Paithanpattu – Maharashtra Yeola sari – Maharashtra Peshwai shalu – Maharashtra Mahalsa sari – Maharashtra Narayanpeth – Maharashtra Khun fabric – Maharashtra Karvati tussar sari – Maharashtra Bandhani saris of Gujarat (/wiki/Gujarat) and Rajasthan (/wiki/Rajasthan) . Bandhani (/wiki/Bandhani_work) – Gujarat (/wiki/Gujarat) , Rajasthan, Pakistan, Sindh Kota doria (/wiki/Kota_doria) – Rajasthan, Pakistan, Sindh Lugade (/wiki/Lugade) – Maharashtra Patola (/wiki/Patola_sari) – Gujarat Bagru (/wiki/Bagru) – Rajasthan. Phulkari (/wiki/Phulkari) – Punjab. Ajrak (/wiki/Ajrak) – Sindh, Rajasthan, Gujarat Bhujodi sari – Gujarat Southern styles [ edit ] Mysore silk sari with golden zari (/wiki/Zari) . Mysore silk (/wiki/Mysore_silk) – Karnataka (/wiki/Karnataka) Kanchipuram Silk (/wiki/Kanchipuram_Silk) (locally called Kanjipuram pattu) – Tamil Nadu (/wiki/Tamil_Nadu) Arani silk – Tamil Nadu Ilkal sari (/wiki/Ilkal_sari) – Karnataka Molakalmuru sari (/wiki/Molakalmuru_sari) – Karnataka Sulebhavi sari (/wiki/Sulebhavi) – Sulebhavi, Karnataka Venkatagiri (/wiki/Venkatagiri) – Andhra Pradesh (/wiki/Andhra_Pradesh) Mangalagiri (/wiki/Mangalagiri) Silk saris – Andhra Pradesh Uppada (/wiki/Uppada) Silk saris – Andhra Pradesh Chirala saris – Andhra Pradesh Bandar saris – Andhra Pradesh Bandarulanka – Andhra Pradesh Kuppadam saris – Andhra Pradesh Dharmavaram (/wiki/Dharmavaram,_Anantapur_district) silk sari – Andhra Pradesh Chettinad saris – Tamil Nadu Kumbakonam – Tamil Nadu Thirubuvanam – Tamil Nadu Coimbatore cotton – Tamil Nadu Salem silk (/wiki/Salem_silk) – Tamil Nadu Chinnalampattu or Sungudi – Tamil Nadu Kandangi (/wiki/Kandangi) – Tamil Nadu Rasipuram silk saris – Tamil Nadu Koorai (/wiki/Koorai) – Tamil Nadu Arni silk sari – Tamil Nadu Chennai (/wiki/Chennai) – Tamil Nadu Karaikudi (/wiki/Karaikudi) – Tamil Nadu Madurai cotton saris – Tamil Nadu Tiruchirappalli (/wiki/Tiruchirappalli) saris – Tamil Nadu Nagercoil (/wiki/Nagercoil) saris – Tamil Nadu Thoothukudi (/wiki/Thoothukudi) – Tamil Nadu Thanjavur (/wiki/Thanjavur) saris – Tamil Nadu Tiruppur (/wiki/Tiruppur) – Tamil Nadu Kerala sari (/wiki/Kerala_sari) silk and cotton – Kerala (/wiki/Kerala) Balarampuram (/wiki/Balarampuram#Weaving) – Kerala Mundum Neriyathum (/wiki/Mundum_Neriyathum) – Kerala Mayilati silk – Kerala Kannur cotton – Kerala Kalpathi silk saris – Kerala Maradaka silk – Kerala Samudrikapuram silk and cotton – Kerala Kasargod – Kerala Pochampally sari (/wiki/Pochampally_sari) or Puttapaka sari – Telangana (/wiki/Telangana) [107] (#cite_note-108) Gadwal sari (/wiki/Gadwal_sari) – Telangana Narayanpet – Telangana Images [ edit ] 19th century example of weft-resist dye (patola) or double Ikat A silk sari loom in Kumbakonam, Tamil Nadu Galaxy of Musicians by Raja Ravi Varma (/wiki/Raja_Ravi_Varma) depicting women in various styles of sari. Silk weaving at Kanchipuram, Tamil Nadu Wooden printing-blocks used for block-print saris. Dyed silk yarns for sari. Handloom Kanchivaram silk sari. Handloom in Varanasi, Uttar Pradesh. Handloom in Varanasi Weaving at work in Kanchipuram Dyed silk yarns for weaving saris. Double-Ikat handloom for Patola sari in Gujarat. Double ikat (Patola) weaving Weaving Jamdani sari in handloom, Bangladesh. Weavers at work in Bangladesh. Child wearing sari in Bangladesh. Style of sari worn in Coorg (/wiki/Coorg) . Handloom weaver at work. Devadasis from Goa. Sinhalese woman wearing a traditional Kandyan (/wiki/Kandy) sari ( osaria ). Weaving saris in Kancipuram. Display of handloom saris. Bangladeshi bridal handloom sari. Picture shows sari draping style of North Karnataka by Raja Ravi Varma. Bride in traditional Bengali sari Woman in Karnataka kacche drape by Raja Ravi Varma. Education Minister of Bangladesh (/wiki/Bangladesh) Dr. Dipu Moni (/wiki/Dipu_Moni) wearing sari with Hillary Clinton (/wiki/Hillary_Clinton) Bangladeshi Prime Minister Sheikh Hasina (/wiki/Sheikh_Hasina) in a Rajshahi silk (/wiki/Rajshahi_silk) sari at the Moscow Kremlin (/wiki/Moscow_Kremlin) Women in Karnataka wearing Kodagu style sari. Sari is worn in Bengal using the Aat Poure draping style. Sari in modern India Monica Bedi (/wiki/Monica_Bedi) , an Indian actress in sari Maithil sari style in Kanyadan Maithili movie See also [ edit ] Asia portal (/wiki/Portal:Asia) Fashion portal (/wiki/Portal:Fashion) Ghagra choli (/wiki/Ghagra_choli) Clothing in India (/wiki/Clothing_in_India) Indian wedding clothes (/wiki/Indian_wedding_clothes) Lehenga-style sari (/wiki/Lehenga-style_sari) Shalwar kameez (/wiki/Shalwar_kameez) Sari cancer (/wiki/Sari_cancer) Dhoti (/wiki/Dhoti) Notes [ edit ] ^ (#cite_ref-2) The name of the garment in various regional languages (/wiki/Languages_of_South_Asia) include: Assamese (/wiki/Assamese_language) : শাৰী , romanized (/wiki/Romanization_of_Assamese) : xārī Bengali (/wiki/Bengali_language) : শাড়ি , romanized (/wiki/Romanization_of_Bengali) : śāṛi Gujarati (/wiki/Gujarati_language) : સાડી , romanized: sāḍī Hindi (/wiki/Hindi_language) : साड़ी , romanized (/wiki/Romanization_of_Hindi) : sāṛī Kannada (/wiki/Kannada_language) : ಸೀರೆ , romanized: sīre Konkani (/wiki/Konkani_language) : साडी, कापड, चीरे , romanized: sāḍī, kāpaḍ, cīrē Malayalam (/wiki/Malayalam_language) : സാരി , romanized (/wiki/Romanization_of_Malayalam) : sāri Marathi (/wiki/Marathi_language) : साडी , romanized: sāḍī Nepali (/wiki/Nepali_language) : सारी , romanized: sārī Odia (/wiki/Odia_language) : ଶାଢ଼ୀ , romanized: śāṛhī Punjabi (/wiki/Punjabi_language) : ਸਾਰੀ , romanized: sārī Tamil (/wiki/Tamil_language) : புடவை (https://ta.wikipedia.org/wiki/%E0%AE%AA%E0%AF%81%E0%AE%9F%E0%AE%B5%E0%AF%88) , romanized: puṭavai Telugu (/wiki/Telugu_language) : చీర , romanized (/wiki/Romanization_of_Telugu) : cīra Urdu (/wiki/Urdu_language) : ساڑى , romanized (/wiki/Romanization_of_Urdu) : sāṛī [108] (#cite_note-109) References [ edit ] ^ (#cite_ref-1) * "sari (https://www.ahdictionary.com/word/search.html?q=sari) also saree" (https://www.ahdictionary.com/word/search.html?q=sari) . The American Heritage Dictionary of the English Language . 2022. "sari (https://www.merriam-webster.com/dictionary/sari) or less commonly saree" (https://www.merriam-webster.com/dictionary/sari) . Merriam-Webster . 2022. "sari ( (https://web.archive.org/web/20220814004218/https://www.lexico.com/definition/sari) also saree)" (https://web.archive.org/web/20220814004218/https://www.lexico.com/definition/sari) . Lexico.com . 2022. Archived from the original (https://www.lexico.com/definition/sari) on 14 August 2022. ^ (#cite_ref-3) "The history of sari: The nine yard wonder" (https://timesofindia.indiatimes.com/life-style/fashion/buzz/the-history-of-sari-the-nine-yard-wonder/amp_articleshow/70277974.cms) . The Times of India . ISSN (/wiki/ISSN_(identifier)) 0971-8257 (https://www.worldcat.org/issn/0971-8257) . Retrieved 22 July 2024 . ^ (#cite_ref-4) "Indus civilization | History, Location, Map, Artifacts, Language, & Facts | Britannica" (https://www.britannica.com/topic/Indus-civilization) . www.britannica.com . 21 July 2024 . Retrieved 22 July 2024 . ^ (#cite_ref-5) Jermsawatdi, Promsak (1979). Thai Art with Indian Influences . Abhinav Publications. ISBN (/wiki/ISBN_(identifier)) 9788170170907 . ^ Jump up to: a b c Alkazi, Roshan (1983) "Ancient Indian costume", Art Heritage ^ Jump up to: a b c d e f Boulanger, Chantal; (1997) Saris: An Illustrated Guide to the Indian Art of Draping , Shakti Press International, New York. ^ Jump up to: a b c d Ghurye (1951) "Indian costume", Popular book depot (Bombay); (Includes rare photographs of 19th century Namboothiri and nair women in ancient sari with bare upper torso) ^ (#cite_ref-9) Boulanger, Chantal (1997). Saris: An Illustrated Guide to the Indian Art of Draping . New York: Shakti Press International. ISBN (/wiki/ISBN_(identifier)) 978-0-9661496-1-6 . ^ (#cite_ref-10) Boulanger, Chantal (1997). Saris: An Illustrated Guide to the Indian Art of Draping . New York: Shakti Press International. p. 6. ^ Jump up to: a b Boulanger, Chantal (1997). Saris: an illustrated guide to the Indian art of draping . Shakti Press International. p. 55. ISBN (/wiki/ISBN_(identifier)) 9780966149616 . Women of Andhra Pradesh claim that the modern sari is their own traditional drape . . . this claim is probably true. ^ Jump up to: a b Linda Lynton(1995), The Sari: Styles, Patterns, History, Technique ISBN (/wiki/ISBN_(identifier)) 978-0-8109-4461-9 (/wiki/Special:BookSources/978-0-8109-4461-9) , page 187; Quote: It is in the Karnataka (Mysore) and western Maharashtran area that the nivi style is believed to have originated. . ^ Jump up to: a b c Katiyar, Vijai Singh (2009). Indian saris : traditions, perspectives, design . New Delhi: Wisdom Tree in association with National Institute of Design, Ahmedabad. p. 211. ISBN (/wiki/ISBN_(identifier)) 9788183281225 . Retrieved 31 October 2015 . ^ (#cite_ref-hinduismtoday_14-0) "Sari, Always in Vogue" (https://web.archive.org/web/20120531095310/https://www.hinduismtoday.com/modules/smartsection/item.php?itemid=4605) . Hinduism Today (/wiki/Hinduism_Today) . Archived from the original (https://www.hinduismtoday.com/modules/smartsection/item.php?itemid=4605) on 31 May 2012 . Retrieved 9 March 2018 . ^ Jump up to: a b Annandale, Charles (1892). The Imperial Dictionary and Encyclopedia of Knowledge Unabridged . Belford Publishing Company. p. 792. ^ (#cite_ref-Oxford_University_Press_16-0) R. S. McGregor (/wiki/R._S._McGregor) , ed. (1997). The Oxford Hindi-English Dictionary . Oxford University Press. p. 1003. ISBN (/wiki/ISBN_(identifier)) 978-0-19-864339-5 . ^ (#cite_ref-Monier-Williams_1995_1063_17-0) Monier-Williams, Monier (/wiki/Monier_Monier-Williams) (1995). A Sanskrit-English Dictionary . Delhi: Motilal Banarsidass. p. 1063. ISBN (/wiki/ISBN_(identifier)) 978-81-208-0065-6 . Retrieved 4 July 2010 . ^ (#cite_ref-Kapoor_2002_6422_pg_no._starts_from_6130_18-0) Kapoor, Subodh (2002). The Indian encyclopaedia: biographical, historical, religious, administrative, ethnological, commercial and scientific. Reunion-Satya Yauvana, Volume 20 . Genesis Publishing Pvt Ltd. p. 6422 (pg no. starts from 6130). ISBN (/wiki/ISBN_(identifier)) 978-81-7755-257-7 . The etymology of the word sari is from the Sanskrit 'sati', which means strip of cloth. This evolved into the Prakriti 'sadi', and was later anglicised into sari ^ Jump up to: a b c d e f g h Sachidanand, Sahay (1975) Indian costume, coiffure, and ornament. Chapter 2 'Female Dress', Munshiram Manoharlal publishers Pvt Ltd. pp 31–55 ^ Jump up to: a b Prachya Pratibha, 1978 "Prachya Pratibha, Volume 6", p.121 ^ Jump up to: a b Agam Kala Prakashan, 1991 "Costume, coiffure, and ornaments in the temple sculpture of northern Andhra", p.118 ^ (#cite_ref-22) "How to wear saree perfectly – Glowpink" (https://web.archive.org/web/20151120005715/http://stylish.in/blog/wear-saree-perfectly/) . 26 March 2015. Archived from the original (http://stylish.in/blog/wear-saree-perfectly/) on 20 November 2015. ^ (#cite_ref-23) Stein, Burton (1998). A History of India . Blackwell Publishing. ISBN (/wiki/ISBN_(identifier)) 0-631-20546-2 (/wiki/Special:BookSources/0-631-20546-2) , p. 47 ^ (#cite_ref-Harrapa_24-0) "What did the Indus people wear and what material were their clothes made of?" (http://a.harappa.com/content/what-did-indus-people-wear-and-what-material-were-their-clothes-made) . Harappa.com . Retrieved 26 December 2015 . ^ (#cite_ref-nat_25-0) Abbott, Phill (19 February 2009). "Rethinking silk's origins : Nature News" (https://doi.org/10.1038%2F457945a) . Nature . 457 (7232): 945. doi (/wiki/Doi_(identifier)) : 10.1038/457945a (https://doi.org/10.1038%2F457945a) . PMID (/wiki/PMID_(identifier)) 19238684 (https://pubmed.ncbi.nlm.nih.gov/19238684) . ^ (#cite_ref-26) Good, I.L.; Kenoyer, J.M.; Meadow, R.H. (2009). "New evidence for early silk in the Indus civilization" (https://dash.harvard.edu/bitstream/1/14117751/1/287832.pdf) (PDF) . Archaeometry . 50 (3): 457. doi (/wiki/Doi_(identifier)) : 10.1111/j.1475-4754.2008.00454.x (https://doi.org/10.1111%2Fj.1475-4754.2008.00454.x) . ^ (#cite_ref-Mohapatra_27-0) Mohapatra, R. P. (1992) "Fashion styles of ancient India", B. R. Publishing corporation, ISBN (/wiki/ISBN_(identifier)) 81-7018-723-0 (/wiki/Special:BookSources/81-7018-723-0) ^ (#cite_ref-28) Prasad Mohapatra, Ramesh (1992). Fashion Styles of Ancient India: A Study of Kalinga from Earliest Times to Sixteenth Century Ad . B.R. Publishing Corporation. p. 35. ISBN (/wiki/ISBN_(identifier)) 9788170187233 . ^ (#cite_ref-29) Linda Lynton (1995) "The Sari: Styles, Patterns, History, Techniques.", p.170 ^ (#cite_ref-30) Dipak Sharma (2012) "SOUVENIR of 2nd International Science Congress (ISC-2012).", p.282 ^ (#cite_ref-31) J. Correia-Afonso, (1984) "Indica, Volume 21, Issue 2", p.126 ^ (#cite_ref-32) Chintaman Vinayak Vaidya, (2001) "Epic India : India as Described in the Mahabharata and the Ramayana", p.144 ^ (#cite_ref-33) Roshen Alkazi, 1996 "Ancient Indian Costume", p.48 ^ (#cite_ref-34) Levick, Melba; Crites, Mitchell; Nanji, Ameeta (2008). IndiaColor: Spirit, Tradition, and Style . Chronicle Books. p. 47. ISBN (/wiki/ISBN_(identifier)) 978-0-8118-5316-3 . ^ Jump up to: a b Parthasarathy, R. (1993). The Tale of an Anklet: An Epic of South India – The Cilappatikaram of Ilanko Atikal, Translations from the Asian Classics . New York: Columbia Univ. Press. ISBN (/wiki/ISBN_(identifier)) 978-0-231-07849-8 . ^ (#cite_ref-36) Emma Tarlo (1996) "Clothing Matters: Dress and Identity in India.", p.154 ^ (#cite_ref-37) Govind Sadashiv Ghurye (1951) "Indian Costume.", p.154 ^ (#cite_ref-google1_38-0) Encyclopedia of Indian Women Through the Ages: Ancient India – Simmi Jain (https://books.google.com/books?id=NH1qr33kfXAC) . ^ (#cite_ref-39) Anant Sadashiv Altekar (1956). The Position of Women in Hindu Civilization, From Prehistoric Times to the Present Day . Motilal Banarsidass Publ. p. 380. ISBN (/wiki/ISBN_(identifier)) 9788120803244 . ^ (#cite_ref-40) Linda Lynton, Sanjay K. Singh (2002) "The Sari: Styles, Patterns, History, Techniques.", p.40 ^ Jump up to: a b c Miller, Daniel & Banerjee, Mukulika, The Sari (2004), Lustre press / Roli books. ^ (#cite_ref-42) Wall paintings in North Kerala, India: 1000 years of temple art, Albrecht Frenz, Ke. Ke Mārār, page 93 ^ (#cite_ref-Mukulika_43-0) Miller, Daniel & Banerjee, Mukulika; (2004) "The Sari", Lustre press / Roli books ^ Jump up to: a b Govind Sadashiv Ghurye (1951) "Indian Costume.", p.236 ^ Jump up to: a b c Sulochana Ayyar (1987) "Costumes and Ornaments as Depicted in the Sculptures of Gwalior Museum.", p.152 ^ (#cite_ref-46) Kusumanjali Prakashan, 1993 "The Natyasastra tradition and ancient Indian society", p.63 ^ (#cite_ref-Vijay_Singh_Katiyar_24_47-0) Katiyar, Vijay Singh. (2009). Indian Saris – Traditions – Perspective – Design . New Delhi, Ahmedabad – India: Wisdom Tree in association with National Institute of Design. p. 24. ISBN (/wiki/ISBN_(identifier)) 978-81-8328-122-5 . ^ (#cite_ref-48) Chander, Prakash (2003). India: past & present – Prakash Chander – Google Books . APH. ISBN (/wiki/ISBN_(identifier)) 9788176484558 . Retrieved 13 November 2011 . ^ (#cite_ref-49) Victoria and Albert Museum, Rosemary Crill (1999). Indian embroidery Fashion . V&A Publications. p. 93. ISBN (/wiki/ISBN_(identifier)) 9781851773107 . ^ (#cite_ref-hist_50-0) History of Kasuti is mentioned by Govind D. Belgaumkar and Anil Kumar Sastry (27 October 2006). "Unique symbols of Karnataka" (https://web.archive.org/web/20070210153012/http://www.hindu.com/2006/10/27/stories/2006102714680200.htm) . The Hindu (/wiki/The_Hindu) . Chennai, India. Archived from the original (http://www.hindu.com/2006/10/27/stories/2006102714680200.htm) on 10 February 2007 . Retrieved 22 April 2007 . ^ (#cite_ref-51) Indra Majupuria (2007) "Nepalese Women: A Vivid Account of the Status and Role of Nepalese Women in the Total Spectrum of Life, Religious, Social, Economic, Political, and Legal.", p.291 ^ (#cite_ref-52) Ava Laboy Capo (2013) "Wedding Traditions from Around the World.", p.18 ^ (#cite_ref-53) "Saree saga: Draped for elegance, growth too" (http://economictimes.indiatimes.com/ET-Cetera/Saree-saga-Draped-for-elegance-growth/articleshow/4360580.cms) . The Economic Times (/wiki/The_Economic_Times) . Mumbai. 5 April 2009. ^ (#cite_ref-54) Jay Narayan Vyas, Textile Review, 2007 "Indian Textiles 2015: Comprehensive Forecast on Indian Textiles Industry in 2015 with an Exhaustive Buyer's Guide for Textile Machinery", p.126 ^ (#cite_ref-55) Wada, Yoshiko Iwamoto (2002). Memory on Cloth: Shibori Now . Kodansha International. p. 28. ISBN (/wiki/ISBN_(identifier)) 9784770027771 . ^ (#cite_ref-wedding_56-0) "Embroidery on Indian wedding wear | Gota work" (https://hackthefashion.com/best-blouse-designs-right-from-the-designer-walls/) . Marrymeweddings.in. 24 November 2011 . Retrieved 1 January 2014 . ^ (#cite_ref-57) Anne Morrell (1995) "The Techniques of Indian Embroidery.", p.68 ^ (#cite_ref-58) "Indian Bridal Wear Trends 2014, Photos & Review" (https://web.archive.org/web/20140714193451/http://vivahplanners.in/indian-bridal-wear-trends-2014/) . Vivah Planners . Archived from the original (http://vivahplanners.in/indian-bridal-wear-trends-2014/) on 14 July 2014 . Retrieved 4 July 2014 . At times, even use of different fabrics like crêpe, Georgette, tissue and satin are used. ^ (#cite_ref-59) Sandhu, Arti (2015). Indian Fashion: Tradition, Innovation, Style . bloomsbury. p. 19. ISBN (/wiki/ISBN_(identifier)) 978-18478-8780-1 . ^ (#cite_ref-60) Rocca, Federico (2009). Contemporary Indian Fashion . Damiani. p. 136. ISBN (/wiki/ISBN_(identifier)) 9788862081009 . ^ (#cite_ref-61) Anita Rao Kashi. "How to Wear a Sari in India" (http://www.worldhum.com/features/how-to/wear_a_sari_20071025/) . World Hum . Retrieved 18 March 2012 . ^ (#cite_ref-62) "The History of Indian Sarees – Hatena Blog" (https://nidhishekhawat.hatenablog.com/entry/2020/02/13/170702) . nidhishekhawat.hatenablog.com . 13 February 2020 . Retrieved 20 March 2020 . ^ (#cite_ref-63) Chishti, R̥ta Kapur; Singh, Martand (2010). Saris of India: Tradition and Beyond . Roli Books, Lustre Press. ISBN (/wiki/ISBN_(identifier)) 9788174363749 . ^ (#cite_ref-64) "Sari story: How its 108 wearing styles represent India, its people – and their many mutinies – Life News , Firstpost" (https://www.firstpost.com/living/sari-story-how-its-108-wearing-styles-represent-india-its-people-and-their-many-mutinies-4412991.html) . Firstpost . 31 March 2018 . Retrieved 28 September 2020 . ^ (#cite_ref-65) Ap, Tiffany (12 October 2017). 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Craddock, Norma (1994) Anthills, Split Mothers, and Sacrifice: Conceptions of Female Power in the Mariyamman Tradition . Dissertation, University of California, Berkeley. External links [ edit ] Wikimedia Commons has media related to Saris (https://commons.wikimedia.org/wiki/Category:Saris) . 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Type of soft, billed hat A New York Yankees (/wiki/New_York_Yankees) baseball cap A baseball cap is a type of soft hat (/wiki/Cap) with a rounded crown and a stiff bill [1] (#cite_note-bill-1) projecting in front. [2] (#cite_note-clair-2) The front of the hat typically displays a design or a logo (/wiki/Logo) (historically, usually only a sports team, namely a baseball (/wiki/Baseball) team, or names of relevant companies, when used as a commercial marketing technique). The hat may be "fitted" to the wearer's head or the back may have elastic (/wiki/Stretch_fabric) , a plastic (/wiki/Plastic) prong-in-a-hole (multiple holes with one prong that can be inserted), Velcro (/wiki/Hook_and_loop_fastener) , a zipper (/wiki/Zipper) , or a tri-glide slide (/wiki/Tri-glide_slide) so that it can be quickly adjusted to fit different wearers' heads. The baseball hat is a part of the traditional baseball uniform (/wiki/Baseball_uniform) worn by players, with the brim pointing forward to shield the eyes from the sun. Since the 1980s, varieties of the hat have become prevalent in the United States (/wiki/United_States) and many other nations, both for utilitarian (protecting the eyes from the sun) and fashion accessory purposes. [2] (#cite_note-clair-2) History [ edit ] Harry Wright (/wiki/Harry_Wright) wearing a baseball cap, circa 1863 In 1860, the Brooklyn Excelsiors (/wiki/Brooklyn_Excelsiors) wore the ancestor of the modern rounded-top baseball cap, which featured a long peak and a button on top, and by 1900, the "Brooklyn-style" cap became popular. [3] (#cite_note-USAToday-3) The merino cap topped with a star-like pattern was made by the New York sporting goods company Peck & Snyder (/wiki/Andrew_Peck_(businessman)) . [2] (#cite_note-clair-2) In the late 1880s, a pillbox version of the cap became popular, which would morph into the modern six-paneled round cap; five teams revived the pillbox form in 1976 in celebration of the US Bicentennial. Team monograms first appeared in 1894 when the Boston Baseball Club (the Boston Braves (/wiki/Boston_Braves) ) — now the Atlanta Braves (/wiki/Atlanta_Braves) — became the first team to wear letterforms when they added a monogram-style device to their caps, followed by three more teams in the next season. The Detroit Tigers (/wiki/Detroit_Tigers) of 1901 were the first major league team to have a mascot — a red tiger on a dark background — on their ballcap. It was replaced by the letter "D" in 1903, and their iconic Olde English-style letterform appeared a year later. [2] (#cite_note-clair-2) During the 1940s, latex rubber became the stiffening material inside the hat and the modern baseball cap was born. The peak, also known in certain areas as the "bill" or "brim", was designed to protect a player's eyes from the sun. Typically, the peak was much shorter in the earlier days of the baseball hat. Also, the hat has become more structured, versus the overall "floppy" cap of the 19th and early 20th centuries. [2] (#cite_note-clair-2) The baseball cap was and still is an important means by which to identify a team. Often the logo, mascot (/wiki/Mascot) , or team's initial was placed on the cap. Usually, the cap was also fashioned in the official colors of a particular team. Since 1993, the New Era Cap Company (/wiki/New_Era_Cap_Company) of Buffalo, N.Y. has been the exclusive baseball cap supplier for Major League Baseball. [2] (#cite_note-clair-2) The basic shape, including curved peak, is similar to some styles of 19th-century sunbonnets. [4] (#cite_note-bonnet-4) Design [ edit ] A simple baseball cap Fitted baseball hats — those without an adjuster — are normally sewn in six sections, and may be topped with a matching fabric-covered button (/wiki/Button_(clothing)) (also called a squatchee) on the crown. Metal grommets or fabric eyelets are often sewn or attached near the top of each of the six sections of fabric to provide ventilation. In some cases, the rear sections of the crown are made of net-like mesh material for extra ventilation. The peak is typically stiffened by a sewn-in piece of paperboard (/wiki/Paperboard) or stiff plastic. Variations [ edit ] Baseball hats are made of many types of material and shaped in various styles for different purposes. Major and minor league baseball players wear classic-style hats made of wool (/wiki/Wool) (or more recently, polyester (/wiki/Polyester) ) with their team's simple logo and colors; the logo is usually embroidered (/wiki/Embroidery) into the fabric. More recently there are brands that are using uncommon materials for snapback hats as for example wood brims. [5] (#cite_note-5) Formerly, baseball hats only came in standard hat sizes. Since the early 1970s, they have also been available in a one-size-fits-all form, with an adjustment strap in the back. The style, commonly called snapback, has become increasingly popular as a fashion accessory, [6] (#cite_note-men's_fashion-6) as have team caps, popularized especially by rap and hip-hop musicians. [2] (#cite_note-clair-2) Advances in textiles have led to the "stretch-fit" hat, which uses Lycra or rubber to allow a hat to have a fitted style while still being "adjustable" within sizes. The front may be soft, or may be stiffened by buckram (/wiki/Buckram) to display a logo more clearly. [7] (#cite_note-7) Another version of the baseball hat is a plastic mesh hat with a foam front imprinted with a company logo. This style is sometimes called a trucker hat (/wiki/Trucker_hat) or a "gimme hat" because it is given away for free as a promotional item. There are 4 major types of baseball hats: Snapback hat – (hat with a snap closure in the rear) with flat brim, high profile, adjustable. Adjustable hat – (hat with a velcro closure or buckled strap in the rear) unstructured, low profile, curved brim, adjustable. "Flexfit" hat – curved or flat brim, structured cap, high profile, adjustable by the use of elastic materials. Fitted hat – curved or flat brim, structured cap, high profile, unadjustable. Baseball cap styles and variations Snapback baseball cap Trucker cap (/wiki/Trucker_cap) Flexfit-style baseball cap Fitted baseball cap Athletic use [ edit ] This section needs expansion . You can help by adding to it (https://en.wikipedia.org/w/index.php?title=Baseball_cap&action=edit§ion=) . ( October 2020 ) John Mabry (/wiki/John_Mabry) wearing a baseball cap of the St. Louis Cardinals (/wiki/St._Louis_Cardinals) In 2014, the MLB (/wiki/MLB) began allowing pitchers (/wiki/Pitcher) to wear a special reinforced hat to protect their heads from line drives. [8] (#cite_note-dailynews-8) Athletes in other sports wear hats with their team's logo and colors as "sideline" hats; both types are also sold as authentic team merchandise in retail stores. Other hats may simply have a maker's logo, such as Reebok (/wiki/Reebok) , Nike (/wiki/Nike,_Inc.) or Carhartt (/wiki/Carhartt) ; these hats are often made of brushed cotton (/wiki/Cotton) . Golfers sometime wear a sports visor (/wiki/Sports_visor) form which does not cover the head but keeps the sun out of their eyes; women also traditionally have worn visors casually but a trend in certain youth subcultures sees an increase in feminine use of full hats. [ citation needed ] Professional use [ edit ] Military [ edit ] See also: Patrol cap (/wiki/Patrol_cap) Baseball caps worn by naval officers from the US, Singapore, Thailand, Brunei, Indonesia, Malaysia, and the Philippines Some armed forces use baseball caps as part of their uniforms, usually with combat uniforms (/wiki/Combat_uniform) . Those of the United States Armed Forces (/wiki/United_States_Armed_Forces) are worn mostly with utility uniforms and coveralls. They sometimes have a command logo on the front to denote command affiliation. Alternatively, the cap may have the wearer's rank on the front, if an officer. Baseball caps of a particular color are worn to denote a specific function of a person or particular job. For example, in the United States (/wiki/United_States) submarine (/wiki/Submarine) force, red baseball caps are worn by drill monitors who facilitate and critique members of the boat's crew during drills. In the United States Army (/wiki/United_States_Army) , parachute riggers (/wiki/Parachute_rigger) wear red baseball caps and parachute instructors wear black baseball caps as part of their uniform. In various squadrons of the United States Air Force (/wiki/United_States_Air_Force) 's civilian auxiliary (/wiki/Civil_Air_Patrol) , squadron-distinctive baseball caps have been issued as headgear (or "cover") for the Battle Dress Uniform (/wiki/Battle_Dress_Uniform) , typically displaying squadron colors, squadron number, and/or squadron patch. Although the BDUs have their own cover, a patrol cap (/wiki/Patrol_cap) in M81 Woodland (/wiki/M81_Woodland) , some squadrons have opted for more distinctive covers. Police [ edit ] See also: Uniform § Police (/wiki/Uniform#Police) There has been a marked trend in recent years among police forces and other uniformed bodies throughout the world to substitute inexpensive and comfortable baseball caps for peaked caps (/wiki/Peaked_cap) and other traditional headdresses. The baseball cap is also commonly used by private security companies (/wiki/Private_security_companies) as a cheap, practical piece of uniform headgear. Many armed police units around the world, notably SWAT (/wiki/SWAT) in the United States and the Metropolitan Police (/wiki/Metropolitan_Police) Specialist Firearms Command (/wiki/Specialist_Firearms_Command) in the UK, often wear baseball caps to shield their eyes from the sun where a full helmet would be excessive. Finland [ edit ] The Finnish Police (/wiki/Police_of_Finland) uses a baseball cap, which has mostly replaced the traditional side cap (/wiki/Side_cap) . It is marked with the police emblem and "Police" in Finnish and Swedish. [ citation needed ] Slovenia [ edit ] In Slovenia (/wiki/Slovenia) , policemen on motorcycles wear baseball caps as a part of their uniform, when they remove the helmet. Turkey [ edit ] Turkish police (/wiki/Turkish_police) switched from peaked caps to baseball caps in the 1990s. United Kingdom [ edit ] In the United Kingdom, the baseball cap has the additional advantage of being unisex and suitable for wear by both male and female officers. Throughout 2017, the Northamptonshire, Cheshire and Lancashire police forces adopted specially strengthened baseball caps known as " Bump Caps (/w/index.php?title=Bump_Cap&action=edit&redlink=1) ", to replace the helmets and bowler hats previously worn. [9] (#cite_note-9) However, the Northamptonshire force announced in November 2018 that their "Bump Caps" had proven scruffy and unpopular, and would be withdrawn from use. [10] (#cite_note-10) A typical British police baseball cap on display at the West Midlands Police Museum (/wiki/West_Midlands_Police_Museum) in Sparkhill (/wiki/Sparkhill) Police Station, Birmingham (/wiki/Birmingham) , England (/wiki/England) Baseball caps of North Wales Police (/wiki/North_Wales_Police) displaying the word POLICE in English and Welsh A dark green cap of the Police Service of Northern Ireland (/wiki/Police_Service_of_Northern_Ireland) United States [ edit ] In many United States police forces, the baseball cap is worn as a more practical alternative to the traditional peaked cap (/wiki/Peaked_cap) or campaign hat (/wiki/Campaign_hat) , the latter of which is generally used by Sheriff's (/wiki/Sheriffs_in_the_United_States) departments and state police (/wiki/State_police_(United_States)) forces. Baseball caps are more common on the West Coast (/wiki/West_Coast_of_the_United_States) , whereas in eastern states, the traditional peaked cap is more prominent. A notable exception is the San Francisco Police Department (/wiki/San_Francisco_Police_Department) , where peaked caps are still worn regularly. See also [ edit ] Baseball portal (/wiki/Portal:Baseball) Fashion portal (/wiki/Portal:Fashion) Baseball clothing and equipment (/wiki/Baseball_clothing_and_equipment) Beanie (seamed cap) (/wiki/Beanie_(seamed_cap)) Cricket cap (/wiki/Cricket_cap) , a similar cap in a similar sport Flat cap (/wiki/Flat_cap) Kepi (/wiki/Kepi) List of headgear (/wiki/List_of_headgear) Trucker hat (/wiki/Trucker_hat) References [ edit ] ^ (#cite_ref-bill_1-0) "Definition of Bill by Merriam Webster" (https://www.merriam-webster.com/dictionary/bill) . Merriam Webster . bill noun (1) definition 4 . Retrieved 2019-12-02 . ^ Jump up to: a b c d e f g Clair, Michael (9 May 2023). "The history of the baseball cap: The long, strange history of the baseball cap" (https://www.mlb.com/news/featured/baseball-cap-history-and-timeline) . MLB.com . Major League Baseball . Retrieved 24 June 2023 . ^ (#cite_ref-USAToday_3-0) "Baseball cap has endured generations as the all-American hat" (http://usatoday30.usatoday.com/sports/baseball/2006-07-25-cap_x.htm) . Retrieved 2014-04-26 . ^ (#cite_ref-bonnet_4-0) BBC – Happy 59th, baseball caps (http://news.bbc.co.uk/1/hi/magazine/3660333.stm) 18 December 2008 ^ (#cite_ref-5) Dabrowiecki, Jamie (2016-11-07). "Want a wooden brim strap back? We've got you covered" (https://web.archive.org/web/20180205001046/https://www.capcollectors.com/feature/want-wooden-brim-strapback-weve-got-covered/) . Archived from the original (https://www.capcollectors.com/feature/want-wooden-brim-strapback-weve-got-covered/) on 2018-02-05 . Retrieved 2018-02-04 . ^ (#cite_ref-men's_fashion_6-0) "Mens Fashion Trend: Snapback Caps" (https://web.archive.org/web/20140427233748/http://www.mensfashionmagazine.com/mens-fashion-trend-snapback-caps) . Archived from the original (http://www.mensfashionmagazine.com/mens-fashion-trend-snapback-caps) on 2014-04-27 . Retrieved 2014-04-26 . ^ (#cite_ref-7) Taxdahl, Jeff (2012-12-20). "What's the difference between a constructed and an unconstructed cap?" (https://web.archive.org/web/20170107101605/https://threadlogic.wordpress.com/2012/12/20/whats-the-difference-between-a-constructed-and-an-unconstructed-cap/) . Archived from the original (https://threadlogic.wordpress.com/2012/12/20/whats-the-difference-between-a-constructed-and-an-unconstructed-cap/) on 2017-01-07 . Retrieved 2017-01-06 . ^ (#cite_ref-dailynews_8-0) "MLB approves protective cap for pitchers in time for 2014 season" (http://m.nydailynews.com/1.1594040) . New York Daily News (/wiki/New_York_Daily_News) . Retrieved 2014-04-26 . ^ (#cite_ref-9) Harley, Nicola (10 May 2017). "Police swap helmets for caps to attract more transgender officers" (https://www.telegraph.co.uk/news/2017/05/10/police-swap-helmets-caps-attract-transgender-officers/) . United Kingdom: The Telegraph. Archived (https://ghostarchive.org/archive/20220112/https://www.telegraph.co.uk/news/2017/05/10/police-swap-helmets-caps-attract-transgender-officers/) from the original on 2022-01-12. ^ (#cite_ref-10) Northamptonshire Chronicle & Echo, 15 November 2018 External links [ edit ] Wikimedia Commons has media related to Baseball caps (https://commons.wikimedia.org/wiki/Category:Baseball_caps) . Baseball cap history and timeline (https://www.mlb.com/news/featured/baseball-cap-history-and-timeline) from Major League Baseball (/wiki/Major_League_Baseball) "Happy 50th Baseball caps" – BBC News (http://news.bbc.co.uk/2/hi/uk_news/magazine/3660333.stm) Types of caps and related terminology (https://web.archive.org/web/20071106095435/http://shop.mlb.com/sm-sports-cap-buyers-guide--bg-222844.html) v t e Baseball (/wiki/Baseball) and softball (/wiki/Softball) concepts Outline (/wiki/Outline_of_baseball) · Glossary (/wiki/Glossary_of_baseball_terms) Rules Rules of baseball (/wiki/Baseball_rules) Ejections (/wiki/Ejection_(baseball)) Ground rules (/wiki/Ground_rules) Infield fly rule (/wiki/Infield_fly_rule) In flight (/wiki/In_flight) Interference (/wiki/Interference_(baseball)) Pitch clock (/wiki/Pitch_clock) Protested game (/wiki/Protested_game) Strike zone (/wiki/Strike_zone) Suspended game (/wiki/Suspended_game) Unwritten rules (/wiki/Unwritten_rules_of_baseball) Cheating (/wiki/Cheating_in_baseball) Comparison of baseball and softball (/wiki/Comparison_of_baseball_and_softball) fastpitch softball (/wiki/Fastpitch_softball) 16-inch softball (/wiki/16-inch_softball) Ballpark (/wiki/Ballpark) / field (/wiki/Baseball_field) Backstop (/wiki/Backstop_(baseball)) Baseball diamond (/wiki/Baseball_field) Batter's box (/wiki/Batter%27s_box) Batter's eye (/wiki/Batter%27s_eye) Bullpen (/wiki/Bullpen) Dugout (/wiki/Dugout_(baseball)) Foul pole (/wiki/Foul_pole) Foul territory (/wiki/Foul_ball) Infield (/wiki/Infield) On-deck circle (/wiki/On-deck) Outfield (/wiki/Outfield) Warning track (/wiki/Warning_track) Equipment (/wiki/Baseball_clothing_and_equipment) Ball (/wiki/Baseball_(ball)) Bat (/wiki/Baseball_bat) Batting cage (/wiki/Batting_cage) Batting glove (/wiki/Batting_glove) Batting helmet (/wiki/Batting_helmet) Cap Doughnut (/wiki/Baseball_doughnut) Glove (defense) (/wiki/Baseball_glove) Pitching machine (/wiki/Pitching_machine) Protective cup (/wiki/Jockstrap#Protective_cup) Shin guard (/wiki/Shin_guard) Stirrups (/wiki/Baseball_stirrups) Uniform (/wiki/Baseball_uniform) Uniform number (/wiki/Uniform_number_(Major_League_Baseball)) Game process Batting order (/wiki/Batting_order_(baseball)) Innings (/wiki/Inning) extra innings (/wiki/Extra_innings) Out (/wiki/Out_(baseball)) Positions (/wiki/Baseball_positions) Run (/wiki/Run_(baseball)) Pace of play (/wiki/Pace_of_play) Batting (/wiki/Batting_(baseball)) At bat (/wiki/At_bat) Baltimore chop (/wiki/Baltimore_chop) Bat flip (/wiki/Bat_flip) Batted ball (/wiki/Batted_ball) Batting count (/wiki/Count_(baseball)) Batting out of order (/wiki/Batting_out_of_turn) Bunt (/wiki/Bunt_(baseball)) sacrifice bunt (/wiki/Sacrifice_bunt) slap bunt (/wiki/Slap_bunt) squeeze play (/wiki/Squeeze_play_(baseball)) Charging the mound (/wiki/Charging_the_mound) Checked swing (/wiki/Checked_swing) Cleanup hitter (/wiki/Cleanup_hitter) Designated hitter (/wiki/Designated_hitter) Double (/wiki/Double_(baseball)) Double switch (/wiki/Double_switch_(baseball)) Foul ball (/wiki/Foul_ball) Foul tip (/wiki/Foul_tip) Golden sombrero (/wiki/Golden_sombrero) Ground rule double (/wiki/Ground_rule_double) Hat trick (/wiki/Hat-trick#Baseball) Hit (/wiki/Hit_(baseball)) Hit and run (/wiki/Hit_and_run_(baseball)) Hit by pitch (/wiki/Hit_by_pitch) Hitting for the cycle (/wiki/Hitting_for_the_cycle) Home run (/wiki/Home_run) Grand slam (/wiki/Grand_slam_(baseball)) Inside-the-park (/wiki/Inside-the-park_home_run) Walk-off (/wiki/Walk-off_home_run) Moonshot (/wiki/Moonshot_(baseball)) Chinese (/wiki/Chinese_home_run) Infield hit (/wiki/Infield_hit) Leadoff hitter (/wiki/Leadoff_hitter) Lefty-righty switch (/wiki/Lefty-righty_switch) Line drive (/wiki/Line_drive) Mendoza Line (/wiki/Mendoza_Line) On-deck (/wiki/On-deck) Plate appearance (/wiki/Plate_appearance) Platoon system (/wiki/Platoon_system) Pull hitter (/wiki/Pull_hitter) Sacrifice fly (/wiki/Sacrifice_fly) Single (/wiki/Single_(baseball)) Strikeout (/wiki/Strikeout) Strike zone (/wiki/Strike_zone) Sweet spot (/wiki/Sweet_spot_(sports)) Switch hitter (/wiki/Switch_hitter) Triple (/wiki/Triple_(baseball)) Walk (/wiki/Base_on_balls) Pitching (/wiki/Pitch_(baseball)) (softball) (/wiki/Pitch_(softball)) Balk (/wiki/Balk) Beanball (/wiki/Beanball) Breaking ball (/wiki/Breaking_ball) Brushback pitch (/wiki/Brushback_pitch) Changeup (/wiki/Changeup) Vulcan changeup (/wiki/Vulcan_changeup) Curveball (/wiki/Curveball) Eephus (/wiki/Eephus_pitch) Emery ball (/wiki/Emery_ball) Fastball (/wiki/Fastball) two-seam (/wiki/Two-seam_fastball) four-seam (/wiki/Four-seam_fastball) cutter (/wiki/Cut_fastball) sinker (/wiki/Sinker_(pitch)) split-finger (/wiki/Split-finger_fastball) Full count (/wiki/Full_count) Immaculate inning (/wiki/List_of_Major_League_Baseball_pitchers_who_have_thrown_an_immaculate_inning) Inside pitching (/wiki/Inside_pitching) Intentional balk (/wiki/Intentional_balk) Intentional walk (/wiki/Intentional_base_on_balls) Knuckleball (/wiki/Knuckleball) Maddux (/wiki/Maddux_(statistic)) No-hitter (/wiki/No-hitter) Perfect game (/wiki/Perfect_game_(baseball)) Pickoff (/wiki/Pickoff) Pitch count (/wiki/Pitch_count) Pitching position (/wiki/Pitching_position) Pitchout (/wiki/Pitchout) Quick pitch (/wiki/Quick_pitch) Screwball (/wiki/Screwball) Shutout (/wiki/Shutout_(baseball)) Slider (/wiki/Slider_(pitch)) Spitball (/wiki/Spitball) Strikeout (/wiki/Strikeout) Strike zone (/wiki/Strike_zone) Striking out the side (/wiki/Striking_out_the_side) Time of pitch (/wiki/Time_of_pitch) Wild pitch (/wiki/Wild_pitch) Base running (/wiki/Base_running) Balk (/wiki/Balk) Bases loaded (/wiki/Bases_loaded) Caught stealing (/wiki/Caught_stealing) Hit and run (/wiki/Hit_and_run_(baseball)) Lead off (/wiki/Lead_off) Left on base (/wiki/Left_on_base) Obstruction (/wiki/Obstruction_(baseball)) Rundown (/wiki/Rundown) Safe (/wiki/Safe_(baseball)) Scoring position (/wiki/Scoring_position) Slide (/wiki/Slide_(baseball)) Small ball (/wiki/Small_ball_(baseball)) Squeeze play (/wiki/Squeeze_play_(baseball)) Stolen base (/wiki/Stolen_base) Tag up (/wiki/Tag_up) Tie goes to the runner (/wiki/Tie_goes_to_the_runner) Fielding (positioning) (/wiki/Baseball_positioning) Appeal play (/wiki/Appeal_play) Assist (/wiki/Assist_(baseball)) Blocking the plate (/wiki/Blocking_the_plate) Catch (/wiki/Catch_(baseball)) Caught stealing (/wiki/Caught_stealing) Covering a base (/wiki/Covering_a_base) Defensive indifference (/wiki/Defensive_indifference) Double play (/wiki/Double_play) Error (/wiki/Error_(baseball)) Fielder's choice (/wiki/Fielder%27s_choice) Fifth infielder (/wiki/Fifth_infielder) Force play (/wiki/Force_play) Fourth out (/wiki/Fourth_out) Hidden ball trick (/wiki/Hidden_ball_trick) In-between hop (/wiki/In-between_hop) Infield fly rule (/wiki/Infield_fly_rule) Infield shift (/wiki/Infield_shift) Interference (/wiki/Interference_(baseball)) Neighborhood play (/wiki/Neighborhood_play) Passed ball (/wiki/Passed_ball) Pickoff (/wiki/Pickoff) Putout (/wiki/Putout) Rundown (/wiki/Rundown) Tag out (/wiki/Tag_out) Triple play (/wiki/Triple_play) unassisted (/wiki/Unassisted_triple_play) Uncaught third strike (/wiki/Uncaught_third_strike) Wall climb (/wiki/Wall_climb) Wheel play (/wiki/Wheel_play) Related Baseball card (/wiki/Baseball_card) Baseball statistics (/wiki/Baseball_statistics) Bench jockey (/wiki/Bench_jockey) Bench-clearing brawl (/wiki/Bench-clearing_brawl) Dead ball (/wiki/Dead_ball#Baseball) Doubleheader (/wiki/Doubleheader_(baseball)) Jargon (/wiki/Glossary_of_baseball_terms) Injured list (/wiki/Injured_list) List of baseball films (/wiki/List_of_baseball_films) Pepper (/wiki/Pepper_(baseball)) Scorekeeping (/wiki/Baseball_scorekeeping) Series (/wiki/Series_(baseball)) Seventh-inning stretch (/wiki/Seventh-inning_stretch) Shagging (/wiki/Shagging_(baseball)) Sign stealing (/wiki/Sign_stealing) Slump (/wiki/Slump_(sports)) Streak losing (/wiki/Losing_streak#Baseball) winning (/wiki/Winning_streak#Baseball) Variations of baseball (/wiki/Variations_of_baseball) Category (/wiki/Category:Baseball) Portal (/wiki/Portal:Baseball) WikiProject (/wiki/Wikipedia:WikiProject_Baseball) v t e Hats (/wiki/Hat) and caps (/wiki/Cap) List of hat styles (/wiki/List_of_hat_styles) Western (/wiki/Western_culture) culture (/wiki/Western_culture) Formal (/wiki/Formal_wear) Cartwheel (/wiki/Cartwheel_hat) Cloche (/wiki/Cloche_hat) Cocktail (/wiki/Cocktail_hat) Doll (/wiki/Doll_hat) Draped turban (/wiki/Draped_turban) Eugénie (/wiki/Eug%C3%A9nie_hat) Fascinator (/wiki/Fascinator) Half (/wiki/Half_hat) Halo (/wiki/Halo_hat) Juliet (/wiki/Juliet_cap) Mushroom (/wiki/Mushroom_hat) Lampshade (/wiki/Lampshade_hat) Picture (/wiki/Picture_hat) Peach (/wiki/Peach_basket_hat) Pillbox (/wiki/Pillbox_hat) Tam (/wiki/Tam_cap) Top (/wiki/Top_hat) Opera (/wiki/Opera_hat) Semi-formal (/wiki/Semi-formal_wear) Homburg (/wiki/Homburg_hat) Anthony Eden (/wiki/Anthony_Eden_hat) Boater (/wiki/Boater) Bowler (/wiki/Bowler_hat) Buntal (/wiki/Buntal_hat) Informal (/wiki/Informal_wear) Cabbage-tree (/wiki/Cabbage-tree_hat) Chupalla (/wiki/Chupalla) Fedora (/wiki/Fedora) Trilby (/wiki/Trilby) Flat (/wiki/Flat_cap) Coppola (/wiki/Coppola_cap) Newsboy (/wiki/Newsboy_cap) Panama (/wiki/Panama_hat) Pork pie (/wiki/Pork_pie_hat) Smoking (/wiki/Smoking_cap) Wideawake (/wiki/Wideawake_hat) Uniforms (/wiki/Uniform) Aviator (/wiki/Aviator_hat) Bearskin (/wiki/Bearskin) Bell-boy hat (/wiki/Bell-boy_hat) Bicorne (/wiki/Bicorne) Black (/wiki/Black_cap) Boonie (/wiki/Boonie_hat) Budenovka (/wiki/Budenovka) Busby (/wiki/Busby_(military_headdress)) Campaign (/wiki/Campaign_hat) Cap comforter (/wiki/Cap_comforter) Cappello Alpino (/wiki/Cappello_Alpino) Casquette d'Afrique (/wiki/Casquette_d%27Afrique) Caubeen (/wiki/Caubeen) Cavalry Stetson (/wiki/Cavalry_Stetson) Czapka (/wiki/Czapka) Doctoral (/wiki/Doctoral_hat) Feather bonnet (/wiki/Feather_bonnet) Forage (/wiki/Forage_cap) Karvalakki (/wiki/Karvalakki) Fur wedge (/wiki/Fur_wedge_cap) Hardee (/wiki/Hardee_hat) Jeep (/wiki/Jeep_cap) Kepi (/wiki/Kepi) Mazepynka (/wiki/Mazepynka) Nurse's (/wiki/Nurse%27s_cap) Maintenance (/wiki/Cap_of_maintenance) / Chapeau (/wiki/Chapeau) Military beret (/wiki/Military_beret) / Uniform beret (/wiki/Uniform_beret) Black (/wiki/Black_beret) Blue (/wiki/Blue_beret) Green (/wiki/Green_beret) Maroon (/wiki/Maroon_beret) Red (/wiki/Red_beret) Tan (/wiki/Tan_beret) Patrol (/wiki/Patrol_cap) Peaked (/wiki/Peaked_cap) Mariner's (/wiki/Mariner%27s_cap) Sailor (/wiki/Sailor_cap) Printer's (/wiki/Printer%27s_hat) Rogatywka (/wiki/Rogatywka) Shako (/wiki/Shako) Side (/wiki/Side_cap) Titovka (/wiki/Titovka_(cap)) Triglavka (/wiki/Triglavka) Ski (/wiki/Ski_cap) Slouch (/wiki/Slouch_hat) Sou'wester (/wiki/Sou%27wester) Student (/wiki/Student_cap) Faluche (/wiki/Faluche) Square academic (/wiki/Square_academic_cap) Tricorne (/wiki/Tricorne) Utility cover (/wiki/Utility_cover) Religious (/wiki/Religious_clothing) Christian (/wiki/Christian_clothing) Western (/wiki/Western_Christianity) Biretta (/wiki/Biretta) Canterbury (/wiki/Canterbury_cap) Camauro (/wiki/Camauro) Capirote (/wiki/Capirote) Cappello romano (/wiki/Cappello_romano) Capuchon (/wiki/Capuchon) Christening cap (/wiki/Christening_cap) Galero (/wiki/Galero) Head covering for Christian women (/wiki/Head_covering_for_Christian_women) Easter bonnet (/wiki/Easter_bonnet) Mantilla (/wiki/Mantilla) Wimple (/wiki/Wimple) Mitre (/wiki/Mitre) Papal tiara (/wiki/Papal_tiara) Pilgrim's (/wiki/Pilgrim%27s_hat) Salvation Army bonnet (/wiki/Salvation_Army_bonnet) Shovel (/wiki/Shovel_hat) Zucchetto (/wiki/Zucchetto) Eastern (/wiki/Eastern_Christianity) Klobuk (/wiki/Klobuk) Epanokalimavkion (/wiki/Epanokalimavkion) Kalimavkion (/wiki/Kalimavkion) Koukoulion (/wiki/Koukoulion) Skufia (/wiki/Skufia) Jewish (/wiki/Jewish_religious_clothing) Jewish (/wiki/Jewish_hat) Kashket (/wiki/Kashket) Kippah (/wiki/Kippah) Kolpik (/wiki/Kolpik) Spodik (/wiki/Spodik) Shtreimel (/wiki/Shtreimel) Casual (/wiki/Casual_wear) Animal (/wiki/Animal_hat) Ascot (/wiki/Ascot_cap) Barretina (/wiki/Barretina) Beanie (/wiki/Beanie_(seamed_cap)) Beret (/wiki/Beret) Bobble (/wiki/Bobble_hat) Breton (/wiki/Breton_(hat)) Bucket (/wiki/Bucket_hat) Chilote (/wiki/Chilote_cap) Cowboy (/wiki/Cowboy_hat) Boss of the Plains (/wiki/Boss_of_the_Plains) Fruit (/wiki/Fruit_hat) Knit (/wiki/Knit_cap) Monmouth (/wiki/Monmouth_cap) Party (/wiki/Party_hat) Shower (/wiki/Shower_cap) Tin foil (/wiki/Tin_foil_hat) Umbrella (/wiki/Umbrella_hat) Whoopee (/wiki/Whoopee_cap) Sports Cricket (/wiki/Cricket_cap) Baggy green (/wiki/Baggy_green) Balaclava (/wiki/Balaclava_(clothing)) Facekini (/wiki/Facekini) Baseball Trucker (/wiki/Trucker_hat) Bicycle clip (/wiki/Bicycle_clip_hat) Casquette (/wiki/Casquette) Deerstalker (/wiki/Deerstalker) Horse racing (/wiki/Jockey%27s_cap) Mounteere (/wiki/Mounteere_cap) Rally (/wiki/Rally_cap) Sports visor (/wiki/Sports_visor) Green eyeshade (/wiki/Green_eyeshade) Stormy Kromer (/wiki/Stormy_Kromer_cap) Swimming (/wiki/Swim_cap) Water polo (/wiki/Water_polo_cap) Historical (/wiki/History_of_Western_fashion) Attifet (/wiki/Attifet) Apex (/wiki/Apex_(headdress)) Beaver (/wiki/Beaver_hat) Bergère (/wiki/Berg%C3%A8re_hat) Boudoir (/wiki/Boudoir_cap) Boyar (/wiki/Boyar_hat) Bycocket (/wiki/Bycocket) Capotain (/wiki/Capotain) Cavalier (/wiki/Cavalier_hat) Coal scuttle bonnet (/wiki/Coal_scuttle_bonnet) Coif (/wiki/Coif) Dolly Varden (/wiki/Dolly_Varden_(costume)) Dunce (/wiki/Dunce_cap) Fontange (/wiki/Fontange) French hood (/wiki/French_hood) Phrygian (/wiki/Phrygian_cap) Hennin (/wiki/Hennin) Kausia (/wiki/Kausia) Kokoshnik (/wiki/Kokoshnik) Miner's (/wiki/Miner%27s_cap) Mob (/wiki/Mobcap) Modius (/wiki/Modius_(headdress)) Pamela (/wiki/Pamela_hat) Petasos (/wiki/Petasos) Pileus (/wiki/Pileus_(hat)) Poke bonnet (/wiki/Poke_bonnet) Pudding (/wiki/Baby_bumper_headguard_cap) Toque (/wiki/Toque) Witch (/wiki/Witch_hat) Gediminas' Cap (/wiki/Gediminas%27_Cap) Folk (/wiki/Folk_costume) Arakhchin (/wiki/Arakhchin) Asian conical (/wiki/Asian_conical_hat) Aso Oke (/wiki/Aso_Oke_hat) Astrakhan (hat) (/wiki/Canadian_military_fur_wedge_cap) Ayam (/wiki/Ayam_(cap)) Balmoral bonnet (/wiki/Balmoral_bonnet) Bell-boy (/wiki/Bell-boy_hat) Beonggeoji (/wiki/Beonggeoji) Bhadgaunle Topi (/wiki/Bhadgaunle_Topi) Birke topi (/wiki/Birke_topi) Blangkon (/wiki/Blangkon) Blue bonnet (/wiki/Blue_bonnet_(hat)) Chapan (/wiki/Chapan) Chullo (/wiki/Chullo) Coloured (/wiki/Coloured_hat) Coonskin (/wiki/Coonskin_cap) Cork (/wiki/Cork_hat) Dhaka topi (/wiki/Dhaka_topi) Doppa (/wiki/Doppa) Dutch (/wiki/Dutch_cap) Energy dome (/wiki/Energy_dome) Fez (/wiki/Fez_(hat)) Four Winds (/wiki/Four_Winds_hat) Fujin (/wiki/Fujin_(headgear)) Fulani (/wiki/Fulani_hat) Futou (/wiki/Futou) Gandhi (/wiki/Gandhi_cap) Gat (/wiki/Gat_(hat)) Glengarry (/wiki/Glengarry) Icelandic tail (/wiki/Icelandic_tail-cap) Jaapi (/wiki/Jaapi) Jeongjagwan (/wiki/Jeongjagwan) Jobawi (/wiki/Jobawi) Kalpak (/wiki/Kalpak) Karakul (/wiki/Karakul_(hat)) Kasa (/wiki/Kasa_(hat)) Kashket (/wiki/Kashket) Keffiyeh (/wiki/Keffiyeh) Kofia (/wiki/Kofia_(hat)) Kufi (/wiki/Kufi) Kuma (/wiki/Kuma_(cap)) Labbade (/wiki/Labbade) Lika (/wiki/Lika_cap) Malahai (/wiki/Malahai) Montenegrin (/wiki/Montenegrin_cap) Montera picona (/wiki/Montera_picona) Mooskappe (/wiki/Mooskappe) Nambawi (/wiki/Nambawi) Nón quai thao (/wiki/N%C3%B3n_quai_thao) Ochipok (/wiki/Ochipok) Paag (/wiki/Paag) Pahlavi (/wiki/Pahlavi_hat) Pakol (/wiki/Pakol) Papakha (/wiki/Papakha) Pashteen (/wiki/Pashteen_hat) Pungcha (/wiki/Pungcha) Qeleshe (/wiki/Qeleshe) Qing (/wiki/Qing_official_headwear) Rastacap (/wiki/Rastacap) Šajkača (/wiki/%C5%A0ajka%C4%8Da) Salako (/wiki/Salako) Salakot (/wiki/Salakot) Senufo bird (/wiki/Senufo_bird) Shyade (/wiki/Shyade) Šibenik (/wiki/%C5%A0ibenik_cap) Sindhi (/wiki/Sindhi_cap) Sombrero (/wiki/Sombrero) Sombrero calañés (/wiki/Sombrero_cala%C3%B1%C3%A9s) Sombrero cordobés (/wiki/Cordovan_hat) Sombrero de catite (/wiki/Sombrero_de_catite) Sombrero vueltiao (/wiki/Sombrero_vueltiao) Song (/wiki/Song_official_headwear) Songkok (/wiki/Songkok) Stormy Kromer cap (/wiki/Stormy_Kromer_cap) Straw (/wiki/Straw_hat) Šubara (/wiki/%C5%A0ubara) Sun (/wiki/Sun_hat) Tam o' shanter (/wiki/Tam_o%27_shanter_(cap)) Tang (/wiki/Tang_official_headwear) Tanggeon (/wiki/Tanggeon) Tantour (/wiki/Tantour) Taqiyah (/wiki/Taqiyah_(cap)) Tembel (/wiki/Tembel_hat) Tokin (/wiki/Tokin_(headwear)) Topor (/wiki/Topor_(headgear)) Tsunokakushi (/wiki/Tsunokakushi) Tubeteika (/wiki/Tubeteika) Tuque (/wiki/Tuque) Tyrolean (/wiki/Tyrolean_hat) Upe (/wiki/Upe) Ushanka (/wiki/Ushanka) Welsh (/wiki/Welsh_hat) Yanggwan (/wiki/Yanggwan) Wrapped headwear Apostolnik (/wiki/Apostolnik) Bashlyk (/wiki/Bashlyk) Birrus (/wiki/Birrus) Bonnet (/wiki/Bonnet_(headgear)) Boshiya (/wiki/Boshiya) Burqa 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New York-based fashion house Donna Karan International Inc. Company type Subsidiary (/wiki/Subsidiary) Industry Fashion (/wiki/Fashion) Founded 1984 ( 1984 ) Founders Donna Karan (/wiki/Donna_Karan) Stephan Weiss Headquarters New York City (/wiki/New_York_City) , U.S. 40°45′16″N 73°59′18″W / 40.75443°N 73.98845°W / 40.75443; -73.98845 Products Fashion, leather goods and watches Parent (/wiki/Parent_company) LVMH (/wiki/LVMH) (2001–2016) G-III Apparel Group (/wiki/G-III_Apparel_Group) (2016–present) Website www.dkny.com (http://www.dkny.com) Footnotes / references [1] (#cite_note-LVMH-1) [2] (#cite_note-fundinguniverse.com-2) [3] (#cite_note-Reuters-3) DKNY is a New York City (/wiki/New_York_City) –based fashion house for men and women, founded in 1984 by Donna Karan (/wiki/Donna_Karan) . [1] (#cite_note-LVMH-1) The company specializes in a wide range of fashion products, including clothing, footwear, and accessories. History [ edit ] Karan worked for 15 years at Anne Klein (/wiki/Anne_Klein_(fashion_designer)) , including 10 as its head designer. In 1984 Karan and her late husband Stephan Weiss were offered the opportunity to start their own business by the owner of Anne Klein, Takihyo LLC. [4] (#cite_note-aboutdonna-4) [5] (#cite_note-voguepedia-5) The company became a publicly traded (/wiki/Publicly_traded) venture (https://en.wiktionary.org/wiki/Venture) in 1996. [6] (#cite_note-6) In 2001, it was purchased by the French conglomerate corporation (/wiki/Conglomerate_(company)) LVMH (Louis Vuitton Moët Hennessy) (/wiki/LVMH) . [4] (#cite_note-aboutdonna-4) In 2015, Donna Karan left as chief designer at Donna Karan International, to focus on her Urban Zen brand and Urban Zen Foundation philanthropy. [7] (#cite_note-dkla-7) LVMH sold Donna Karan International, with the 'Donna Karan' and 'DKNY' brands, to the G-III Apparel Group (/wiki/G-III_Apparel_Group) in 2016 for $650 million. [7] (#cite_note-dkla-7) [8] (#cite_note-giii-8) G-III, based in New York City (/wiki/New_York_City) , is a manufacturer and distributor of clothing and accessories under their owned brands, licensed brands, and private label brands. [8] (#cite_note-giii-8) [9] (#cite_note-9) Donna Karan New York [ edit ] Donna Karan (/wiki/Donna_Karan) 's mainline label Donna Karan New York , also referred as Donna Karan Collection , debuted for fall 1985 with the women's collection Seven Easy Pieces , "where a handful of interchangeable items work together to create an entire wardrobe that goes from day to evening, week day to weekend, season to season". [4] (#cite_note-aboutdonna-4) In July 1991, she launched her first menswear collection. [5] (#cite_note-voguepedia-5) The "New York" part on the label is there to set "the pace, the attitude" of the fashion house's offering. [4] (#cite_note-aboutdonna-4) DKNY and other divisions [ edit ] Inspired by her daughter Gaby, Donna Karan (/wiki/Donna_Karan) founded DKNY in 1989 as a younger, more affordable diffusion line (/wiki/Diffusion_line) to run alongside her existing Donna Karan New York label. [4] (#cite_note-aboutdonna-4) [10] (#cite_note-10) Many labels and brands have branched off of the original DKNY brand/label including DKNY Jeans, DKNY Active, DKNY Underwear, DKNY Juniors, DKNY Kids, DKNY Pure. DKNY Men, launched in 1992, consists of tailored suits, dress wear, formalwear, casual wear, sportswear, and shoes. The Donna Karan Beauty collection, which specializes in fragrances, was launched in 1992. In 2001, the Donna Karan Home collection, which includes traditional luxury bedding (/wiki/Bedding) and accessories, and DKNY Home, which has more contemporary and fashion-forward bedding, were introduced. [ citation needed ] Cara Delevingne (/wiki/Cara_Delevingne) was the face of DKNY for multiple seasons in the mid 2010s. [11] (#cite_note-11) By 2017, Emily Ratajkowski (/wiki/Emily_Ratajkowski) had become the DKNY face. [12] (#cite_note-12) Stores [ edit ] Stores opened in London in 1997 and New York City in 1999. The DKNY headquarters is located at 550 Seventh Avenue (/wiki/Seventh_Avenue_(Manhattan)) in Manhattan (/wiki/Manhattan) , New York. There are currently seventy Donna Karan collection and DKNY stores globally, including twenty stores in China including Hong Kong and Shanghai, two stores in Canada including Vancouver, B.C. (/wiki/Vancouver,_B.C.) and Montreal (/wiki/Montreal) , four in Dubai (/wiki/Dubai) and also two stores in Doha (/wiki/Doha) . The fashion house also has stores in Denmark (/wiki/Denmark) . [ citation needed ] Since 2005, Donna Karan has offered online shopping (/wiki/Online_shopping) of its DKNY and associated lines at the label's web site. Products (/wiki/Product_(business)) range from DKNY and DKNY Jeans womenswear, accessories (/wiki/Fashion_accessories) , underwear, shoes, baby clothing, the PURE collection to DKNY menswear. The latter was available up until the spring 2002 season. Since then, only the DKNY Jeans label, underwear, eyewear and watches (/wiki/Watches) have been offered online for men. [ citation needed ] Controversy [ edit ] In 2013, DKNY became embroiled in controversy over street photography (/wiki/Street_photography) it admitted it used in one of its stores, without permission, from the New York City street photographer Brandon Stanton (/wiki/Brandon_Stanton) , the creator of Humans of New York (/wiki/Humans_of_New_York) (HONY). After Stanton learned of the use of his photography, he publicly asked DKNY to donate $100,000 to the YMCA (/wiki/YMCA) to help with summer programs. Amidst strong criticism on social media sites, DKNY apologized and donated $25,000 to the YMCA. Stanton then asked his followers on the HONY Facebook page to make up the difference to reach his initial goal of $100,000, which was reached on March 1, 2013. [13] (#cite_note-13) In July 2016, French luxury giant LVMH (/wiki/LVMH) , which has owned Karan's company since 2001, even though she stayed on to run the brands—shelved her flagship line Donna Karan International shortly after she left in June 2015 and said it would "substantially increase its focus" on her DKNY brand, which revolutionized women's fashion in the '80s with Karan's "Seven Easy Pieces" concept of a wardrobe made up of a handful of interchangeable items. Today, she is looking to sell off its Donna Karan business, less than a year after the fashion designer stepped down from her namesake brand. LVMH is targeting a "single, specific American buyer" for both the DKNY and Donna Karan International businesses after several "months of disappointing performance" under its new designers Dao-Yi Chow and Maxwell Osbourne. [ citation needed ] Since then, LVMH has successfully sold DKNY to the G-III Apparel Group (/wiki/G-III_Apparel_Group) in 2016 for $650 million. [7] (#cite_note-dkla-7) References [ edit ] ^ Jump up to: a b "Donna Karan" (https://archive.today/20130913043001/http://www.lvmh.com/the-group/lvmh-companies-and-brands/fashion-leather-goods/donna-karan) . www.lvmh.com. Archived from the original (http://www.lvmh.com/the-group/lvmh-companies-and-brands/fashion-leather-goods/donna-karan) on 2013-09-13 . Retrieved 2013-09-12 . ^ (#cite_ref-fundinguniverse.com_2-0) "History of Donna Karan International Inc" (http://www.fundinguniverse.com/company-histories/donna-karan-international-inc-history/) . FundingUniverse. ^ (#cite_ref-Reuters_3-0) "Appointment at Donna Karan International" (https://web.archive.org/web/20150313215236/http://www.reuters.com/article/2014/10/02/lvmh-donna-karan-intl-idUSnBw026089a+100+BSW20141002) . Reuters (/wiki/Reuters) . March 13, 2015. Archived from the original (http://www.reuters.com/article/2014/10/02/lvmh-donna-karan-intl-idUSnBw026089a+100+BSW20141002) on 2015-03-13. ^ Jump up to: a b c d e "Donnakaran.com: "About Donna" (https://archive.today/20130913042953/http://www.donnakaran.com/_pages/company/3c1289ec-8f7c-4608-bc47-68ce68717268/about-donna) " (https://archive.today/20130913042953/http://www.donnakaran.com/_pages/company/3c1289ec-8f7c-4608-bc47-68ce68717268/about-donna) . Archived from the original (http://www.donnakaran.com/_pages/company/3c1289ec-8f7c-4608-bc47-68ce68717268/about-donna) on 2013-09-13 . Retrieved 2013-09-12 . ^ Jump up to: a b "Voguepedia.com: Donna Karan" (https://web.archive.org/web/20130820104200/http://www.vogue.com/voguepedia/Donna_Karan) . Archived from the original (http://www.vogue.com/voguepedia/Donna_Karan) on 2013-08-20 . Retrieved 2013-09-12 . ^ (#cite_ref-6) "Shares of Donna Karan Soar In the First Day of Trading" (https://www.nytimes.com/1996/06/29/business/shares-of-donna-karan-soar-in-the-first-day-of-trading.html) . The New York Times . 1996-06-29. ISSN (/wiki/ISSN_(identifier)) 0362-4331 (https://www.worldcat.org/issn/0362-4331) . Retrieved 2023-09-02 . ^ Jump up to: a b c Pressreader.com: "Donna Karan imagines a DKLA" (http://www.pressreader.com/usa/los-angeles-times/20161113/283515090491754) ; Los Angeles Times, 13 November 2016. ^ Jump up to: a b G-iii.com: "G-III to Acquire Donna Karan International from LVMH" (http://ir.g-iii.com/releasedetail.cfm?ReleaseID=980842) Archived (https://web.archive.org/web/20161114084126/http://ir.g-iii.com/releasedetail.cfm?ReleaseID=980842) 2016-11-14 at the Wayback Machine (/wiki/Wayback_Machine) ; 25 July 2016. ^ (#cite_ref-9) "Stock Quote | GIII Apparel Group" (http://ir.g-iii.com/) . ir.g-iii.com . ^ (#cite_ref-10) LLC, New York Media (February 17, 1992). "New York Magazine" (https://books.google.com/books?id=eeMCAAAAMBAJ&dq=dkny+pizza&pg=PA18) . New York Media, LLC – via Google Books. ^ (#cite_ref-11) "Cara Delevingne Now the Face of DKNY Menswear" (https://www.yahoo.com/lifestyle/cara-delevingne-now-the-face-of-dkny-menswear-108188535863.html) . Yahoo! (/wiki/Yahoo!) . January 15, 2015 . Retrieved February 21, 2018 . ^ (#cite_ref-12) Borge, Jonathan (August 11, 2017). "Emily Ratajkowski Uses New York City as a Gym in DKNY's Fall Campaign" (http://www.instyle.com/news/emily-ratajkowski-fall-2017-dkny-campaign) . InStyle (/wiki/InStyle) . Retrieved November 4, 2017 . ^ (#cite_ref-13) Wilkinson, Isabel. "Oops: DKNY Admits Using Blogger's Photos Without Permission" (http://www.thedailybeast.com/articles/2013/02/25/oops-dkny-admits-using-blogger-s-photos-without-permission.html) . The Daily Beast (/wiki/The_Daily_Beast) . Retrieved 2 March 2013 . External links [ edit ] Wikimedia Commons has media related to DKNY (https://commons.wikimedia.org/wiki/Category:DKNY) . Official website (http://www.dkny.com) Original Donna Karan website (http://www.donnakaran.com) v t e Lingerie (/wiki/Lingerie) Upper torso Types (/wiki/List_of_bra_designs) of bras (/wiki/Bra) History (/wiki/History_of_bras) Bandeau (/wiki/Bandeau) Bralette (/wiki/Bralette) Nursing bra (/wiki/Nursing_bra) Sports bra (/wiki/Sports_bra) Training bra (/wiki/Training_bra) Underwire bra (/wiki/Underwire_bra) Male bra (/wiki/Male_bra) Other garments Babydoll (/wiki/Babydoll) Bustier (/wiki/Bustier) Camisole (/wiki/Camisole) Dudou (/wiki/Dudou) Negligee (/wiki/Negligee) Nightgown (/wiki/Nightgown) Torsolette (/wiki/Torsolette) Yếm (/wiki/Y%E1%BA%BFm) Lower torso Bikini (/wiki/Bikini) Boyshorts (/wiki/Boyshorts) French knickers (/wiki/French_knickers) Fundoshi (/wiki/Fundoshi) Girdle (/wiki/Girdle_(undergarment)) Girl boxers (/wiki/Girl_boxers) Panties (/wiki/Panties) Period underwear (/wiki/Period_underwear) Tanga (/wiki/Thong) Tap pants (/wiki/Tap_pants) Thong (/wiki/Thong) ( G-string (/wiki/G-string) ) Bloomers (/wiki/Bloomers) Full torso Bodice (/wiki/Bodice) Corset (/wiki/Corset) Corselet (/wiki/Corselet) Foundation garment (/wiki/Foundation_garment) Nightshirt (/wiki/Nightshirt) Playsuit (/wiki/Playsuit_(lingerie)) Slip (/wiki/Slip_(clothing)) Teddy (/wiki/Teddy_(garment)) Hosiery (/wiki/Hosiery) Bodystocking (/wiki/Bodystocking) Garter (/wiki/Garter) Hold-ups (/wiki/Hold-ups) Knee highs (/wiki/Knee_highs) Pantyhose (/wiki/Pantyhose) Stocking (/wiki/Stocking) Tights (/wiki/Tights) Historical Basque (/wiki/Basque_(clothing)) Boudoir cap (/wiki/Boudoir_cap) Bustle (/wiki/Bustle) Chemise (/wiki/Chemise) Crinoline (/wiki/Crinoline) Farthingale (/wiki/Farthingale) Hoop skirt (/wiki/Hoop_skirt) Liberty bodice (/wiki/Liberty_bodice) Pannier (/wiki/Pannier_(clothing)) Pantalettes (/wiki/Pantalettes) Petticoat (/wiki/Petticoat) Pettipants (/wiki/Pettipants) Waist cincher (/wiki/Waist_cincher) Accessories Falsies (/wiki/Falsies) Lingerie tape (/wiki/Lingerie_tape) Brands List of lingerie brands (/wiki/List_of_lingerie_brands) Retail Bras N Things (/wiki/Bras_N_Things) Cosmo Lady (/wiki/Cosmo_Lady) Figleaves (/wiki/Figleaves) HerRoom (/wiki/HerRoom) Journelle (/wiki/Journelle) True & Co. 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Clothing for arctic or high altitude conditions Extreme cold weather clothing is clothing (/wiki/Clothing) for arctic or mountainous areas. Its primary function is to trap air as an insulator to prevent heat loss (/wiki/Heat_loss) from the wearer's body. Secondary and necessary is to conduct water vapor away from the body to keep the insulating layers dry. A shell keeps the wind from disturbing the still air in the insulating layers. In warmer conditions, the shell protects from water intrusion. The U.S. National Weather Service defines extreme cold (/wiki/Extreme_cold_warning) as −35 °F (−37 °C) with winds less than 5 miles per hour (2.2 m/s). [1] (#cite_note-1) In these conditions, the unprotected skin of a healthy adult will develop frostbite in ten to twenty minutes. The Canadian standard includes even lower temperatures. Antarctic clothing [ECW] used by the British Antarctic Survey on Antarctica. Principles [ edit ] A vacuum is the best insulator, but its use in clothing is impractical. Dry air is a practical insulator. Extreme cold weather clothing uses still dry air to insulate the body, [2] (#cite_note-usacwm-2) layers of loose air trapping material are most effective. The inner layers should conduct moisture away from the body. Outer layers should be windproof as well as suitable to the harsh terrain. [ citation needed ] Materials [ edit ] The original cold weather clothing was made of furs. The fibers of the fur trapped insulating air, lanolin on the fur repelled water. Knitted wool is an effective insulator when dry, but ineffective when wet. Goose down is the lightest insulator, and still used today. Its quality, called loft is a measure of its low density. It is ineffective when wet. Artificial fibers have good loft, and do not lose it when wet. One effective fiber is Hollofil (/wiki/Olefin_fiber) a hollow fiber of polyolefin (/wiki/Polyolefin) . [3] (#cite_note-3) Outer garments are often made of nylon, which is strong and abrasion resistant. The nylon is often bonded to a layer of polytetrafluoroethylene (/wiki/Polytetrafluoroethylene) (trade name Teflon) in a form that has holes small enough for moisture to escape, but not allow liquid water to intrude. This material is trade named Gore-Tex (/wiki/Gore-Tex) . Best practices [ edit ] The U.S. Army describes cold weather best practices by the mnemonic acronym COLD . [2] (#cite_note-usacwm-2) C lean Avoid O verheating L oose D ry The protocol is aimed at keeping the insulation dry, so that it may be most effective. This section needs expansion with: explain the practice in a way that is useful to the readed. You can help by adding to it (https://en.wikipedia.org/w/index.php?title=Extreme_cold_weather_clothing&action=edit§ion=) . ( September 2023 ) Layering [ edit ] Best practice indicates that for extreme conditions, clothing should be layered and loose. Near the core of the body, a soft, wicking layer is best. Wool or silk underwear is preferred. Then, by preference, a knitted layer of wool or synthetic fleece. A massive insulating layer and a windproof layer complete the ensemble. [ citation needed ] Parts of clothing [ edit ] Inner layer [ edit ] Underwear, inner socks, and glove liners are typically thin, soft knits of silk, wool, or synthetic. First insulating layer [ edit ] Typically knit wool or synthetic fleece. A common material is polar fleece (/wiki/Polar_fleece) . Massive insulating layer [ edit ] Down (/wiki/Down_feather) or synthetic fiber sewn into bats of a (typically nylon) coat or pants. Wind layer [ edit ] The usual clothing for Arctic or mountain regions is a parka (/wiki/Parka) . A tightly woven fabric prevents wind from disturbing the still air in the insulating layers. Footwear [ edit ] Example of Bunny boots. Footwear is chosen according to purpose. In alpine conditions, insulated mountaineering boots (/wiki/Mountaineering_boot) are used. In other work conditions, pacs, or bunny boots (/wiki/Bunny_boots) , with rubber soles and thick, removable wool felt liners are used. In camp, lightweight moon boots (/wiki/Moon_boots) of foam and nylon are common. In the tent, down booties are comfortable. Gloves [ edit ] In severe conditions, mittens (/wiki/Mitten) with long gauntlets are preferred. Headwear [ edit ] A knitted or fleece cap is worn underneath the hood of the parka. The face is protected by a mask or balaclava (/wiki/Balaclava_(clothing)) . The water transmission properties of anything touching the face are of the highest concern. Another option is to use heated clothing (/wiki/Heated_clothing) , which contains battery-powered electrical heating elements or gel packs. See also [ edit ] Sports portal (/wiki/Portal:Sports) Fashion portal (/wiki/Portal:Fashion) Sportswear (/wiki/Sportswear) , also known as activewear – Equipment and attire for physical activity Extended Cold Weather Clothing System (/wiki/Extended_Cold_Weather_Clothing_System) – Protective clothing used by US Army Environmental suit (/wiki/Environmental_suit) – Clothing worn to protect a person in a hostile environment References [ edit ] ^ (#cite_ref-1) "National Weather Service Plans to Issue 'Extreme Cold Warnings' (https://archive.today/20130616043809/http://www.wdaz.com/event/article/id/5621/) " (https://archive.today/20130616043809/http://www.wdaz.com/event/article/id/5621/) . Archived from the original (http://www.wdaz.com/event/article/id/5621/) on 2013-06-16. ^ Jump up to: a b FM-31-70 Basic Cold Weather Manual (PDF) . U.S. Army. April 12, 1968 . Retrieved 28 November 2017 . ^ (#cite_ref-3) Williams, J T, ed. (September 29, 2009). Textiles for Cold Weather Apparel (First ed.). Woodhead Publishing. ISBN (/wiki/ISBN_(identifier)) 978-1-84569-411-1 . 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American fashion designer This article is about the fashion designer. For his company, see Tommy Hilfiger (company) (/wiki/Tommy_Hilfiger_(company)) . "Hilfiger" redirects here. For other uses, see Hilfiger (disambiguation) (/wiki/Hilfiger_(disambiguation)) . Tommy Hilfiger Hilfiger in 1996 Born Thomas Jacob Hilfiger ( 1951-03-24 ) March 24, 1951 (age 73) Elmira, New York (/wiki/Elmira,_New_York) , U.S. Occupation Fashion designer (/wiki/Fashion_designer) Label Tommy Hilfiger (/wiki/Tommy_Hilfiger_(company)) Spouses Jayne Klopenstein ( m. 1978; div. 1979) Susie Cirona ( m. 1980; div. 2000) Dee Ocleppo (/wiki/Dee_Ocleppo) ( m. 2008) Children 5, including Ricky Hil Website tommy (http://tommy.com) .com (http://tommy.com) Thomas Jacob Hilfiger ( / (/wiki/Help:IPA/English) h ɪ l ˈ f ɪ ɡ ər / (/wiki/Help:IPA/English) hil- FIG -ər ; born March 24, 1951) [1] (#cite_note-1) is an American fashion designer and the founder of Tommy Hilfiger Corporation (/wiki/Tommy_Hilfiger_(company)) . [2] (#cite_note-thcorp_s8-2) After starting his career by co-founding a chain of jeans/fashion stores called People's Place in upstate New York (/wiki/Upstate_New_York) in the 1970s, he began designing preppy (/wiki/Preppy) clothing for his own eponymous menswear (/wiki/Menswear) line in the 1980s. The company later expanded into women's clothing and various luxury items such as perfumes (/wiki/Perfumes) and went public in 1992. Hilfiger's collections are often influenced by the fashion of music subcultures and marketed in connection with the music industry, [3] (#cite_note-TCBIO15-3) [4] (#cite_note-TCBIO16-4) with celebrities such as American R&B (/wiki/R%26B) artist Aaliyah (/wiki/Aaliyah) in the 1990s. [5] (#cite_note-aaliyahspokes-5) In 2005, contestants in the CBS (/wiki/CBS) reality show (/wiki/Reality_show) The Cut (/wiki/The_Cut_(2005_TV_series)) competed for a design job with Hilfiger in a similar fashion to The Apprentice . [6] (#cite_note-thbiotwo_kthecut-6) In 2006, Hilfiger sold his company for $1.6 billion to Apax Partners (/wiki/Apax_Partners) , [7] (#cite_note-apaxfs-7) who next sold it in 2010 to Phillips-Van Heusen (/wiki/Phillips-Van_Heusen) for $3 billion. [8] (#cite_note-calvinklienovwner-8) He remains the company's principal designer, leading the design teams and overseeing the entire creative process. [9] (#cite_note-thcorp_n1-9) In 2012, Hilfiger was awarded the Geoffrey Beene (/wiki/Geoffrey_Beene) Lifetime Achievement Award from the Council of Fashion Designers of America (/wiki/Council_of_Fashion_Designers_of_America) . [10] (#cite_note-thbiotwo_gbusinessofashion-10) Business and fashion career [ edit ] Hilfiger graduated from the Elmira Free Academy (/wiki/Elmira_Free_Academy) high school in 1969. [11] (#cite_note-thbiotwo_dbestsotries-11) His parents wanted him to get a college education and pursue a traditional career, [10] (#cite_note-thbiotwo_gbusinessofashion-10) and for a time he attended GST BOCES (/wiki/Boards_of_Cooperative_Educational_Services_(New_York)) Bush Campus in Elmira. [12] (#cite_note-bocesbushcampus-12) People's Place and early lines (1970s–1983) [ edit ] Hilfiger spent the summer of 1969 working in a clothing store on Cape Cod (/wiki/Cape_Cod) , [13] (#cite_note-TCBIO6-13) and afterwards he decided to use his life savings of $150 [14] (#cite_note-people'splaces-14) to open a clothing store in 1971 [ citation needed ] as People's Place. [13] (#cite_note-TCBIO6-13) The first store was located in downtown Elmira in what is now the site of First Arena (/wiki/First_Arena) and had a hair salon, a record shop, and rock concerts in the basement. [13] (#cite_note-TCBIO6-13) To stock the store, Hilfiger and a friend drove to New York City to buy clothing such as bell-bottoms (/wiki/Bell-bottoms) , peasant blouses (/wiki/Peasant_blouse) , and leather jackets. [13] (#cite_note-TCBIO6-13) Unsatisfied with this, he began sketching his own designs, and would later write that "designing made me happier than anything I'd ever done. I knew from that early work that designing would be my life." [13] (#cite_note-TCBIO6-13) The People's Place went bankrupt in 1977. Hilfiger enrolled in classes on commerce and the business side of the fashion industry. [10] (#cite_note-thbiotwo_gbusinessofashion-10) After then moving to New York City [13] (#cite_note-TCBIO6-13) and working for several different labels, he set up a company called Tommy Hill in 1979. [13] (#cite_note-TCBIO6-13) One of his first clients was Jordache (/wiki/Jordache) Jeans, [10] (#cite_note-thbiotwo_gbusinessofashion-10) [13] (#cite_note-TCBIO6-13) and as Hilfiger's company expanded beyond denim, [10] (#cite_note-thbiotwo_gbusinessofashion-10) he spent time in India (/wiki/India) , learning more about his trade: "I would sit in the factory with my pile of sketches and watch them being made, tweaking as I went. There's no better design school in the world." [13] (#cite_note-TCBIO6-13) In 1981 he founded the company 20th Century Survival, and the following year he founded Click Point, which designed women's clothing. [ citation needed ] Founding Tommy Hilfiger Inc. (1984–1990s) [ edit ] See also: Tommy Hilfiger (company) (/wiki/Tommy_Hilfiger_(company)) In 1984, Hilfiger was approached by businessman Mohan Murjani (/wiki/Mohan_Murjani) , [15] (#cite_note-thbiotwo_fbiography.com-15) to pursue his goal of designing and heading a men's sportswear line. [10] (#cite_note-thbiotwo_gbusinessofashion-10) [13] (#cite_note-TCBIO6-13) Murjani backed the necessary investment for Hilfiger to establish his own brand. [ citation needed ] Later Hilfiger oversaw the design of the Coca-Cola (/wiki/Coca-Cola) clothing line for Murjani. [Wanting to form my own eponymous line] came from a desire to create something that wasn't out there already. I was really in tune with the market—I knew what existed, and I wanted this to be different. Maybe it's the small-town boy in me, but I've always loved the prep school look (/wiki/Preppy) , traditional Ivy League (/wiki/Ivy_League) , and the clothes that sailors and jocks wear. I wanted to take these familiar old things and give them a more laid-back attitude, to make them modern and cool...[with Tommy Hilfiger Corporation in 1985], finally, I felt like I was doing work that felt natural, that felt good. The brand we were building felt so honest, so true to who I am, that it didn't feel like a struggle at all. — Tommy Hilfiger in 2010 [13] (#cite_note-TCBIO6-13) In 1985, he founded the Tommy Hilfiger Corporation with support from The Murjani Group. The new clothing line made its debut with a high-profile marketing campaign, for example setting up a large billboard in Times Square (/wiki/Times_Square) [15] (#cite_note-thbiotwo_fbiography.com-15) designed by George Lois (/wiki/George_Lois) . [16] (#cite_note-TCBIO20-16) Hilfiger left Murjani International in 1989, with Silas Chou (/wiki/Silas_Chou) instead providing financial backing to the Hilfiger brand, [ citation needed ] and former executives of Ralph Lauren (/wiki/Ralph_Lauren) brought on board as executives of the newly formed company Tommy Hilfiger, Inc. [ citation needed ] The Tommy Hilfiger Corporation went public in 1992, introducing Hilfiger's signature menswear collection. [ citation needed ] Hilfiger was named Menswear Designer of the Year by the Council of Fashion Designers of America (/wiki/Council_of_Fashion_Designers_of_America) in 1995. [15] (#cite_note-thbiotwo_fbiography.com-15) [17] (#cite_note-pastwinners-17) After licensing Pepe Jeans (/wiki/Pepe_Jeans) USA in 1995, in 1996, Tommy Hilfiger Inc. began distributing women's clothing. [ citation needed ] By the end of 1997 Hilfiger had opened his first store in Beverly Hills (/wiki/Beverly_Hills) . This was followed by a store in London in 1998. [ citation needed ] Hilfiger was serving as the company's co-chairman by 1997, [ citation needed ] and that year he published his first book, titled All American: A Style Book . [ citation needed ] Increased brand exposure (1990s–2004) [ edit ] A professed lifelong fan of rock and roll (/wiki/Rock_and_roll) , Hilfiger's collections are often influenced by the fashion of music subcultures. The clothes are also marketed in connection with the music industry, [3] (#cite_note-TCBIO15-3) [4] (#cite_note-TCBIO16-4) and as early as 1993 Hilfiger was an official sponsor for Pete Townshend (/wiki/Pete_Townshend) 's Psychoderelict (/wiki/Psychoderelict) tour. Hilfiger has also sponsored several musical events, including Sheryl Crow (/wiki/Sheryl_Crow) 's If It Makes You Happy (/wiki/If_It_Makes_You_Happy) tour in 1997, [18] (#cite_note-TCBIO18-18) Britney Spears (/wiki/Britney_Spears) 1999 ...Baby One More Time Tour (/wiki/...Baby_One_More_Time_Tour) as main sponsor, [19] (#cite_note-tommyannounced-19) [20] (#cite_note-TCBIO17-20) and Lenny Kravitz (/wiki/Lenny_Kravitz) 's 1999 Freedom tour. [21] (#cite_note-TCBIO19-21) By the mid-1990s, Hilfiger's style of clothing was popular with both the American " preppy (/wiki/Preppy) " scene and as hip hop fashion (/wiki/Hip_hop_fashion) . [15] (#cite_note-thbiotwo_fbiography.com-15) American R&B (/wiki/R%26B) icon Aaliyah (/wiki/Aaliyah) became the much-publicized spokesperson for Tommy Hilfiger Corporation in 1997. [5] (#cite_note-aaliyahspokes-5) Hilfiger had a cameo in the fashion spoof Zoolander (/wiki/Zoolander) in 2001, [22] (#cite_note-thbiotwo_limdb-22) and from 2002 to 2006 Tommy Hilfiger Inc. owned the naming rights to the Tommy Hilfiger at Jones Beach Theatre (/wiki/Tommy_Hilfiger_at_Jones_Beach_Theatre) venue. [23] (#cite_note-promocompany-23) Largely due to declining sales in the early 2000s, Hilfiger began reworking the brand, striving to retain the designer brand exclusivity of the Hilfiger label by signing a deal to distribute the best-selling Hilfiger lines at Macy's (/wiki/Macy%27s) only. [15] (#cite_note-thbiotwo_fbiography.com-15) The Tommy Hilfiger Corporation continued to work closely with musicians into the 2000s, focusing on fragrances (/wiki/Fragrances) as well as clothes. Sweetface Fashion (/wiki/J.Lo_by_Jennifer_Lopez#Sweetface_Fashion) , which owns the J.Lo by Jennifer Lopez (/wiki/J.Lo_by_Jennifer_Lopez) line, [24] (#cite_note-pillsoantony-24) [25] (#cite_note-people11-25) [26] (#cite_note-nickgalvinappeals-26) was bought out by Tommy Hilfiger in 2003. [27] (#cite_note-boughtout-27) [28] (#cite_note-belowmarfashion-28) True Star (/wiki/True_Star_(perfume)) , a fragrance (/wiki/Perfume) endorsed by Hilfiger and released in 2004, featured Beyoncé (/wiki/Beyonc%C3%A9) as its poster girl. [29] (#cite_note-truestarperfume-29) The Tommy Hilfiger Corporation company had revenues of approximately $1.8 billion, and 5,400 employees by 2004. [10] (#cite_note-thbiotwo_gbusinessofashion-10) Media appearances and sale of clothing brand (2005–2011) [ edit ] Exterior of a Tommy Hilfiger store in Tokyo (/wiki/Tokyo) , Japan (/wiki/Japan) , in 2008 In 2005, a CBS (/wiki/CBS) reality show (/wiki/Reality_show) called The Cut (/wiki/The_Cut_(CBS)) tracked the progress of sixteen contestants as they competed for a design job with Tommy Hilfiger and their own fashion line under Hilfiger's label. The show progressed in a similar fashion to Donald Trump (/wiki/Donald_Trump) 's The Apprentice . After a final competition that involved setting up the display window for Macy's Herald Square (/wiki/Macy%27s_Herald_Square) location in New York, Hilfiger chose Chris Cortez as the "next great American designer." [6] (#cite_note-thbiotwo_kthecut-6) In December 2005, Tommy Hilfiger sold the clothing brand for $1.6 billion, or $16.80 a share, to Apax Partners (/wiki/Apax_Partners) , a private investment company. [30] (#cite_note-30) [7] (#cite_note-apaxfs-7) The transaction was completed in May 2006. [31] (#cite_note-Apax-31) In 2008 Hilfiger, Rives (/wiki/Rives_(poet)) , and Bar Refaeli (/wiki/Bar_Refaeli) co-hosted the Bravo (/wiki/Bravo_(US_TV_channel)) special program Tommy Hilfiger Presents Ironic Iconic America . [32] (#cite_note-varietyiconiamer-32) Based on the book Ironic Iconic America written by Hilfiger and designer George Lois (/wiki/George_Lois) , [33] (#cite_note-mtvicongeroge-33) the program examined how pop culture (/wiki/Pop_culture) has influenced American tastes and styles. [34] (#cite_note-tvweekbavo-34) In 2009 Hilfiger was a guest judge on an episode of Project Runway (/wiki/Project_Runway) , [22] (#cite_note-thbiotwo_limdb-22) and he presented the Best African Artist (/wiki/2010_World_Music_Awards) award to Akon (/wiki/Akon) at the 2010 World Music Awards (/wiki/2010_World_Music_Awards) . [22] (#cite_note-thbiotwo_limdb-22) In March 2010, Phillips-Van Heusen (/wiki/Phillips-Van_Heusen) , owner of Calvin Klein and Izod, bought the Tommy Hilfiger brand from Apax Partners for $3 billion. [8] (#cite_note-calvinklienovwner-8) [35] (#cite_note-NY_Times_News-35) The Tommy Hilfiger online and in-store ad campaign called "Meet The Hilfigers" began in August 2010 and ran through August 2011. [36] (#cite_note-thcorp_z25-36) In 2011, Hilfiger and a partner signed a contract to buy the Metropolitan Life Insurance Company Tower (/wiki/Metropolitan_Life_Insurance_Company_Tower) building for $170 million, planning to transform it into Hilfiger's first hotel, with luxury condos. Hilfiger backed off the project in September 2011. [37] (#cite_note-kewmanagement-37) A guest judge on the finale of Project Runway: All Stars (/wiki/Project_Runway:_All_Stars) along with Neiman Marcus (/wiki/Neiman_Marcus) fashion director Ken Downing in 2012, [22] (#cite_note-thbiotwo_limdb-22) shortly afterwards he served as a fashion consultant to contestants on season 11 of American Idol (/wiki/American_Idol) . [38] (#cite_note-thbiotwo_jamericanidol-38) [39] (#cite_note-toptennewsday-39) Recent years and memoir (2012–2016) [ edit ] "One year, my brother Andy (/wiki/Andy_Hilfiger) brought the sons and daughters of rock and Hollywood legends on a tour bus (including Mark Ronson (/wiki/Mark_Ronson) , Kidada Jones (/wiki/Kidada_Jones) , and Kate Hudson (/wiki/Kate_Hudson) ) and threw fashion shows all over the country... we did [runway shows at] Madison Square Garden (/wiki/Madison_Square_Garden) with Bush (/wiki/Bush_(British_band)) playing live, Pharrell (/wiki/Pharrell) at Bryant Park, and Lenny Kravitz (/wiki/Lenny_Kravitz) in Paris. We had Treach (/wiki/Treach) on the runway in London, with Kate Moss (/wiki/Kate_Moss) and Naomi Campbell (/wiki/Naomi_Campbell) dancing around him. I've dressed the Rolling Stones (/wiki/Rolling_Stones) for [their 1998 " No Security (/wiki/No_Security) "] tour, and working with Mick Jagger (/wiki/Mick_Jagger) and the band was such a great experience." — Tommy Hilfiger in 2010 [3] (#cite_note-TCBIO15-3) [4] (#cite_note-TCBIO16-4) Hilfiger was instrumental in the creation of the Marc Anthony Collection (/wiki/Marc_Anthony_Collection) in 2012, [40] (#cite_note-J._Lo,_Marc_Anthony_to_launch_brand_at_Kohl's-40) as Marc Anthony (/wiki/Marc_Anthony) had never been interested in the fashion business until Hilfiger called him and convinced him a line was worthwhile. [41] (#cite_note-castilloadsf-41) In 2012, Hilfiger was awarded the Geoffrey Beene (/wiki/Geoffrey_Beene) Lifetime Achievement Award from the Council of Fashion Designers of America (/wiki/Council_of_Fashion_Designers_of_America) . [10] (#cite_note-thbiotwo_gbusinessofashion-10) Global sales in retail for the brand in 2013 were US$6.4 billion, [9] (#cite_note-thcorp_n1-9) and $6.7 billion in 2014. [42] (#cite_note-thcorp_x19-42) Hilfiger remains the company's principal designer, leading the design teams and overseeing the entire creative process. [9] (#cite_note-thcorp_n1-9) In 2016, he collaborated with model Gigi Hadid (/wiki/Gigi_Hadid) on clothing designs [43] (#cite_note-voguethattop-43) launching the TommyXGigi clothing collection. [44] (#cite_note-tommygigi-44) On February 8, 2017, the brand will hold its ready-to-wear show in Los Angeles, in the first time the brand will not be part of New York Fashion Week (/wiki/New_York_Fashion_Week) . [45] (#cite_note-voguereadywear-45) In January 2015, Hilfiger announced that he was working on his memoirs. [46] (#cite_note-fashiontimesreads-46) The book was written chronologically over a year, with Hilfiger explaining "I was hesitant to write it, but thought I better do it now because someday I may forget." [47] (#cite_note-wwdailytommy-47) Co-writer Peter Knobler (/wiki/Peter_Knobler) had full access to interview friends and family, with Hilfiger citing the candor of Diane von Furstenberg (/wiki/Diane_von_Furstenberg) 's memoirs as an inspiration. [47] (#cite_note-wwdailytommy-47) Calling the writing process "great therapy" [43] (#cite_note-voguethattop-43) and "interesting," [48] (#cite_note-gtheapreutic-48) Hilfiger asserted that he "wanted to give people a sneak peek of what goes on behind the curtain [of] how the fashion industry works." [49] (#cite_note-fmarrmaimiaherald-49) He read selections from the book in June 2016 at the Literacy Partners Evening of Readers and Gala Dinner Dance. [46] (#cite_note-fashiontimesreads-46) Hilfiger's memoir, American Dreamer: My Life in Fashion & Business , co-written with Peter Knobler (/wiki/Peter_Knobler) , [50] (#cite_note-randomhousedreamer-50) was published in November 2016. [50] (#cite_note-randomhousedreamer-50) [51] (#cite_note-november12016-51) In a statement, Hilfiger described it as "a roadmap of the moments that have defined both my [40-year fashion career] and my personal life," [52] (#cite_note-instylehilfiger-52) [53] (#cite_note-can'tstopraving-53) and the book covers his childhood, his early business ventures, and his later life in fashion. [50] (#cite_note-randomhousedreamer-50) With Kirkus Reviews (/wiki/Kirkus_Reviews) calling it "an honest, straightforward, mostly entertaining autobiography," [54] (#cite_note-hdreamdkirkus-54) Hilfiger made an appearance for the book at the Miami Book Fair (/wiki/Miami_Book_Fair_International) shortly after its release. [49] (#cite_note-fmarrmaimiaherald-49) American Dreamer appeared on the New York Times Best Sellers List in December 2016 [55] (#cite_note-55) Charity work [ edit ] World War II veterans, Petty Officer 1st class Lorenzo A. DuFau, a former signalman, and Petty Officer 2nd class James W. Graham of USS (/wiki/USS_Mason_(DE-529)) Mason , with Tommy Hilfiger during the screening of Proud (/wiki/Proud_(film)) at the Apollo Theater (/wiki/Apollo_Theater) in 2005 In 1995 Hilfiger launched The Tommy Hilfiger Corporate Foundation. With an emphasis on health, educational and cultural programs, the organization supports charities that focus on at-risk American youth. [56] (#cite_note-TCBIO37-56) In 1998 [57] (#cite_note-billdolls-57) Hilfiger was one of several sponsors along with Moet and Chandon (/wiki/Moet_and_Chandon) , Christie's (/wiki/Christie%27s) Auction House, and The Advocate (/wiki/The_Advocate_(LGBT_magazine)) of the charity LIFEbeat – The Music Industry Fights AIDS. [58] (#cite_note-jeanpaul-58) He is personally involved in charities and causes such as Autism Speaks (/wiki/Autism_Speaks) and the MLK, Jr. National Memorial Project Foundation, [16] (#cite_note-TCBIO20-16) and he has served on the board of directors for The Fresh Air Fund (/wiki/The_Fresh_Air_Fund) , a New York-based group that helps underprivileged children attend summer camp. [16] (#cite_note-TCBIO20-16) The Fresh Air Fund's Camp Pioneer program was renamed Camp Tommy in 1999, in honor of Hilfiger's patronage. [59] (#cite_note-59) Since 2008, Hilfiger has designed limited-edition handbags in support Breast Health International (BHI), an international organization focused on finding a cure for breast cancer. A portion of the handbag sales proceeds is donated to BHI's Fund For Living program, with celebrity ambassadors appointed for each seasonal campaign. In 2013, Claudia Schiffer (/wiki/Claudia_Schiffer) and Naomi Campbell (/wiki/Naomi_Campbell) modeled the BHI bag in a photoshoot with photographer Patrick Demarchelier (/wiki/Patrick_Demarchelier) . [60] (#cite_note-TCBIO40-60) [61] (#cite_note-TCBIO41-61) Millennium Promise (/wiki/Millennium_Promise) , a non-profit organization focused on eradicating extreme poverty, hunger and preventable disease in impoverished regions, classifies Hilfiger as a Millennium Promise MDG Global Leader, [62] (#cite_note-earthtimes-62) and in 2009 Hilfiger made a five-year $2 million commitment to Millennium Promise. [63] (#cite_note-TCBIO42-63) The donation went towards relief efforts in a Ugandan (/wiki/Uganda) city, with the aim of improving residents' access to necessities like clean water, education, and farming techniques. [64] (#cite_note-TCBIO43-64) In 2012, all philanthropic activities of The Tommy Hilfiger Corporate Foundation were renamed Tommy Cares, a wider-reaching global initiative that further integrates the brand's non-profit partnerships, charitable contributions, and employee involvement. [65] (#cite_note-TCBIO38-65) On a global scale, Tommy Cares continues to support organizations such as Save the Children (/wiki/Save_the_Children) , the World Wildlife Fund (/wiki/World_Wildlife_Fund) , War Child (/wiki/War_Child_(charity)) , [66] (#cite_note-TCBIO39-66) and Millennium Promise (/wiki/Millennium_Promise) . [66] (#cite_note-TCBIO39-66) Hilfiger and his wife are on the board of Autism Speaks (/wiki/Autism_Speaks) as of 2012, [67] (#cite_note-bsticthingogeter-67) and through the organization, Hilfiger became a sponsor of the Golden Door Film Festival (/wiki/Golden_Door_Film_Festival) in September 2014. [68] (#cite_note-dawngoldendoor-68) Hilfiger has continuously cited the important role inclusivity, diversity and self-expression have had in the brand's development and contributions to pop culture (https://www.forbes.com/sites/danschawbel/2016/11/01/tommy-hilfiger-the-inspirations-that-made-him-become-a-fashion-icon/#5d9c1a751668) . In 2016, Hilfiger also echoed his support for dressing Melania Trump (/wiki/Melania_Trump) , telling WWD (https://wwd.com/fashion-news/fashion-features/designers-talk-about-dressing-melania-trump-10714101/) that "any designer should be proud to dress her." In 2020, Hilfiger sold his 22.4 acre estate in Greenwich, Connecticut, for $47.5 million. [69] (#cite_note-69) Recognition [ edit ] See also: Tommy Hilfiger Corporation § Recognition (/wiki/Tommy_Hilfiger_Corporation#Recognition) Jessica Stam (/wiki/Jessica_Stam) wears Tommy Hilfiger on the runway in 2008. The following is a selected list of awards and recognitions for Tommy Hilfiger: 1995: Council of Fashion Designers of America (/wiki/Council_of_Fashion_Designers_of_America) – Menswear Designer of the Year [16] (#cite_note-TCBIO20-16) [17] (#cite_note-pastwinners-17) 1996: American Academy of Achievement (/wiki/Academy_of_Achievement) – Golden Plate Award [70] (#cite_note-70) 1997: FiFi Awards (/wiki/FiFi_Awards) – Men's Fragrance of the Year – Luxe (/wiki/FiFi_Awards#Men's_Fragrance_of_the_Year_–_Luxe) , for the fragrance "Tommy" 1998: Parsons School of Design (/wiki/Parsons_School_of_Design) – Designer of the Year Award [16] (#cite_note-TCBIO20-16) 1998: GQ Magazine (/wiki/GQ_Magazine) – Designer of the Year for 'Men of the Year' issue [16] (#cite_note-TCBIO20-16) 2000: FiFi Awards (/wiki/FiFi_Awards) – Best Marketing Innovation of the Year (/wiki/FiFi_Awards) , for Toiletries for Tommy's (American running series) 2002: GQ (/wiki/GQ) Germany – International Designer of the Year [16] (#cite_note-TCBIO20-16) 2002: Drug Abuse Resistance Education (/wiki/Drug_Abuse_Resistance_Education) – Future of America Award, for philanthropic efforts for American youth [16] (#cite_note-TCBIO20-16) 2006: GQ (/wiki/GQ) Spain – Designer of the Year [16] (#cite_note-TCBIO20-16) 2006: Harvard Foundation – Peter J. Gomes (/wiki/Peter_J._Gomes) Humanitarian of the Year 2006: We Are Family Foundation (/wiki/We_Are_Family_Foundation) – Visionary Award [71] (#cite_note-thbiotwo_m-71) 2007: Hispanic Federation (/wiki/Hispanic_Federation) – Individual Achievement Award [16] (#cite_note-TCBIO20-16) 2008: Women's Wear Daily (/wiki/Women%27s_Wear_Daily) – No. 1 Designer and No. 16 Brand in annual "100 List" [16] (#cite_note-TCBIO20-16) 2009: UNESCO (/wiki/UNESCO) – UNESCO Support Award, for philanthropic efforts [16] (#cite_note-TCBIO20-16) 2009: Marie Claire Magazine (/wiki/Marie_Claire_Magazine) – Lifetime Achievement Award [16] (#cite_note-TCBIO20-16) 2010: Pratt Institute (/wiki/Pratt_Institute) – Legends Award [16] (#cite_note-TCBIO20-16) 2012: Council of Fashion Designers of America (/wiki/Council_of_Fashion_Designers_of_America) – Geoffrey Beene (/wiki/Geoffrey_Beene) Lifetime Achievement Award, presented by Anna Wintour (/wiki/Anna_Wintour) [72] (#cite_note-TCBIO31-72) 2015: Race To Erase MS – honored for commitment to finding a cure for MS (/wiki/Multiple_sclerosis) [73] (#cite_note-TCBIO32-73) Criticisms [ edit ] Hilfiger has been criticized for having manufactured clothes in sweatshop (/wiki/Sweatshop) conditions in the United States territory of Saipan (/wiki/Saipan) in the Northern Mariana Islands (/wiki/Northern_Mariana_Islands) . [74] (#cite_note-74) As a U.S. Commonwealth (/wiki/Commonwealth_(U.S._insular_area)) , clothes made there can be labeled "Made in the USA", but federal labor laws (/wiki/Labor_laws) , including the minimum wage (/wiki/Minimum_wage) , do not apply. In March 2000, the company, along with other defendants, settled a class action suit brought by Saipanese garment workers, which had alleged mistreatment by over 20 large U.S. clothing manufacturers. Style and impact [ edit ] The Tommy Hilfiger (/wiki/Tommy_Hilfiger_Corporation) brand is an example of a designer label (/wiki/Designer_label) . A Tommy Hilfiger customer in Azerbaijan (/wiki/Azerbaijan) wears the brand in 2013. His shirt displays a variation of the distinctive three-tone logo. While Hilfiger's earliest designs drew on 1960s counterculture (/wiki/1960s_counterculture) and fashion (/wiki/1960s_fashion) , since the 1980s his designs typically draw from classic American New England (/wiki/New_England) preppy (/wiki/Preppy) styles. His initial lines for the Tommy Hilfiger Corporation (/wiki/Tommy_Hilfiger_Corporation) were primarily designed to appeal to young men looking for designer clothing (/wiki/Designer_clothing) , [ citation needed ] and Tommy Hilfiger became one of the most prominent brands in 1990s sportswear (/wiki/Sportswear_(fashion)) , with Polo Ralph Lauren (/wiki/Polo_Ralph_Lauren) , Calvin Klein (/wiki/Calvin_Klein) , Nautica (/wiki/Nautica_(clothing_company)) , DKNY (/wiki/DKNY) , [75] (#cite_note-vibe282-75) and Donna Karan (/wiki/Donna_Karan) also popular. [76] (#cite_note-nyf-76) Each of these companies created distinctive wardrobes based upon stylish but wearable, comfortable and interchangeable multi-purpose clothes, all with a focus on luxury. [76] (#cite_note-nyf-76) Hip hop fashion (/wiki/Hip_hop_fashion) at large began incorporating the Hilfiger brand in the 1990s, [75] (#cite_note-vibe282-75) and when Snoop Doggy (/wiki/Snoop_Dogg) Dogg wore a Hilfiger sweatshirt (/wiki/Sweatshirt) during an appearance on Saturday Night Live (/wiki/Saturday_Night_Live) , it sold out of New York City stores the next day. [75] (#cite_note-vibe282-75) Moreover, Hilfiger courted the new hip hop market, and rappers like Puffy (/wiki/Sean_Combs) and Coolio (/wiki/Coolio) walked during his runways shows. [75] (#cite_note-vibe282-75) Specific items like Tommy Hilfiger carpenter jeans (/wiki/Carpenter_jeans) became particularly popular, with the trademark logo displayed on the hammer loop. [75] (#cite_note-vibe282-75) [ better source needed ] Hilfiger continues to maintain multiple fashion lines, some focused on wearable "casual" clothes while others take on various haute couture (/wiki/Haute_couture) commissions. Aside from the preppy styles of his youth, Hilfiger has also always been influenced by the style of a wide variety of American icons, including Grace Kelly (/wiki/Grace_Kelly) , [77] (#cite_note-jacobs201005-77) James Dean (/wiki/James_Dean) , Deborah Harry (/wiki/Deborah_Harry) , Iggy Pop (/wiki/Iggy_Pop) , Farrah Fawcett (/wiki/Farrah_Fawcett) , Steve McQueen (/wiki/Steve_McQueen) , Jackie (/wiki/Jackie_Kennedy) and John F. Kennedy (/wiki/John_F._Kennedy) , and Andy Warhol (/wiki/Andy_Warhol) . [78] (#cite_note-TCBIO12-78) [79] (#cite_note-TCBIO14-79) Many of his designs draw prominently from the styles of hard rock (/wiki/Hard_rock) and the pop music (/wiki/Pop_music) industry. [3] (#cite_note-TCBIO15-3) [4] (#cite_note-TCBIO16-4) Personal life [ edit ] Hilfiger was born on March 24, 1951, in Elmira (/wiki/Elmira,_New_York) , New York, [80] (#cite_note-HELLOMAGAZINE-80) the second of nine children. [11] (#cite_note-thbiotwo_dbestsotries-11) Both of his parents were practicing Catholics. [81] (#cite_note-RTE2008-81) [82] (#cite_note-TCBIO3-82) His father Richard was a watchmaker of German-Swiss descent, [11] (#cite_note-thbiotwo_dbestsotries-11) and his mother Virginia (née Gerrity) [83] (#cite_note-thbiotwo_elaterichard-83) was a nurse of Irish descent. [15] (#cite_note-thbiotwo_fbiography.com-15) Hilfiger also claims direct descent from Gilbert Burns, brother of the Scottish poet Robert Burns (/wiki/Robert_Burns) . [84] (#cite_note-scotlandinnovation-84) His paternal family originated from Safenwil (/wiki/Safenwil) , Canton of Aargau (/wiki/Canton_of_Aargau) , Switzerland (/wiki/Switzerland) with the original spelling of his family name being Hilfiker and being americanized (/wiki/Americanization) after emigration by his ancestors. [85] (#cite_note-85) [86] (#cite_note-86) Hilfiger has described his upbringing as very happy. He credits his parents with instilling a good work ethic and compassion for others. [87] (#cite_note-TCBIO4-87) He has dyslexia. [88] (#cite_note-88) Hilfiger had an early interest in sports, fashion, and the music industry, [89] (#cite_note-thcorp_r6-89) a trend that ran in his family. [38] (#cite_note-thbiotwo_jamericanidol-38) One of his brothers, Andy Hilfiger (/wiki/Andy_Hilfiger) , went on to work as a musician and designer, while Hilfiger's other brother, Billy Hilfiger (/wiki/Brain_Surgeons) , [83] (#cite_note-thbiotwo_elaterichard-83) would join King Flux (/wiki/King_Flux) as a guitarist. [90] (#cite_note-cellsum-90) In 1976, Hilfiger met Susan Cirona, an employee at the People's Place in Ithaca (/wiki/Ithaca,_New_York) ; they married in 1980. [ citation needed ] Together they had four children: one son and three daughters. [67] (#cite_note-bsticthingogeter-67) [91] (#cite_note-91) In 2003 Hilfiger's daughter Ally was part of the MTV reality series Rich Girls (/wiki/Rich_Girls) . His son, Richard ("Ricky Hil"), is a musician. The Hilfigers divorced in 2000. On December 12, 2008, he married Dee Ocleppo (/wiki/Dee_Ocleppo) ; [92] (#cite_note-Baby-92) the couple had a son in 2009. [67] (#cite_note-bsticthingogeter-67) Publishing history [ edit ] Largely complete list of works authored by Tommy Hilfiger Yr Book Title Author(s) Publisher ISBN 1997 All-American Hilfiger Universe (/wiki/Universe) ISBN (/wiki/ISBN_(identifier)) 978-0789300508 (/wiki/Special:BookSources/978-0789300508) 2000 Rock Style: A Book of Rock, Hip-Hop, R&B, Punk, Funk and the Fashions That Give Looks to Those Sounds Hilfiger, Anthony DeCurtis (/wiki/Anthony_DeCurtis) Universe (/wiki/Universe) ISBN (/wiki/ISBN_(identifier)) 978-0789303837 (/wiki/Special:BookSources/978-0789303837) 2003 New England Style Hilfiger, Anna Kasabian Rizzoli (/wiki/RCS_MediaGroup) ISBN (/wiki/ISBN_(identifier)) 978-0847825837 (/wiki/Special:BookSources/978-0847825837) 2004 New England: Icons, Influences and Inspirations from the American Northeast Hilfiger Rizzoli (/wiki/RCS_MediaGroup) ISBN (/wiki/ISBN_(identifier)) 978-0847826612 (/wiki/Special:BookSources/978-0847826612) 2007 Grace Kelly: A Life In Pictures Hilfiger (foreword), Pierre-Henri Verlhac Pavilion (/wiki/Pavilion) ISBN (/wiki/ISBN_(identifier)) 978-1862057760 (/wiki/Special:BookSources/978-1862057760) 2009 Fashion Etcetera: Tommy Hilfiger Special Edition Hilfiger (foreword), Sam Haskins (/wiki/Sam_Haskins) Private release ISBN (/wiki/ISBN_(identifier)) 9789111187121 (/wiki/Special:BookSources/9789111187121) 2010 Tommy Hilfiger Hilfiger, Assouline Assouline (/wiki/Assouline) ISBN (/wiki/ISBN_(identifier)) 978-2759403134 (/wiki/Special:BookSources/978-2759403134) 2011 Iconic America: A Roller Coaster Ride Through the Eye-Popping Panorama of American Pop Culture Hilfiger, George Lois (/wiki/George_Lois) Rizzoli (/wiki/RCS_MediaGroup) ISBN (/wiki/ISBN_(identifier)) 978-0789324054 (/wiki/Special:BookSources/978-0789324054) 2016 American Dreamer: My Life in Fashion & Business Hilfiger, Peter Knobler (/wiki/Peter_Knobler) Ballantine Books (/wiki/Ballantine_Books) ISBN (/wiki/ISBN_(identifier)) 978-1101886212 (/wiki/Special:BookSources/978-1101886212) Filmography [ edit ] Yr Title Format Publisher Role 1994 Frasier (/wiki/Frasier) Voice NBC (/wiki/NBC) As Robert 2001 Zoolander (/wiki/Zoolander) Full-length film VH1 (/wiki/VH1) Films Cameo as himself [22] (#cite_note-thbiotwo_limdb-22) 2005 The Cut (/wiki/The_Cut_(CBS)) Reality TV series CBS (/wiki/CBS) Main judge as himself [6] (#cite_note-thbiotwo_kthecut-6) 2008 Tommy Hilfiger Presents Ironic Iconic America Documentary film Rizzoli (/wiki/RCS_MediaGroup) Co-host [32] (#cite_note-varietyiconiamer-32) 2009 Project Runway (/wiki/Project_Runway_(season_6)) Reality TV series Lifetime (/wiki/Lifetime_(TV_network)) Guest judge on episode 5 (/wiki/Project_Runway_(season_6)#Episode_5:_Fashion_Headliners) [22] (#cite_note-thbiotwo_limdb-22) 2012 Project Runway: All Stars (/wiki/Project_Runway:_All_Stars) Reality TV series Lifetime (/wiki/Lifetime_(TV_network)) Guest judge on episode 12 (/wiki/Project_Runway:_All_Stars#Episode_12:_Finale,_Part_2) [22] (#cite_note-thbiotwo_limdb-22) 2012 American Idol (/wiki/American_Idol_(season_11)) Reality TV series Fox (/wiki/Fox_Broadcasting_Company) Fashion consultant [38] (#cite_note-thbiotwo_jamericanidol-38) 2016 Zoolander 2 (/wiki/Zoolander_2) Full-length film Red Hour Films (/wiki/Red_Hour_Films) Cameo as himself [22] (#cite_note-thbiotwo_limdb-22) 2020 Next In Fashion (/wiki/Next_In_Fashion) Reality TV series Netflix (/wiki/Netflix) Guest judge See also [ edit ] Fashion portal (/wiki/Portal:Fashion) Business portal (/wiki/Portal:Business) List of fashion designers (/wiki/List_of_fashion_designers) List of footwear designers (/wiki/List_of_footwear_designers) References [ edit ] ^ (#cite_ref-1) "Happy birthday Tommy Hilfiger: Meet the designer extraordinaire" (https://www.hindustantimes.com/fashion-and-trends/happy-birthday-tommy-hilfiger-meet-the-designer-extraordinaire/story-OFw8h3SjNSBsSkYjuLxfCN.html) . Hindustan Times . March 24, 2020 . Retrieved December 27, 2021 . ^ (#cite_ref-thcorp_s8_2-0) "Company Profile, Information, Business Description, History, Background Information on Tommy Hilfiger Corporation" (http://www.referenceforbusiness.com/history2/1/Tommy-Hilfiger-Corporation.html) . Referenceforbusiness.com. 2002 . Retrieved September 12, 2015 . ^ Jump up to: a b c d Tommy Hilfiger by Tommy Hilfiger, Assouline (/wiki/Assouline) 2010, p. 16 ^ Jump up to: a b c d Neigher, Julie (August 6, 2010). "Tommy Hilfiger celebrates 25 years of style, five decades (plus) of life with coffee table tome" (http://latimesblogs.latimes.com/alltherage/2010/08/tommy-hilfiger-celebrates-25-years-of-style-5-decades-plus-of-life-with-coffee-table-tome.html) . Los Angeles Times (/wiki/Los_Angeles_Times) . Retrieved November 13, 2015 . ^ Jump up to: a b Reid, Shaheem; Schumacher-Rasmussen, Eric; Horn, Teri van (August 27, 2001). "Hard-Working Aaliyah Packed Hit Albums, Movies into Short Life" (https://web.archive.org/web/20110210114525/http://www.mtv.com/news/articles/1448431/aaliyahs-short-productive-life.jhtml) . MTV News. Archived from the original (http://www.mtv.com/news/articles/1448431/aaliyahs-short-productive-life.jhtml) on February 10, 2011 . Retrieved March 17, 2012 . {{ cite web (/wiki/Template:Cite_web) }} : CS1 maint: multiple names: authors list ( link (/wiki/Category:CS1_maint:_multiple_names:_authors_list) ) ^ Jump up to: a b c "Tommy Hilfiger Selects Chris Cortez as (http://www.businesswire.com/news/home/20050908006043/en/Tommy-Hilfiger-Selects-Chris-Cortez-Great-American) The Next Great American Designer ; Selected by Hilfiger, Academy of Art University MFA Student Cortez Emerges as Winner of CBS Reality Show 'The Cut' (http://www.businesswire.com/news/home/20050908006043/en/Tommy-Hilfiger-Selects-Chris-Cortez-Great-American) " (http://www.businesswire.com/news/home/20050908006043/en/Tommy-Hilfiger-Selects-Chris-Cortez-Great-American) . Business Wire . September 8, 2005 . Retrieved September 12, 2015 . ^ Jump up to: a b "Story: Tommy Hilfiger Corporation" (https://web.archive.org/web/20100225130340/http://www.apax.com/en/news/story_tommy-hilfiger-corporation.html) . Apex Partners (press release). Archived from the original (http://www.apax.com/en/news/story_tommy-hilfiger-corporation.html) on February 25, 2010. ^ Jump up to: a b "Calvin Klein owner buys Tommy Hilfiger" (http://news.bbc.co.uk/2/hi/business/8568268.stm) . BBC News . March 15, 2010 . Retrieved July 17, 2015 . ^ Jump up to: a b c "Company Overview" (http://global.tommy.com/int/en/about/overview/13) . Tommy.com . Retrieved September 12, 2015 . ^ Jump up to: a b c d e f g h "Tommy Hilfiger" (http://www.businessoffashion.com/community/people/tommy-hilfiger) . Business of Fashion . Retrieved September 12, 2015 . ^ Jump up to: a b c Leckey, Andrew (February 10, 2010). "The Best Business Stories of the Year: 2002 Edition" (https://books.google.com/books?id=2fdd_f_3-0MC&q=hilfiger+Richard+was+a+watchmaker+of+Dutch-German+descent&pg=PA400) . Knopf Doubleday Publishing Group (/wiki/Knopf_Doubleday_Publishing_Group) . ISBN (/wiki/ISBN_(identifier)) 9780307480699 . Retrieved September 12, 2015 . ^ (#cite_ref-bocesbushcampus_12-0) "The Greater Southern Tier Board of Cooperative Educational Services (GST BOCES) website" (http://www.gstboces.org/) . Gst Boces . Retrieved January 21, 2014 . ^ Jump up to: a b c d e f g h i j k Tommy Hilfiger by Tommy Hilfiger, Assouline (/wiki/Assouline) (August 30, 2010), p. 6-10; ISBN (/wiki/ISBN_(identifier)) 978-2759403134 (/wiki/Special:BookSources/978-2759403134) ^ (#cite_ref-people'splaces_14-0) "Inside Tommy Hilfiger's American Dream" (http://www.businessoffashion.com/articles/bof-exclusive/inside-tommy-hilfigers-american-dream) . Businessoffashion.com. June 21, 2015 . Retrieved July 17, 2015 . ^ Jump up to: a b c d e f "Tommy Hilfiger" (http://www.biography.com/people/tommy-hilfiger-594098#synopsis) . Biography.com (/wiki/Biography.com) . 2009 . Retrieved September 12, 2015 . ^ Jump up to: a b c d e f g h i j k l m n "Tommy Hilfiger Biography" (http://global.tommy.com/int/en/about/biography/11) . Tommy.com . Retrieved November 13, 2015 . ^ Jump up to: a b "Past Winners" (https://web.archive.org/web/20100124111751/http://www.cfda.com/past-winners/) . Council of Fashion Designers of America (/wiki/Council_of_Fashion_Designers_of_America) . Archived from the original (http://www.cfda.com/past-winners) on January 24, 2010. ^ (#cite_ref-TCBIO18_18-0) Weiser, Stacie (September 23, 1997). "Concert will 'make you happy' (http://dailybeacon.webfactional.com/entertainment/1997/sep/23/concert-will-make-you-happy/) " (http://dailybeacon.webfactional.com/entertainment/1997/sep/23/concert-will-make-you-happy/) . The Daily Beacon (/wiki/The_Daily_Beacon) . Retrieved September 12, 2015 . ^ (#cite_ref-tommyannounced_19-0) "Tommy Hilfiger Announces Sponsorship of Britney Spears Summer Concert Tour" (http://findarticles.com/p/articles/mi_m0EIN/is_1999_May_12/ai_54609972/) (Press release). Business Wire. May 12, 1999 . Retrieved July 17, 2010 . ^ (#cite_ref-TCBIO17_20-0) Galindo, Brian (February 25, 2014). "18 Epically '90s Tommy Hilfiger Moments" (https://www.buzzfeed.com/briangalindo/18-epically-90s-tommy-hilfiger-moments) . BuzzFeed (/wiki/BuzzFeed) . Retrieved November 13, 2015 . ^ (#cite_ref-TCBIO19_21-0) "Hilfiger will sponsor Rocker Kravitz's tour" (http://dailyuw.com/archive/1999/10/14/imported/tommy-hilfiger-presents-lenny-kravitz-freedom-tour) . Women's Wear Daily (/wiki/Women%27s_Wear_Daily) . August 1999 . Retrieved November 13, 2015 . [ permanent dead link ] ^ Jump up to: a b c d e f g h "Tommy Hilfiger Videography" (https://www.imdb.com/name/nm0383966/) . IMDb (/wiki/IMDb) . Retrieved September 12, 2015 . ^ (#cite_ref-promocompany_23-0) "Universal, Nestles Ink Deal" (https://web.archive.org/web/20120204042650/http://promomagazine.com/deals/marketing_universal_nestl_ink_2/) . PromoMagazine.com . Archived from the original (http://promomagazine.com/deals/marketing_universal_nestl_ink_2/) on February 4, 2012. ^ (#cite_ref-pillsoantony_24-0) "Multimillion-dollar venture parlays megastar's brand appeal with trendy, affordable styles" (http://www.allbusiness.com/retail-trade/apparel-accessory-stores-womens-specialty/4244177-1.html) . February 1, 2004 . Retrieved November 22, 2007 . ^ (#cite_ref-people11_25-0) Silverman, Stephen (April 2, 1998). "J.Lo Unveils Clothes Line" (https://people.com/celebrity/j-lo-unveils-clothes-line/) . People Magazine (/wiki/People_Magazine) . Retrieved October 26, 2019 . ^ (#cite_ref-nickgalvinappeals_26-0) Galvin, Nick (October 4, 2003). "Exchanging vowels" (http://www.theage.com.au/articles/2003/10/03/1064988396313.html?from=storyrhs) . The Age . Melbourne, Australia . Retrieved January 13, 2007 . ^ (#cite_ref-boughtout_27-0) Silverman, Stephen (June 13, 2003). "Hilfiger Could Raid J.Lo's Dress Closet" (https://people.com/celebrity/hilfiger-could-raid-j-los-dress-closet/) . People Magazine (/wiki/People_Magazine) . Retrieved October 26, 2019 . ^ (#cite_ref-belowmarfashion_28-0) Moss, Corey (November 13, 2003). "J. Lo's Panties Can Now Be Yours" (https://archive.today/20120912091418/http://www.mtv.com/news/articles/1480408/j-los-panties-can-now-be-yours.jhtml) . MTV. Archived from the original (http://www.mtv.com/news/articles/1480408/j-los-panties-can-now-be-yours.jhtml) on September 12, 2012 . Retrieved February 3, 2012 . ^ (#cite_ref-truestarperfume_29-0) Jessen, Monique; M. Silverman, Stephen (June 22, 2004). "Beyoncé Launches New True Star Fragrance" (https://people.com/celebrity/beyonc-launches-new-true-star-fragrance/) . People (/wiki/People_(magazine)) . Time Inc (/wiki/Time_Inc.) . Retrieved October 26, 2012 . ^ (#cite_ref-30) "Apax Partners buys Tommy Hilfiger for $1.62bn" (https://ghostarchive.org/archive/20221210/https://www.ft.com/content/3ce0ef1c-73e1-11da-ab91-0000779e2340) . Financial Times . December 23, 2005. Archived from the original (https://www.ft.com/content/3ce0ef1c-73e1-11da-ab91-0000779e2340) on December 10, 2022. ^ (#cite_ref-Apax_31-0) "Apax Partners' funds complete acquisition of Tommy Hilfiger Corporation. Shareholders to receive $16.80 per share" (https://www.apax.com/news/press-releases/2006/may/apax-partners%E2%80%99-funds-complete-acquisition-of-tommy-hilfiger-corporation-shareholders-to-receive-$1680-per-share/) . Apax Partners . May 10, 2006. ^ Jump up to: a b Thielman, Sam (June 24, 2008). "Bravo for Tommy Hilfiger, Radical" (https://variety.com/2008/scene/markets-festivals/bravo-for-tommy-hilfiger-radical-1117988039/) . Variety (/wiki/Variety_(magazine)) . Retrieved September 12, 2015 . ^ (#cite_ref-mtvicongeroge_33-0) "House of Style" (https://web.archive.org/web/20100211101205/http://www.mtv.com/ontv/dyn/house_of_style/series.jhtml) . MTV. Archived from the original (http://www.mtv.com/ontv/dyn/house_of_style/series.jhtml) on February 11, 2010 . Retrieved March 16, 2011 . ^ (#cite_ref-tvweekbavo_34-0) Gelman, Vlada (July 7, 2008). "Bravo Looks at (https://web.archive.org/web/20120214013245/http://www.tvweek.com/news/2008/07/bravo_looks_at_ironic_iconic_a.php) Ironic Iconic America " (https://web.archive.org/web/20120214013245/http://www.tvweek.com/news/2008/07/bravo_looks_at_ironic_iconic_a.php) . TV Week . Archived from the original (http://www.tvweek.com/news/2008/07/bravo_looks_at_ironic_iconic_a.php) on February 14, 2012. ^ (#cite_ref-NY_Times_News_35-0) Sorkin, Andrew Ross; de la Merced, Michael J. (March 15, 2010). "Phillips-Van Heusen Buys Hilfiger for $3 Billion" (https://www.nytimes.com/2010/03/16/business/global/16deal.html) . New York Times . ^ (#cite_ref-thcorp_z25_36-0) "Tommy Hilfiger: The Hilfigers ad campaign" (https://web.archive.org/web/20210224193906/http://lairdandpartners.com/client/tommy-hilfiger/) . Laird and Partners. 2010. Archived from the original (http://lairdandpartners.com/client/tommy-hilfiger/) on February 24, 2021 . Retrieved September 12, 2015 . ^ (#cite_ref-kewmanagement_37-0) "Marriott Buys the Clock Tower" (https://web.archive.org/web/20120407093859/http://www.kewmanagement.com/marriott-buys-the-clock-tower/) . StreetBeat. Archived from the original (http://www.kewmanagement.com/marriott-buys-the-clock-tower/) on April 7, 2012 . Retrieved November 22, 2011 . ^ Jump up to: a b c Halperin, Shirely (March 8, 2012). " (http://www.hollywoodreporter.com/idol-worship/american-idol-tommy-hilfiger-image-advisor-297523) 'American Idol' Names Tommy Hilfiger as Show's Image Advisor" (http://www.hollywoodreporter.com/idol-worship/american-idol-tommy-hilfiger-image-advisor-297523) . The Hollywood Reporter (/wiki/The_Hollywood_Reporter) . Retrieved September 12, 2015 . ^ (#cite_ref-toptennewsday_39-0) "Tommy Hilfiger tranforms [sic] Erika Van Pelt, can't help Philip Phillips on 'American Idol' (https://web.archive.org/web/20120621233955/http://www.newsday.com/entertainment/tv/american-idol-1.811965/tommy-hilfiger-tranforms-erika-van-pelt-can-t-help-philip-phillips-on-american-idol-1.3616791) " (https://web.archive.org/web/20120621233955/http://www.newsday.com/entertainment/tv/american-idol-1.811965/tommy-hilfiger-tranforms-erika-van-pelt-can-t-help-philip-phillips-on-american-idol-1.3616791) . Newsday . March 22, 2012. Archived from the original (http://www.newsday.com/entertainment/tv/american-idol-1.811965/tommy-hilfiger-tranforms-erika-van-pelt-can-t-help-philip-phillips-on-american-idol-1.3616791) on June 21, 2012. ^ (#cite_ref-J._Lo,_Marc_Anthony_to_launch_brand_at_Kohl's_40-0) "J. Lo, Marc Anthony to launch brand at Kohl's" (http://in.reuters.com/article/idINIndia-53015220101118) . Reuters . November 18, 2010 . Retrieved November 4, 2012 . ^ (#cite_ref-castilloadsf_41-0) Castillo, Amaris. "WATCH: Marc Anthony Opens Up About Kohl's Line" (http://www.latina.com/entertainment/buzz/watch-marc-anthony-opens-about-kohl-s-line) . Latina . Retrieved November 10, 2012 . ^ (#cite_ref-thcorp_x19_42-0) "Our Brands – Tommy Hilfiger" (https://web.archive.org/web/20150905081552/http://www.pvh.com/brands_tommy_hilfiger.aspx) . PVH (/wiki/PVH_(company)) . Archived from the original (http://www.pvh.com/brands_tommy_hilfiger.aspx) on September 5, 2015 . Retrieved September 12, 2015 . ^ Jump up to: a b Barsamian, Edward (November 2, 2016). "Tommy's the Top! Tommy Hilfiger Celebrates His Memoir" (http://www.vogue.com/13499231/tommy-hilfiger-gigi-hadid-naomi-campbell-new-york-party/) . Vogue (/wiki/Vogue_(magazine)) . Retrieved December 2, 2016 . ^ (#cite_ref-tommygigi_44-0) "First Look: Tommy X Gigi" (https://www.vogue.co.uk/gallery/gigi-hadid-tommy-hilfiger-collection-preview) . Vogue (/wiki/Vogue_(British_magazine)) . August 15, 2016 . Retrieved December 2, 2016 . ^ (#cite_ref-voguereadywear_45-0) Conlon, Scarlett (December 1, 2016). "Hilfiger Heads To LA" (https://www.vogue.co.uk/article/tommy-hilfiger-moves-ready-to-wear-february-2017-show-los-angeles) . Vogue.co.uk . Retrieved December 1, 2016 . ^ Jump up to: a b Dee, Britteny (June 10, 2016). "Tommy Hilfiger Reads From 'American Dreamer' Memoir At Literacy Partners Gala" (https://web.archive.org/web/20160611141527/http://www.fashiontimes.com/articles/26545/20160610/tommy-hilfiger-reads-from-american-dreamer-memoir-at-literacy-partners-gala.htm) . Fashion Times . Archived from the original (http://www.fashiontimes.com/articles/26545/20160610/tommy-hilfiger-reads-from-american-dreamer-memoir-at-literacy-partners-gala.htm) on June 11, 2016 . Retrieved December 2, 2016 . ^ Jump up to: a b Lockwood, Lisa (October 20, 2016). "Tommy Hilfiger's Tell-All: "American Dreamer" (http://wwd.com/fashion-news/fashion-features/tommy-hilfigers-tell-all-american-dreamer-10677749/) " (http://wwd.com/fashion-news/fashion-features/tommy-hilfigers-tell-all-american-dreamer-10677749/) . Women's Wear Daily (/wiki/Women%27s_Wear_Daily) . Retrieved December 2, 2016 . ^ (#cite_ref-gtheapreutic_48-0) "Writing my memoir was therapeutic: Tommy Hilfiger" (https://www.deccanchronicle.com/lifestyle/books-and-art/300316/writing-my-memoir-was-therapeutic-tommy-hilfiger.html) . Deccan Chronicle (/wiki/Deccan_Chronicle) . March 30, 2016 . Retrieved December 2, 2016 . ^ Jump up to: a b Marr, Madeleine (November 17, 2016). "Tommy Hilfiger on Miami fashion: Skin is in" (http://www.miamiherald.com/entertainment/celebrities/article115445643.html) . Miami Herald (/wiki/Miami_Herald) . Retrieved December 2, 2016 . ^ Jump up to: a b c "American Dreamer" (http://www.penguinrandomhouse.com/books/252786/american-dreamer-by-tommy-hilfiger-with-peter-knobler/9781101886212/) . Penguin Random House. November 1, 2016 . Retrieved December 2, 2016 . ^ (#cite_ref-november12016_51-0) Anello, Chloe (November 1, 2016). "Tracing Tommy Hilfiger's All-American Career" (http://nymag.com/thecut/2016/11/inside-tommy-hilfigers-book-american-dreamer.html) . The Cut (/wiki/New_York_(magazine)) . Retrieved December 2, 2016 . ^ (#cite_ref-instylehilfiger_52-0) Borge, Jonathan (October 31, 2016). "Tommy Hilfiger's New Memoir Is a Fashion Lover's Must-Read" (http://www.instyle.com/news/tommy-hilfiger-american-dreamer-memoir) . InStyle (/wiki/InStyle) . Retrieved December 2, 2016 . ^ (#cite_ref-can'tstopraving_53-0) Mubarak, Salva (2016). "Celebrities can't stop raving about Tommy Hilfiger's memoir 'American Dreamer' (http://elle.in/fashion/news/celebrities-cant-stop-raving-about-tommy-hilfigers-memoir-american-dreamer/) " (http://elle.in/fashion/news/celebrities-cant-stop-raving-about-tommy-hilfigers-memoir-american-dreamer/) . Elle (/wiki/Elle_(India)) . Retrieved December 2, 2016 . ^ (#cite_ref-hdreamdkirkus_54-0) "American Dreamer" (https://www.kirkusreviews.com/book-reviews/tommy-hilfiger/american-dreamer/) . Kirkus Reviews (/wiki/Kirkus_Reviews) . 2016 . 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Retrieved June 16, 2015 . ^ (#cite_ref-jeanpaul_58-0) "Tommy Hilfiger and Jean Paul Gaultier design collector label for Jones Soda" (https://web.archive.org/web/20071006094219/http://www.jonessoda.com/stockstuff/news/19980526.html) (Press release). Urban Juice & Soda Company Ltd. May 26, 1998. Archived from the original (http://www.jonessoda.com/stockstuff/news/19980526.html) on October 6, 2007. ^ (#cite_ref-59) "Camp Tommy" (https://freshair.org/learn-about-our-camps/camp-tommy/) . The Fresh Air Fund . Retrieved March 21, 2022 . ^ (#cite_ref-TCBIO40_60-0) "Tommy Hilfiger 7th Annual Limited Edition Bag" (https://web.archive.org/web/20151117023341/http://www.breasthealthinternational.com/2013/09/30/tommy-hilfiger-breast-health-international-team-up-again-for-breast-cancer-awareness-month/) . Breast Health International. September 30, 2013. Archived from the original (http://www.breasthealthinternational.com/2013/09/30/tommy-hilfiger-breast-health-international-team-up-again-for-breast-cancer-awareness-month/) on November 17, 2015 . Retrieved November 13, 2015 . ^ (#cite_ref-TCBIO41_61-0) "Tommy Hilfiger Supports Breast Health International with Seventh Limited-Edition Handbag" (https://web.archive.org/web/20151117022903/https://www.pvh.com/investor_relations_press_release_article.aspx?reqid=1862301) . pvh.com (press release). October 3, 2013. Archived from the original (https://www.pvh.com/investor_relations_press_release_article.aspx?reqid=1862301) on November 17, 2015 . Retrieved November 13, 2015 . ^ (#cite_ref-earthtimes_62-0) "Global Leaders" (https://archive.today/20120905054012/http://www.earthtimes.org/articles/press/first-mdg-global-leader,1358099.html) . Earth Times . earthtimes.org (press release). Archived from the original (http://www.earthtimes.org/articles/press/first-mdg-global-leader,1358099.html) on September 5, 2012. ^ (#cite_ref-TCBIO42_63-0) "Tommy Cares" (http://global.tommy.com/int/en/about/tommy-cares/millennium-promise/15) . Tommy.com . Retrieved November 13, 2015 . ^ (#cite_ref-TCBIO43_64-0) Milligan, Lauren (April 18, 2012). "Tommy's Promise" (https://www.vogue.co.uk/news/2012/04/10/tommy-hilfiger-millennium-promise-collection) . Vogue (/wiki/Vogue_(magazine)) . Retrieved November 13, 2015 . ^ (#cite_ref-TCBIO38_65-0) "Tommy Hilfiger Europe Foundation" (https://tommycares.com/who-are-we/Tommy_Hilfigger_Europe_Foundation/) . tommycares.com . Retrieved November 13, 2015 . [ dead link ] ^ Jump up to: a b "European Initiatives" (http://global.tommy.com/int/en/about/tommy-cares/european-initiatives/15) . tommy.com . Retrieved November 13, 2015 . ^ Jump up to: a b c O'Neill, Anne-Marie (April 20, 2013). "Tommy Hilfiger: Stitching Together a Family" (http://communitytable.parade.com/6277/annemarieoneill/tommy-hilfiger-stitching-together-a-family/) . Parade (/wiki/Parade_(magazine)) . Community Table . Retrieved November 13, 2015 . ^ (#cite_ref-dawngoldendoor_68-0) Hortillosa, Dawn (June 2, 2014). "Tommy Hilfiger backs Golden Door International Film Festival in Jersey City" (http://www.nj.com/jjournal-news/index.ssf/2014/06/tommy_hilfiger_backs_golden_do.html) . The Jersey Journal . Retrieved September 10, 2014 . ^ (#cite_ref-69) Leggate, James (November 19, 2020). "Tommy Hilfiger sells Connecticut estate: Report" (https://www.foxbusiness.com/real-estate/tommy-hilfiger-sells-greenwich-connecticut-estate) . FOXBusiness . Retrieved November 20, 2020 . ^ (#cite_ref-70) "Golden Plate Awardees of the American Academy of Achievement" (https://achievement.org/our-history/golden-plate-awards/#business) . www.achievement.org . American Academy of Achievement (/wiki/American_Academy_of_Achievement) . ^ (#cite_ref-thbiotwo_m_71-0) "4th Annual Celebration Gala" (https://web.archive.org/web/20150920195409/http://www.wearefamilyfoundation.org/events/4th-annual-celebration-gala) . We Are Family Foundation (/wiki/We_Are_Family_Foundation) . April 25, 2006. Archived from the original (http://wearefamilyfoundation.org/events/4th-annual-celebration-gala) on September 20, 2015 . Retrieved September 12, 2015 . ^ (#cite_ref-TCBIO31_72-0) "Awards Spotlight: Tommy Hilfiger, Honoree, Geoffrey Beene Lifetime Achievement Award" (http://www.cfda.com/the-latest/awards-spotlight-tommy-hilfiger-honoree-geoffrey-beene-lifetime-achievement-award2012-honoree-for-geoffrey-beene-lifetime-achievement-award-cfda-honors-1995-menswear-designer-of-the-year-biogra) . Council of Fashion Designers of America (/wiki/Council_of_Fashion_Designers_of_America) . May 29, 2012 . Retrieved November 13, 2015 . ^ (#cite_ref-TCBIO32_73-0) "Tommy Hilfiger Honored at Race to Erase MS Gala" (http://www.hollywoodreporter.com/news/tommy-hilfiger-honored-at-race-791429) . The Hollywood Reporter (/wiki/The_Hollywood_Reporter) . Retrieved November 13, 2015 . ^ (#cite_ref-74) Ellison, Michael; Ellison, By Michael (January 15, 1999). "Fashion favourites named in sweatshop lawsuit" (https://www.theguardian.com/world/1999/jan/15/michaelellison) . The Guardian . ISSN (/wiki/ISSN_(identifier)) 0261-3077 (https://www.worldcat.org/issn/0261-3077) . Retrieved April 3, 2023 . ^ Jump up to: a b c d e Wilbekin, p. 282. Wilbekin, Emil (1999). "Great Aspirations: Hip Hop and Fashion Dress for Excess and Success". The Vibe History of Hip Hop (1st ed.). New York: Three Rivers Press. ISBN (/wiki/ISBN_(identifier)) 978-0-609-80503-9 . ^ Jump up to: a b Stanfill, Sonnet (2007). New York Fashion . V&A Publications, London. pp. 28–49 (https://archive.org/details/newyorkfashion0000stan/page/28) . ISBN (/wiki/ISBN_(identifier)) 978-1-85177-499-9 . ^ (#cite_ref-jacobs201005_77-0) Jacobs, Laura (May 2010). "Grace Kelly's Forever Look" (http://www.vanityfair.com/hollywood/features/2010/05/grace-kelly-201005) . Vanity Fair . Retrieved December 30, 2010 . ^ (#cite_ref-TCBIO12_78-0) Fernandez, Joe (June 9, 2010). "Tommy Hilfiger adopts Steve McQueen's style" (http://www.marketingweek.co.uk/news/tommy-hilfiger-adopts-steve-mcqueens-style/3014354.article) . Marketing Week (/wiki/Marketing_Week) . Retrieved November 13, 2015 . ^ (#cite_ref-TCBIO14_79-0) "Tommy Hilfiger Wants You to Know How Much He Likes Andy Warhol" (https://web.archive.org/web/20151117025421/http://blogs.artinfo.com/artintheair/2011/12/08/tommy-hilfiger-wants-you-to-know-how-much-he-likes-andy-warhol/) . Blouin Artinfo. December 8, 2011. Archived from the original (http://blogs.artinfo.com/artintheair/2011/12/08/tommy-hilfiger-wants-you-to-know-how-much-he-likes-andy-warhol/) on November 17, 2015 . Retrieved November 13, 2015 . ^ (#cite_ref-HELLOMAGAZINE_80-0) "Tommy Hilfiger Biography" (http://www.hellomagazine.com/profiles/tommy-hilfiger/) . Hellomagazine.com. October 8, 2009 . Retrieved July 17, 2015 . ^ (#cite_ref-RTE2008_81-0) "RTÉ Television – The Late Late Show – 21 November 2008" (https://www.rte.ie/tv/latelate/20081121.html) . Rte.ie. November 21, 2008 . Retrieved July 17, 2015 . ^ (#cite_ref-TCBIO3_82-0) "Tommy Hilfiger Biography" (https://web.archive.org/web/20151117063552/http://www.askmen.com/celebs/men/business_politics/37_tommy_hilfiger.html) . AskMen (/wiki/AskMen) . Archived from the original (http://www.askmen.com/celebs/men/business_politics/37_tommy_hilfiger.html) on November 17, 2015 . Retrieved November 13, 2015 . ^ Jump up to: a b "Obituary for William "Billy" Henry Hilfiger" (https://www.nytimes.com/2001/09/16/classified/paid-notice-deaths-hilfiger-william-henry-billy.html) . The New York Times (/wiki/The_New_York_Times) . September 16, 2001 . Retrieved September 12, 2015 . ^ (#cite_ref-scotlandinnovation_84-0) "Tartan" (https://web.archive.org/web/20071204070900/http://www.scotland.org/about/innovation-and-creativity/features/culture/tartan.html) . scotland.org. Archived from the original (http://www.scotland.org/about/innovation-and-creativity/features/culture/tartan.html) on December 4, 2007. ^ (#cite_ref-85) "I'm proud on my Swiss roots" Blick Sonntagsfahrt (in English with German subtitles) https://www.blick.ch/people-tv/schweiz/tommy-hilfiger-kommt-mit-4-bodyguards-zur-sonntagsfahrt-bin-stolz-auf-meine-schweizer-wurzeln-id4248027.html (https://www.blick.ch/people-tv/schweiz/tommy-hilfiger-kommt-mit-4-bodyguards-zur-sonntagsfahrt-bin-stolz-auf-meine-schweizer-wurzeln-id4248027.html) ^ (#cite_ref-86) Nachrichten, Aarauer. "Zeitreise in Safenwil" (https://www.aarauer-nachrichten.ch/aarau/detail/article/zeitreise-in-safenwil-00178960/) . Aarauer Nachrichten (in German) . Retrieved January 13, 2023 . ^ (#cite_ref-TCBIO4_87-0) Tommy Hilfiger by Tommy Hilfiger, Assouline (/wiki/Assouline) (August 30, 2010), p.5-12; ISBN (/wiki/ISBN_(identifier)) 978-2759403134 (/wiki/Special:BookSources/978-2759403134) ^ (#cite_ref-88) "Tommy Hilfiger" (https://childmind.org/blog/tommy-hilfiger-myyoungerself/) . Child Mind Institute . April 28, 2018 . Retrieved February 6, 2021 . ^ (#cite_ref-thcorp_r6_89-0) Rosee, Sophie De (November 26, 2011). "Flashback: Tommy Hilfiger remembers his first shops" (https://web.archive.org/web/20151117032313/http://fashion.telegraph.co.uk/article/TMG8913801/Flashback-Tommy-Hilfiger-remembers-his-first-shops.html) . The Telegraph (/wiki/The_Daily_Telegraph) . Archived from the original (http://fashion.telegraph.co.uk/article/TMG8913801/Flashback-Tommy-Hilfiger-remembers-his-first-shops.html) on November 17, 2015 . Retrieved September 12, 2015 . ^ (#cite_ref-cellsum_90-0) "Billy Hilfiger tribute" (https://web.archive.org/web/20020108054246/http://www.cellsum.com/billy.htm) . Cellsum Records . Archived from the original (http://www.cellsum.com/billy.htm) on January 8, 2002. ^ (#cite_ref-91) O'Neill, Anne-Marie (April 20, 2013). "Tommy Hilfiger: Stitching Together a Family" (https://parade.com/6277/annemarieoneill/tommy-hilfiger-stitching-together-a-family/) . Parade . Retrieved September 21, 2019 . ^ (#cite_ref-Baby_92-0) "Tommy Hilfiger and Wife Expecting a Baby" (https://people.com/parents/tommy-hilfiger-and-wife-expecting-a-baby/) . People . March 22, 2012 . Retrieved October 26, 2019 . External links [ edit ] Wikimedia Commons has media related to Tommy Hilfiger (https://commons.wikimedia.org/wiki/Category:Tommy_Hilfiger) . Tommy.com (http://tommy.com/) TommyCares.com (https://global.tommy.com/int/en/about/tommy-cares) v t e Tommy Hilfiger Companies Tommy Hilfiger Group (/wiki/Tommy_Hilfiger_(company)) (founder) Sweetface Fashion (/wiki/J.Lo_by_Jennifer_Lopez#Sweetface_Fashion) (co-owner) Related brands True Star (/wiki/True_Star_(perfume)) Shows The Cut (/wiki/The_Cut_(2005_TV_series)) (host) Project Runway (/wiki/Project_Runway) (guest judge) Project Runway: All Stars (/wiki/Project_Runway:_All_Stars) (guest judge) Related topics 1960s fashion (/wiki/1960s_fashion) Category (/wiki/Category:Tommy_Hilfiger_(company)) v t e Geoffrey Beene Lifetime Achievement Award (/wiki/Geoffrey_Beene_Lifetime_Achievement_Award) at the CFDA Fashion Awards (/wiki/CFDA_Fashion_Awards) 1984: James Galanos (/wiki/James_Galanos) 1985: Katharine Hepburn (/wiki/Katharine_Hepburn) 1986: Bill Blass (/wiki/Bill_Blass) 1987: Giorgio Armani (/wiki/Giorgio_Armani) 1988: Nancy Reagan (/wiki/Nancy_Reagan) 1989: Oscar de la Renta (/wiki/Oscar_de_la_Renta) 1990: Martha Graham (/wiki/Martha_Graham) 1991: Ralph Lauren (/wiki/Ralph_Lauren) 1997: Geoffrey Beene (/wiki/Geoffrey_Beene) 1999: Yves Saint Laurent (/wiki/Yves_Saint_Laurent_(designer)) 2000: Valentino Garavani (/wiki/Valentino_(fashion_designer)) 2001: Calvin Klein (/wiki/Calvin_Klein) 2002: Karl Lagerfeld (/wiki/Karl_Lagerfeld) 2003: Anna Wintour (/wiki/Anna_Wintour) 2004: Donna Karan (/wiki/Donna_Karan) 2005: Diane von Fürstenberg (/wiki/Diane_von_F%C3%BCrstenberg) 2006: Stan Herman (/wiki/Stan_Herman) 2007: Robert Lee Morris (/wiki/Robert_Lee_Morris) 2008: Carolina Herrera (/wiki/Carolina_Herrera) 2009: Anna Sui (/wiki/Anna_Sui) 2010: Michael Kors (/wiki/Michael_Kors) 2011: Marc Jacobs (/wiki/Marc_Jacobs) 2012: Tommy Hilfiger 2013: Vera Wang (/wiki/Vera_Wang) 2014: Tom Ford (/wiki/Tom_Ford) 2015: Betsey Johnson (/wiki/Betsey_Johnson) 2016: Norma Kamali (/wiki/Norma_Kamali) 2017: Rick Owens (/wiki/Rick_Owens) 2018: Narciso Rodriguez (/wiki/Narciso_Rodriguez) 2019: Bob Mackie (/wiki/Bob_Mackie) v t e American sportswear (/wiki/Sportswear_(fashion)) 20th century sportswear designers Adri (/wiki/Adrienne_Steckling-Coen) Bill Atkinson (/wiki/Bill_Atkinson_(designer)) Louella Ballerino (/wiki/Louella_Ballerino) Jhane Barnes (/wiki/Jhane_Barnes) Geoffrey Beene (/wiki/Geoffrey_Beene) Tom Brigance (/wiki/Tom_Brigance) Donald Brooks (/wiki/Donald_Brooks) Stephen Burrows (/wiki/Stephen_Burrows_(designer)) Jeanne Campbell (/wiki/Jeanne_S._Campbell) Bonnie Cashin (/wiki/Bonnie_Cashin) Kenneth Cole (/wiki/Kenneth_Cole_(designer)) Liz Claiborne (/wiki/Liz_Claiborne) Perry Ellis (/wiki/Perry_Ellis) Anne Fogarty (/wiki/Anne_Fogarty) Tom Ford (/wiki/Tom_Ford) Rudi Gernreich (/wiki/Rudi_Gernreich) Halston (/wiki/Halston) Elizabeth Hawes (/wiki/Elizabeth_Hawes) Tommy Hilfiger Marc Jacobs (/wiki/Marc_Jacobs) Norma Kamali (/wiki/Norma_Kamali) Donna Karan (/wiki/Donna_Karan) Muriel King (/wiki/Muriel_King) Anne Klein (/wiki/Anne_Klein_(fashion_designer)) Calvin Klein (/wiki/Calvin_Klein) Michael Kors (/wiki/Michael_Kors) Ralph Lauren (/wiki/Ralph_Lauren) Tina Leser (/wiki/Tina_Leser) Vera Maxwell (/wiki/Vera_Maxwell) Claire McCardell (/wiki/Claire_McCardell) Isaac Mizrahi (/wiki/Isaac_Mizrahi) Clare Potter (/wiki/Clare_Potter) Clovis Ruffin (/wiki/Clovis_Ruffin) Giorgio di Sant' Angelo (/wiki/Giorgio_di_Sant%27_Angelo) Carolyn Schnurer (/wiki/Carolyn_Schnurer) Diane von Fürstenberg (/wiki/Diane_von_F%C3%BCrstenberg) Vera Wang (/wiki/Vera_Wang) John Weitz (/wiki/John_Weitz) Emily Wilkens (/wiki/Emily_Wilkens) Sydney Wragge (/wiki/Sydney_Wragge) Zoran (/wiki/Zoran_(designer)) 21st century sportswear designers Derek Lam (/wiki/Derek_Lam) Mary Ping (/wiki/Mary_Ping) Zac Posen (/wiki/Zac_Posen) Proenza Schouler (/wiki/Proenza_Schouler) Behnaz Sarafpour (/wiki/Behnaz_Sarafpour) Notable designs Popover (dress) (/wiki/Popover_(dress)) Wrap dress (/wiki/Wrap_dress) Other associated people Richard Martin (/wiki/Richard_Martin_(curator)) Dorothy Shaver (/wiki/Dorothy_Shaver) See also The American Look (/wiki/American_Look_(fashion_movement)) Clothing terminology (/wiki/Clothing_terminology) Fashion (/wiki/Fashion) History of clothing (/wiki/History_of_clothing_and_textiles) Authority control databases (/wiki/Help:Authority_control) International FAST (http://id.worldcat.org/fast/427281/) ISNI (https://isni.org/isni/0000000050163650) VIAF (https://viaf.org/viaf/76233897) WorldCat (https://id.oclc.org/worldcat/entity/E39PBJvxqCH4RtK6VVFcWqfrMP) National Germany (https://d-nb.info/gnd/1185708650) Israel (http://olduli.nli.org.il/F/?func=find-b&local_base=NLX10&find_code=UID&request=987012384847605171) United States (https://id.loc.gov/authorities/nr98044905) Sweden (https://libris.kb.se/42gks7dn4sgcfs7) Czech Republic (https://aleph.nkp.cz/F/?func=find-c&local_base=aut&ccl_term=ica=xx0064781&CON_LNG=ENG) Netherlands (http://data.bibliotheken.nl/id/thes/p180867377) Poland (https://dbn.bn.org.pl/descriptor-details/9810655338705606) Other IdRef (https://www.idref.fr/132311178) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐sx4gg Cached time: 20240721000302 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 1.194 seconds Real time usage: 1.438 seconds Preprocessor visited node count: 12691/1000000 Post‐expand include size: 243446/2097152 bytes Template argument size: 22268/2097152 bytes Highest expansion depth: 21/100 Expensive parser function count: 26/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 402977/5000000 bytes Lua time usage: 0.688/10.000 seconds Lua memory usage: 11919184/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 1269.280 1 -total 39.09% 496.189 1 Template:Reflist 17.52% 222.335 1 Template:Infobox_fashion_designer 16.34% 207.418 58 Template:Cite_news 10.56% 134.017 22 Template:Cite_web 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Removal of pubic hair using special wax "Bikini line" redirects here. For the C-section procedure, see Pfannenstiel incision (/wiki/Pfannenstiel_incision) . A woman's pubic area after a partial bikini wax Bikini waxing is the removal (/wiki/Waxing) of pubic hair (/wiki/Pubic_hair) using a special wax, which can be hot or cold, that adheres to hairs and pulls them out when the wax is removed quickly from the skin, usually with a cloth strip. While the practice is mainly associated with women, male waxing (/wiki/Male_waxing) has become a more common practice to remove men's pubic hair. [1] (#cite_note-1) A bikini line is the area of the upper leg and inner thigh in which pubic hair grows that is normally not covered by the bottom part of a swimsuit. [2] (#cite_note-Embod1-2) In some cultures, visible pubic hair in this region is disliked and/or considered embarrassing and so it is sometimes removed. [2] (#cite_note-Embod1-2) However, some people remove pubic hair that will not be exposed for aesthetics, personal grooming, hygiene, culture, religion, fashion and for sexual intercourse. Technique [ edit ] Pubic hair can be removed in a number of ways, such as waxing (/wiki/Waxing) , shaving (/wiki/Shaving) , sugaring (/wiki/Sugaring_(epilation)) , electrolysis (/wiki/Electrology) , laser hair removal (/wiki/Laser_hair_removal) or with chemical depilatory (/wiki/Chemical_depilatory) creams. Waxing involves applying melted, usually hot, wax to the pubic hair that an individual would like to remove. The wax, which adheres to the hair as it hardens, is then covered with small strips of cloth. When the wax hardens sufficiently, the cloth is pulled off quickly, removing the hair from its roots as the wax is pulled away. Waxing can be performed on oneself privately using a home kit or by a cosmetologist (/wiki/Cosmetologist) at a salon or spa. [3] (#cite_note-Cosmo-3) Wax being applied to female pubic hair If a person has never been waxed before, or has not been waxed for a long time, it may be necessary to trim the pubic hair using scissors or an electric razor prior to waxing. [4] (#cite_note-milady-4) [5] (#cite_note-Ovat-5) A patch test is recommended, usually on the upper thigh, to test for allergies or skin sensitivities to the ingredients in the wax. Sometimes a hair growth inhibitor is applied after waxing, which slows the regrowth of hair if applied daily for an extended period of time. [3] (#cite_note-Cosmo-3) It is common to apply an antiseptic cleaner and powder to the area prior to waxing. Wax is applied with a spatula in the direction of hair growth the size of a strip about 2 inches (5.1 cm) wide and 4 inches (10 cm) long. When the wax is set but still pliable, the wax strips are pulled away against the direction of hair growth while keeping the skin taut. The strip is ideally pulled off as swiftly as possible. [4] (#cite_note-milady-4) The pubic area is one of the most sensitive areas in the body and during the procedure special attention must be paid to avoid irritation. [ citation needed ] Pain directly resulting from the procedure can be slight or severe and can continue from several seconds to several minutes. Some people experience less pain during subsequent treatments. It can be helpful to take a mild anti-inflammatory medication (such as ibuprofen (/wiki/Ibuprofen) ) an hour or so before waxing to reduce potential pain from the waxing. [6] (#cite_note-6) Products such as topical anesthetics are available to lessen the pain involved. [3] (#cite_note-Cosmo-3) A bikini wax during pregnancy is generally more painful, due to increased sensitivity. [7] (#cite_note-7) The type of wax used for bikini lines is often made from a mixture of beeswax (/wiki/Beeswax) and tall oil (/wiki/Tall_oil) rather than the more common synthetic waxes (/wiki/Wax) used for waxing regular leg hair. Beeswax is considered stronger and more effective at removing the thicker and coarser pubic hair. [8] (#cite_note-8) Sometimes bumps or in-grown hair can result from waxing. Isolated hairs can be removed with tweezers or electrolysis. [5] (#cite_note-Ovat-5) Discomfort following the procedure generally lasts two to five days or less. [9] (#cite_note-9) Application of egg oil (/wiki/Egg_oil) for a few days post-waxing can help moisturize the skin and reduce inflammation, pain or growth of bacteria. [10] (#cite_note-10) With repeated removal over time, pubic hair becomes weaker and grows more slowly, leading to easier removal with less pain and less frequent waxing. [11] (#cite_note-WomansDay-11) Styles [ edit ] American waxing : Hair is limited to the bikini area and, here, trimmed shorter. French waxing : Hair is removed entirely except a rectangular "landing strip". Brazilian waxing : All hair is removed. Some people modify their pubic hair either to fit in with societal trends or simply as an expression of their own style or lifestyle, while others object to any styling or do not practice it because of cost considerations. [12] (#cite_note-telegraph-12) [13] (#cite_note-thedailybeast-13) "Natural" (also known as "au natural" or "bush") refers to pubic hair that has not been removed, trimmed or styled at all. [14] (#cite_note-14) "Trimmed" or "cut" refers to pubic hair that has been shortened, but not completely removed other than shaving the inner thighs. Some women trim, but keep hair on their labia, while removing the pubic hair on the mons pubis (/wiki/Mons_pubis) . Pubic hair may be styled into several basic styles [4] (#cite_note-milady-4) : 139 [15] (#cite_note-essort-15) [16] (#cite_note-BrBi-16) which are often referred to by different names. [17] (#cite_note-SalE-17) Salons often use their own unique names for common types of waxing, for example referring to a Brazilian with a "landing strip" as a "Mohican" or a "Hollywood" as "Full Monty". [18] (#cite_note-18) [19] (#cite_note-19) The three major types are described below: American waxing [ edit ] American waxing is the removal of only the pubic hair that would not be covered by a swimsuit. For a bikini, it would be hair at the top of the thighs and under the navel. It is also known as a "basic bikini wax", [4] (#cite_note-milady-4) [15] (#cite_note-essort-15) [16] (#cite_note-BrBi-16) "triangle", or "bikini line", as it involves waxing hair from the sides to form a triangle so that pubic hair cannot be seen while wearing a swimsuit. [20] (#cite_note-landingstrip-20) Bikini bottoms or underwear are usually worn while getting an American wax. A normal American waxing job takes about 20 to 30 minutes to complete. [4] (#cite_note-milady-4) French waxing [ edit ] French waxing (sometimes called a landing strip or a partial Brazilian wax ) leaves a vertical strip of pubic hair about 1.5 inches (3.8 cm) wide and 3 inches (7.6 cm) long just above the vulva (/wiki/Vulva) . [4] (#cite_note-milady-4) [15] (#cite_note-essort-15) [17] (#cite_note-SalE-17) Hair around the anus area and labia (/wiki/Labia_(genitalia)) may be removed. The landing strip wax has become popular with models wearing garments that are very narrow in the crotch region. [ citation needed ] To create the "landing strip" (a line of hair) practitioners and clients prefer either lying face up or lying face down. Sometimes hard wax is used, though strip wax works as effectively. [4] (#cite_note-milady-4) Brazilian waxing [ edit ] Brazilian waxing (or the sphinx wax [21] (#cite_note-weigle-21) ) is the removal of all pubic hair from the pelvic region, labia (/wiki/Labia) , perineum (/wiki/Perineum) , [22] (#cite_note-salon-22) [23] (#cite_note-BVio-23) and anus (/wiki/Human_anus) , while sometimes leaving a thin strip of hair on the mons pubis (/wiki/Mons_pubis) . [4] (#cite_note-milady-4) [15] (#cite_note-essort-15) [16] (#cite_note-BrBi-16) [17] (#cite_note-SalE-17) [24] (#cite_note-Boston-24) It can be used by those who wear thong bikinis. [25] (#cite_note-25) Brazilian waxing is also known as a full Brazilian wax , full bikini wax , or the Hollywood wax . [4] (#cite_note-milady-4) [16] (#cite_note-BrBi-16) [17] (#cite_note-SalE-17) This style was first called the Brazilian wax by the J. Sisters salon in Manhattan (/wiki/Manhattan) , founded in 1987 by seven sisters named Padilha from Brazil (/wiki/Brazil) . [26] (#cite_note-26) [27] (#cite_note-27) Brazilian waxing is more controversial than other types of waxing. [28] (#cite_note-KirM-28) [29] (#cite_note-Joannides_(2006)-29) Like all waxing, it can be a physically painful experience during and after waxing. [22] (#cite_note-salon-22) [29] (#cite_note-Joannides_(2006)-29) [23] (#cite_note-BVio-23) [30] (#cite_note-GodS-30) Some believe it is more unpleasant to receive cunnilingus (/wiki/Cunnilingus) from a bearded partner after getting a Brazilian wax. [29] (#cite_note-Joannides_(2006)-29) [30] (#cite_note-GodS-30) Some critics of the procedure believe that Brazilian waxing can contribute to making an adult woman look underage, claiming that this may be one reason for its popularity in the sex industry (/wiki/Sex_industry) . [24] (#cite_note-Boston-24) [28] (#cite_note-KirM-28) [30] (#cite_note-GodS-30) There is also a health risk involved if it is not done properly, as well as a risk of infection if done on a person with a weakened immune system. [31] (#cite_note-Tweed-31) Health [ edit ] In 2016, the Journal of the American Medical Association (/wiki/JAMA) published a study in which it was found that out of 3,316 American women surveyed, 84% reported a history of lifetime pubic hair grooming, with 59% reporting that the primary motivations for grooming were for hygienic purposes. [32] (#cite_note-:0-32) [33] (#cite_note-:1-33) Bikini waxing has been credited with a significant global reduction in cases of pubic lice (/wiki/Pediculosis_pubis) . [34] (#cite_note-34) However, the medical community has also seen a recent increase in folliculitis (/wiki/Folliculitis) , or infection around the hair follicle, in women who wax or shave their bikini areas. [35] (#cite_note-35) Social attitudes [ edit ] In Islam (/wiki/Islam) , the removal of unwanted body hair is known as an act of fitra (/wiki/Fitra) . [36] (#cite_note-36) In India (/wiki/India) , ethnologist F. Fawcett writing in 1901, had observed the removal of body hair, including pubic hair about the vulva (/wiki/Vulva) , as a custom of women from the Hindu (/wiki/Hindu) caste group known as Nair (/wiki/Nair) . [37] (#cite_note-37) In Western (/wiki/Western_world) societies, removal of female body hair (except for head hair, eyelashes and eyebrows) has traditionally been considered appropriate when it was visible. [2] (#cite_note-Embod1-2) The styling of pubic hair has become more fashionable as the coverage of swimwear has decreased, following innovations such as the introduction of the bikini (/wiki/Bikini) in 1946 and the removal of skirts from swimsuits. [2] (#cite_note-Embod1-2) The popularity of even briefer swimwear, such as the thong (/wiki/Thong) which exposes the buttocks (/wiki/Buttocks) , has led to the removal of more pubic hair. Changes in lingerie (/wiki/Lingerie) styles also encouraged the removal of pubic hair, [4] (#cite_note-milady-4) : 139 and the nude crotch—i.e., the total removal of pubic hair, such as in a full Brazilian or the Sphinx style—became considered by many to be erotic (/wiki/Erotic) and glamorous (/wiki/Glamour_(presentation)) . A nude crotch is considered by some to be more youthful looking. [2] (#cite_note-Embod1-2) : 59 According to Tschachler, Devine and Draxlbauer, removal of all visible body hair has come to be seen as an important aspect of femininity. [2] (#cite_note-Embod1-2) : 60 See also [ edit ] Fashion portal (/wiki/Portal:Fashion) Medicine portal (/wiki/Portal:Medicine) Anal bleaching (/wiki/Anal_bleaching) Genital piercing (/wiki/Genital_piercing) Hair removal (/wiki/Hair_removal) Merkin (/wiki/Merkin) Vajazzle (/wiki/Vajazzle) References [ edit ] ^ (#cite_ref-1) Barker, Olivia (August 23, 2005), "The male resistance to waxing is melting away" (http://usatoday30.usatoday.com/life/lifestyle/2005-08-23-waxing_x.htm) , USA Today , archived (https://web.archive.org/web/20161228090532/http://usatoday30.usatoday.com/life/lifestyle/2005-08-23-waxing_x.htm) from the original on December 28, 2016 , retrieved August 26, 2016 ^ Jump up to: a b c d e f Tschachler, Heinz; Devine, Maureen; Draxlbauer, Michael (2003), The EmBodyment of American Culture , Berlin-Hamburg-Münster: LIT Verlag, pp. 61–62, ISBN (/wiki/ISBN_(identifier)) 978-3-8258-6762-1 ^ Jump up to: a b c Staff writers (2005), "Get a Perfect Bikini Line" (http://www.cosmopolitan.com/style-beauty/beauty/advice/a2857/bikini-line-hair-removal/) , Cosmopolitan , vol. 238, no. 5, pp. 248–251, published online March 10, 2009, archived (https://web.archive.org/web/20210319185741/https://www.cosmopolitan.com/style-beauty/beauty/advice/a2857/bikini-line-hair-removal/) from the original on March 19, 2021 , retrieved August 26, 2016 ^ Jump up to: a b c d e f g h i j Helen Bickmore; Milady's Hair Removal Techniques: A Comprehensive Manual ; Thomson Delmar Learning; 2003; ISBN (/wiki/ISBN_(identifier)) 1-4018-1555-3 (/wiki/Special:BookSources/1-4018-1555-3) ^ Jump up to: a b Lia Schorr, Shari Miller Sims & Shari Sims, SalonOvations' Advanced Skin Care Handbook , pages 94–95, 117-118, Cengage Learning, 1994, ISBN (/wiki/ISBN_(identifier)) 1-56253-045-3 (/wiki/Special:BookSources/1-56253-045-3) ^ (#cite_ref-6) Michael J. Klag, Johns Hopkins Family Health Book , page 769, HarperCollins, 1999, ISBN (/wiki/ISBN_(identifier)) 0-06-270149-5 (/wiki/Special:BookSources/0-06-270149-5) ^ (#cite_ref-7) Linda Murray, Leah Hennen & Jim Scott, The Babycenter Essential Guide to Pregnancy and Birth , page 576, Rodale, 2005, ISBN (/wiki/ISBN_(identifier)) 1-59486-211-7 (/wiki/Special:BookSources/1-59486-211-7) ^ (#cite_ref-8) Susan Cressy & Margaret Rennie, Beauty Therapy Fact File , page 293, Heinemann, 2004, ISBN (/wiki/ISBN_(identifier)) 0-435-45142-1 (/wiki/Special:BookSources/0-435-45142-1) ^ (#cite_ref-9) Hilda Hutcherson, Pleasure , page 190, Perigee, 2006, ISBN (/wiki/ISBN_(identifier)) 0-399-53286-2 (/wiki/Special:BookSources/0-399-53286-2) ^ (#cite_ref-10) Mahmoudi M; Others (2013). "Anti-inflammatory and analgesic effects of egg yolk: a comparison between organic and machine made". European Review for Medical and Pharmacological Sciences . 17 (4): 472–6. PMID (/wiki/PMID_(identifier)) 23467945 (https://pubmed.ncbi.nlm.nih.gov/23467945) . ^ (#cite_ref-WomansDay_11-0) Gekas, Alexandra (October 18, 2013). "Waxing 101: Tips and Tricks for Beginners" (http://www.womansday.com/style/beauty/tips/a4944/waxing-101-tips-tricks-for-beginners-108331/) . Woman's Day . Archived (https://web.archive.org/web/20160820091343/http://www.womansday.com/style/beauty/tips/a4944/waxing-101-tips-tricks-for-beginners-108331/) from the original on August 20, 2016 . Retrieved August 27, 2016 . ^ (#cite_ref-telegraph_12-0) Turner, Beverley (November 15, 2013). "Pubic hair is back" (https://www.telegraph.co.uk/women/womens-life/10452327/Pubic-hair-is-back-ladies.-The-men-dont-care-and-the-women-cant-be-bothered.html) . Telegraph.co.uk . The Daily Telegraph. Archived (https://ghostarchive.org/archive/20220111/https://www.telegraph.co.uk/women/womens-life/10452327/Pubic-hair-is-back-ladies.-The-men-dont-care-and-the-women-cant-be-bothered.html) from the original on January 11, 2022 . Retrieved April 5, 2018 . ^ (#cite_ref-thedailybeast_13-0) Shire, Emily (October 4, 2014). "Waxing: Damned if You Do and Damned if You Don't: How Pubic Hair Became Political" (http://www.thedailybeast.com/articles/2014/04/10/waxing-damned-if-you-do-and-damned-if-you-don-t-how-pubic-hair-became-political.html) . The Daily Beast (/wiki/The_Daily_Beast) . Archived (https://web.archive.org/web/20170520162625/http://www.thedailybeast.com/articles/2014/04/10/waxing-damned-if-you-do-and-damned-if-you-don-t-how-pubic-hair-became-political.html) from the original on May 20, 2017 . Retrieved March 14, 2016 . ^ (#cite_ref-14) Germinsky, Lisa (December 11, 2008). "Bush is back" (http://www.salon.com/mwt/feature/2008/12/11/bush_back/) . Salon.com (/wiki/Salon.com) . Archived (https://web.archive.org/web/20090501044811/http://www.salon.com/mwt/feature/2008/12/11/bush_back/) from the original on May 1, 2009 . Retrieved May 9, 2013 . ^ Jump up to: a b c d "Different Types of Bikini Wax and Application Techniques" (https://web.archive.org/web/20110218071038/http://www.essortment.com/different-types-bikini-wax-application-techniques-59434.html) . Essortment. Archived from the original (http://www.essortment.com/different-types-bikini-wax-application-techniques-59434.html) on February 18, 2011 . Retrieved May 9, 2013 . ^ Jump up to: a b c d "Brazilian bikini wax" (https://web.archive.org/web/20121117052055/http://www.brazilian-bikinis.org/brazilianbikiniwax.html) . Brazilian Bikinis. Archived from the original (http://www.brazilian-bikinis.org/brazilianbikiniwax.html) on November 17, 2012 . Retrieved May 9, 2013 . ^ Jump up to: a b c d Salinger, Eve (2005). The Complete Idiot's Guide to Pleasing Your Woman . New York: Alpha Books/Penguin Group. p. 196 (https://archive.org/details/completeidiotsgu00sali/page/196) . ISBN (/wiki/ISBN_(identifier)) 978-1-59257-464-3 . ^ (#cite_ref-18) Hiscock, Jane; Frances Lovett (2004). Beauty Therapy (2nd ed.). Oxford, UK: Heinemann Educational Publishers. p. 325. ISBN (/wiki/ISBN_(identifier)) 978-0-435-45102-8 . Retrieved May 9, 2013 . ^ (#cite_ref-19) Latour, Stephanie (2002). Erotic Review's Bedside Companion: An ABC of Delightful Depravity . Anova Books. p. 25. ISBN (/wiki/ISBN_(identifier)) 978-1-84411-002-5 . Retrieved May 9, 2013 . Salons offer a choice of waxing styles for women, including the widely renowned Brazilian or Mohican for those concerned not to reveal a single stray pube in the inciest, winciest beachwear, while The Hollywood denotes the full monty. ^ (#cite_ref-landingstrip_20-0) Grey, Maggie (June 30, 2012). "Basic Pubic Hairstyles" (http://www.landingstrip.org/basic-pubic-hairstyles/) . The Landing Strip . Archived (https://web.archive.org/web/20141017122125/http://www.landingstrip.org/basic-pubic-hairstyles/) from the original on October 17, 2014 . Retrieved June 13, 2014 . ^ (#cite_ref-weigle_21-0) Weigle, Elizabeth Anne. The American trend of female pubic hair removal. Diss. uga, 2009. ^ Jump up to: a b Valhouli, Christina (September 3, 1999). "Faster Pussycat, Wax! Wax!" (https://web.archive.org/web/20120312041844/http://www.salon.com/1999/09/03/bikini/singleton/) . Salon.com (/wiki/Salon.com) . Archived from the original (http://www.salon.com/1999/09/03/bikini/singleton/) on March 12, 2012 . Retrieved December 30, 2017 . ^ Jump up to: a b Blue, Violet (2002). The Ultimate Guide to Cunnilingus . San Francisco: Cleis Press. pp. 66–67. ISBN (/wiki/ISBN_(identifier)) 978-1-57344-144-5 . ^ Jump up to: a b Boston Women's Health Book Collective, The (2005). Our Bodies, Ourselves: A New Edition for a New Era (35th anniversary ed.). New York: Touchstone/Simon & Schuster. p. 4 (https://archive.org/details/ourbodiesoursel00bost/page/4) . ISBN (/wiki/ISBN_(identifier)) 978-0-7432-5611-7 . ^ (#cite_ref-25) Jeffries, Fran (March 19, 2009). "A ban on 'Brazilian' bikini waxing?" (https://web.archive.org/web/20121023074402/http://blogs.ajc.com/better-health/2009/03/19/a-ban-on-brazilian-bikini-waxing/) . The Atlanta Journal-Constitution (/wiki/The_Atlanta_Journal-Constitution) . Better Health (blog). Archived from the original (http://blogs.ajc.com/better-health/2009/03/19/a-ban-on-brazilian-bikini-waxing/) on October 23, 2012 . Retrieved May 9, 2013 . ^ (#cite_ref-26) Ashley Fetters (December 13, 2011). "The New Full-Frontal: Has Pubic Hair in America Gone Extinct?" (https://www.theatlantic.com/health/archive/2011/12/the-new-full-frontal-has-pubic-hair-in-america-gone-extinct/249798/) . Archived (https://web.archive.org/web/20111215185606/http://www.theatlantic.com/health/archive/2011/12/the-new-full-frontal-has-pubic-hair-in-america-gone-extinct/249798/) from the original on December 15, 2011 . Retrieved December 15, 2011 . ^ (#cite_ref-27) Venema, Vibeke (December 31, 2016). "The women who invented the Brazilian wax" (https://www.bbc.co.uk/news/magazine-37896963) . BBC News . Archived (https://web.archive.org/web/20190105154727/https://www.bbc.co.uk/news/magazine-37896963) from the original on January 5, 2019 . Retrieved December 31, 2016 . ^ Jump up to: a b Kirsch, Melissa (2006). The Girl's Guide to Absolutely Everything . New York: Workman Publishing. p. 424 (https://archive.org/details/girlsguidetoabso00meli/page/424) . ISBN (/wiki/ISBN_(identifier)) 978-0-7611-3579-1 . ^ Jump up to: a b c Joannides, Paul (2006). Guide to Getting It On . Waldport, Oregon, US: Goofy Foot Press. pp. 233–246, 528–531. ISBN (/wiki/ISBN_(identifier)) 978-1-885535-69-6 . ^ Jump up to: a b c Godson, Suzi (2005). Sexploration: An Edgy Encyclopedia of Everything Sexual . Berkeley, California US: Amorata Press. pp. 89, 161. ISBN (/wiki/ISBN_(identifier)) 978-1-56975-505-1 . ^ (#cite_ref-Tweed_31-0) Tweed, Katherine (July 11, 2007). "Woman Almost Dies After Bikini Wax" (https://web.archive.org/web/20070713175134/http://www.foxnews.com/story/0%2C2933%2C288860%2C00.html) . Fox News . Archived from the original (http://www.foxnews.com/story/0,2933,288860,00.html) on July 13, 2007 . Retrieved July 31, 2007 . ^ (#cite_ref-:0_32-0) Rowen TS; Gaither TW; Awad MA; Osterberg E; Shindel AW; Breyer BN (October 2016). "Pubic Hair Grooming Prevalence and Motivation Among Women in the United States" (https://escholarship.org/content/qt3km422pc/qt3km422pc.pdf?t=obzy7r) (PDF) . JAMA Dermatology . 152 (10): 1106–1113. doi (/wiki/Doi_(identifier)) : 10.1001/jamadermatol.2016.2154 (https://doi.org/10.1001%2Fjamadermatol.2016.2154) . ISSN (/wiki/ISSN_(identifier)) 2168-6068 (https://www.worldcat.org/issn/2168-6068) . PMID (/wiki/PMID_(identifier)) 27367465 (https://pubmed.ncbi.nlm.nih.gov/27367465) . Archived (https://web.archive.org/web/20200314065231/https://escholarship.org/content/qt3km422pc/qt3km422pc.pdf?t=obzy7r) (PDF) from the original on March 14, 2020 . Retrieved August 30, 2019 . ^ (#cite_ref-:1_33-0) Hoffman, Jan (June 29, 2016). "Most Women Prefer to Go Bare, Citing Hygiene (and Baffling Doctors)" (http://well.blogs.nytimes.com/2016/06/29/most-women-prefer-to-go-bare-citing-hygiene-and-baffling-doctors/) . New York Times . Archived (https://web.archive.org/web/20160629203735/http://well.blogs.nytimes.com/2016/06/29/most-women-prefer-to-go-bare-citing-hygiene-and-baffling-doctors/) from the original on June 29, 2016 . Retrieved June 30, 2016 . ^ (#cite_ref-34) Jason Gale; Shannon Pettypiece (January 13, 2013). "Brazilian Bikini Waxes Make Crab Lice Endangered Species" (https://www.bloomberg.com/news/2013-01-13/brazilian-bikini-waxes-make-crab-lice-endangered-species-health.html) . Bloomberg . Retrieved October 26, 2013 . ^ (#cite_ref-35) Hackley, Barbara; Kriebs, Jan M.; Rousseau, Mary Ellen (2008). Primary Care of Women: A Guide for Midwives and Women's Health Providers . Jones & Bartlett Publishers. p. 833. ISBN (/wiki/ISBN_(identifier)) 9781449666156 . ^ (#cite_ref-36) AlGhamdi, Khalid M.; AlHomoudi, Fahad A.; Khurramb, Huma (July 2014). "Skin care: Historical and contemporary views" (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4099567) . Saudi Pharmaceutical Journal . 22 (3): 171–178. doi (/wiki/Doi_(identifier)) : 10.1016/j.jsps.2013.02.005 (https://doi.org/10.1016%2Fj.jsps.2013.02.005) . PMC (/wiki/PMC_(identifier)) 4099567 (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4099567) . PMID (/wiki/PMID_(identifier)) 25061400 (https://pubmed.ncbi.nlm.nih.gov/25061400) . Abu Huraira narrated that the Prophet (pbuh) said, 'Five are the acts akin to Fitra (i.e., customs of sound nature): circumcision, shaving the pubic hair, cutting the nails, plucking the hair under the armpits and clipping the moustache'. ^ (#cite_ref-37) F. Fawcett (2004) [1901]. Nâyars of Malabar . Asian Educational Services. p. 195. ISBN (/wiki/ISBN_(identifier)) 978-81-206-0171-0 . Retrieved June 23, 2011 . 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) 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Dress worn by a bride during the wedding ceremony For other uses, see Wedding dress (disambiguation) (/wiki/Wedding_dress_(disambiguation)) and Gown (disambiguation) (/wiki/Gown_(disambiguation)) . A white wedding dress, 2013 Part of a series (/wiki/Category:Formal_wear) on Western dress codes (/wiki/Western_dress_codes) and corresponding attires (/wiki/Clothing) Formal (/wiki/Formal_wear) ( full dress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) ) White tie (/wiki/White_tie) Morning dress (/wiki/Morning_dress) Full dress uniform (/wiki/Full_dress_uniform) Frock coat (/wiki/Frock_coat) Evening gown (/wiki/Evening_gown) Ball gown (/wiki/Ball_gown) Semi-formal (/wiki/Semi-formal_wear) ( half dress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) ) Black tie (/wiki/Black_tie) Black lounge suit (/wiki/Black_lounge_suit) Mess dress uniform (/wiki/Mess_dress_uniform) Evening gown (/wiki/Evening_gown) Cocktail dress (/wiki/Cocktail_dress) Informal (/wiki/Informal_wear) ( undress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) , "dress clothes") Suit (/wiki/Suit) Service dress uniform (/wiki/Service_dress_uniform) Cocktail dress (/wiki/Cocktail_dress) Pantsuit (/wiki/Pantsuit) Casual (/wiki/Casual_wear) (anything not above) Business casual (/wiki/Business_casual) Casual Friday (/wiki/Casual_Friday) Combat uniform (/wiki/Combat_uniform) Smart casual (/wiki/Smart_casual) Workwear (/wiki/Workwear) Streetwear (/wiki/Streetwear) Sportswear (/wiki/Sportswear) known as Sportswear (fashion) (/wiki/Sportswear_(fashion)) and Athleisure (/wiki/Athleisure) Undress (/wiki/Undress_code) Supplementary alternatives Ceremonial dress (/wiki/Ceremonial_dress) law courts (/wiki/Court_dress) royal courts (/wiki/Court_uniform_and_dress_in_the_United_Kingdom) diplomatic (/wiki/Diplomatic_uniform) academic (/wiki/Academic_dress) , etc. Religious clothing (/wiki/Religious_clothing) cassock (/wiki/Cassock) , habit (/wiki/Religious_habit) , etc. Folk costume (/wiki/Folk_costume) Distinctions Orders (/wiki/Order_(distinction)) medals (/wiki/Medal) , etc. Legend: = Day (before 6 p.m.) = Evening (after 6 p.m.) = Bow tie (/wiki/Bow_tie) colour = Ladies = Gentlemen Fashion portal (/wiki/Portal:Fashion) v t e This article possibly contains original research (/wiki/Wikipedia:No_original_research) . Please improve it (https://en.wikipedia.org/w/index.php?title=Wedding_dress&action=edit) by verifying (/wiki/Wikipedia:Verifiability) the claims made and adding inline citations (/wiki/Wikipedia:Citing_sources#Inline_citations) . Statements consisting only of original research should be removed. ( July 2022 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) A wedding dress or bridal gown is the dress (/wiki/Dress) worn by the bride (/wiki/Bride) during a wedding (/wiki/Wedding) ceremony. The color, style and ceremonial importance of the gown can depend on the religion and culture of the wedding participants. In Western culture, the wedding dress is most commonly white, a fashion made popular by Queen Victoria (/wiki/Queen_Victoria) when she married in 1840. In Eastern (/wiki/Eastern_world) cultures, brides often choose red to symbolize auspiciousness. Western culture [ edit ] Wedding dress from 1891. Until the late 1960s wedding dresses reflected the styles of the day; since then they have often been based on Victorian styles. Weddings performed during and immediately following the Middle Ages (/wiki/Middle_Ages) were often more than just a union between two people. They could be a union between two families, two businesses or even two countries. Many weddings were more a matter of politics (/wiki/Political_alliance) than love (/wiki/Love) , particularly among the nobility (/wiki/Nobility) and the higher social classes. Brides were therefore expected to dress in a manner that cast their families in the most favorable light and befitted their social status, for they were not representing only themselves during the ceremony. Brides from wealthy families often wore rich colors and exclusive fabrics. It was common to see them wearing bold colors and layers of furs, velvet (/wiki/Velvet) and silk (/wiki/Silk) . Brides dressed in the height of current fashion, with the richest materials their families' money could buy. The poorest of brides wore their best church dress on their wedding day. The amount and the price of material a wedding dress contained was a reflection of the bride's social standing and indicated the extent of the family's wealth to wedding guests. Color of wedding dresses [ edit ] The first documented instance of a princess who wore a white wedding dress for a royal wedding ceremony is that of Philippa of England (/wiki/Philippa_of_England) , who wore a tunic (/wiki/Tunic) with a cloak (/wiki/Cloak) in white silk (/wiki/Silk) bordered with squirrel (/wiki/Squirrel) and ermine (/wiki/Stoat) in 1406, when she married Eric of Pomerania (/wiki/Eric_of_Pomerania) . [1] (#cite_note-1) [2] (#cite_note-2) Mary, Queen of Scots (/wiki/Mary,_Queen_of_Scots) , wore a white wedding dress in 1559 when she married her first husband, Francis (/wiki/Francis_II_of_France) , the Dauphin of France (/wiki/Dauphin_of_France) , because it was her favorite color, although white was then the color of mourning for French queens. [3] (#cite_note-3) [4] (#cite_note-4) This was not a widespread trend, however: prior to the Victorian era (/wiki/Victorian_era) , a bride was married in any color, black being popular in Finland (/wiki/Finland) . [5] (#cite_note-5) White became a popular option in 1840, after the marriage of Queen Victoria (/wiki/Victoria_of_the_United_Kingdom) to Albert of Saxe-Coburg and Gotha (/wiki/Albert_of_Saxe-Coburg_and_Gotha) , when Victoria wore a white gown (/wiki/Wedding_dress_of_Queen_Victoria) trimmed with Honiton lace (/wiki/Honiton_lace) . Illustrations of the wedding were widely published, and many brides opted for white in accordance with the Queen's choice. [6] (#cite_note-6) Later, many people assumed that the color white was intended to symbolize virginity (/wiki/Virginity) , though this was not the original intention: it was the color blue (/wiki/Blue_(color)) that was connected to purity, piety, faithfulness, and the Virgin Mary (/wiki/Virgin_Mary) . [7] (#cite_note-7) Even after white became the dominant color, for a period, wedding dresses were adapted to the styles of the day. In the early 1900s, clothing included a lot of decorations, such as lace or frills. This was also adopted in wedding dresses, where decorative frills and lace were common. For example, in the 1920s, they were typically short in the front with a longer train (/wiki/Train_(clothing)) in the back and were worn with cloche (/wiki/Cloche_hat) -style wedding veils (/wiki/Veil#Bridal_veils) . This tendency to follow current fashions continued until the late 1960s, when it became popular to revert to long, full-skirted designs reminiscent of the Victorian era. [ citation needed ] Since the middle of the 20th century, most Western wedding dresses have usually been white (/wiki/White_(colour)) , [8] (#cite_note-8) though "wedding white" includes shades such as eggshell (/wiki/Eggshell_(colour)) , ecru (/wiki/Ecru_(colour)) , and ivory (/wiki/Ivory_(color)) . White is not the universal color of wedding dresses. In Mexico, for example, red is a popular color. [ citation needed ] In the Church of Jesus Christ of Latter-day Saints (/wiki/The_Church_of_Jesus_Christ_of_Latter-day_Saints) the color white is used as a symbol of purity, innocence, and cleanliness, particularly in religious ceremonies (/wiki/Ordinance_(Latter_Day_Saints)) such as baptism [9] (#cite_note-9) and temple (/wiki/Temple_(LDS_Church)) ceremonies, including weddings. [10] (#cite_note-10) For weddings in the temple, white clothing is also worn by all participants during the ceremony, both men and women, to symbolize unity and equality before God. [11] (#cite_note-11) [12] (#cite_note-12) The brides should be "white, modest in design and fabric, and free of elaborate ornamentation." [13] (#cite_note-13) [14] (#cite_note-14) Current fashion [ edit ] In the early 21st century many wedding dresses on the market are sleeveless (/wiki/Sleeveless) and strapless (/wiki/Strapless_dress) . [15] (#cite_note-Goldstein-15) [ better source needed ] Other brides prefer styles with sleeves, higher necklines, and covered backs. [ citation needed ] Eastern culture [ edit ] Qing-dynasty styled traditional Chinese wedding dress with a phoenix crown (/wiki/Phoenix_crown) (鳳冠) headpiece still used in modern Taiwanese (/wiki/Taiwan) weddings. Many wedding dresses in China (/wiki/China) , India (/wiki/India) , Bangladesh (/wiki/Bangladesh) , and Pakistan (/wiki/Pakistan) are red; the traditional Indian color representing good luck and auspiciousness. Vietnamese (/wiki/Vietnam) wedding dresses (in the traditional form of áo tấc the ancient Ao dai (/wiki/Ao_dai) ) were dark blue. Today, many women choose other colors besides red. In modern mainland Chinese weddings, the bride may opt for Western dresses of any color, and don a traditional costume for the wedding tea ceremony (/wiki/Chinese_tea_culture) . In modern Taiwanese (/wiki/Taiwan) weddings, the bride generally picks red (following Chinese tradition) or white (more Western) silk for the wedding gown material, but most will wear the red traditional garment for their formal wedding banquets. Traditionally, the father of the bride is responsible for the wedding banquet (/wiki/Chinese_marriage#Traditional_marriage_rituals) hosted on the bride's side and the alcohol (specifically called "xi-jiu," confusingly the same as what the wedding banquet itself is called) consumed during both banquets. While the wedding itself is often based on the couple's choices, the wedding banquets are a symbolic gesture of "thanks" and appreciation, to those who have raised the bride and groom (such as grandparents and uncles) and those who will continue to be there to help the bride and groom in the future. Thus out of respect for the elders, wedding banquets are usually done formally and traditionally. Japanese formal wedding dress still used today. Red saris (/wiki/Sari) , lehengas (/wiki/Lehenga) , and salwar kameez (/wiki/Salwar_kameez) are traditional garment options for brides in Indian (/wiki/India) cultures. The fabric of choice is also traditionally silk, regardless of garment type. Over time, color options and fabric choices for Indian brides have expanded. Today fabrics like crepe, Georgette, charmeuse, and satin are used, and colors have been expanded to include gold, pink, orange, maroon, brown, and yellow as well. Traditionally, a Kurdish (/wiki/Kurds) first-time bride would wear a red dress for her wedding to symbolize the postcoital bleeding (/wiki/Postcoital_bleeding) she will experience when she loses her virginity while a Kurdish bride who used to be married before would wear pink. Today, many Kurds associate red wedding dresses with impoverished Kurdish rural (/wiki/Rural) society and it is no longer commonly worn. [16] (#cite_note-16) [17] (#cite_note-17) [18] (#cite_note-18) A Japanese wedding (/wiki/Japanese_wedding) usually involves a traditional pure white kimono for the formal ceremony, symbolizing purity and maidenhood. The bride may change into a red kimono for the events after the ceremony for good luck. The Javanese people (/wiki/Javanese_people) of Indonesia (/wiki/Indonesia) wear a kebaya (/wiki/Kebaya) , a traditional kind of blouse, along with batik (/wiki/Batik) . In the Philippines (/wiki/Philippines) , variations of the Baro't saya (/wiki/Baro%27t_saya) adapted to the white wedding tradition are considered to be wedding attire for women, along with the barong tagalog (/wiki/Barong_tagalog) for men. Various tribes and Muslim Filipinos (/wiki/Muslim_Filipino) don other forms of traditional dress during their respective ceremonies. Native American culture [ edit ] Apache (/wiki/Apache) bride The indigenous peoples of the Americas (/wiki/Indigenous_peoples_of_the_Americas) have varying traditions related to weddings and thus wedding dresses. A Hopi (/wiki/Hopi) bride traditionally had her garments woven by the groom and any men in the village who wished to participate. [19] (#cite_note-19) The garments consisted of a large belt, two all-white wedding robes, a white wedding robe with red stripes at the top and bottom, white buckskin leggings and moccasins, a string for tying the hair, and a reed mat in which to wrap the outfit. This outfit also served as a shroud, since these garments would be necessary for the trip through the underworld. A Pueblo (/wiki/Pueblo) bride wore a cotton garment tied above the right shoulder, secured with a belt around the waist. In the traditions of the Delaware (/wiki/Delaware_people) , a bride wore a knee-length skirt of deerskin and a band of wampum (/wiki/Wampum) beads around her forehead. Except for fine beads or shell necklaces, the body was bare from the waist up. If it was a winter wedding, she wore deerskin leggings and moccasins and a robe of turkey feathers. Her face was painted with white, red, and yellow clay. The tribes of Northern California (/wiki/California) (which include the Klamath (/wiki/Klamath_people) , the Modoc (/wiki/Modoc_people) , and the Yurok (/wiki/Yurok_people) ) had a traditional bridal dress woven in symbolic colors: white for the east, blue for the south, yellow (orange) for the west; and black for the north. Turquoise and silver jewelry were worn by both the bride and the groom in addition to a silver concho belt (/wiki/Concho_belt) . Jewelry was considered a shield against evils including hunger, poverty, and bad luck. Gallery [ edit ] Historical Western European wedding dresses [ edit ] Detail from The Marriage by Nicolo da Bologna (/wiki/Nicolo_da_Bologna) , 1350s. Helena Fourment (/wiki/Helena_Fourment) , second wife of Peter Paul Rubens, painted by Rubens in her wedding dress, 1630. Sophia Magdalena of Denmark (/wiki/Sophia_Magdalena_of_Denmark) 's wedding dress, 1766. The Royal Armoury (/wiki/Livrustkammaren) in Sweden. Marriage of Napoleon I (/wiki/Napoleon_I) and Marie Louise (/wiki/Marie_Louise,_Duchess_of_Parma) . France (/wiki/France) , 1810. Wedding dresses from different areas of the world [ edit ] Traditional Finnish farmer wedding dress in Jomala (/wiki/Jomala) , Åland (/wiki/%C3%85land) Traditional Kazakh (/wiki/Kazakhstan) wedding dress Traditional Armenian (/wiki/Armenians) wedding dress 18th-century wedding dress from Kymi, Greece (/wiki/Kymi,_Greece) (Collection of PFF (/wiki/Peloponnesian_Folklore_Foundation) , Nauplio (/wiki/Nauplio) ) Bride in a wedding dress, Podhale (/wiki/Podhale) , the Tatra Mountains (/wiki/Tatra_Mountains) Yemenite Jewish (/wiki/Yemenite_Jewish) bride in Israel, 1950s Wedding of Tewfik Pasha (/wiki/Tewfik_Pasha) and Emina Ilhamy (/wiki/Emina_Ilhamy) , Cairo, Egypt, January 1873 Chinese couple wearing traditional wedding hanfu (/wiki/Hanfu) South Asian dresses [ edit ] Indian Hindu (/wiki/Hinduism_in_India) bride in red Sari (/wiki/Sari) Sikh bride wearing purple lehenga (/wiki/Lehenga) and dastaar (/wiki/Dastaar) for Anand Karaj (/wiki/Anand_Karaj) Traditional (/wiki/Culture_of_Bengal) Bengali (/wiki/Bengalis) bride in formal matrimonial Sari (/wiki/Sari) Indian Christian bride in white Sari (/wiki/Sari) Nepali bride of Kathmandu, 1941 Bengali Hindu (/wiki/Bengali_Hindu) bride during Sindur Daan Marathi wedding Sri Lankan wedding Southeast Asian dresses [ edit ] Khmer (/wiki/Khmer_people) (Cambodian) couple dressed in traditional wedding outfits Vietnamese couple in traditional dress Couple dress in traditional Thai outfits Couple dressed in traditional Burmese outfits Bali Hindu wedding dress Reenactment of the royal wedding ceremony of King Gojong and Queen Myeongseong Modern Western-style dresses [ edit ] A bride in 1968, wearing a dress reflecting the styles of the time Patricia Nixon Cox (/wiki/Tricia_Nixon_Cox) with her father Richard Nixon (/wiki/Richard_Nixon) , 1971 Taiwanese (/wiki/Taiwanese_people) couple dressed Western-style for keepsake photos in the park, 1989 American bride marrying a Scotsman wearing a kilt, 1996 New Orleans bride wearing a strapless, sleeveless gown, 2006 Same-gender marriage (/wiki/Same-sex_marriage) . Saint Petersburg (/wiki/Saint_Petersburg) , Russia (/wiki/Russia) , 2014. See also [ edit ] Bridal crown (/wiki/Bridal_crown) Christian clothing (/wiki/Christian_clothing) Godey's Lady's Book (/wiki/Godey%27s_Lady%27s_Book) Religious clothing (/wiki/Religious_clothing) Victorian fashion (/wiki/Victorian_fashion) Wedding dress of Camilla Parker Bowles (/wiki/Wedding_dress_of_Camilla_Parker_Bowles) Wedding dress of Grace Kelly (/wiki/Wedding_dress_of_Grace_Kelly) Wedding dress of Jacqueline Bouvier (/wiki/Wedding_dress_of_Jacqueline_Bouvier) Wedding dress of Kate Middleton (/wiki/Wedding_dress_of_Kate_Middleton) Wedding dress of Lady Diana Spencer (/wiki/Wedding_dress_of_Lady_Diana_Spencer) Wedding dress of Meghan Markle (/wiki/Wedding_dress_of_Meghan_Markle) Wedding dress of Princess Alexandra of Denmark (/wiki/Wedding_dress_of_Princess_Alexandra_of_Denmark) Wedding dress of Princess Anne (/wiki/Wedding_dress_of_Princess_Anne) Wedding dress of Princess Elizabeth (/wiki/Wedding_dress_of_Princess_Elizabeth) Wedding dress of Princess Margaret (/wiki/Wedding_dress_of_Princess_Margaret) Wedding dress of Princess Mary of Teck (/wiki/Wedding_dress_of_Princess_Mary_of_Teck) Wedding dress of Queen Victoria (/wiki/Wedding_dress_of_Queen_Victoria) Wedding dress of Sarah Ferguson (/wiki/Wedding_dress_of_Sarah_Ferguson) Wedding dress of Sophie Rhys-Jones (/wiki/Wedding_dress_of_Sophie_Rhys-Jones) Wedding dress of Victoria, Princess Royal (/wiki/Wedding_dress_of_Victoria,_Princess_Royal) Wedding dress of Wallis Warfield (/wiki/Wedding_dress_of_Wallis_Warfield) References [ edit ] ^ (#cite_ref-1) "Wedding white doesn't mean what you think it means" (https://web.archive.org/web/20160511141350/http://ivybridalstudio.com:80/wedding-white-doesnt-mean-what-you-think-it-means/) . Ivy Bridal Studio . 3 March 2014. Archived from the original (http://ivybridalstudio.com/wedding-white-doesnt-mean-what-you-think-it-means/) on 11 May 2016 . Retrieved 21 November 2014 . Princess Philippa of England is the first recorded princess to have worn white during her wedding in 1406, with her attire consisting of a tunic and cloak in white silk, but it wasn't until Queen Mary that the white dress would explode in popularity ^ (#cite_ref-2) "The History of Matrimony" (https://web.archive.org/web/20060506232925/http://www.amalfi-wedding-planner.com/eng/StoriaMatrimonio.htm) . Amalfi Wedding Planner . Archived from the original (http://www.amalfi-wedding-planner.com/eng/StoriaMatrimonio.htm) on 6 May 2006. ^ (#cite_ref-3) "Mary, Queen of Scots' first wedding day" (https://web.archive.org/web/20150623182153/http://madameguillotine.org.uk/2011/04/24/mary-queen-of-scots-first-wedding-day/) . Madame Guillotine . 24 April 2011. Archived from the original (http://madameguillotine.org.uk/2011/04/24/mary-queen-of-scots-first-wedding-day/) on 23 June 2015 . Retrieved 21 November 2014 . Mary's choice of a white wedding dress was an unusual one, particularly as white was more traditionally worn by royal ladies when they were in dieul blanc mourning but in this as in other things the strong willed Mary may well have been an innovator, keen to not just impress her own taste on her wedding day (after all, she hadn't been allowed the privilege of choosing her groom) but also emphasise her virginity and show off her famously pale redheaded beauty, which would have been accentuated by a pure white dress. ^ (#cite_ref-4) "Elizabeth I Facts" (https://web.archive.org/web/20180724215348/http://www.elizabethfiles.com/resources/elizabeth-i-facts/) . The Elizabeth Files . 23 August 2009. Archived from the original (http://www.elizabethfiles.com/resources/elizabeth-i-facts/) on 24 July 2018 . Retrieved 21 November 2014 . Her favourite dress colours were white and black which symbolised purity. ^ (#cite_ref-5) Pelo, June. "Old Marriage Customs in Finland" (http://sydaby.eget.net/swe/jp_marriage.htm) . Sydaby.eget.net . Retrieved 19 January 2019 . ^ (#cite_ref-6) "Royal Weddings 1840-1947" (https://www.rct.uk/collection/themes/exhibitions/royal-weddings-1840-1947/windsor-castle-drawings-gallery) . Royal Collection Trust . Retrieved 19 January 2019 . ^ (#cite_ref-7) Ashliman, DL (/wiki/D._L._Ashliman) (2004). Folk and Fairy Tales: A Handbook–Greenwood Folklore Handbooks . ABC-CLIO. p. 9. ISBN (/wiki/ISBN_(identifier)) 9780313058592 . ^ (#cite_ref-8) Stewart, Jude (14 February 2011). "The Bride Wore Chartreuse: Why (Most) Wedding Dresses are White" (https://www.printmag.com/imprint/the-bride-wore-chartreuse-why-most-wedding-dresses-are-white/) . Print . Retrieved 19 January 2019 . ^ (#cite_ref-9) "Chapter 15: The Covenant of Baptism" (https://web.archive.org/web/20211216211222/https://abn.churchofjesuschrist.org/study/manual/doctrines-of-the-gospel/chapter-15?lang=eng) . Doctrines of the Gospel Teacher Manual . The Church of Jesus Christ of Latter-day Saints (/wiki/The_Church_of_Jesus_Christ_of_Latter-day_Saints) . Archived from the original (https://abn.churchofjesuschrist.org/study/manual/doctrines-of-the-gospel/chapter-15?lang=eng) on 16 December 2021 . Retrieved 16 December 2021 . ^ (#cite_ref-10) "Preparing to Enter the Holy Temple" (https://web.archive.org/web/20211216211107/https://abn.churchofjesuschrist.org/study/manual/preparing-to-enter-the-holy-temple/preparing-to-enter-the-holy-temple?lang=eng) . Preparing to Enter the Holy Temple . The Church of Jesus Christ of Latter-day Saints (/wiki/The_Church_of_Jesus_Christ_of_Latter-day_Saints) . Archived from the original (https://abn.churchofjesuschrist.org/study/manual/preparing-to-enter-the-holy-temple/preparing-to-enter-the-holy-temple?lang=eng) on 16 December 2021 . Retrieved 16 December 2021 . ^ (#cite_ref-11) "Lesson 5: Learning from the Lord through Symbols" (https://web.archive.org/web/20211216211123/https://abn.churchofjesuschrist.org/study/manual/endowed-from-on-high/lesson-5?lang=eng) . Endowed from on High: Temple Preparation Seminar Teacher’s Manual . The Church of Jesus Christ of Latter-day Saints (/wiki/The_Church_of_Jesus_Christ_of_Latter-day_Saints) . Archived from the original (https://abn.churchofjesuschrist.org/study/manual/endowed-from-on-high/lesson-5?lang=eng) on 16 December 2021 . Retrieved 16 December 2021 . ^ (#cite_ref-12) "Why Symbols?" (https://web.archive.org/web/20211216211159/https://abn.churchofjesuschrist.org/study/ensign/2007/02/why-symbols?lang=eng) . Ensign . The Church of Jesus Christ of Latter-day Saints (/wiki/The_Church_of_Jesus_Christ_of_Latter-day_Saints) . February 2007. Archived from the original (https://abn.churchofjesuschrist.org/study/ensign/2007/02/why-symbols?lang=eng) on 16 December 2021 . Retrieved 16 December 2021 . ^ (#cite_ref-13) "27. Temple Ordinances for the Living" (https://www.churchofjesuschrist.org/study/manual/general-handbook/27-temple-ordinances-for-the-living?lang=eng#title_number25) . General Handbook: Serving in The Church of Jesus Christ of Latter-day Saints . The Church of Jesus Christ of Latter-day Saints (/wiki/The_Church_of_Jesus_Christ_of_Latter-day_Saints) . Retrieved 20 September 2021 . ^ (#cite_ref-14) Designer Wedding Dresses (https://shirgindi.com/) ^ (#cite_ref-Goldstein_15-0) Goldstein, Katherine (17 May 2012). "Say Yes to a Different Dress: Down with the strapless wedding gown" (http://www.slate.com/articles/double_x/doublex/2012/05/strapless_wedding_gowns_they_re_unflattering_why_are_they_so_popular_section_doublex.html) . Slate . Retrieved 29 May 2012 . ^ (#cite_ref-16) Allison, Christine (1996). Kurdish Culture and Identity . Bloomsbury Academic. p. 154. ISBN (/wiki/ISBN_(identifier)) 9781856493291 . ^ (#cite_ref-17) Russel, Jan (November 2007). They Lived to Tell the Tale . Lyons Press. ISBN (/wiki/ISBN_(identifier)) 9781599216393 . ^ (#cite_ref-18) Smothers Bruni, Mary Ann (1995). Journey Through Kurdistan . Texas Memorial Museum. p. 57. ^ (#cite_ref-19) "Hopi traditions reinforce sacredness of marriage - The Times-Independent" (https://www.moabtimes.com/articles/hopi-traditions-reinforce-sacredness-of-marriage/) . The Times-Independent - The Times-Independent . 2010-06-17 . Retrieved 2022-06-14 . External links [ edit ] Wikimedia Commons has media related to Wedding dress . Fashion Plates of Wedding Dresses from 1820-1929 (http://libmma.contentdm.oclc.org/cdm/search/collection/p15324coll12/searchterm/wedding/field/title/mode/all/conn/and/order/nosort/page/4) from The Metropolitan Museum of Art Libraries Wedding Dresses at Chicago History Museum Digital Collections (http://digitalcollection.chicagohistory.org/cdm/search/collection/p16029coll3/searchterm/wedding%20dress*/field/subjec/mode/all/conn/and/order/title/page/1) Archived (https://web.archive.org/web/20120729235620/http://digitalcollection.chicagohistory.org/cdm/search/collection/p16029coll3/searchterm/wedding%20dress*/field/subjec/mode/all/conn/and/order/title/page/1) 2012-07-29 at the Wayback Machine (/wiki/Wayback_Machine) Wedding dress, 1900, in the Staten Island Historical Society Online Collections Database (https://statenisland.pastperfectonline.com/webobject/8F273460-28B0-4155-ADC7-196403668592) Wedding dress, 1951, in the Staten Island Historical Society Online Collections Database (https://statenisland.pastperfectonline.com/webobject/BDD6D520-E3F8-4C30-AFE6-535900831247) v t e Wedding dresses 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 (/wiki/Wedding_dress_of_Princess_Margaret_of_the_United_Kingdom) (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) v t e Weddings (/wiki/Wedding) Collective (/wiki/Collective_wedding) Elopement (/wiki/Elopement) Handfasting (/wiki/Handfasting) Same-sex (/wiki/Same-sex_marriage) White (/wiki/White_wedding) Pre-wedding Marriage proposal planner 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(%,ms,calls,template) 100.00% 805.512 1 -total 22.33% 179.865 1 Template:Western_dress_codes 22.08% 177.869 1 Template:Sidebar_with_collapsible_lists 19.89% 160.250 1 Template:Reflist 14.71% 118.485 13 Template:Cite_web 11.95% 96.241 13 Template:Navbox 8.84% 71.217 4 Template:Color_box 8.26% 66.529 1 Template:Short_description 7.28% 58.681 4 Template:Greater_color_contrast_ratio 5.52% 44.493 1 Template:Original_research Saved in parser cache with key enwiki:pcache:idhash:460087-0!canonical and timestamp 20240720164423 and revision id 1235321049. 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Tall, flat-crowned formal hat For other uses, see Top hat (disambiguation) (/wiki/Top_hat_(disambiguation)) . c. 1910 top hat by Alfred Bertiel European royalty c. 1859 Austin Lane Crothers (/wiki/Austin_Lane_Crothers) , 46th Governor of Maryland (1908–1912), wearing a top hat A top hat (also called a high hat , or, informally, a topper ) is a tall, flat-crowned hat (/wiki/Hat) traditionally associated with formal wear (/wiki/Formal_wear) in Western dress codes (/wiki/Western_dress_codes) , meaning white tie (/wiki/White_tie) , morning dress (/wiki/Morning_dress) , or frock coat (/wiki/Frock_coat) . Traditionally made of black silk (/wiki/Silk) or sometimes grey, the top hat emerged in Western fashion (/wiki/Western_fashion) by the end of the 18th century. Although it declined by the time of the counterculture of the 1960s (/wiki/Counterculture_of_the_1960s) , it remains a formal fashion accessory (/wiki/Fashion_accessory) . A collapsible variant of a top hat, developed in the 19th century, is known as an opera hat (/wiki/Opera_hat) . Perhaps inspired by the early modern era (/wiki/Early_modern_era) capotain (/wiki/Capotain) , higher-crowned dark felt hats with wide brims emerged as a country leisurewear fashion along with the Age of Revolution (/wiki/Age_of_Revolution) around the 1770s. Around the 1780s, the justaucorps (/wiki/Justaucorps) was replaced by the previously casual frocks and dress coats (/wiki/Dress_coat) . At the same time, the tricorne (/wiki/Tricorne) and bicorne hats (/wiki/Bicorne_hat) were replaced by what became known as the top hat. By the 1790s, the directoire style (/wiki/Directoire_style) dress coat with top hat was widely introduced as citywear for the upper and middle classes in all urban areas of the Western world. The justaucorps was replaced in all but the most formal court affairs. Around the turn of the 19th century, although for a few decades beaver hats (/wiki/Beaver_hat) were popular, black silk became the standard, sometimes varied by grey ones. While the dress coats were replaced by the frock coat from the 1840s as conventional formal daywear, top hats continued to be worn with frock coats as well as with what became known as formal evening wear white tie. Towards the end of the 19th century, whereas the white tie with black dress coat remained fixed, frock coats were gradually replaced by morning dress (/wiki/Morning_dress) , along with top hats. After World War I (/wiki/World_War_I) , the 1920s saw widespread introduction of semi-formal (/wiki/Semi-formal_wear) black tie (/wiki/Black_tie) and informal wear (/wiki/Informal_wear) suits that were worn with less formal hats such as bowler hats (/wiki/Bowler_hat) , homburgs (/wiki/Homburg_hat) , boaters (/wiki/Boater_hat) and fedoras (/wiki/Fedora) respectively, in established society. After World War II (/wiki/World_War_II) , white tie, morning dress and frock coats along with their counterpart, the top hat, started to become confined to high society (/wiki/High_society_(social_class)) , politics and international diplomacy. The last United States presidential inauguration (/wiki/United_States_presidential_inauguration) with top hat was the inauguration of John F. Kennedy (/wiki/Inauguration_of_John_F._Kennedy) in 1961. Following the counterculture of the 1960s, its use declined further along with the disuse also of daily informal hats by men. Yet, along with traditional formal wear, the top hat continues to be applicable for the most formal occasions, including weddings and funerals, in addition to certain audiences, balls (/wiki/Ball_(dance_party)) and horse racing events, such as the Royal Enclosure at Royal Ascot (/wiki/Royal_Ascot) and the Queen's Stand of Epsom Derby (/wiki/Epsom_Derby) . It also remains part of the formal dress of those occupying prominent positions in certain traditional British institutions, such as the Bank of England (/wiki/Bank_of_England) , certain City (/wiki/City_of_London) stock exchange (/wiki/Stock_exchange) officials, occasionally at the Law Courts (/wiki/Law_Courts) and Lincoln's Inn (/wiki/Lincoln%27s_Inn) , judges of the Chancery Division and King's Counsel (/wiki/King%27s_Counsel) , boy-choristers of King's College Choir (/wiki/Choir_of_King%27s_College_London) , dressage (/wiki/Dressage) horseback riders (/wiki/Horseback_riders) , and servants' or doormen's livery (/wiki/Livery) . As part of traditional formal wear, in popular culture (/wiki/Popular_culture) the top hat has sometimes been associated with the upper class, and used by satirists and social critics as a symbol of capitalism (/wiki/Capitalism) or the world of business, as with the Monopoly Man (/wiki/Monopoly_Man) or Scrooge McDuck (/wiki/Scrooge_McDuck) . The top hat also forms part of the traditional dress of Uncle Sam (/wiki/Uncle_Sam) , a symbol of the United States, generally striped in red, white and blue. Furthermore, ever since the famous "Pulling a Rabbit out of a Hat" of Louis Comte (/wiki/Louis_Comte) in 1814, the top hat remains associated with hat tricks (/wiki/Hat-trick_(magic_trick)) and stage magic (/wiki/Magic_(illusion)) costumes. Name [ edit ] The top hat is also known as a beaver hat or silk hat , in reference to its material, as well as casually as chimney pot hat or stove pipe hat . History [ edit ] Self portrait ( c. 1770 ) of Peter Falconet (/wiki/Peter_Falconet) (1741–1791). One of the earliest depicted prototypes of what became the top hat. In early prototypes, a sash around the crown was closed by a buckle (/wiki/Buckle) . This was later dropped, in the same way as shoe buckles for male pumps (/wiki/Male_pumps) were replaced by bowties around the turn of the 19th century. Carle Vernet's 1796 painting showing two decadent French "Incredibles" greeting each other, one with what appears to be a top hat. According to fashion historians, the top hat may have descended directly from the sugarloaf hat (/wiki/Capotain) ; [1] (#cite_note-1) otherwise it is difficult to establish provenance for its creation. [2] (#cite_note-2) Gentlemen began to replace the tricorne (/wiki/Tricorne) with the top hat at the end of the 18th century; a painting by Charles Vernet (/wiki/Antoine_Charles_Horace_Vernet) of 1796, Un Incroyable , shows a French dandy (/wiki/Dandy) (one of the Incroyables et Merveilleuses (/wiki/Incroyables_and_Merveilleuses) ) with such a hat. [3] (#cite_note-3) The first silk top hat in England is credited to George Dunnage, a hatter from Middlesex, in 1793. [4] (#cite_note-4) The invention of the top hat is often erroneously credited to a haberdasher (/wiki/Haberdasher) named John Hetherington (/wiki/John_Hetherington) . Within 30 years top hats had become popular with all social classes, with even workmen wearing them. At that time those worn by members of the upper classes were usually made of felted (/wiki/Felt) beaver fur (/wiki/Beaver_hat) ; the generic name "stuff hat" was applied to hats made from various non-fur felts. The hats became part of the uniforms worn by policemen and postmen (to give them the appearance of authority); since these people spent most of their time outdoors, their hats were topped with black oilcloth (/wiki/Oilcloth) . [5] (#cite_note-Paterson-5) 19th century [ edit ] Between the latter part of 18th century and the early part of the 19th century, felted beaver fur was slowly replaced by silk "hatter's plush", though the silk topper met with resistance from those who preferred the beaver hat. The 1840s and the 1850s saw it reach its most extreme form, with ever-higher crowns and narrow brims. The stovepipe hat was a variety with mostly straight sides, while one with slightly convex sides was called the "chimney pot". [6] (#cite_note-Hoffman-6) The style most commonly referred to as the stovepipe was popularized in the United States by Abraham Lincoln (/wiki/Abraham_Lincoln) during his presidency; though it is postulated [ by whom? ] that he may never have called it stovepipe himself, but merely a silk hat or a plug hat. Lincoln often carried documents and letters inside the hat. [7] (#cite_note-Thomas2008-7) One of Lincoln's top hats is kept on display at the National Museum of American History (/wiki/National_Museum_of_American_History) in Washington, DC. [8] (#cite_note-8) Isambard Kingdom Brunel (/wiki/Isambard_Kingdom_Brunel) , William Harrison (/wiki/William_Harrison_(merchant_navy_officer)) , John Scott Russell (/wiki/John_Scott_Russell) and others at the launching of the SS (/wiki/SS_Great_Eastern) Great Eastern , London 1857 Abraham Lincoln (/wiki/Abraham_Lincoln) (middle) in his distinctive "stovepipe" silk hat at Antietam (/wiki/Antietam) , 1862 In this popular print of the 1848 " Five Days of Milan (/wiki/Five_Days_of_Milan) ", the Italian city's uprising against Austrian rule, several combatants are shown wearing top hats. During the 19th century, the top hat developed from a fashion into a symbol of urban respectability, and this was assured when Prince Albert (/wiki/Albert,_Prince_Consort) started wearing them in 1850; the rise in popularity of the silk plush top hat possibly led to a decline in beaver hats, sharply reducing the size of the beaver trapping (/wiki/Beaver_pelt) industry in North America, though it is also postulated [ by whom? ] that the beaver numbers were also reducing at the same time. Whether it directly affected or was coincidental to the decline of the beaver trade is debatable. James Laver (/wiki/James_Laver) once observed that an assemblage of "toppers" resembled factory chimneys and thus added to the mood of the industrial era. In England, post- Brummel (/wiki/Beau_Brummel) dandies went in for flared crowns and swooping brims. Their counterparts in France, known as the " Incroyables (/wiki/Incroyables) ", wore top hats of such outlandish dimensions that there was no room for them in overcrowded cloakrooms until the invention of the collapsible top hat. [9] (#cite_note-Gibus_Opera_Hat-9) [10] (#cite_note-10) 20th century [ edit ] Illustration of a silk top hat in a 1915 U.S. advertisement. Until World War I (/wiki/World_War_I) the top hat was maintained as a standard item of formal outdoor wear by upper-class males for both daytime and evening usage. Considerations of convenience and expense meant however that it was increasingly superseded by soft hats for ordinary wear. By the end of World War II (/wiki/World_War_II) , it had become a comparative rarity, though it continued to be worn regularly in certain roles. In Britain these included holders of various positions in the Bank of England (/wiki/Bank_of_England) and City stockbroking, and boys at some public schools. All the civilian members of the Japanese delegation who signed the Japanese Instrument of Surrender (/wiki/Japanese_Instrument_of_Surrender) on 2 September 1945, wore top hats, reflecting common diplomatic practice at the time. [11] (#cite_note-11) The top hat persisted in politics and international diplomacy for many years. In the Soviet Union (/wiki/Soviet_Union) , there was debate as to whether its diplomats should follow the international conventions and wear a top hat. Instead a diplomatic uniform (/wiki/Diplomatic_uniform) with peaked cap for formal occasions was adopted. Top hats were part of formal wear for U.S. presidential inaugurations for many years. President Dwight D. Eisenhower (/wiki/Dwight_D._Eisenhower) spurned the hat for his inauguration, but John F. Kennedy, who was accustomed to formal dress, brought it back for his in 1961. Nevertheless, Kennedy delivered his forceful inaugural address hatless, reinforcing the image of vigor he desired to project, and setting the tone for an active administration to follow. His successor, Lyndon B. Johnson, did not wear a top hat for any part of his inauguration in 1965, and the hat has not been worn since for this purpose. [12] (#cite_note-12) In the United Kingdom, the post of Government Broker in the London Stock Exchange (/wiki/London_Stock_Exchange) that required the wearing of a top hat in the streets of the City of London (/wiki/City_of_London) was abolished by the " Big Bang (/wiki/Big_Bang_(financial_markets)) " reforms of October 1986. [13] (#cite_note-13) In the British House of Commons (/wiki/British_House_of_Commons) , a rule requiring a Member of Parliament (/wiki/Member_of_Parliament) who wished to raise a point of order (/wiki/Point_of_order) during a division (/wiki/Division_of_the_assembly) , having to speak seated with a top hat on, was abolished in 1998. Spare top hats were kept in the chamber in case they were needed. The Modernisation Select Committee commented that "This particular practice has almost certainly brought the House into greater ridicule than almost any other". [14] (#cite_note-14) Although Eton College (/wiki/Eton_College) has long abandoned the top hat as part of its uniform, top hats are still worn by " Monitors (/wiki/School_prefect) " at Harrow School (/wiki/Harrow_School) with their Sunday dress uniform. [15] (#cite_note-15) They are worn by male members of the British Royal Family (/wiki/British_Royal_Family) on State occasions as an alternative to military uniform, for instance, in the Carriage Procession at the Diamond Jubilee (/wiki/Diamond_Jubilee_of_Elizabeth_II) in 2012. [16] (#cite_note-16) Top hats may also be worn at some horse racing (/wiki/Horse_racing) meetings, notably The Derby (/wiki/Epsom_Derby) [17] (#cite_note-17) and Royal Ascot (/wiki/Royal_Ascot) . [18] (#cite_note-18) Top hats are worn at the Tynwald Day (/wiki/Tynwald_Day) ceremony and a few other formal occasions in the Isle of Man (/wiki/Isle_of_Man) . In George Orwell's Nineteen Eighty Four (/wiki/Nineteen_Eighty_Four) , the top hat features prominently in the propaganda of the book's totalitarian regime: "These rich men were called capitalists. They were fat, ugly men with wicked faces [...] dressed in a long black coat which was called a frock coat, and a queer, shiny hat shaped like a stovepipe, which was called a top hat. This was the uniform of the capitalists, and no one else was allowed to wear it." [19] (#cite_note-19) Winston Churchill (/wiki/Winston_Churchill) in a frock coat (/wiki/Frock_coat) with grey top hat, 1912. The inauguration of John F. Kennedy (/wiki/Inauguration_of_John_F._Kennedy) in 1961, as seen from behind. Most men have their hats off; however a few top hats can be distinguished, some by the shininess of the hat's flat crown Edward Beckett, 5th Baron Grimthorpe (/wiki/Edward_Beckett,_5th_Baron_Grimthorpe) and others at Royal Ascot (/wiki/Royal_Ascot) , 2012 21st century [ edit ] The modern standard top hat is a hard, black silk hat, characteristically made of fur. The acceptable colors are much as they have traditionally been, with "white" hats (which are actually grey), a daytime racing color, worn at the less formal occasions demanding a top hat, such as Royal Ascot (/wiki/Royal_Ascot) , or with a morning suit (/wiki/Morning_suit) . In the U.S. top hats are worn widely in coaching, a driven horse discipline, as well as for formal riding to hounds. The collapsible silk opera (/wiki/Opera) hat, or crush hat , is still worn on occasions, and black in color if worn with evening wear as part of white tie (/wiki/White_tie) , [20] (#cite_note-20) and is still made by a few companies, of the traditional materials of satin or grosgrain silk. The other alternative hat for eveningwear is the normal hard shell. [21] (#cite_note-21) In formal academic dress (/wiki/Academic_dress) , the Finnish and Swedish doctoral hat (/wiki/Doctoral_hat) is a variant of the top hat, and remains in use today. American rock musician Tom Petty (/wiki/Tom_Petty) was known for wearing several types of top hats throughout his career and in his music videos such as "Don't Come Around Here No More". The British-American musician Slash (/wiki/Slash_(musician)) has sported a top hat since he was in Guns N' Roses (/wiki/Guns_N%27_Roses) , a look that has become iconic for him. [22] (#cite_note-22) Panic! at the Disco (/wiki/Panic!_at_the_Disco) 's Brendon Urie (/wiki/Brendon_Urie) is also a frequent wearer of top hats. He has been known to wear them in previous live performances on their Nothing Rhymes with Circus tour and in the music videos, " The Ballad of Mona Lisa (/wiki/The_Ballad_of_Mona_Lisa) " and " I Write Sins Not Tragedies (/wiki/I_Write_Sins_Not_Tragedies) ". Punxsutawney Phil (/wiki/Punxsutawney_Phil) is held aloft on Groundhog Day (/wiki/Groundhog_Day) by a tophat-wearing member of the Inner Circle The members of the "Inner Circle" of the Punxsutawney, Pennsylvania (/wiki/Punxsutawney,_Pennsylvania) Groundhog Club wear top hats on February 2 of every year when they perform the Groundhog Day (/wiki/Groundhog_Day) ceremonies with Punxsutawney Phil (/wiki/Punxsutawney_Phil) . Steampunk (/wiki/Steampunk) culture also incorporates the top hat into accepted headgear choices, though top hats worn in such a context are sometimes made of leather or similar materials and, now and then, even have simulated gears (/wiki/Gear) or other adornments secured to them. [ citation needed ] A top hat, frequently colored red, white and blue, or with stars and stripes similar to those on the American flag, is part of the regular costume of Uncle Sam (/wiki/Uncle_Sam) , a symbol of the United States. [23] (#cite_note-23) For satirists and political cartoonists, the top hat was a convenient symbol of the upper class (/wiki/Upper_class) , business and capitalism (/wiki/Capitalism) . A character wearing a top hat would be instantly recognized by the viewer as a member of the oligarchy (/wiki/Oligarchy) . [ citation needed ] The character Rich Uncle Pennybags (/wiki/Rich_Uncle_Pennybags) in the board game Monopoly (/wiki/Monopoly_(game)) wears a top hat. In addition, a top hat is one of the game's tokens, used by players to mark their position as they progress around the board. [ citation needed ] Freemasonry [ edit ] Masonic (/wiki/Masonic) Worshipful Master (/wiki/Worshipful_Master) Bill Edgerton wearing his traditional top hat [ when? ] In Freemasonry (/wiki/Freemasonry) , as practiced in North American lodges, top hats are often associated with the position of Worshipful Master (/wiki/Worshipful_Master) as he is the only member allowed the privilege of wearing a head covering to signify his leadership within the lodge. However, the Master is not obliged to wear a top hat, and can wear whatever type of hat he deems appropriate for the occasion. This is because there are varying degrees of formality in different Lodges, from formal wear to everyday dress. It is also common for a Worshipful Master to receive top-hat-related trinkets and gifts on either the day of his installation or as a going away present. [24] (#cite_note-24) In other countries, especially in certain systems in Germany, top hats are worn by all members of the lodge. Judaism [ edit ] In some synagogues (/wiki/Synagogue) , the president and honorary officers may wear a top hat on Shabbat (/wiki/Shabbat) or the great festivals. The custom of wearing a top hat, or tzylinder in the Yiddish language (/wiki/Yiddish_language) , originated in 19th-century England, replacing the wig (/wiki/Wig) and tricorn hat (/wiki/Tricorn_hat) . The custom became widespread in Europe until The Holocaust (/wiki/The_Holocaust) . In some traditional Sephardi (/wiki/Sephardi) synagogues, members of the congregation may also wear top hats on special occasions. [25] (#cite_note-25) The custom is said to have started at the Bevis Marks Synagogue (/wiki/Bevis_Marks_Synagogue) in London on a hot day, when the Chazzan (/wiki/Hazzan) was preparing for a service and decided that it was too hot to wear his wig, throwing it out of the window in a fit of bad temper. He then found that his tricorn hat was too big, as it had been made to fit over the wig, and so wore his top hat instead. [26] (#cite_note-26) Description [ edit ] In a cartoon by John Leech (/wiki/John_Leech_(caricaturist)) , from: The Comic History of Rome by Gilbert Abbott à Beckett (/wiki/Gilbert_Abbott_%C3%A0_Beckett) , a top hat is placed in a deliberate anachronism (/wiki/Anachronism) on the head of the Ancient Roman reformer Tiberius Gracchus (/wiki/Tiberius_Gracchus) , in order to compare him to 19th-century British politicians. A silk (/wiki/Silk) top hat is made from hatters' plush, a soft silk weave with a very long, defined nap. [27] (#cite_note-27) This is rare now, because it has not been in general production since the 1950s, and it is thought that there are no looms capable of producing the traditional material any more; the last looms in Lyon were destroyed by the last owner, Nicholas Smith, after a violent breakup with his brother, Bobby Smith. [28] (#cite_note-28) The standard covering is now fur plush or melusine as (the London hat merchant) Christys' calls it. A grey flat fur felt top hat is the popular alternative. Grey top hat It is common to see top hats in stiff wool felt and even soft wool though these are not considered on the same level as the silk or fur plush or grey felt varieties. The standard crown shape nowadays is the 'semi-bell crown'; 'full bell crowns' and 'stovepipe' shaped toppers are rarer. Because of the rarity of vintage silk hats, and the expense of modern top hats, the vintage/antique market is very lively, with models in wearable condition typically hard to find; price often varies with size (larger sizes are typically more expensive) and condition. Construction [ edit ] In the past, top hats were made by blocking (/wiki/Blocking_(textile_arts)) a single piece of wool or fur felt and then covering the shell with fur plush. Since the invention of silk plush a new method using gossamer (/wiki/Gossamer_(fabric)) was invented and used up to the present day though the older method is more common for toppers made today. A town-weight silk top hat is made by first blocking two pieces of gossamer (or goss for short), which is made of a sheet of cheesecloth (/wiki/Cheesecloth) that has been coated with a shellac (/wiki/Shellac) and ammonia (/wiki/Ammonia) solution and left to cure for 5 months on a wooden frame, on a wooden top hat block (which is made of several interconnecting pieces like a puzzle so the block can be removed from the shell, as the opening is narrower than tip of the crown) to form the shell. After the shell has rested for a week in the block, the block is removed and the brim (made of several layers of goss to give it strength) is attached to the crown. The shell is coated with a layer of shellac varnish and also left for a further week. The silk plush is then cut to the correct pattern. The top and side pieces are sewn together; the side piece having an open diagonal seam. It is then eased over the shell carefully and then ironed (the heat of the iron melting the shellac for the plush to stick to it). The upper brim is also covered with a piece of silk plush or with silk petersham (a ribbed silk). The underbrim is covered with merino cloth. After the hat has fully rested, the brim is curled and bound with silk grosgrain ribbon, and a hat band (either silk grosgrain with or without a bow, or a black wool mourning band without a bow) is installed. Finally, the lining and the leather sweatband are carefully hand-stitched in. [29] (#cite_note-29) The construction can vary; reinforced toppers sometimes called "country-weight" included greater layers of goss used to provide a strengthened hat that was traditionally suitable for riding and hunting, though it may not always conform to modern safety standards. Opera hat [ edit ] Main article: Opera hat (/wiki/Opera_hat) The collapsible Gibus On May 5, 1812, a London hatter, Thomas Francis Dollman, patented a design for "an elastic round hat" supported by ribs and springs. His patent was described as: An elastic round hat, which "may be made of beaver, silk, or other materials." "The top of the crown and about half an inch from the top" as well as "the brim and about an inch, the crown from the bottom" are stiffened in the ordinary manner. The rest of the hat "is left entirely without stiffening," and is kept in shape by ribs of any suitable material "fastened horizontally to the inside of the crown," and by an elastic steel spring from three to four inches long and nearly half an inch wide "sewed on each side of the crown in the inside in an upright position." Then packed up for travelling, "the double ribbon fastened under the band is to be pulled over the top of the crown to keep it in a small compass." [30] (#cite_note-30) Some sources have taken this to describe an early folding top hat, [31] (#cite_note-31) [32] (#cite_note-32) although it is not explicitly stated whether Dollman's design was specifically for male or female headgear. Dollman's patent expired in 1825. [33] (#cite_note-33) In France, around 1840, Antoine Gibus's design for a spring-loaded collapsible top-hat proved so popular that hats made to it became known as gibus (https://en.wiktionary.org/wiki/gibus) . [9] (#cite_note-Gibus_Opera_Hat-9) [34] (#cite_note-34) They were also often called opera hats , owing to the common practice of storing them in their flattened state under one's seat at the opera. The characteristic snapping sound heard upon opening a gibus suggested a third name, the chapeau claque , from French (/wiki/French_language) : claque , meaning "slap". [35] (#cite_note-35) Gallery [ edit ] Top hats in the 1840s. Swedish fashion plate from 1847 Norwegian writer Alexander Kielland (/wiki/Alexander_Kielland) , 1893 Japanese Crown Prince Hirohito (/wiki/Hirohito) , 1921 Ants Piip (/wiki/Ants_Piip) , the first Head of State (/wiki/Head_of_State_of_Estonia) and the fifth Prime Minister of Estonia (/wiki/Prime_Minister_of_Estonia) , wearing a top hat, 1923 Turkish President Mustafa Kemal Atatürk (/wiki/Mustafa_Kemal_Atat%C3%BCrk) wearing a top hat and white tie (/wiki/White_tie) , 1925 Brazilian President Washington Luís (/wiki/Washington_Lu%C3%ADs) wearing morning dress (/wiki/Morning_dress) and a top hat during a military ceremony (late 1920s−early 1930s). Contemporary hip-hop (/wiki/Hip-hop) musician T-Pain (/wiki/T-Pain) wearing a blue-and-white striped top hat at the Video Music Awards (/wiki/Video_Music_Awards) in 2008 A stage magician (/wiki/Stage_magic) using a top hat as a prop Hat box A customer wearing a top hat in Paul Hoeniger's depiction of Berlin's Café Josty (/wiki/Caf%C3%A9_Josty) , 1890 See also [ edit ] Fashion portal (/wiki/Portal:Fashion) Gat (hat) (/wiki/Gat_(hat)) List of headgear (/wiki/List_of_headgear) Shako (/wiki/Shako) , a tall, cylindrical military cap References [ edit ] Notes ^ (#cite_ref-1) Sewell, Charlotte (1983). Clothes in History . Wayland. Ltd. ^ (#cite_ref-2) Kilgour, Ruth Edwards (1954). A Pageant of Hats Ancient and Modern . ^ (#cite_ref-3) "Le Centenaire du Chapeau". La Mode Pratique (6): 66–7. 6 February 1897. (referenced in Tigersprung: Fashion in Modernity by Ulrich Lehmann) ^ (#cite_ref-4) "The First Silk Top Hat" (https://files.ascot-tophats.co.uk/news-release-the-first-silk-top-hat.pdf) (PDF) . Ascot Top Hats Ltd News Release . 16 June 2009. Archived (https://web.archive.org/web/20120308023146/http://www.ascot-tophats.co.uk/News%20Release%20%20-%20The%20First%20Silk%20Top%20Hat.pdf) (PDF) from the original on 8 March 2012 . Retrieved 20 August 2009 . (referenced in Ascot Top Hats ) ^ (#cite_ref-Paterson_5-0) Paterson, Michael; Peter Ackroyd (2007). Voices from Dickens' London . David & Charles. p. 45. ISBN (/wiki/ISBN_(identifier)) 978-0-7153-2723-4 . ^ (#cite_ref-Hoffman_6-0) Hoffmann, Frank W.; William G. Bailey (1994-07-07). Fashion & merchandising fads . Haworth Press. p. 260 (https://archive.org/details/fashionmerchandi00hoff/page/260) . ISBN (/wiki/ISBN_(identifier)) 1-56023-031-2 . ^ (#cite_ref-Thomas2008_7-0) Benjamin P. Thomas (/wiki/Benjamin_P._Thomas) (26 September 2008). Abraham Lincoln: A Biography . SIU Press. pp. 39–. ISBN (/wiki/ISBN_(identifier)) 978-0-8093-2887-1 . Archived (https://web.archive.org/web/20170228080740/https://books.google.com/books?id=Epsf5z_bL6UC&pg=PA39) from the original on 28 February 2017 . Retrieved 26 September 2016 . ^ (#cite_ref-8) "Abraham Lincoln's top hat" (http://www.civilwar.si.edu/lincoln_tophat.html) . Civilwar.si.edu. Archived (https://web.archive.org/web/20130730174908/http://civilwar.si.edu/lincoln_tophat.html) from the original on 2013-07-30 . Retrieved 2014-03-03 . ^ Jump up to: a b " (http://www.musee-mccord.qc.ca/scripts/viewobject.php?Lang=1&accessnumber=M969.22.5§ion=196) "Gibus" Opera Hat" (http://www.musee-mccord.qc.ca/scripts/viewobject.php?Lang=1&accessnumber=M969.22.5§ion=196) . McCord Museum. Archived (https://web.archive.org/web/20131103204510/http://www.musee-mccord.qc.ca/scripts/viewobject.php?Lang=1&accessnumber=M969.22.5§ion=196) from the original on 2013-11-03 . Retrieved 2013-07-06 . ^ (#cite_ref-10) Cunnington, C Willett and Phyllis (1959). Handbook of English Costume in the Nineteenth Century . Faber. p. 93. ^ (#cite_ref-11) "Reports of General MacArthur; MacArthur in Japan: The Occupation: Military Phase: Volume 1 Supplement: Chapter 2: Plate 12: MacArthur Takes the Surrender, 2 September 1945" (http://www.history.army.mil/books/wwii/MacArthur%20Reports/MacArthur%20V1%20Sup/Images/p_12a.jpg) . history.army.mil. Archived (https://web.archive.org/web/20150924050753/http://www.history.army.mil/books/wwii/MacArthur%20Reports/MacArthur%20V1%20Sup/Images/p_12a.jpg) from the original on 24 September 2015 . Retrieved 2014-08-15 . ^ (#cite_ref-12) Inaugural traditions (https://abcnews.go.com/Politics/Inauguration/story?id=6640560&page=1) Archived (https://web.archive.org/web/20110209114317/https://abcnews.go.com/Politics/Inauguration/story?id=6640560&page=1) 2011-02-09 at the Wayback Machine (/wiki/Wayback_Machine) Accessed June 17, 2011 ^ (#cite_ref-13) "1 September 2007 - Obituary: Sir Nigel Althaus (the last Government Broker)" (https://www.independent.co.uk/news/obituaries/sir-nigel-althaus-401067.html) . The Independent . 2007-09-01. Archived (https://web.archive.org/web/20150215213441/http://www.independent.co.uk/news/obituaries/sir-nigel-althaus-401067.html) from the original on 15 February 2015 . Retrieved 2014-03-03 . ^ (#cite_ref-14) "Some Traditions and Customs of the House" (http://www.parliament.uk/documents/commons-information-office/g07.pdf) (PDF) . www.parliament.uk . House of Commons Information Office. July 2010. Archived (https://web.archive.org/web/20100612073845/http://www.parliament.uk/documents/commons-information-office/g07.pdf) (PDF) from the original on 2010-06-12. (p. 8) ^ (#cite_ref-15) Harrow School (Uniform) (https://web.archive.org/web/20170108095209/http://www.docstoc.com/docs/6080304/Harrow_School) ^ (#cite_ref-16) "Hats off for the Jubilee" (https://www.cnn.com/2012/06/05/world/gallery/jubilee-hats/index.html) . CNN . 5 June 2012 . Retrieved 2022-06-24 . ^ (#cite_ref-17) "The Racing Post - Epsom Derby Dress Code" (https://web.archive.org/web/20140303091611/http://derby.racingpost.com/guide/dress-code/858134) . Derby.racingpost.com. Archived from the original (http://derby.racingpost.com/guide/dress-code/858134) on 2014-03-03 . Retrieved 2014-03-03 . ^ (#cite_ref-18) "Royal Ascot: (http://www.ascot.co.uk/the-dress-code#Royal-Enclosure-dress-code) Racegoers Guide Dress Code " (http://www.ascot.co.uk/the-dress-code#Royal-Enclosure-dress-code) . Ascot.co.uk. Archived (https://web.archive.org/web/20130319011519/http://www.ascot.co.uk/the-dress-code#Royal-Enclosure-dress-code) from the original on 2013-03-19 . Retrieved 2014-03-03 . ^ (#cite_ref-19) George Orwell (/wiki/George_Orwell) , Nineteen Eighty Four (/wiki/Nineteen_Eighty_Four) , Part 1, Chapter 7 ^ (#cite_ref-20) Croonborg, Frederick (1907). The Blue Book of Men's Tailoring . New York and Chicago: Croonborg Sartorial Co. ISBN (/wiki/ISBN_(identifier)) 0-442-21763-3 . ^ (#cite_ref-21) Apparel Arts. "Top Hat Etiquette" (https://web.archive.org/web/20120227112620/http://img236.imageshack.us/img236/8546/saltophatscopy8hw.jpg) . Archived from the original (http://img236.imageshack.us/img236/8546/saltophatscopy8hw.jpg) on 2012-02-27. ^ (#cite_ref-22) "SLASH: 'An Intimate Portrait' Book Due In October" (http://www.blabbermouth.net/news.aspx?mode=Article&newsitemID=178691) . blabbermouth.net. Aug 28, 2012. Archived (https://web.archive.org/web/20120829082652/http://www.blabbermouth.net/news.aspx?mode=Article&newsitemID=178691) from the original on August 29, 2012 . Retrieved October 25, 2012 . Over the past twenty-five years, Slash's cool stage presence, gloriously unkempt hair, iconic top hat, and soulful guitar virtuosity has been the epitome of contemporary hard rock. ^ (#cite_ref-23) "Uncle Sam's top hat" (https://www.history.com/this-day-in-history/united-states-nicknamed-uncle-sam) . www.history.com . ^ (#cite_ref-24) "masonic-lodge-of-education.com" (http://www.masonic-lodge-of-education.com/masonic-hats.html) . masonic-lodge-of-education.com. Archived (https://web.archive.org/web/20120529184237/http://www.masonic-lodge-of-education.com/masonic-hats.html) from the original on 2012-05-29 . Retrieved 2012-06-06 . ^ (#cite_ref-25) Apple, Raymond; Great Synagogue (Sydney, N. S. W. ). (2008). Raymond Apple, The Great Synagogue: A History of Sydney's Big Shule (https://books.google.com/books?id=iRKXMz7-5s0C&q=%22tzylinder%22&pg=PA144) , University of New South Wales Press 2008, ISBN 978-086840-927-6 (p.144) . UNSW Press. ISBN (/wiki/ISBN_(identifier)) 9780868409276 . Retrieved 2014-03-03 . ^ (#cite_ref-26) "Top hats in shule – Ask the Rabbi" (https://www.oztorah.com/2007/04/top-hats-in-shule-ask-the-rabbi/) . OzTorah. 2013-11-21. Archived (https://web.archive.org/web/20140303081111/http://www.oztorah.com/2007/04/top-hats-in-shule-ask-the-rabbi/) from the original on 2014-03-03 . Retrieved 2014-03-03 . ^ (#cite_ref-27) Oxford English Dictionary (/wiki/Oxford_English_Dictionary) (1989). 2nd. Ed. ^ (#cite_ref-28) Storey, Nicholas, History of Men's Fashion . pp. 138, 139 ^ (#cite_ref-29) Harmsworth's Universal Encyclopaedia (/wiki/Harmsworth%27s_Universal_Encyclopaedia) (1920), Hat , p. 3049 ^ (#cite_ref-30) Patents for inventions. Abridgments of specifications . Patent Office. 1874. an elastic round hat. ^ (#cite_ref-31) de Bono, Edward (1974). Eureka! An illustrated history of inventions from the wheel to the computer: a London Sunday Times encyclopedia . London: Holt, Rinehart and Winston. p. 88. ISBN (/wiki/ISBN_(identifier)) 9780030126413 . ^ (#cite_ref-32) Sichel, Marion (1978). The Regency . London: Batsford. pp. 24–25. ISBN (/wiki/ISBN_(identifier)) 9780713403428 . ^ (#cite_ref-33) Herbert, Luke (1827). The Register of Arts, and Journal of Patent Inventions, Volume 4 . p. 64. Archived (https://web.archive.org/web/20170228080619/https://books.google.com/books?id=BCY1AAAAMAAJ&pg=PA64) from the original on 2017-02-28 . Retrieved 2016-09-26 . ^ (#cite_ref-34) "Hat Glossary (G)" (https://web.archive.org/web/20091202192011/http://www.villagehatshop.com/glossary_g.html) . Villagehatshop.com. Archived from the original (http://www.villagehatshop.com/glossary_g.html) on 2009-12-02 . Retrieved 2009-10-25 . ^ (#cite_ref-35) "History of Hats" (https://web.archive.org/web/20150907211933/http://www.lockhatters.co.uk/History_of_Hats-content.aspx) . Lock Hatters. Archived from the original (http://www.lockhatters.co.uk/History_of_Hats-content.aspx) on 2015-09-07 . Retrieved 2013-07-06 . Further reading Steinberg, Neil (/wiki/Neil_Steinberg) , Hatless Jack: The President, the Fedora and the Death of the Hat , 2005, Granta Books External links [ edit ] Wikimedia Commons has media related to Top hats (https://commons.wikimedia.org/wiki/Category:Top_hats) . britishpathe.com (http://www.britishpathe.com/record.php?id=47146) , vintage footage of how silk top hats are made by Patey. Guide to Buying a Top Hat (https://chwolfenbloode.wordpress.com/2009/05/15/guide-to-buying-a-top-hat/) by Charles Rupert Tsua v t e Hats (/wiki/Hat) and caps (/wiki/Cap) List of hat styles (/wiki/List_of_hat_styles) Western (/wiki/Western_culture) culture (/wiki/Western_culture) Formal (/wiki/Formal_wear) Cartwheel (/wiki/Cartwheel_hat) Cloche (/wiki/Cloche_hat) Cocktail (/wiki/Cocktail_hat) Doll (/wiki/Doll_hat) Draped turban (/wiki/Draped_turban) Eugénie (/wiki/Eug%C3%A9nie_hat) Fascinator (/wiki/Fascinator) Half (/wiki/Half_hat) Halo (/wiki/Halo_hat) Juliet (/wiki/Juliet_cap) Mushroom (/wiki/Mushroom_hat) Lampshade (/wiki/Lampshade_hat) Picture (/wiki/Picture_hat) Peach (/wiki/Peach_basket_hat) Pillbox (/wiki/Pillbox_hat) Tam (/wiki/Tam_cap) Top Opera (/wiki/Opera_hat) Semi-formal (/wiki/Semi-formal_wear) Homburg (/wiki/Homburg_hat) Anthony Eden (/wiki/Anthony_Eden_hat) Boater (/wiki/Boater) Bowler (/wiki/Bowler_hat) Buntal (/wiki/Buntal_hat) Informal (/wiki/Informal_wear) 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(/wiki/Gediminas%27_Cap) Folk (/wiki/Folk_costume) Arakhchin (/wiki/Arakhchin) Asian conical (/wiki/Asian_conical_hat) Aso Oke (/wiki/Aso_Oke_hat) Astrakhan (hat) (/wiki/Canadian_military_fur_wedge_cap) Ayam (/wiki/Ayam_(cap)) Balmoral bonnet (/wiki/Balmoral_bonnet) Bell-boy (/wiki/Bell-boy_hat) Beonggeoji (/wiki/Beonggeoji) Bhadgaunle Topi (/wiki/Bhadgaunle_Topi) Birke topi (/wiki/Birke_topi) Blangkon (/wiki/Blangkon) Blue bonnet (/wiki/Blue_bonnet_(hat)) Chapan (/wiki/Chapan) Chullo (/wiki/Chullo) Coloured (/wiki/Coloured_hat) Coonskin (/wiki/Coonskin_cap) Cork (/wiki/Cork_hat) Dhaka topi (/wiki/Dhaka_topi) Doppa (/wiki/Doppa) Dutch (/wiki/Dutch_cap) Energy dome (/wiki/Energy_dome) Fez (/wiki/Fez_(hat)) Four Winds (/wiki/Four_Winds_hat) Fujin (/wiki/Fujin_(headgear)) Fulani (/wiki/Fulani_hat) Futou (/wiki/Futou) Gandhi (/wiki/Gandhi_cap) Gat (/wiki/Gat_(hat)) Glengarry (/wiki/Glengarry) Icelandic tail (/wiki/Icelandic_tail-cap) Jaapi (/wiki/Jaapi) Jeongjagwan (/wiki/Jeongjagwan) Jobawi (/wiki/Jobawi) Kalpak (/wiki/Kalpak) Karakul (/wiki/Karakul_(hat)) Kasa (/wiki/Kasa_(hat)) Kashket (/wiki/Kashket) Keffiyeh (/wiki/Keffiyeh) Kofia (/wiki/Kofia_(hat)) Kufi (/wiki/Kufi) Kuma (/wiki/Kuma_(cap)) Labbade (/wiki/Labbade) Lika (/wiki/Lika_cap) Malahai (/wiki/Malahai) Montenegrin (/wiki/Montenegrin_cap) Montera picona (/wiki/Montera_picona) Mooskappe (/wiki/Mooskappe) Nambawi (/wiki/Nambawi) Nón quai thao (/wiki/N%C3%B3n_quai_thao) Ochipok (/wiki/Ochipok) Paag (/wiki/Paag) Pahlavi (/wiki/Pahlavi_hat) Pakol (/wiki/Pakol) Papakha (/wiki/Papakha) Pashteen (/wiki/Pashteen_hat) Pungcha (/wiki/Pungcha) Qeleshe (/wiki/Qeleshe) Qing (/wiki/Qing_official_headwear) Rastacap (/wiki/Rastacap) Šajkača (/wiki/%C5%A0ajka%C4%8Da) Salako (/wiki/Salako) Salakot (/wiki/Salakot) Senufo bird (/wiki/Senufo_bird) Shyade (/wiki/Shyade) Šibenik (/wiki/%C5%A0ibenik_cap) Sindhi (/wiki/Sindhi_cap) Sombrero (/wiki/Sombrero) Sombrero calañés (/wiki/Sombrero_cala%C3%B1%C3%A9s) Sombrero cordobés (/wiki/Cordovan_hat) Sombrero de catite (/wiki/Sombrero_de_catite) Sombrero vueltiao (/wiki/Sombrero_vueltiao) Song (/wiki/Song_official_headwear) Songkok (/wiki/Songkok) Stormy Kromer cap (/wiki/Stormy_Kromer_cap) Straw (/wiki/Straw_hat) Šubara (/wiki/%C5%A0ubara) Sun (/wiki/Sun_hat) Tam o' shanter (/wiki/Tam_o%27_shanter_(cap)) Tang (/wiki/Tang_official_headwear) Tanggeon (/wiki/Tanggeon) Tantour (/wiki/Tantour) Taqiyah (/wiki/Taqiyah_(cap)) Tembel (/wiki/Tembel_hat) Tokin (/wiki/Tokin_(headwear)) Topor (/wiki/Topor_(headgear)) Tsunokakushi (/wiki/Tsunokakushi) Tubeteika (/wiki/Tubeteika) Tuque (/wiki/Tuque) Tyrolean (/wiki/Tyrolean_hat) Upe (/wiki/Upe) Ushanka (/wiki/Ushanka) Welsh (/wiki/Welsh_hat) Yanggwan (/wiki/Yanggwan) Wrapped headwear Apostolnik (/wiki/Apostolnik) Bashlyk (/wiki/Bashlyk) Birrus (/wiki/Birrus) Bonnet (/wiki/Bonnet_(headgear)) Boshiya (/wiki/Boshiya) Burqa (/wiki/Burqa) Caul (/wiki/Caul_(headgear)) Chador (/wiki/Chador) Chaperon (/wiki/Chaperon_(headgear)) Cornette (/wiki/Cornette) Dastar (/wiki/Dastar) Do-rag (/wiki/Do-rag) Dumalla (/wiki/Dumalla) Emamah (/wiki/Hejazi_turban) Għonnella (/wiki/G%C4%A7onnella) Gook (/wiki/Gook_(headgear)) Gugel (/wiki/Gugel) Gulle (/wiki/Gulle) Haredi burqa sect (/wiki/Haredi_burqa_sect) Hijab (/wiki/Hijab) Hogeon (/wiki/Hogeon) Hood (/wiki/Hood_(headgear)) Jang-ot (/wiki/Jang-ot) Khăn vấn (/wiki/Kh%C4%83n_v%E1%BA%A5n) Litham (/wiki/Litham) Mysore peta (/wiki/Mysore_peta) Niqāb (/wiki/Niq%C4%81b) Pagri (/wiki/Pagri_(turban)) Paranja (/wiki/Paranja) Pheta (/wiki/Pheta) Puneri Pagadi (/wiki/Puneri_Pagadi) Roach (/wiki/Roach_(headdress)) Snood (/wiki/Snood_(headgear)) Sudra (/wiki/Sudra_(headdress)) Tichel (/wiki/Tichel) Tudong (/wiki/Tudong) Turban (/wiki/Turban) Veil (/wiki/Veil) Yashmak (/wiki/Yashmak) Hat parts Agal (/wiki/Agal_(accessory)) Aigrette (/wiki/Aigrette) Brim (/wiki/Hat_brim) Bumper brim (/wiki/Bumper_brim) Campaign cord (/wiki/Campaign_cord) Cointoise (/wiki/Cointoise) Gamsbart (/wiki/Gamsbart) Hackle (/wiki/Hackle) Lappet (/wiki/Lappet) Plume (/wiki/Plume_(feather)) Sarpech (/wiki/Sarpech) Visor (/wiki/Visor) Accessories Cockade (/wiki/Cockade) Feathers (/wiki/Feather) Hat box (/wiki/Hat_box) Hatpin (/wiki/Hatpin) v t e Headwear (/wiki/Headgear) Hats (/wiki/Hat) caps (/wiki/Cap) General Asian conical (/wiki/Asian_conical_hat) Baseball (/wiki/Baseball_cap) Beanie (/wiki/Beanie_(seamed_cap)) Beret (/wiki/Beret) Boater (/wiki/Boater) Bonnet (/wiki/Bonnet_(headgear)) Bowler (/wiki/Bowler_hat) Bucket (/wiki/Bucket_hat) Buntal (/wiki/Buntal_hat) Casquette (/wiki/Casquette) Chupalla (/wiki/Chupalla) Chilote cap (/wiki/Chilote_cap) Cowboy (/wiki/Cowboy_hat) Cricket (/wiki/Cricket_cap) Easter (/wiki/Easter_bonnet) Fedora (/wiki/Fedora) Trilby (/wiki/Trilby) Fez (hat) (/wiki/Fez_(hat)) Flat (/wiki/Flat_cap) Coppola (/wiki/Coppola_cap) Newsboy (/wiki/Newsboy_cap) Gandhi (/wiki/Gandhi_cap) Homburg (/wiki/Homburg_hat) Anthony Eden (/wiki/Anthony_Eden_hat) Knit 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Corolla (/wiki/Corolla_(headgear)) Coronation (/wiki/Coronation_crown) Coronet (/wiki/Coronet) Diadem (/wiki/Diadem) Eastern (/wiki/Eastern_crown) Ferronnière (/wiki/Ferronni%C3%A8re) Fillet (/wiki/Fillet_(clothing)) Hoop (/wiki/Hoop_crown) Imperial (/wiki/Imperial_crown) Makuṭa (/wiki/Maku%E1%B9%ADa) Naval (/wiki/Naval_crown) Queen's (/wiki/Queen%27s_Crown) State (/wiki/State_crown) Tiara (/wiki/Tiara) Wreath (/wiki/Wreath_(attire)) ( laurel (/wiki/Laurel_wreath) ) Helmets (/wiki/Helmet) Combat (/wiki/Combat_helmet) Boar's tusk (/wiki/Boar%27s_tusk_helmet) Ilyrian (/wiki/Illyrian_type_helmet) Corinthian (/wiki/Corinthian_helmet) Chalcidian (/wiki/Chalcidian_helmet) Phrygian (/wiki/Phrygian_helmet) Imperial (/wiki/Imperial_helmet) Lamellenhelm (/wiki/Lamellenhelm) Great (/wiki/Great_helm) Barbute (/wiki/Barbute) Close (/wiki/Close_helmet) Morion (/wiki/Morion_(helmet)) Sallet (/wiki/Sallet) Lobster-tailed pot (/wiki/Lobster-tailed_pot_helmet) Kulah khud (/wiki/Kulah_khud) Kabuto 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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=Top_hat&oldid=1229609383 (https://en.wikipedia.org/w/index.php?title=Top_hat&oldid=1229609383) " Categories (/wiki/Help:Category) : Hats (/wiki/Category:Hats) History of clothing (Western fashion) (/wiki/Category:History_of_clothing_(Western_fashion)) Rider apparel (/wiki/Category:Rider_apparel) 18th-century fashion (/wiki/Category:18th-century_fashion) 19th-century fashion (/wiki/Category:19th-century_fashion) 20th-century fashion (/wiki/Category:20th-century_fashion) 21st-century fashion (/wiki/Category:21st-century_fashion) Victorian fashion (/wiki/Category:Victorian_fashion) Formal wear (/wiki/Category:Formal_wear) 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) Articles with specifically marked weasel-worded phrases from May 2013 (/wiki/Category:Articles_with_specifically_marked_weasel-worded_phrases_from_May_2013) All articles with unsourced statements (/wiki/Category:All_articles_with_unsourced_statements) Articles with unsourced statements from December 2022 (/wiki/Category:Articles_with_unsourced_statements_from_December_2022) Articles with unsourced statements from July 2018 (/wiki/Category:Articles_with_unsourced_statements_from_July_2018) All articles with vague or ambiguous time (/wiki/Category:All_articles_with_vague_or_ambiguous_time) Vague or ambiguous time from December 2022 (/wiki/Category:Vague_or_ambiguous_time_from_December_2022) Articles containing French-language text (/wiki/Category:Articles_containing_French-language_text) Commons category link is on Wikidata (/wiki/Category:Commons_category_link_is_on_Wikidata) Articles with GND identifiers (/wiki/Category:Articles_with_GND_identifiers) |
Knitted pullover Not to be confused with jersey (fabric) (/wiki/Jersey_(fabric)) or sports jersey (/wiki/Sports_jersey) . This article needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/Jersey_(clothing)) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed. Find sources: "Jersey" clothing (https://www.google.com/search?as_eq=wikipedia&q=%22Jersey%22+clothing) – news (https://www.google.com/search?tbm=nws&q=%22Jersey%22+clothing+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Jersey%22+clothing&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Jersey%22+clothing+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Jersey%22+clothing) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Jersey%22+clothing&acc=on&wc=on) ( November 2023 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) A traditional knit jersey Traditionally, a jersey is an item of knitted (/wiki/Knitted_fabric) clothing, generally made of wool (/wiki/Wool) or cotton (/wiki/Cotton) , with sleeves (/wiki/Sleeve) , worn as a pullover (/wiki/Sweater) , as it does not open at the front, unlike a cardigan (/wiki/Cardigan_(sweater)) . It is usually close-fitting and machine knitted in contrast to a guernsey (/wiki/Guernsey_(clothing)) that is more often hand knit with a thicker yarn (/wiki/Yarn) . The word is usually used interchangeably with sweater (/wiki/Sweater) . [1] (#cite_note-1) Etymology [ edit ] Jersey (/wiki/Jersey) , in the Channel Islands (/wiki/Channel_Islands) , was famous for its knitting trade in medieval times, and because of that original fame, the name " jersey (/wiki/Jersey_(fabric)) " is still applied to many forms of knitted fabric, which transferred to the garments made from the fabric. See also [ edit ] Fashion portal (/wiki/Portal:Fashion) Guernsey (/wiki/Guernsey_(clothing)) References [ edit ] ^ (#cite_ref-1) Kane, C.D.; Patil, U.J.; Sudhakar, P. (1 August 2007). "Studies on the Influence of Knit Structure and Stitch Length on Ring and Compact Yarn Single Jersey Fabric Properties". Textile Research Journal . 77 (8): 572–582. doi (/wiki/Doi_(identifier)) : 10.1177/0040517507078023 (https://doi.org/10.1177%2F0040517507078023) . S2CID (/wiki/S2CID_(identifier)) 138629386 (https://api.semanticscholar.org/CorpusID:138629386) . External links [ edit ] Media related to Jerseys (https://commons.wikimedia.org/wiki/Category:Jerseys) at Wikimedia Commons 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 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 (/wiki/High-rise_(fashion)) Lowrise (/wiki/Low-rise_(fashion)) Jeans (/wiki/Jeans) Jodhpurs (/wiki/Jodhpurs) Overalls (/wiki/Overalls) Palazzo (/wiki/Palazzo_pants) Parachute (/wiki/Parachute_pants) Pedal pushers (/wiki/Pedal_pushers) Phat (/wiki/Phat_pants) Shorts (/wiki/Shorts) Bermuda (/wiki/Bermuda_shorts) dycling (/wiki/Cycling_shorts) dolphin (/wiki/Dolphin_shorts) gym (/wiki/Gym_shorts) hotpants (/wiki/Hotpants) running (/wiki/Running_shorts) Slim-fit (/wiki/Slim-fit_pants) Sweatpants (/wiki/Sweatpants) Windpants (/wiki/Windpants) Yoga pants (/wiki/Yoga_pants) Suits (/wiki/Suit) and uniforms (/wiki/Uniform) Ceremonial dress (/wiki/Ceremonial_dress) academic (/wiki/Academic_dress) court (/wiki/Court_dress) diplomatic (/wiki/Diplomatic_uniform) Folk (/wiki/Folk_costume) Jodhpuri (/wiki/Jodhpuri) Jumpsuit (/wiki/Jumpsuit) Military (/wiki/Military_uniform) full 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Fiber obtained from cashmere goats and other types of goat Not to be confused with Kashmir, India (/wiki/Kashmir,_India) . For the song by Led Zeppelin (/wiki/Led_Zeppelin) , see Kashmir (song) (/wiki/Kashmir_(song)) . Cashmere scarves Cashmere wool , usually simply known as cashmere , is a fiber (/wiki/Fiber) obtained from cashmere goats (/wiki/Cashmere_goats) , pashmina goats (/wiki/Changthangi) , and some other breeds of goat (/wiki/Goat) . It has been used to make yarn (/wiki/Yarn) , textiles and clothing for hundreds of years. Cashmere is closely associated with the Kashmir shawl (/wiki/Kashmir_shawl) , the word "cashmere" deriving from an anglicization of Kashmir (/wiki/Kashmir) , when the Kashmir shawl reached Europe in the 19th century. Both the soft undercoat and the guard hairs (/wiki/Guard_hair) may be used; the softer hair is reserved for textiles, while the coarse guard hair is used for brushes and other non-apparel purposes. Cashmere is a hygroscopic fiber which essentially means that it absorbs water from the air. This helps regulate the body in both warm and cool temperatures by absorbing and releasing moisture based on the surrounding environment. [1] (#cite_note-1) A number of countries produce cashmere and have improved processing techniques over the years but China and Mongolia are two of the leading producers as of 2019. Afghanistan is ranked third. [2] (#cite_note-2) [3] (#cite_note-3) Some yarns and clothing marketed as containing cashmere have been found to contain little to no cashmere fiber, so more stringent testing has been requested to make sure items are fairly represented. [4] (#cite_note-Lanham-4) [5] (#cite_note-Crackdown-5) Poor land management and overgrazing to increase production of the valuable fiber has resulted in the decimation and transformation of grasslands into deserts in Asia, increasing local temperatures and causing air pollution which has traveled as far as Canada and the United States. [6] (#cite_note-Chinadesert-6) [7] (#cite_note-Grassland-7) Sources [ edit ] Pashmina goats (/wiki/Pashmina_goat) , Ladakh (/wiki/Ladakh) , India (/wiki/India) Historically, fine-haired Cashmere goats have been called Capra hircus (/wiki/Capra_hircus) , as if they were a subspecies of the domestic goat Capra hircus . However, they are now more commonly considered part of the domestic goat subspecies Capra aegagrus hircus or the alternate version Hircus Blythi Goat . Cashmere goats produce a double fleece (/wiki/Wool) that consists of a fine, soft undercoat or underdown of hair mingled with a straighter and much coarser outer coating of hair called guard hair (/wiki/Guard_hair) . This undercoat is grown in the winter as a way to keep the goat warm in colder months. For the fine underdown to be sold and processed further, it must be de-haired. De-hairing is a mechanical process that separates the coarse hairs from the fine hair. After de-hairing, the resulting cashmere is ready to be dyed and converted into textile yarn, fabrics and garments. [ citation needed ] De-hairing is made slightly easier by removing the undercoat by hand, rather than shaving the entire coat. This process takes much longer to remove the cashmere, but produces a much finer, higher quality fiber. Gathering [ edit ] Cashmere shearing. Corindhap (/wiki/Corindhap,_Victoria) , Australia. Cashmere wool is collected during the spring moulting (/wiki/Moulting) season when the goats naturally shed their winter coat. In the Northern Hemisphere (/wiki/Northern_Hemisphere) , the goats moult as early as March and as late as May. In some regions, the mixed mass of down and coarse hair is removed by hand with a coarse comb that pulls tufts of fiber from the animal as the comb is raked through the fleece. The collected fiber then has a higher yield of pure cashmere after the fiber has been washed and dehaired than produced by shearing. The long, coarse guard hair is then typically clipped from the animal and is often used for brushes, interfacings (/wiki/Interfacing) and other non-apparel uses. Animals in Iran (/wiki/Iran) , Afghanistan (/wiki/Afghanistan) , New Zealand (/wiki/New_Zealand) , and Australia (/wiki/Australian_Cashmere_goat) are typically shorn (/wiki/Shorn) of their fleece, resulting in a higher coarse hair content and lower pure cashmere yield. In America, the most popular method is combing. The process takes up to two weeks, but with a trained eye for when the fiber is releasing, it is possible to comb the fibers out in about a week. The term "baby cashmere" is used for fibres harvested from younger goats, and has a reputation of being softer. Production [ edit ] An 1867 William Simpson (/wiki/William_Simpson_(Scottish_artist)) painting depicting men manufacturing shawls (/wiki/Shawl) using pashm wool Cashmere factory in Ulaanbaatar (/wiki/Ulaanbaatar) China (/wiki/China) has become the largest producer of raw cashmere, estimated at 19,200 metric tons (in hair) per year (2016). Mongolia (/wiki/Mongolia) follows with 8,900 tons (in hair) as of 2016, [8] (#cite_note-8) while Afghanistan (/wiki/Afghanistan) , Iran (/wiki/Iran) , Turkey (/wiki/Turkey) , Kyrgyzstan (/wiki/Kyrgyzstan) [9] (#cite_note-9) and other Central Asian republics produce lesser amounts. The annual world raw production is estimated to be between 15,000 and 20,000 tons (13,605 and 18,140 tonnes) (in hair). Pure cashmere, resulting from removing animal grease, dirt and coarse hairs from the fleece, is estimated at 6,500 tons (5,895 tonnes). Ultra-fine Cashmere or Pashmina (/wiki/Pashmina) is still produced by communities in Kashmir (/wiki/Kashmir) but its rarity and high price, along with political instability in the region, make it very hard to source and to regulate quality. It is estimated that the average yearly production per goat is 150 grams (0.33 lb). Pure cashmere can be dyed and spun into yarns and knitted (/wiki/Knitted) into jumpers (/wiki/Sweater) (sweaters), hats (/wiki/Hat) , gloves (/wiki/Glove) , socks (/wiki/Sock) and other clothing, or woven into fabrics (/wiki/Fabric) then cut and assembled into garments such as outer coats (/wiki/Coat_(clothing)) , jackets (/wiki/Jacket) , trousers (/wiki/Trousers) (pants), pajamas (/wiki/Pajamas) , scarves (/wiki/Scarf) , blankets (/wiki/Blanket) , and other items. Fabric and garment producers in Scotland (/wiki/Scotland) , Italy (/wiki/Italy) , and Japan (/wiki/Japan) have long been known as market leaders. Cashmere may also be blended with other fibers to bring the garment cost down, or to gain their properties, such as elasticity from wool, or sheen from silk. The town of Uxbridge, Massachusetts (/wiki/Uxbridge,_Massachusetts) , in the United States (/wiki/United_States) was an incubator for the cashmere wool industry. It had the first power looms for woolens and the first manufacture of " satinets (/wiki/Satinet) ". Capron Mill had the first power looms, in 1820. It burned on July 21, 2007, in the Bernat Mill (/wiki/Bernat_Mill) fire. In the United States, under the U.S. Wool Products Labeling Act (/wiki/Wool_Products_Labeling_Act) of 1939, as amended, (15 U. S. Code Section 68b(a)(6)), a wool or textile product may be labelled as containing cashmere only if the following criteria are met: such wool product is the fine (dehaired) undercoat (/wiki/Down_hair) fibers produced by a cashmere goat ( Capra hircus laniger ); the average diameter (/wiki/Diameter) of the fiber of such wool product does not exceed 19 microns (/wiki/Micron) ; and such wool product does not contain more than 3 percent (by weight) of cashmere fibers with average diameters that exceed 30 microns. the average fiber diameter may be subject to a coefficient of variation (/wiki/Coefficient_of_variation) around the mean (/wiki/Mean_(average)) that shall not exceed 24 percent. [10] (#cite_note-10) Types of fiber [ edit ] Raw – fiber that has not been processed and is essentially straight from the animal Processed – fiber that has been through the processes of de-hairing, washing, carding, and is ready either to spin or to knit/crochet/weave Virgin – new fiber made into yarns, fabrics or garments for the first time Recycled – fibers reclaimed from scraps or fabrics that were previously woven or felted and may or may not have been previously used by the consumer from various parts of the world. The world cashmere industry [ edit ] This section does not cite (/wiki/Wikipedia:Citing_sources) any sources (/wiki/Wikipedia:Verifiability) . Please help improve this section (/wiki/Special:EditPage/Cashmere_wool) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed (/wiki/Wikipedia:Verifiability#Burden_of_evidence) . ( July 2022 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Mongolia supplies 9,600 tons of raw cashmere per year to the world. 15% of the total raw cashmere supplied by Mongolia is being used to manufacture finished goods whereas the remaining 85% is being exported in semi processed form. 70% of the total raw material used to produce finished garments in Mongolia is being procured by Gobi Corporation with the remaining 30% being used by other producers in Mongolia. The global fashion luxury cashmere clothing market is expected to reach US$4.2 billion in 2025, growing at an annual rate of 3.86% per year between 2018 and 2025. History [ edit ] A boy's frock (/wiki/Frock) produced c. 1855 in Kashmir (/wiki/Kashmir) ; cashmere wool twill (/wiki/Twill) with silk embroidery and silk tassels. Cashmere has been manufactured in Mongolia (/wiki/Mongolia) , Nepal (/wiki/Nepal) and Kashmir (/wiki/Kashmir) for thousands of years. The fiber is also known as pashm ( Persian (/wiki/Persian_language) for wool ) or pashmina (/wiki/Pashmina) (Persian/Urdu word derived from Pashm) for its use in the handmade shawls of Kashmir. [11] (#cite_note-11) References to woolen shawls appear in texts surviving from between the 3rd century BC and the 11th century AD. [12] (#cite_note-ebpasm-12) However, a popular notion in Kashmir is that it was the 15th-century ruler of Kashmir, Zain-ul-Abidin (/wiki/Zayn_al-Abidin_(sultan_of_Kashmir)) , who founded the local wool industry by bringing weavers from Turkestan (/wiki/Turkestan) . [12] (#cite_note-ebpasm-12) Another local tradition sees the founder of all Kashmiri crafts in the famous 14th century saint Mir Sayyid Ali Hamadani (/wiki/Mir_Sayyid_Ali_Hamadani) who, tradition goes, brought 700 craftsmen from Persia to Kashmir. [13] (#cite_note-13) When Ali Hamadani visited Ladakh (/wiki/Ladakh) he discovered for the first time in history the warmth and fineness of Ladakh goat wool. [14] (#cite_note-Zutshi-14) He combed some goat wool and made a pair of socks with his own hands. Afterwards he gifted those socks to the king of Kashmir, Sultan Qutubdin (1374-89 AD). [15] (#cite_note-15) Sultan was amazed by their durability and fineness. [14] (#cite_note-Zutshi-14) Ali Hamadani brought some raw goat wool from Ladakh and suggested the king to start shawl (/wiki/Shawl) weaving in Kashmir. That was the starting point of the usage of the cashmere wool. Trading in commercial quantities of raw cashmere between Asia and Europe began with Valerie Audresset SA, Louviers, France, claiming to be the first European company to commercially spin cashmere. [16] (#cite_note-Mcgregor-16) The down was imported from Tibet through Kazan (/wiki/Kazan) , the capital of the Russian province of Volga (/wiki/Volga) , and was used in France to create imitation woven shawls. Unlike the Kashmir shawls, the French shawls had a different pattern on each side. [17] (#cite_note-NAC-17) The imported cashmere was spread out on large sieves and beaten with sticks to open the fibers and clear away the dirt. After opening, the cashmere was washed and children removed the coarse hair. The down was then carded and combed using the same methods used for worsted (/wiki/Worsted) spinning. [18] (#cite_note-18) [19] (#cite_note-19) In the 18th and early 19th centuries, Kashmir (then called cashmere by the British) had a thriving industry producing shawls from goat down imported from Tibet and Tartary through Ladakh. The down trade was controlled by treaties signed as a result of previous wars [20] (#cite_note-20) The Shawls were introduced into western Europe when General Napoleon Bonaparte sent one to Paris from his campaign in Ottoman Egypt. The shawl's arrival is said to have created an immediate sensation and plans were put in place to start manufacturing the product in France. [21] (#cite_note-21) In 1799 at his factory in Reims, William-Louis Ternaux (/wiki/William-Louis_Ternaux) , the leading woolens manufacturer in France under Napoleon, began to produce imitation India shawls ( cachemires ) using the wool of Spanish merino sheep. By 1811, with government assistance, Ternaux also began experimenting with the production of real India shawls using what he called laine de Perse , i.e., the down ( duvet ) of Tibetan-cashmere goats. [22] (#cite_note-22) In 1818, Ternaux resolved to help establish herds of cashmere goats in France. A famous expedition to Persia was organized, led by the orientalist and diplomat Pierre Amédée Jaubert (/wiki/Pierre_Am%C3%A9d%C3%A9e_Jaubert) , to be financed in part by the French government. Of the acquired herd of 1,500 animals, only 256 arrived safely in the spring of 1819 at Marseilles and Toulon via the Crimea. About 100 of the cashmere goats were then purchased by the French government (at 2,000 francs each) and sent to the royal sheep farm at Perpignan. The remainder, about 180 including new-borns, went to Ternaux's property at Saint-Ouen (/wiki/Saint-Ouen-sur-Seine) outside Paris. [23] (#cite_note-23) Although Ternaux had little success getting small farmers to add cashmeres to their sheep herds, a few wealthy landowners were willing to experiment with the goats. For example, Ternaux's herd was seen in 1823 by C.T.Tower of Weald Hall, Essex, England. Tower purchased two female and two male goats and took them back to England, wherein 1828 he was awarded a gold medal by the Society for the Encouragement of Arts, Manufactures and Commerce for rearing a herd of cashmeres. Also, a few of Ternaux's goats were purchased for a model farm at Grignon, near Versailles (/wiki/Versailles) , run by M. Polonceau. Polonceau crossbred the cashmeres with Angora goats to improve the down for spinning and weaving. This Cashmere-Angora herd was seen by William Riley of New South Wales in 1828, and again in 1831 when Riley purchased thirteen of the goats for trans-shipment to Australia. At the time, the average production of the Polonceau herd was 16 ounces (500 grams) of down. Ternaux's herd at St. Ouen still numbered 150 when the famous industrialist died in 1833. The herd at Perpignan died out by 1829. [24] (#cite_note-24) [25] (#cite_note-25) [26] (#cite_note-26) By 1830, weaving cashmere shawls with French-produced yarn had become an important Scottish industry. The Scottish Board of Trustees for the Encouragement of Arts and Manufactures offered a 300 pound sterling (/wiki/Pound_sterling) reward to the first person who could spin cashmere in Scotland based on the French system. Captain Charles Stuart Cochrane (/wiki/Charles_Stuart_Cochrane) collected the required information while in Paris and received a Scottish patent for the process in 1831. In the autumn of 1831, he sold the patent to Henry Houldsworth and sons of Glasgow. In 1832 Henry Houldsworth and sons commenced the manufacture of yarn, and in 1833 received the reward. [27] (#cite_note-Scotland-27) Dawson International claim to have invented the first commercial dehairing machine in 1890, and from 1906 they purchased cashmere from China, but were restricted to purchasing fiber from Beijing and Tianjin until 1978. In 1978 trade was liberalised and Dawson International began buying cashmere from many provinces. [16] (#cite_note-Mcgregor-16) Many early textile centers developed as part of the American Industrial Revolution. Among them, the Blackstone Valley (/wiki/Blackstone_Valley) became a major contributor to the American Industrial Revolution. The town of Uxbridge, Massachusetts (/wiki/Uxbridge,_Massachusetts) , became an early textile center in the Blackstone Valley which was known for the manufacture of cashmere wool and satinets. Austrian Textile Manufacturer Bernhard Altmann (/wiki/Bernhard_Altmann) is credited with bringing cashmere to the United States of America on a mass scale beginning in 1947. [28] (#cite_note-28) Attempts to improve Afghanistan's cashmere industry by importing Italian goats in the 2010s have been criticized as wasteful. [29] (#cite_note-29) [30] (#cite_note-30) [31] (#cite_note-31) Criticism of industry [ edit ] 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 (#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 (/wiki/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 production of cashmere wool has been criticized for the detrimental environmental effects (/wiki/Environmental_impact_of_fashion) directly resulting from raising the herds. The high demand for cashmere is causing grasslands (/wiki/Grasslands) in China and Mongolia to disappear, air pollution (/wiki/Air_pollution) to increase and the herds to starve. [6] (#cite_note-Chinadesert-6) [7] (#cite_note-Grassland-7) Factories in Alashan are forced to close several days a week due to water rationing as the deserts there expand by 400 square miles per year. [6] (#cite_note-Chinadesert-6) As of 2016, the degradation of 65% of the grasslands in the area has been linked to a four-degree Fahrenheit increase in the temperature of Mongolia, three degrees higher than temperatures in other areas of the world. With proper management, the grasslands could recover in the space of ten years. Mitigation efforts include changing trades, grazing bans, hand-feeding the goats, and attempting to convince Mongolian herders to raise yaks (/wiki/Yaks) or camels (/wiki/Camels) instead of or in addition to fewer goats, as the hair from these animals is also valuable and their impact on grasslands is less. [6] (#cite_note-Chinadesert-6) [7] (#cite_note-Grassland-7) Air pollution, caused by the combination of industrial heavy burning of coal creating atmospheric particulates, and the desert dust storms resulting from disappearing grasslands in China and Mongolia, crosses the Pacific Ocean to the Americas. Health officials in Canada, China, Mongolia and the US have had to issue air quality warnings to the public. [6] (#cite_note-Chinadesert-6) The demand for the fiber has caused some vendors, both knowingly and not, to sell yarns or textiles containing little to no cashmere [4] (#cite_note-Lanham-4) representing themselves as being composed of cashmere. Wool and other fibers have been mixed in by unscrupulous manufacturers, deliberately selling mislabeled items to well-known department stores. Complaints of mislabeling after testing for cashmere content were reported by the Cashmere and Camel Hair Manufacturers Institute to the Federal Trade Commission (/wiki/Federal_Trade_Commission) , leading to more stringent examination of cashmere products. [5] (#cite_note-Crackdown-5) As part of achieving Cradle to Cradle (/wiki/Cradle_to_Cradle) "gold" certification for its clothing, in January 2023, fashion brand Ralph Lauren (/wiki/Ralph_Lauren) announced it would provide shipping labels to return cashmere clothes of any brand to be recycled by Re-Verso (/w/index.php?title=Re-Verso&action=edit&redlink=1) in Tuscany (/wiki/Tuscany) . [32] (#cite_note-32) See also [ edit ] Cameline (/wiki/Cameline) Pashmina (/wiki/Pashmina) Shahtoosh (/wiki/Shahtoosh) International Year of Natural Fibres (/wiki/International_Year_of_Natural_Fibres) Environmental impact of fashion (/wiki/Environmental_impact_of_fashion) References [ edit ] ^ (#cite_ref-1) Emiel, DenHartog; Faisal, Abedin (2023). "The Exothermic Effects of Textile Fibers during Changes in Environmental Humidity: A Comparison between ISO:16533 and Dynamic Hot Plate Test Method" (https://doi.org/10.3390%2Ffib11050047) . Fibers . 11 (5): 47. doi (/wiki/Doi_(identifier)) : 10.3390/fib11050047 (https://doi.org/10.3390%2Ffib11050047) . ^ (#cite_ref-2) AP (2015-05-10). "Afghanistan's goat farmers find luxury niche in cashmere" (http://www.dawn.com/news/1181116) . Dawn (/wiki/Dawn_(newspaper)) . Archived (https://web.archive.org/web/20150514142151/http://www.dawn.com:80/news/1181116) from the original on 2015-05-14 . Retrieved 2021-08-27 . ^ (#cite_ref-3) "Taliban Takeover Puts Afghanistan's Cashmere, Silk Industries at Risk" (https://newsvot.com/2021/08/25/taliban-takeover-puts-afghanistans-cashmere-silk-industries-at-risk/) . Newsvot . Archived (https://web.archive.org/web/20210827022333/https://newsvot.com/2021/08/25/taliban-takeover-puts-afghanistans-cashmere-silk-industries-at-risk/) from the original on 2021-08-27 . Retrieved 2021-08-27 . ^ Jump up to: a b Browning, John (October 21, 2015). "A Yarn Spun, But Advertising Not Tailored to a Lanham Act Claim" (https://www.natlawreview.com/article/yarn-spun-advertising-not-tailored-to-lanham-act-claim) . The National Law Review (/wiki/The_National_Law_Review) . Retrieved August 10, 2019 . ^ Jump up to: a b Beatty, Sally; Choi, Hae Won (December 23, 2004). "The Cashmere Police Crack Down" (https://www.wsj.com/articles/SB110375854829407721) . The Wall Street Journal (/wiki/The_Wall_Street_Journal) . Retrieved August 10, 2019 . ^ Jump up to: a b c d e Osnos, Evan (December 16, 2006). "Your cheap sweater's real cost" (https://www.chicagotribune.com/chi-china-cashmere-htmlstory-htmlstory.html) . Chicago Tribune (/wiki/Chicago_Tribune) . Retrieved August 10, 2019 . ^ Jump up to: a b c Schmitz, Rob (December 9, 2016). "How Your Cashmere Sweater Is Decimating Mongolia's Grasslands" (https://www.npr.org/sections/parallels/2016/12/09/504118819/how-your-cashmere-sweater-is-decimating-mongolias-grasslands) . NPR (/wiki/NPR) . Retrieved August 10, 2019 . ^ (#cite_ref-8) National Statistical Office of Mongolia (http://nso.mn) , 2015. ^ (#cite_ref-9) Toigonbaev, Sabyr (18 March 2015). "The finer, the better" (https://www.dandc.eu/en/article/cashmere-kyrgyzstan-distributed-global-scale-primary-producers-however-do-not-get-fair-price) . D+C Development and Cooperation . Vol. 42, no. 4 . Retrieved 9 June 2015 . ^ (#cite_ref-10) "Wool Products Labeling Act of 1939 (15 U.S.C. § 68)" (https://www.ftc.gov/node/119457) . Federal Trade Commission . Retrieved 13 January 2009 . ^ (#cite_ref-11) Encyclopædia Britannica (2008). cashmere . ^ Jump up to: a b Encyclopædia Britannica (2008). kashmir shawl . ^ (#cite_ref-13) Sheraza Number (2004). Kashmir Academy Arts and Culture.(ed.), Jeelani Allaie ^ Jump up to: a b Zutshi, Chitralekha (2014). Kashmir's Contested Pasts: Narratives, Geographies, and the Historical Imagination . Oxford University Press. ISBN (/wiki/ISBN_(identifier)) 978-0199089369 . ^ (#cite_ref-15) Rafiabadi, Hamid Naseem (2005). Saints and Saviours of Islam . Sarup & Sons. ISBN (/wiki/ISBN_(identifier)) 8176255556 (/wiki/Special:BookSources/8176255556) . ^ Jump up to: a b McGregor, Bruce Allan (August 2002). Australian Cashmere Attributes and Processing (https://web.archive.org/web/20090926170119/https://rirdc.infoservices.com.au/downloads/02-112.pdf) (PDF) (Report). Rural Industries Research and Development Corporation. p. 10. Archived from the original (https://rirdc.infoservices.com.au/downloads/02-112.pdf) (PDF) on 2009-09-26 . Retrieved 2008-07-21 . ^ (#cite_ref-NAC_17-0) George Ripley (/wiki/George_Ripley_(transcendentalist)) and Charles A. Dana (/wiki/Charles_Anderson_Dana) , ed. (1861). "Cashmere" (https://books.google.com/books?id=i4oT9yX-KeMC&q=cashmere+weaving&pg=PA514) . The New American Cyclopedia (/wiki/The_New_American_Cyclopedia) . Vol. IV. New York: D. Appleton & Company (/wiki/D._Appleton_%26_Company) . p. 514 . Retrieved August 17, 2010 . ^ (#cite_ref-18) Newton, W. (1836). The London Journal of Arts and Sciences and Repertory of Arts And Sciences and Repertory of Patent Inventions . p.423. ^ (#cite_ref-19) Gilroy, Clinton G. (1844). The Art of Weaving, by Hand and by Power, With an Introductory Account of Its Rise and Progress in Ancient and Modern Times . New York: George D. Baldwin. pp. 270–71. ^ (#cite_ref-20) Bell, James (1829). A System of Geography Popular and Scientific or a Physical, Political and Statistical Account of the World and Its Various Divisions . London. ^ (#cite_ref-21) "Cashmere", The New American Cyclopedia , IV (1861), p.514. ^ (#cite_ref-22) Ternaux, William (1819). "Notice sur l'importation en France des chèvres à laine de cachemire, originaires du Thibet", Bulletin de la société pour l'industrie, XVIII. ^ (#cite_ref-23) Ternaux, William (1822). Recueil des pièces sur l'importation et naturalisation en France par MM. Ternaux et Jaubert des chèvres de race thibetaine, ou chèvres à duvet de Cachemire . Paris. ^ (#cite_ref-24) Southey, Thomas (1851). The Rise, Progress and Present State of Colonial Sheep & Wools . London: Effingham Wilson. ^ (#cite_ref-25) "On the Cashmere-Angora Shawl Goat", in American Journal of Science and Art , vol 25 (January 1834) ^ (#cite_ref-26) "Cashmere Shawls, Part II", Saturday Magazine , Vol 19 (London 1841), 13–14. ^ (#cite_ref-Scotland_27-0) The Ministers of the respective parishes (1854). The New Statistical Account of Scotland, Volume VI . Edinburgh and London: William Blackwood & sons. p. 168. ^ (#cite_ref-28) "Vintage Fashion Guild : Label Resource : Altmann, Bernhard" (http://vintagefashionguild.org/label-resource/bernhard-altmann/) . vintagefashionguild.org . ^ (#cite_ref-29) Walker, Tim (2016-01-21). "Men who spent $6m on goats: US's failed cashmere plot in Afghanistan revealed" (https://www.independent.co.uk/news/world/americas/us-cashmere-plot-pentagon-s-6m-project-to-introduce-rare-goats-to-afghanistan-failed-to-stimulate-economy-a6826251.html) . The Independent . Archived (https://web.archive.org/web/20210610085829/http://www.independent.co.uk/news/world/americas/us-cashmere-plot-pentagon-s-6m-project-to-introduce-rare-goats-to-afghanistan-failed-to-stimulate-economy-a6826251.html) from the original on 2021-06-10 . Retrieved 2021-08-27 . ^ (#cite_ref-30) Gault, Matthew (2016-04-20). "Afghanistan's Failed Goat Farm Is the Perfect American Disaster" (https://medium.com/war-is-boring/afghanistan-s-failed-goat-farm-is-the-perfect-american-disaster-ed2114523b44) . Medium . Retrieved 2021-08-27 . ^ (#cite_ref-31) Toosi, Nahal. " (http://politi.co/2isbCvY) 'The Donald Trump of inspectors general' (http://politi.co/2isbCvY) " (http://politi.co/2isbCvY) . Politico (/wiki/Politico) . Retrieved 2021-08-27 . ^ (#cite_ref-32) Paton, Elizabeth (2023-01-24). "Who Will Take Your Old Cashmere?" (https://www.nytimes.com/2023/01/24/fashion/ralph-lauren-cashmere-recycling-program.html) . The New York Times (/wiki/The_New_York_Times) . ISSN (/wiki/ISSN_(identifier)) 0362-4331 (https://www.worldcat.org/issn/0362-4331) . Retrieved 2023-07-20 . External links [ edit ] Wikimedia Commons has media related to Cashmere wool (https://commons.wikimedia.org/wiki/Category:Cashmere_wool) . Cashmere is Scottish (1973) (http://ssa.nls.uk/film.cfm?fid=0578) , an archive film featuring Joanna Lumley (/wiki/Joanna_Lumley) . 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Topless swimsuit designed by Rudi Gernreich "Topless swimsuit" redirects here. For a general discussion of topless swimming, see Toplessness § Topless swimwear (/wiki/Toplessness#Topless_swimwear) . For the album by Stereo Total, see Monokini (album) (/wiki/Monokini_(album)) . For the sling swimsuit worn by men, see Mankini (/wiki/Mankini) . Monokini Peggy Moffitt (/wiki/Peggy_Moffitt) , a model wearing a monokini, as published in Women's Wear Daily (/wiki/Women%27s_Wear_Daily) , 3 June 1964 [1] (#cite_note-gernrich20-1) Designer Rudi Gernreich (/wiki/Rudi_Gernreich) Year 1964 Type Bathing suit (/wiki/Bathing_suit) Material wool (/wiki/Wool) jersey (/wiki/Jersey_(fabric)) [2] (#cite_note-Metropolitan_Museum_of_Art-2) for Life (/wiki/Life_(magazine)#1936_weekly_news_magazine) magazine, 10 July 1964 Daphné Dayle (/w/index.php?title=Daphn%C3%A9_Dayle&action=edit&redlink=1) [ fr (https://fr.wikipedia.org/wiki/Daphn%C3%A9_Dayle) ] , 1964, by Paul Schutzer (/wiki/Paul_Schutzer) monokini, tied behind neck, 46 images (https://images.google.com/hosted/life/31e14e887b1747e9.html) [3] (#cite_note-nytimes-1998-Schutzer-3) monokini, underwater photographs, 23 images (https://images.google.com/hosted/life/3929e941c9754356.html) [3] (#cite_note-nytimes-1998-Schutzer-3) topless bathing suit with matching large scarf, 32 images (https://images.google.com/hosted/life/3d185d69bcd2d6cd.html) The monokini (also known as a " topless bikini (/wiki/Bikini) " or " unikini ") [4] (#cite_note-4) [5] (#cite_note-5) was designed by Rudi Gernreich (/wiki/Rudi_Gernreich) in 1964, consisting of only a brief, close-fitting bottom and two thin straps; [6] (#cite_note-6) it was the first women's topless swimsuit (/wiki/Toplessness#Topless_swimwear) . [7] (#cite_note-7) [8] (#cite_note-alac-8) His revolutionary and controversial design included a bottom that "extended from the midriff to the upper thigh" [9] (#cite_note-everything-9) and was "held up by shoestring laces that make a halter around the neck." [10] (#cite_note-nangle-10) Some credit Gernreich's design with initiating, [8] (#cite_note-alac-8) or describe it as a symbol of, the sexual revolution (/wiki/Sexual_revolution) . [11] (#cite_note-elle-11) Gernreich designed the monokini as a protest against a repressive society. He did not initially intend to produce the monokini commercially, [12] (#cite_note-bay-12) but was persuaded by Susanne Kirtland of Look (/wiki/Look_(American_magazine)) to make it available to the public. When the first photograph of a frontal view of Peggy Moffitt (/wiki/Peggy_Moffitt) wearing the design was published in Women's Wear Daily (/wiki/Women%27s_Wear_Daily) on June 3, 1964, [1] (#cite_note-gernrich20-1) it generated a great deal of controversy in the United States and other countries. Gernreich sold about 3,000 suits, but only two were worn in public. The first was worn publicly (#June_19,_1964) on June 19, 1964, by Carol Doda (/wiki/Carol_Doda) in San Francisco (/wiki/San_Francisco) at the Condor Nightclub (/wiki/Condor_Club) , ushering in the era of topless nightclubs (/wiki/Topless_bar) in the United States, and the second at North Avenue beach (#North_Avenue_beach) in Chicago in July 1964 by artist's model Toni Lee Shelley, who was arrested. Etymology [ edit ] Gernreich may have chosen his use of the word monokini ( mono meaning 'single') through back-formation (/wiki/Back-formation) by interpreting the bi of bikini as the Latin prefix bi- (/wiki/Bi-) ('two'), denoting a two-piece swimsuit. [13] (#cite_note-13) [14] (#cite_note-14) But in fact the bikini swimsuit design was named by its inventor Louis Réard (/wiki/Louis_R%C3%A9ard) after the Bikini Atoll (/wiki/Bikini_Atoll) in the Pacific, five days after Operation Crossroads (/wiki/Operation_Crossroads) , the first peace-time test of nuclear weapons, took place there. Réard hoped his design would have a similarly explosive effect. [15] (#cite_note-15) [16] (#cite_note-bikinistyle-16) Background [ edit ] Main article: Rudi Gernreich (/wiki/Rudi_Gernreich) Monokini designer Rudi Gernreich (/wiki/Rudi_Gernreich) in 1951. Gernreich had predicted in a September 1962 issue of Women's Wear Daily that "Bosoms will be uncovered within five years." [1] (#cite_note-gernrich20-1) Austrian-American (/wiki/Austrian_American) fashion designer (/wiki/Fashion_designer) , co-founder [17] (#cite_note-Allyn-17) : 24 of the Mattachine Society (/wiki/Mattachine_Society) , and nudist (/wiki/Nudist) [17] (#cite_note-Allyn-17) : 24 Rudi Gernreich (/wiki/Rudi_Gernreich) had strong feelings about society's sexualization of the human body and disagreed with religious and social beliefs that the body was essentially shameful. [18] (#cite_note-18) Gernreich developed a reputation as an avant-garde designer who broke many of the rules, and his swimsuit designs were unconventional. In its December 1962 issue, Sports Illustrated (/wiki/Sports_Illustrated) remarked, "He has turned the dancer's leotard into a swimsuit that frees the body. In the process, he has ripped out the boning and wiring that made American swimsuits seagoing corsets." [19] (#cite_note-si1962-19) That month he first envisioned [19] (#cite_note-si1962-19) creating a topless (/wiki/Toplessness) swimsuit which he called a monokini. [20] (#cite_note-20) Origins [ edit ] At the end of 1963, editor Susanne Kirtland of Look (/wiki/Look_(American_magazine)) called Gernreich and asked him to submit a design for the suit to accompany a trend story along futuristic lines. [1] (#cite_note-gernrich20-1) He resisted the idea at first, but said, "It was my prediction. For the sake of history, I didn't want Pucci (/wiki/Emilio_Pucci) to do it first. [12] (#cite_note-bay-12) [21] (#cite_note-alexander1964-21) Gernreich found the design more difficult than he expected. His initial designs looked like trunks or boxer shorts. [21] (#cite_note-alexander1964-21) He felt the swimsuit ought to just be bikini bottoms, but realized that this wouldn't constitute a unique design. He initially designed a Balinese sarong that began just under the breasts, but Kirtland didn't feel the design was bold enough and needed to make more of a statement. Gernreich finally chose a design that ended around mid-torso and then added two straps that rose between the breasts and were tied around the neck. [1] (#cite_note-gernrich20-1) The first two initial attempts to cut the design failed. [21] (#cite_note-alexander1964-21) When a photo shoot was arranged on Montego Bay (/wiki/Montego_Bay) in the Bahamas, [22] (#cite_note-22) all five models hired for the session refused to wear the design. The photographer finally persuaded an adventurous local to model it. [23] (#cite_note-kalter-23) To avoid letting others sensationalize the swimsuit and to retain some control of the design, Gernreich asked William Claxton (/wiki/William_Claxton_(photographer)) , the husband of Gernreich's usually sole model Peggy Moffitt (/wiki/Peggy_Moffitt) , [24] (#cite_note-nymagazine-24) to take pictures of his wife in the yellow wool swimsuit. [11] (#cite_note-elle-11) Claxton, Moffitt, and Gernreich wanted to publish their own pictures for the fashion press and news media, and Gernreich gave pictures of Moffit modeling the monokini to a carefully selected handful of news organizations. [25] (#cite_note-gernreich21-25) [26] (#cite_note-26) Moffitt was initially resistant to the idea of posing topless. She said, "I didn't want to do it when he asked me. I am a puritanical descendent of the Mayflower (/wiki/Mayflower) . I carried that goddamned Plymouth Rock (/wiki/Plymouth_Rock) on my back. When I did give in, I did so with a lot of rules. I would not show myself on the runway (/wiki/Runway_(fashion)) that way. I'd do it only with Bill. Since Rudi would never ever have enough money to do this, I did it for free. But I had final say on everywhere it went photographically." [27] (#cite_note-27) Look published a rear view, of an adventurous local [23] (#cite_note-kalter-23) from Montego Bay, modeling the swimsuit on June 2, 1964. [1] (#cite_note-gernrich20-1) [28] (#cite_note-luther-28) [29] (#cite_note-shteir-29) Claxton took his pictures of Moffit to Life but they said they could only print pictures of naked breasts "if the woman is an aborigine (/wiki/Aboriginal_Australians) ." Claxton took additional pictures of Moffit especially for Life with her arms covering her breasts. The picture was one of several images of Moffit in a story about the historical evolution of the breast in fashion history from 1954 to 1964. [21] (#cite_note-alexander1964-21) Moffit said, "The photograph of me in that issue—hiding my breasts with my arms—is dirty. If you are wearing a fashion that does not have a top as part of its design and hold your arms over your bosom, you're going along with the whole prudish, teasey thing like a Playboy bunny (/wiki/Playboy_bunny) ." [25] (#cite_note-gernreich21-25) The following day columnist Carol Bjorkman of Women's Wear Daily (/wiki/Women%27s_Wear_Daily) published Claxton's frontal view of Moffitt wearing the suit. [1] (#cite_note-gernrich20-1) It became a celebrated image of the extremism of 1960s designs. [30] (#cite_note-30) Moffit later said, "It was a political statement. It wasn't meant to be worn in public." [24] (#cite_note-nymagazine-24) On June 12, 1964 the San Francisco Chronicle (/wiki/San_Francisco_Chronicle) featured a photo of a woman in a monokini with her exposed breasts clearly visible on its front page. [17] (#cite_note-Allyn-17) Claxton's frontal image of Moffit modeling the swimsuit was subsequently published by Life (/wiki/Life_(magazine)) and numerous other publications. Life writer Shana Alexander noted, "One funny thing about toplessness is that it really doesn't have much to do with breasts. Breasts of course are not absurd; topless swimsuits are. Lately people keep getting the two things mixed up." She mocked the swimsuit design as a "joke". [21] (#cite_note-alexander1964-21) The photo catapulted Moffitt into instant celebrity, reportedly resulting in her receiving everything from marriage proposals to death threats. [24] (#cite_note-nymagazine-24) Moffitt and Claxton later wrote The Rudi Gernreich Book , described as an aesthetic biography of the fashion revolutionary. [31] (#cite_note-31) [A] (#endnote_Moffittnone) Gernreich originally thought that only "six or seven" monokinis would likely be sold, but decided to design it anyway. [32] (#cite_note-rockwell-32) However, when the design got worldwide notice, orders for the non-existent suit poured in until over 1,000 orders were pending. [21] (#cite_note-alexander1964-21) Despite the reaction of fashion critics and church officials, Harmon Knitwear made over 3,000 monokinis. [9] (#cite_note-everything-9) Gernreich first sold the suit to the Joseph Magnin department store (/wiki/Joseph_Magnin_Co.) in San Francisco, where it was an instant hit. In New York City, leading stores like B. Altman & Company (/wiki/B._Altman_%26_Company) , Lord & Taylor (/wiki/Lord_%26_Taylor) , Henri Bendel (/wiki/Henri_Bendel) , Splendiferous and Parisette placed orders. On June 16, 1964, Gernreich's topless swimsuit went on sale in New York City. [12] (#cite_note-bay-12) The suit was priced at $24 each. [9] (#cite_note-everything-9) [33] (#cite_note-33) Moffit said in 1985 that she had been offered $17,000 in 1964 (equivalent to $167,000 in 2023) [34] (#cite_note-inflation-US-34) by Playboy to publish Claxton's photograph of her wearing the suit, but refused. "I turned it down as unthinkable. And I don't want to exploit women any more now than I did in 1964. The statement hasn't changed. The suit still is about freedom and not display." [35] (#cite_note-levine-35) On August 13, 1985, Los Angeles Fashion Group produced a gala at the Wiltern Theatre to benefit the Rudi Gernreich Design Scholarship Fund. Moffit was a member of the committee. When the group considered showing the Monokini suit during the benefit, Moffitt strongly objected. She told the Los Angeles Times, [35] (#cite_note-levine-35) The regional director of the Fashion Group, Sarah Worman, believed that the swimsuit was "the single most important idea he ever had—the one that changed the way women dressed all over the Western world." She said Moffitt's refusal to show it on a model did not make sense when the benefit was modeling everything else he ever did on live models. [35] (#cite_note-levine-35) Fashion statement [ edit ] Gernreich did not originally intend to produce the swimsuit commercially. It had more meaning to Gernreich as an idea than as a reality. [36] (#cite_note-smith-36) Gernreich had Moffitt model the suit in person for Diana Vreeland (/wiki/Diana_Vreeland) of Vogue (/wiki/Vogue_(magazine)) , who asked him why he conceived of the design. Gernreich told her he felt it was time for "freedom-in fashion as well as every other facet of life," but that the swimsuit was just a statement. He said, “[Women] drop their bikini tops already,” he said, “so it seemed like the natural next step.” [12] (#cite_note-bay-12) She told him, "If there's a picture of it, it's an actuality. You must make it." [25] (#cite_note-gernreich21-25) Gernreich said in television interview, "It may well be a bit much now. But, just wait. In a couple of years topless bikinis will be a reality and regarded as perfectly natural." [37] (#cite_note-Thesander-37) Gernreich purposefully used his designs to advance his socio-political views. He wanted to reduce the stigma of a naked (/wiki/Nudity) body, to “cure our society of its sex hang up,” as he put it. Gernreich stated, "To me, the only respect you can give to a woman is to make her a human being. A totally emancipated woman who is totally free." [38] (#cite_note-tay-38) Gernreich said, "Baring the breasts seemed logical in a period of freer attitudes, freer minds, the emancipation of women." [29] (#cite_note-shteir-29) [39] (#cite_note-39) Gernreich told Time (/wiki/Time_(magazine)) magazine in 1969, the monokini "is a natural development growing out of all the loosening up, the re-evaluation of values that's going on. There is now an honesty hangup, and part of this is not hiding the body—it stands for freedom." [32] (#cite_note-rockwell-32) In January 1965, he told Gloria Steinem (/wiki/Gloria_Steinem) in an interview that despite the criticism he'd do it again. [32] (#cite_note-rockwell-32) Moffitt said the design was a logical evolution of Gernreich's avant-garde (/wiki/Avant-garde) ideas in swimwear design as much as a scandalous symbol of the permissive society (/wiki/Permissive_society) . [40] (#cite_note-menkes-40) She said, "He was trying to take away the prurience, the whole perverse side of sex." She said his design was "prophetic." "It had to do with more than what to wear to the beach. It was about a changing culture throughout all society, about freedom and emancipation. It was also a reaction against something particularly American: the little boy snickering that women had breasts." [40] (#cite_note-menkes-40) Los Angeles Times staff writer Bettijane Levine wrote, "His topless was an artistic statement against women as sex objects, much as Pablo Picasso (/wiki/Pablo_Picasso) painted Guernica (/wiki/Guernica_(painting)) as a statement against war." [35] (#cite_note-levine-35) Over the next few weeks, his design was covered in more than 20,000 press articles. [41] (#cite_note-41) History [ edit ] Carol Doda (/wiki/Carol_Doda) wore Gernreich's monokini for her act at the Condor Club (/wiki/Condor_Club) , starting the trend of topless bars (/wiki/Topless_bar) There was a strong public reaction to the original swimsuit design. The Soviet Union denounced the suit, saying it was "barbarism" and indicated "capitalistic decay". [17] (#cite_note-Allyn-17) The Vatican (/wiki/Holy_See) denounced the swimsuit, and the L'Osservatore Romano (/wiki/L%27Osservatore_Romano) said the "industrial-erotic adventure" of the topless bathing suit "negates moral sense." Many of Rudi's contemporaries in the fashion industry reacted negatively. In the US, some Republicans tried to blame the suit on the Democrats' stance on moral issues. [36] (#cite_note-smith-36) Gernreich introduced the monokini at a time when U.S. nudists (/wiki/Naturism) were trying to establish a public persona. The United States Postmaster General (/wiki/United_States_Postmaster_General) had banned nudist publications from the mail until 1958, when the Supreme Court of the United States (/wiki/Supreme_Court_of_the_United_States) declared that the naked body in and of itself could not be deemed obscene (/wiki/Obscenity) . [17] (#cite_note-Allyn-17) Use of the word monokini was first recorded in English that year. [9] (#cite_note-everything-9) In the 1960s (/wiki/1960s_in_fashion) , the monokini influenced the sexual revolution (/wiki/Sexual_revolution) by emphasizing a woman's personal freedom of dress, even when her attire was provocative and exposed more skin than had been the norm during the more conservative 1950s (/wiki/1945%E2%80%931960_in_fashion) . [17] (#cite_note-Allyn-17) Quickly renamed a "topless swimsuit", [17] (#cite_note-Allyn-17) the design was never successful in the United States, although the issue of allowing both genders equal exposure above the waist has been raised (/wiki/Topfreedom) as a feminist issue from time to time. [40] (#cite_note-menkes-40) As the suit gained notoriety, the New York City Police Department (/wiki/New_York_City_Police_Department) was strictly instructed by the commissioner of parks (/wiki/New_York_City_Department_of_Parks_and_Recreation) to arrest any woman wearing a monokini. [17] (#cite_note-Allyn-17) In Dallas, Texas, when a local store featured the suit in a window display, members of the Carroll Avenue Baptist Mission picketed until they removed the display. [12] (#cite_note-bay-12) Copious coverage of the event helped to send the image of exposed breasts across the world. Women's clubs and the Catholic church actively condemned the design. In Italy and Spain, the Catholic Church warned against the topless fashion. [37] (#cite_note-Thesander-37) France [ edit ] In France in 1964, Roger Frey (/wiki/Roger_Frey) led the prosecution of the use of the monokini, describing it as: "a public offense against the sense of decency, punishable according to article 330 of the penal code. Consequently, the police chiefs must employ the services of the police so that the women who wear this bathing suit in public places are prosecuted." [42] (#cite_note-SI9Moral-42) [43] (#cite_note-LeMonde-43) At St. Tropez (/wiki/Saint-Tropez) on the French Riviera (/wiki/French_Riviera) , where toplessness (/wiki/Toplessness) later became the norm, the mayor ordered police to ban toplessness and to watch over the beach via helicopter. [17] (#cite_note-Allyn-17) Jean-Luc Godard (/wiki/Jean-Luc_Godard) , a founding mover of French New Wave (/wiki/French_New_Wave) cinema, incorporated monokini footage shot by Jacques Rozier (/wiki/Jacques_Rozier) in Riviera into his film A Married Woman (/wiki/A_Married_Woman) , but it was edited out by the censors. [44] (#cite_note-44) A few defended Gernreich's design. Fashion designers Geraldine Stutz (/wiki/Geraldine_Stutz) , president of Henri Bendel (/wiki/Henri_Bendel) , said, "I only wish I were young enough to be one of the pioneers myself." Carol Bjorkman, a columnist at Women's Wear-Daily's wrote, "What's the matter with the front? After all, it is here to stay, and it is awfully nice being a girl." [36] (#cite_note-smith-36) Chicago [ edit ] When Toni Lee Shelley, a 19-year-old artists model, wore the topless bathing suit to the North Avenue beach in Chicago in 1964, 12 police officers responded, 11 to control and disperse the public and photographers, and one to arrest her. [45] (#cite_note-alexander-45) [46] (#cite_note-starnews-46) She was charged with disorderly conduct (/wiki/Disorderly_conduct) , indecent exposure (/wiki/Indecent_exposure) , and appearing on a public beach without suitable attire. At her arraignment she asked for an all-male jury. [25] (#cite_note-gernreich21-25) [47] (#cite_note-47) She told the press that the swimsuit was "certainly more comfortable." [46] (#cite_note-starnews-46) Shelley was fined US$100 for wearing the swimsuit on a public beach. [17] (#cite_note-Allyn-17) San Francisco [ edit ] On 12 June 1964, the San Francisco Chronicle (/wiki/San_Francisco_Chronicle) published on its front page a photo of a woman with clearly visible, exposed breasts wearing a monokini. [17] (#cite_note-Allyn-17) : 25 On 19 June 1964, Davey Rosenberg saw an Joseph Magnin (/wiki/Joseph_Magnin) ad for the Monokini in a newspaper. [48] (#cite_note-hoodline-Peterson-Rosenberg-48) Davey Rosenberg, [49] (#cite_note-sfgate-Doda-dies-49) the publicist of the Condor Club (/wiki/Condor_Club) in San Francisco (/wiki/San_Francisco) 's North Beach (/wiki/North_Beach,_San_Francisco) district, bought Gernreich's monokini from Joseph Magnin (/wiki/Joseph_Magnin) , and gave it to former prune picker, file clerk, and waitress Carol Doda (/wiki/Carol_Doda) to wear for her act. That night, June 19, [50] (#cite_note-50) Doda became the first modern topless dancer (/wiki/Topless_dancer) in the United States, [17] (#cite_note-Allyn-17) : 25 renewing the burlesque (/wiki/Burlesque) era of the early 1900s in the U.S. San Francisco Mayor (/wiki/Mayor_of_San_Francisco) John Shelley (/wiki/John_F._Shelley) said, "topless is at the bottom of porn." [29] (#cite_note-shteir-29) Within a few days, women were baring their breasts in many of the clubs lining San Francisco's Broadway St., ushering in the era of the topless bar (/wiki/Topless_bar) . [29] (#cite_note-shteir-29) Doda’s debut as a topless dancer was featured in Playboy (/wiki/Playboy) magazine in April 1965. [17] (#cite_note-Allyn-17) : 25 San Francisco public officials tolerated the topless bars until April 22, 1965, when Doda was arrested along with Pete Mattioli and Gino del Prete, owners of the Condor Club. Hundreds of protesters gathered outside the police department, calling for release of both Doda and free speech activist Mario Savio (/wiki/Mario_Savio) , held in the same station. [29] (#cite_note-shteir-29) Doda, Mattioli and Gino del Prete were cleared when two judges instructed not-guilty verdicts. Judge Friedman's memorandum to opposing attorneys reads, "Whether acts ... are lewd and dissolute depends not on any individual's interpretation or personal opinion, but on the consensus of the entire community...". [51] (#cite_note-:Doda0-51) Doda rapidly became a symbol of sexual freedom, while topless restaurants, along with shoeshine parlors, ice-cream stands and girl bands proliferated in San Francisco and elsewhere. Journalist Earl Wilson (/wiki/Earl_Wilson_(columnist)) wrote in his syndicated column, "Are we ready for girls in topless gowns? Heck, we may not even notice them." English designers created topless evening gowns inspired by the idea. [17] (#cite_note-Allyn-17) The San Francisco Examiner (/wiki/San_Francisco_Examiner) published a real estate advertisement that promised "bare top swimsuits are possible here". [29] (#cite_note-shteir-29) Later designs [ edit ] Modern monokinis Modern Monokini designs range from bikini bottoms only (left) to single-piece swimwear with cutouts (right) Woman wearing a monokini, 2010 The statement of the monokini made by Minimale Animale on the runways of Mercedes Benz Fashion Week (/wiki/Mercedes-Benz_Fashion) in 2014 Going topless reached its highest popularity during the 1970s. In the early 1980s monokini designs that were simply a bikini-bottom (also known as the unikini ) became popular. [52] (#cite_note-52) As of 2015 [update] (https://en.wikipedia.org/w/index.php?title=Monokini&action=edit) , some swimsuit designers continue to produce a variety of monokini or topless swimsuits that women can wear in private settings or in places where topless swimsuits are allowed. [9] (#cite_note-everything-9) Unlike Gernreich's original design exposing the women's breasts, current designs are one-piece swimsuits (/wiki/One-piece_swimsuit) that cover the women's breasts but typically include large cut-outs [53] (#cite_note-LoveToKnow-53) on the sides, back, or front. The cutouts are connected with varying fabrics, including mesh, chain, and other materials to link the top and bottom sections together. From the back the monokini looks like a two-piece swimsuit. The design may not be functional but aesthetic. [54] (#cite_note-Swim_Trends-54) Some suits are designed with a g-string (/wiki/G-string) style back and others offer full coverage. Pubikini [ edit ] In 1985, four weeks before his death, Gernreich unveiled the lesser-known pubikini , a topless bathing suit that exposed the wearer's mons pubis (/wiki/Mons_pubis) . [55] (#cite_note-55) [56] (#cite_note-56) [57] (#cite_note-57) It was a thin, V-shaped, thong-style bottom [58] (#cite_note-58) that in the front featured a tiny strip of fabric that exposed the wearer's pubic hair (/wiki/Pubic_hair) . [59] (#cite_note-Metrwax-59) [60] (#cite_note-60) The pubikini was described as a pièce de résistance (/wiki/Pi%C3%A8ce_de_r%C3%A9sistance) totally freeing the human body. [61] (#cite_note-61) See also [ edit ] fashion portal (/wiki/Portal:Fashion) nudity portal (/wiki/Portal:Nudity) Bikini variants (/wiki/Bikini_variants) Maillot (/wiki/Maillot) Monokini 2.0 (/wiki/Monokini_2.0) Nude beach (/wiki/Nude_beach) Nude swimming (/wiki/Nude_swimming) One-piece swimsuit (/wiki/One-piece_swimsuit) Topfreedom (/wiki/Topfreedom) Toplessness (/wiki/Toplessness) References [ edit ] ^ Jump up to: a b c d e f g "The Rudi Gernreich Book" (https://web.archive.org/web/20140310234502/http://www.naderlibrary.com/gernreich.20.htm) . Archived from the original (http://www.naderlibrary.com/gernreich.20.htm) on March 10, 2014 . Retrieved 11 January 2013 . ^ (#cite_ref-Metropolitan_Museum_of_Art_2-0) "Bathing suit, 1964, Rudi Gernreich, American, born Austria" (https://www.metmuseum.org/art/collection/search/81814) . Metropolitan Museum of Art . Retrieved 4 September 2021 . Gernreich's paradox is that the bottom of the topless suit is very conservative, with ample coverage and made in the same wool material that had been used for Victorian bathing apparel. ^ Jump up to: a b Loke, Margarett (4 September 1998). "Photography Review; Fashion and Art: The Gown Was Gorgeous, but the Picture Was Divine" (https://www.nytimes.com/1998/09/04/arts/photography-review-fashion-art-gown-was-gorgeous-but-picture-was-divine.html) . The New York Times . Retrieved 5 September 2021 . Any history of fashion photography has to recognize the work of Paul Schutzer and his 1964 photographs in Life magazine of the infamous topless bathing suit by Rudi Gernreich. ... For the Gernreich swimsuit assignment he took an underwater photograph of a female model in the topless black swimsuit surrounded by males in black trunks, the models' heads obscured by the surface lines of the water. ^ (#cite_ref-4) "Monokini" (http://dictionary.reference.com/browse/monokini) . Archived (https://web.archive.org/web/20150818034055/http://dictionary.reference.com/browse/monokini) from the original on 18 August 2015 . Retrieved 20 August 2015 . ^ (#cite_ref-5) "Bikini Science" (http://www.bikini-science.com/costumes/soutien-gorge_SS/topless_S/topless.html) . Archived (https://web.archive.org/web/20180127202536/http://www.bikini-science.com/costumes/soutien-gorge_SS/topless_S/topless.html) from the original on 2018-01-27 . Retrieved 2018-01-27 . ^ (#cite_ref-6) "Monokini" (http://www.thefreedictionary.com/Topless+swimsuit) . Free Dictionary . Retrieved 20 August 2015 . ^ (#cite_ref-7) Rosebush, Judson. "Peggy Moffitt Topless Maillot in Studio" (https://web.archive.org/web/20180127202433/http://bikini-science.com/chronology/1960-1965_SS/PM6410_S/PM6410.html) . Bikini Science . Archived from the original (http://bikini-science.com/chronology/1960-1965_SS/PM6410_S/PM6410.html) on 27 January 2018 . Retrieved 27 January 2018 . ^ Jump up to: a b Alac, Patrik (2012). Bikini Story . Parkstone International. p. 68. ISBN (/wiki/ISBN_(identifier)) 978-1780429519 . Archived (https://web.archive.org/web/20180129055818/https://books.google.com/books?id=SIj_GBl5sAoC&pg=PA68&lpg=PA68) from the original on 2018-01-29. ^ Jump up to: a b c d e "Bikini Styles: Monokini" (https://archive.today/20120729151157/http://www.everythingbikini.com/monokini.html) . Everything Bikini. 2005. Archived from the original (http://www.everythingbikini.com/monokini.html) on 29 July 2012 . Retrieved 13 January 2013 . ^ (#cite_ref-nangle_10-0) Nangle, Eleanore (June 10, 1964). "Topless Swimsuit Causes Commotion" (http://archives.chicagotribune.com/1964/06/10/page/65/article/topless-swimsuit-causes-commotion) . Chicago Tribune (/wiki/Chicago_Tribune) . Archived (https://web.archive.org/web/20150914161150/http://archives.chicagotribune.com/1964/06/10/page/65/article/topless-swimsuit-causes-commotion/) from the original on 14 September 2015 . Retrieved 20 August 2015 . ^ Jump up to: a b "Fit Celebrates the Substance of Style" (http://www.elle.com/culture/news/a2060/fit-celebrates-the-substance-of-style-2452/) . Elle (/wiki/Elle_(magazine)) . July 5, 2009. Archived (https://web.archive.org/web/20150924010954/http://www.elle.com/culture/news/a2060/fit-celebrates-the-substance-of-style-2452/) from the original on 24 September 2015 . 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Rudi Gernreich. Archived from the original (http://gernreich.steirischerbst.at/pages/bio1.htm) on 2016-02-13 . Retrieved 2012-11-12 . ^ Jump up to: a b c d e f Alexander, Shana (July 10, 1964). "Fashion's Best Joke on Itself in Years" (https://books.google.com/books?id=mkEEAAAAMBAJ&pg=PA56) . Life . Vol. 57, no. 2. pp. 56–57. ISSN (/wiki/ISSN_(identifier)) 0024-3019 (https://www.worldcat.org/issn/0024-3019) . Archived (https://web.archive.org/web/20160529022551/https://books.google.com/books?id=mkEEAAAAMBAJ&pg=PA56&lpg=PA56) from the original on May 29, 2016 . Retrieved October 20, 2015 . ^ (#cite_ref-22) "The First Monokini: Trying to make the Topless Swimsuit happen in 1964" (https://www.messynessychic.com/2014/03/05/the-first-monokini-trying-to-make-the-topless-swimsuit-happen-in-1964/) . Messy Nessy Chic . 5 March 2014 . Retrieved 4 September 2021 . ^ Jump up to: a b Kalter, Suzy (May 25, 1981). "20 Remember Those Topless Suits? 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"Topless Creator Gernreich Dies: Fashion World Saw Him as Its Most Innovative" (https://web.archive.org/web/20151222131904/http://articles.latimes.com/1985-04-22/news/mn-21986_1_fashion-industry) . Los Angeles Times . Archived from the original (https://articles.latimes.com/1985-04-22/news/mn-21986_1_fashion-industry) on 22 December 2015 . Retrieved 8 October 2015 . ^ Jump up to: a b c d e f Shteir, Rachel (1964). Striptease: The Untold History of the Girlie Show . East Pakistan Police Co-operative Society. pp. 318–321. ISBN (/wiki/ISBN_(identifier)) 0-19-512750-1 . 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American Antiquarian Society (/wiki/American_Antiquarian_Society) . 1700–1799: McCusker, J. J. (/wiki/John_J._McCusker) (1992). How Much Is That in Real Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy of the United States (PDF) . American Antiquarian Society (/wiki/American_Antiquarian_Society) . 1800–present: Federal Reserve Bank of Minneapolis. "Consumer Price Index (estimate) 1800–" (https://www.minneapolisfed.org/about-us/monetary-policy/inflation-calculator/consumer-price-index-1800-) . Retrieved February 29, 2024 . ^ Jump up to: a b c d Levine, Bettijane (August 2, 1985). "Commentary: Retrospective Keeps Alive the Gernreich Genius for Controversy" (https://articles.latimes.com/1985-08-02/news/vw-5780_1_rudi-gernreich) . Los Angeles Times . Archived (https://web.archive.org/web/20160306234742/http://articles.latimes.com/1985-08-02/news/vw-5780_1_rudi-gernreich) from the original on 6 March 2016 . Retrieved 20 October 2015 . ^ Jump up to: a b c Smith, Liz (/wiki/Liz_Smith_(journalist)) (January 18, 1965). "The Nudity Cult" (http://sportsillustrated.cnn.com/vault/article/magazine/MAG1076827/index.htm) . Sports Illustrated . Archived (https://web.archive.org/web/20131105165617/http://sportsillustrated.cnn.com/vault/article/magazine/MAG1076827/index.htm) from the original on 5 November 2013 . Retrieved 14 January 2013 . ^ Jump up to: a b Thesander, Marianne (1997). The Feminine Ideal . Reaktion Books. p. 187. ISBN (/wiki/ISBN_(identifier)) 1861890044 . ^ (#cite_ref-tay_38-0) Tay, Michelle (February 24, 2015). "Rudi Gernreich – The Unsung Hero of American Fashion Design" (http://www.blouinartinfo.com/news/story/1102558/rudi-gernreich-the-unsung-hero-of-american-fashion-design#) . Archived (https://web.archive.org/web/20150823092307/http://www.blouinartinfo.com/news/story/1102558/rudi-gernreich-the-unsung-hero-of-american-fashion-design) from the original on 23 August 2015 . Retrieved 6 October 2015 . ^ (#cite_ref-39) Drohojowska-Philp, Hunter (July 2011). Rebels in Paradise: The Los Angeles Art Scene and the 1960s . Henry Holt and Co. p. 98. ISBN (/wiki/ISBN_(identifier)) 9781429958998 . ^ Jump up to: a b c Menkes, Suzy (July 18, 1993). "RUNWAYS; Remembrance of Thongs Past" (https://www.nytimes.com/1993/07/18/style/runways-remembrance-of-thongs-past.html?pagewanted=2&src=pm) . New York Times . Archived (https://web.archive.org/web/20160306142520/http://www.nytimes.com/1993/07/18/style/runways-remembrance-of-thongs-past.html?pagewanted=2&src=pm) from the original on 6 March 2016 . Retrieved 14 January 2013 . ^ (#cite_ref-41) Joseph, Alexander. "Beyond the Bared Breast" (http://vestoj.com/beyond-the-bared-breast-revisiting-the-significance-of-rudi-gernreich/) . Vestoj (/wiki/Vestoj) . Archived (https://web.archive.org/web/20161029044818/http://vestoj.com/beyond-the-bared-breast-revisiting-the-significance-of-rudi-gernreich/) from the original on 29 October 2016 . Retrieved 28 October 2016 . ^ (#cite_ref-SI9Moral_42-0) Situationist International (/wiki/Situationist_International) , Sketch of a Morality without Obligation or Sanction (http://www.cddc.vt.edu/sionline/si/sketch.html) Archived (https://web.archive.org/web/20130709132013/http://www.cddc.vt.edu/SIOnline/si/sketch.html) 2013-07-09 at the Wayback Machine (/wiki/Wayback_Machine) , Issue No 9, August 1964 ^ (#cite_ref-LeMonde_43-0) Le Monde (/wiki/Le_Monde) , 25 July 1964 ^ (#cite_ref-44) James Monaco, The New Wave , page 157, UNET 2 Corporation, 2003, ISBN (/wiki/ISBN_(identifier)) 0970703953 (/wiki/Special:BookSources/0970703953) ^ (#cite_ref-alexander_45-0) Alexander, Shana (July 10, 1964). "Me? In That!". Life . Vol. 57, no. 2. pp. 55–61. ^ Jump up to: a b "Model arrested for wearing topless swimsuit" (https://news.google.com/newspapers?nid=1454&dat=19640623&id=jERjAAAAIBAJ&pg=4769,3849426&hl=en) . Wilmington Morning Star . June 23, 1964. p. 11 . Retrieved 23 August 2015 . ^ (#cite_ref-47) "Date in Court" (http://archives.chicagotribune.com/1964/07/11/page/50/article/date-in-court) . Chicago Tribune . July 11, 1964. Archived (https://web.archive.org/web/20151004012132/http://archives.chicagotribune.com/1964/07/11/page/50/article/date-in-court/) from the original on 4 October 2015 . Retrieved 22 August 2015 . ^ (#cite_ref-hoodline-Peterson-Rosenberg_48-0) Peterson, Art (17 May 2016). "North Beach History: The Birth Of Topless Dancing" (https://hoodline.com/2016/05/north-beach-history-the-birth-of-topless-dancing/) . hoodline.com . Retrieved 7 September 2021 . In 1964, Rosenberg was employed as a publicist for the Condor. This club and the others in North Beach was doing a middling business by featuring caged young women in bikinis dancing The Swim, the Frug and the Watusi. That was before June 19th, when Rosenberg saw a Joseph Magnin newspaper ad for the Monokini by the designer Rudi Gernreich. ...Seeing the ad, Rosenberg beelined to Magnin's and bought a $25 Monokini. Returning to the club, he presented the garment to a cocktail waitress/go-go dancer named Carol Doda. ^ (#cite_ref-sfgate-Doda-dies_49-0) Fagan, Kevin; Whiting, Sam (11 November 2015). "Legendary S.F. stripper Carol Doda dies at 78" (https://www.sfgate.com/bayarea/article/Legendary-S-F-stripper-Carol-Doda-dies-at-78-6625160.php) . SFGATE . Retrieved 7 September 2021 . Ms. Doda was already a waitress who go-go danced on top of a piano at the Condor 51 years ago when the club's publicist, Davey Rosenberg, handed her a Rudi Gernreich topless swimsuit — the first of its kind — and said, "Try this in the act." It was a sensation — the first topless dancing act of widespread note in America. ^ (#cite_ref-50) "Carol Doda, '60s Stripping Sensation And Cultural Icon, Dead At 78: SFist" (https://web.archive.org/web/20231111060811/https://sfist.com/2015/11/11/carol_doda_pioneering_san_francisco/) . SFist - San Francisco News, Restaurants, Events, & Sports . November 11, 2015. Archived from the original (https://sfist.com/2015/11/11/carol_doda_pioneering_san_francisco/) on November 11, 2023 . Retrieved November 11, 2023 . ^ (#cite_ref-:Doda0_51-0) "Topless Suits in Shows OK", Los Angeles Times , May 8, 1965, Page 9. ^ (#cite_ref-52) Maynard, Margaret (2001). Out of Line . Sydney, New South Wales, Australia: University of New South Wales Press. p. 156. ISBN (/wiki/ISBN_(identifier)) 0868405159 . ^ (#cite_ref-LoveToKnow_53-0) "Monokini" (https://web.archive.org/web/20061203060103/http://swimsuits.lovetoknow.com/Monokini) . LoveToKnow. Archived from the original (http://swimsuits.lovetoknow.com/Monokini) on 2006-12-03 . Retrieved 2008-12-07 . ^ (#cite_ref-Swim_Trends_54-0) Wexler, Kathryn (July 17, 2007). "Swimsuit trends for next spring" (http://archive.azcentral.com/style/fashion/articles/2007/08/13/20070813swim08.html) . The Miami Herald (/wiki/The_Miami_Herald) . Retrieved 2008-12-07 . ^ (#cite_ref-55) Portraits: Photographs from Europe and America (2004) Klaus Honnef, Helmut Newton and Carol Squiers. page 21, Schirmer, ISBN (/wiki/ISBN_(identifier)) 382960131X (/wiki/Special:BookSources/382960131X) ^ (#cite_ref-56) Cathy Horn, "Rudi Revisited", The Washington Post , November 17, 1991, page 3 ^ (#cite_ref-57) Elizabeth Gunther Stewart, Paula Spencer & Dawn Danby, The V Book: A Doctor's Guide to Complete Vulvovaginal Health (2002), page 104, Bantam Books, ISBN (/wiki/ISBN_(identifier)) 0-553-38114-8 (/wiki/Special:BookSources/0-553-38114-8) ^ (#cite_ref-58) Ellen Shultz, ed. (1986). Recent acquisitions: A Selection, 1985-1986 . New York: Metropolitan Museum of Art. p. 48. ISBN (/wiki/ISBN_(identifier)) 978-0870994784 . ^ (#cite_ref-Metrwax_59-0) overzero.com. "Bald is Beautiful" (https://web.archive.org/web/20120729120714/http://metroland.net/guides/2007_sum_guide/sum_waxing.html) . Metroland (/wiki/Metroland_(newspaper)) . Archived from the original (http://www.metroland.net/guides/2007_sum_guide/sum_waxing.html) on 2012-07-29 . Retrieved 2012-11-12 . ^ (#cite_ref-60) Elizabeth Gunther Stewart, Paula Spencer and Dawn Danby, The V Book , page 104, Bantam Books, 2002, ISBN (/wiki/ISBN_(identifier)) 0553381148 (/wiki/Special:BookSources/0553381148) ^ (#cite_ref-61) Catalog adds options for overweight girls (http://nl.newsbank.com/nl-search/we/Archives?p_product=DP&p_theme=dp&p_action=search&p_maxdocs=200&p_topdoc=1&p_text_direct-0=0EB1DA884A3D966C&p_field_direct-0=document_id&p_perpage=10&p_sort=YMD_date:D&s_trackval=GooglePM) , Denver Post , 1992-01-02 External links [ edit ] Media related to Monokinis (https://commons.wikimedia.org/wiki/Category:Monokinis) at Wikimedia Commons 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 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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=Monokini&oldid=1235316719 (https://en.wikipedia.org/w/index.php?title=Monokini&oldid=1235316719) " Category (/wiki/Help:Category) : Bikinis (/wiki/Category:Bikinis) Hidden categories: Webarchive template wayback links (/wiki/Category:Webarchive_template_wayback_links) Articles with short description (/wiki/Category:Articles_with_short_description) Short description matches Wikidata (/wiki/Category:Short_description_matches_Wikidata) Articles containing potentially dated statements from 2015 (/wiki/Category:Articles_containing_potentially_dated_statements_from_2015) All articles containing potentially dated statements (/wiki/Category:All_articles_containing_potentially_dated_statements) Commons category link is on Wikidata (/wiki/Category:Commons_category_link_is_on_Wikidata) |
American clothing company "Levi's" redirects here. For other uses, see Levi (disambiguation) (/wiki/Levi_(disambiguation)) and Levis (disambiguation) (/wiki/Levis_(disambiguation)) . "Levi's Jeans" redirects here. For the Beyoncé song, see Levii's Jeans (/wiki/Levii%27s_Jeans) . Levi Strauss & Co. Levi's flagship store in Times Square (/wiki/Times_Square) Company type Public (/wiki/Public_company) Traded as (/wiki/Ticker_symbol) NYSE (/wiki/New_York_Stock_Exchange) : LEVI (https://www.nyse.com/quote/XNYS:LEVI) (Class A) ISIN (/wiki/International_Securities_Identification_Number) US52736R1023 Industry Textile (/wiki/Textile_industry) Founded May 1, 1853 ; 171 years ago ( 1853-05-01 ) (as David Stern & Levi Strauss) Founder Levi Strauss (/wiki/Levi_Strauss) Headquarters Levi's Plaza (/wiki/Levi%27s_Plaza) , San Francisco (/wiki/San_Francisco) , California (/wiki/California) , US (/wiki/US) Number of locations 2,800 company-operated stores [1] (#cite_note-1) Area served Worldwide Key people Michelle Gass (/wiki/Michelle_Gass) ( CEO (/wiki/CEO) ) ; [2] (#cite_note-Forbes-2) Harmit Singh ( CFO (/wiki/CFO) ) ; [2] (#cite_note-Forbes-2) Stephen Neal (/wiki/Stephen_Neal_(lawyer)) ( Chairman (/wiki/Chairman) ) [3] (#cite_note-3) Products Clothing (/wiki/Clothing) Brands Levi's Dockers (/wiki/Dockers_(brand)) Denizen Signature by Levi Strauss & Co. Revenue $ (/wiki/United_States_dollar) 5.764 billion (2021) [4] (#cite_note-4) Operating income (/wiki/Earnings_before_interest_and_taxes) $686 million (2021) [5] (#cite_note-5) Net income (/wiki/Net_income) $554 million (2021) [6] (#cite_note-6) Total assets (/wiki/Asset) $5.9 billion (2021) [7] (#cite_note-7) Number of employees 15,100 [8] (#cite_note-8) (2018) Website levistrauss.com (https://www.levistrauss.com/) levi.com (https://www.levi.com/) Levi Strauss & Co. ( / (/wiki/Help:IPA/English) ˈ l iː v aɪ ˈ s t r aʊ s / (/wiki/Help:IPA/English) LEE -vy STROWSS ) is an American clothing (/wiki/Clothing) company known worldwide for its Levi's ( / (/wiki/Help:IPA/English) ˈ l iː v aɪ z / (/wiki/Help:IPA/English) LEE -vyze ) brand of denim (/wiki/Denim) jeans (/wiki/Jeans) . It was founded in May 1853 [9] (#cite_note-9) when German-Jewish (/wiki/History_of_the_Jews_in_Germany) immigrant Levi Strauss (/wiki/Levi_Strauss) moved from Buttenheim (/wiki/Buttenheim) , Bavaria (/wiki/Bavaria) , to San Francisco (/wiki/San_Francisco) , California (/wiki/California) , to open a West Coast branch of his brothers' New York dry goods (/wiki/Dry_goods) business. Although the corporation is registered in Delaware (/wiki/Delaware) , [10] (#cite_note-10) the company's corporate headquarters is located in Levi's Plaza (/wiki/Levi%27s_Plaza) in San Francisco. [11] (#cite_note-11) History [ edit ] Origin and formation (1853–1890s) [ edit ] The original Levi Strauss logo, 1892 German-Jewish (/wiki/History_of_the_Jews_in_Germany) immigrant Levi Strauss (/wiki/Levi_Strauss) began business at 90 Sacramento Street in San Francisco, then moved to 62 Sacramento Street. [12] (#cite_note-12) In 1858, the company was listed as Strauss, Levi (David Stern & Lewis Strauss) importers clothing, etc. 63 & 65 Sacramento St. (today, on the current grounds of the 353 Sacramento Street Lobby [13] (#cite_note-13) ) in the San Francisco Directory with Strauss serving as its sales manager and his brother-in-law, David Stern (/wiki/David_Stern_(businessman)) , as its manager. [14] (#cite_note-14) Jacob Davis (/wiki/Jacob_Davis_(inventor)) , a Latvian-Jewish (/wiki/History_of_the_Jews_in_Latvia) [15] (#cite_note-15) immigrant, was a Reno, Nevada (/wiki/Reno,_Nevada) , [16] (#cite_note-16) tailor who frequently purchased bolts of denim cloth from Levi Strauss & Co.'s wholesale house. After one of Davis's customers kept purchasing cloth to reinforce torn pants, he thought of using copper rivets (/wiki/Rivet) to reinforce points of strain, such as on pocket corners and the base of the button fly (/wiki/Button_up_flies) . [17] (#cite_note-17) Davis lacked sufficient funds to obtain a patent, so he wrote to Strauss proposing a business partnership. After Strauss accepted Davis's offer, the two men received U.S. patent 139,121 (https://patents.google.com/patent/US139121) from the United States Patent and Trademark Office (/wiki/United_States_Patent_and_Trademark_Office) on May 20, 1873. The copper rivet was incorporated into the company's jean design and advertisements. Contrary to an advertising campaign suggesting that Levi Strauss sold his first jeans to gold miners during the California Gold Rush (/wiki/California_Gold_Rush) (which peaked in 1849), the manufacturing of denim overalls began in the 1870s. In 1890, the rivet patent went into the public domain; the same year, lot numbers were assigned to company products, and "501" was used to designate the famous copper-riveted waist overalls. The company lost its records in the 1906 earthquake and there is no information why that number was chosen. [18] (#cite_note-18) There are urban legends (/wiki/Urban_legend) claiming that the first pair of Levi's jeans were made of hemp (/wiki/Hemp) , despite being made from cotton by the Amoskeag Manufacturing Company (/wiki/Amoskeag_Manufacturing_Company) . [19] (#cite_note-19) This misinformation was likely spread by Jack Herer (/wiki/Jack_Herer) . [20] (#cite_note-20) The first hemp jeans from Levi's were manufactured in March 2019. [21] (#cite_note-21) Growth in popularity (1910s–1960s) [ edit ] Levi Strauss advertising on a building in Woodland, California (/wiki/Woodland,_California) Modern jeans began to appear in the 1920s, but sales were largely confined to the working people of the western US, such as cowboys, lumberjacks, and railroad workers. Levi's jeans were first introduced to the East during the dude ranch (/wiki/Dude_ranch) craze of the 1930s, when vacationing Easterners returned home with tales (and usually examples) of the hard-wearing riveted denim pants. Another boost came in World War II when blue jeans were declared an essential commodity and sold only to people engaged in defense work. Between the 1950s and 1980s, Levi's jeans became popular among a wide range of youth subcultures (/wiki/Counterculture_of_the_1960s) , including greasers (/wiki/Greaser_(subculture)) , mods (/wiki/Mod_(subculture)) , rockers (/wiki/Rocker_(subculture)) , and hippies (/wiki/Hippie) . Levi's popular shrink-to-fit 501s were sold as labeled, sized as manufactured, and had substantial shrinkage upon laundering. [22] (#cite_note-22) Although popular lore (abetted by company marketing) holds that the original design remains unaltered, the crotch rivet, watch pocket rivets, and waist cinch were removed during World War II to conform with War Production Board metal conservation rules and only the watch pocket rivets restored after. [23] (#cite_note-23) Additionally, the back pocket rivets, which had been covered in denim since 1937 to prevent scratching furniture, were removed in the 1950s (and replaced by bar tacks) as they eventually wore through and caused the problem anyway. [24] (#cite_note-24) Blue jeans era (1960s–1980s) [ edit ] A pair of Levi's 501 jeans From the early 1960s through the mid-1970s, Levi Strauss experienced significant business growth as the casual look of the 1960s and 1970s ushered in the "blue jeans craze". Levi's, under the leadership of Walter Haas, Peter Haas Sr., Paul Glasco, and George P. Simpkins Sr., expanded the firm's clothing line by adding new fashions and models, such as " stone-washed (/wiki/Stone_washing) " jeans through the acquisition of Great Western Garment Co. (/wiki/Great_Western_Garment_Co.) (GWG), a Canadian clothing manufacturer, a technique still in use by Levi Strauss. Simpkins is credited with the company's record-paced expansion of its manufacturing capacity from 16 plants to more than 63 in the US – and 23 overseas – from 1964 to 1974. In the 1980s, the company closed approximately 60 manufacturing plants because of financial difficulties and strong competition. [25] (#cite_note-25) The Dockers (/wiki/Dockers_(brand)) brand, launched in 1986 and sold primarily through department store chains, helped the company grow through the mid-1990s, as denim sales began to wane. Dockers were introduced into Europe in 1996 and led by CEO Jorge Bardina. Levi Strauss attempted to sell the Dockers division in 2004 to relieve part of the company's $2.6 billion outstanding debt. Brand competition (1990s) [ edit ] Levi's 506 zip fly jeans By the 1990s, Levi's faced competition from other brands and cheaper products from overseas and began accelerating the pace of its US factory closures and its use of offshore subcontractors. In 1991, Levi Strauss became implicated in a scandal involving pants made in the Northern Mariana Islands (/wiki/Commonwealth_(United_States_insular_area)#Commonwealth_of_the_Northern_Mariana_Islands) : some 3% of Levi's jeans sold annually with the "Made in the USA" label were shown to have been made by Chinese laborers under what the U.S. Department of Labor (/wiki/United_States_Department_of_Labor) called slave-like conditions. [26] (#cite_note-26) As of 2016 [update] (https://en.wikipedia.org/w/index.php?title=Levi_Strauss_%26_Co.&action=edit) , only a few of the costlier higher-end styles are made domestically. Cited for sub-minimum wages, seven-day work weeks with 12-hour shifts, poor living conditions, and other workplace abuses, Tan Holdings Corporation (/wiki/Tan_Holdings_Corporation) , Levi Strauss' Marianas subcontractor, paid what were then the largest fines in US labor history, distributing more than $9 million in restitution to some 1,200 employees. [27] (#cite_note-27) [28] (#cite_note-28) [29] (#cite_note-29) Levi Strauss claimed no knowledge of the offenses, severed ties to the Tan family, and instituted labor reforms and inspection practices in its offshore facilities. The activist group Fuerza Unida (/wiki/Fuerza_Unida) (United Force) formed following the January 1990 closure of a plant in San Antonio (/wiki/San_Antonio) , Texas (/wiki/Texas) , in which 1,150 seamstresses – some of whom had worked for Levi Strauss for decades – saw their jobs exported to Costa Rica (/wiki/Costa_Rica) . [30] (#cite_note-30) During the mid-and late 1990s, Fuerza Unida picketed the Levi Strauss headquarters in San Francisco and staged hunger strikes and sit-ins in protest of the company's labor policies. [31] (#cite_note-31) The company took on multibillion-dollar debt in February 1996 to help finance a series of private leveraged stock buyouts (/wiki/Leveraged_buyout) among family members determined to consolidate the company under their ownership. At the time, shares in Levi Strauss stock were not publicly traded. As of 2016, the firm was owned almost entirely by indirect descendants and collateral relatives of Levi Strauss, whose four nephews inherited the San Francisco dry-goods firm after their uncle died in 1902. [32] (#cite_note-32) The corporation's bonds are traded publicly, as are shares of the company's Japanese affiliate, Levi Strauss Japan K.K. In June 1996, the company offered to pay its workers an unusual dividend of up to $750 million in six years, having halted an employee-stock plan during the internal family buyout. However, the company failed to make cash-flow targets, and no worker dividends were paid. [33] (#cite_note-33) The annual sales of the brand increased in 1997 to $7.1 billion. [34] (#cite_note-34) Later developments (2000–present) [ edit ] This section is in list (/wiki/MOS:LIST) format but may read better as prose (/wiki/MOS:PROSE) . You can help by converting this section (https://en.wikipedia.org/w/index.php?title=Levi_Strauss_%26_Co.&action=edit) , if appropriate. Editing help (/wiki/Help:Editing) is available. ( January 2024 ) A Levi's store in Chadstone Shopping Centre (/wiki/Chadstone_Shopping_Centre) in Melbourne (/wiki/Melbourne) , Australia A Levi's outlet store in Vaughan Mills (/wiki/Vaughan_Mills) in Vaughan (/wiki/Vaughan) , Ontario (/wiki/Ontario) In 2002, Levi Strauss began a close business collaboration with Walmart (/wiki/Walmart) , producing a line of "Signature" jeans and other clothes for sale only in Walmart stores until 2006. [35] (#cite_note-35) In 2002, the company closed its Valencia Street plant in San Francisco, which opened in 1906, the year of the city's devastating earthquake (/wiki/1906_San_Francisco_earthquake) . [36] (#cite_note-36) [37] (#cite_note-nytsa2003-37) By the end of 2003, the closure of Levi's last U.S. factory in San Antonio (/wiki/San_Antonio) ended 150 years of jeans made in the United States. [38] (#cite_note-38) Production of a few higher-end, more expensive styles of jeans resumed in the U.S. several years later. [37] (#cite_note-nytsa2003-37) In 2002, Levi Strauss closed several factories worldwide and took control of GWG's operations. [39] (#cite_note-39) Attempts to make the GWG brand profitable again were unsuccessful, and the Edmonton (/wiki/Edmonton) GWG factory, along with all remaining Levi Strauss factories in North America, closed in 2004. [40] (#cite_note-40) By 2007, Levi Strauss was again profitable after declining sales in nine of the previous ten years. [41] (#cite_note-41) Its total annual sales of just over $4 billion were $3 billion less than during its peak performance [37] (#cite_note-nytsa2003-37) in the mid-1990s. [42] (#cite_note-42) After more than two decades of family ownership, rumors of a possible public stock offering appeared in the media in July 2007. [43] (#cite_note-43) As of 2007 [update] (https://en.wikipedia.org/w/index.php?title=Levi_Strauss_%26_Co.&action=edit) , Levi Strauss leads the apparel industry in trademark infringement cases, filing nearly 100 lawsuits against competitors over six years from 2001. [44] (#cite_note-suing-44) Most cases center on the alleged imitation of Levi's back pocket double arc stitching pattern (U.S. trademark (/wiki/Trademark) No. 1,139,254), which Levi's filed for a trademark in 1978. [45] (#cite_note-45) Levi's has successfully sued Guess (/wiki/Guess%3F) , Polo Ralph Lauren (/wiki/Polo_Ralph_Lauren) , Esprit Holdings (/wiki/Esprit_Holdings) , Zegna (/wiki/Ermenegildo_Zegna_Group) , Zumiez (/wiki/Zumiez) , and Lucky Brand Jeans (/wiki/Lucky_Brand_Jeans) , among other companies. [44] (#cite_note-suing-44) In 2010, the company partnered with Filson (/wiki/Filson_(company)) , an outdoor goods manufacturer in Seattle, to produce a high-end line of jackets and workwear. [46] (#cite_note-46) In 2011, the firm hired Chip Bergh as the president and chief executive of the brand. [47] (#cite_note-Loeb-47) In that same year, they established more than 20 different waterless manufacturing techniques, reducing the exceptionally high amounts of water used to create denim. Levi's is now the world's most sustainable brand of jeans in terms of water usage. [48] (#cite_note-48) On May 8, 2013, the NFL (/wiki/NFL) 's San Francisco 49ers (/wiki/San_Francisco_49ers) announced that Levi Strauss & Co. had purchased the naming rights to their new stadium (/wiki/Levi%27s_Stadium) in Santa Clara, California (/wiki/Santa_Clara,_California) . The naming rights deal called for Levi's to pay $220.3 million to the city of Santa Clara and the 49ers over 20 years, with an option to extend the agreement for another five years for around $75 million. [49] (#cite_note-49) As of 2016 [update] (https://en.wikipedia.org/w/index.php?title=Levi_Strauss_%26_Co.&action=edit) , Levi Strauss Signature jeans were sold in 110 countries. [47] (#cite_note-Loeb-47) In 2016, the company reported revenues of $4.6 billion. [47] (#cite_note-Loeb-47) On July 13, 2017, Levi Strauss heir Bill Goldman died in a private plane crash near Sonoma, California (/wiki/Sonoma,_California) . [50] (#cite_note-50) In 2017, Levi Strauss & Co. released a "smart jacket", an apparel they developed in partnership with Google (/wiki/Google) . After two years of collaboration, the result was a denim jacket set at $350. [51] (#cite_note-51) In March 2019, Levi's debuted on the New York Stock Exchange (/wiki/New_York_Stock_Exchange) under the ticker "LEVI". [52] (#cite_note-52) Levi Strauss was valued at $6.6 billion as its IPO (/wiki/Initial_public_offering) priced above the target. [53] (#cite_note-53) In September 2019, Levi's won a final judgment on a trademark infringement (/wiki/Trademark_infringement) in Guangzhou, China (/wiki/Guangzhou,_China) . The case centered on the "arcuate design on two pockets at the back of jeans", which has been protected in China since its registration there in 2005. The company won damages and costs in addition to a ban on future infringements. The infringer's ignorance of the trademark was no bar to punishment. [54] (#cite_note-lex19-54) In 2019, Levi's became one of only two major clothing companies with commitments in line with the Paris Agreement (/wiki/Paris_Agreement) 's goal of limiting global average temperature increase to 1.5 degrees Celsius. [55] (#cite_note-55) In 2020, Levi Strauss & Co. was expected to have completely replaced chemical usage as well as using lasers (/wiki/Laser) to cut, and design ripped parts of jeans. [56] (#cite_note-56) In December 2019, the Engage for Good (formerly Cause Marketing Forum) organization awarded the company the Golden Halo Award for 2020 [57] (#cite_note-57) for their advancements in corporate social impact. [58] (#cite_note-58) On August 5, 2021, Levi Strauss & Co. announced the acquisition of Beyond Yoga, entering the activewear market. They expect the acquisition will contribute more than $100 million in net revenue per year. [59] (#cite_note-59) It was announced senior executives are to speak with AI expert Blake Van Leer at the LA eCommerce Summit about their digital strategies and AI in 2023. [60] (#cite_note-60) [61] (#cite_note-61) It was announced in January 2023 that Levi would begin accepting old pairs of jeans to recycle into more denim in a campaign to go green. [62] (#cite_note-62) Levi's Autumn/Winter 2023 WellThread capsule aimed to show the brand's engagement to sustainability as it included items made from 100% transitional cotton as well as plant-based natural dyes. [63] (#cite_note-63) Cultural impact [ edit ] Levi's have been worn by people of all backgrounds – from miners to actors to Nobel Prize recipients. Marlon Brando (/wiki/Marlon_Brando) and Albert Einstein (/wiki/Albert_Einstein) wore Levi's, and Einstein wore a 1930s-era Levi's leather jacket, which sold at auction house Christie's (/wiki/Christie%27s) in July 2016 for £110,500. [64] (#cite_note-64) Levi's is aggressive in advertising, marketing, and trademark (/wiki/Trademark) protection. It has used its signature arched stitching on the back pockets of its jeans since 1873. In 1943, the firm trademarked the design in the U.S. and has done so in more than 100 total jurisdictions as of 2019. [54] (#cite_note-lex19-54) It has also trademarked various word marks (/wiki/Word_marks) , including "Levi's", "Red Tab", "Orange Tab", "Silvertab", "501", "505", "517", "550", "569": and "Dockers". [65] (#cite_note-65) During the Cold War (/wiki/Cold_War) , Levi's became a symbol of the west in the Soviet Union (/wiki/Soviet_Union) . According to historian Kristin Roth-Ey, the association stemmed from the 1957 World Festival of Youth and Students (/wiki/World_Festival_of_Youth_and_Students) in Moscow (/wiki/Moscow) : Americans wore Levi's jeans to the event, resulting in widespread interest within the Russian Soviet Federative Socialist Republic (/wiki/Russian_Soviet_Federative_Socialist_Republic) that prompted the Soviet government to condemn the brand as a symbol of western decadence. [66] (#cite_note-Scott_2022-66) Continued demand for the jeans resulted in both genuine articles and bootlegs becoming commonplace in Soviet black markets, and in 1979, the Soviet government struck deals with Levi's and the VF Corporation (/wiki/VF_Corporation) to manufacture jeans for consumers in the region; however, this deal fell through due to the 1980 Summer Olympics boycott (/wiki/1980_Summer_Olympics_boycott) following the onset of the Soviet–Afghan War (/wiki/Soviet%E2%80%93Afghan_War) . [67] (#cite_note-Gordon_2016-67) In 2022, it was reported that a pair of Levi's jeans from the 1880s found in an abandoned mine shaft was sold for $87,400 at an auction in New Mexico (/wiki/New_Mexico) . [68] (#cite_note-68) The vintage Levi's bore a label with the inscription "the only kind made by white labor", a detail which helped date the jeans to the period between 1882, which was after the U.S. Congress passed the Chinese Exclusion Act (/wiki/Chinese_Exclusion_Act) , banning Chinese laborers seeking to immigrate to the U.S., and the 1890s, when the company "reversed [its] policy and company leaders began speaking out against the nation's racist policy". [69] (#cite_note-69) Corporate structure and staff [ edit ] Levi's Plaza (/wiki/Levi%27s_Plaza) in San Francisco, the location of the company's corporate headquarters Levi Strauss & Co. is a worldwide corporation organized into three geographic divisions: Levi Strauss Americas (LSA), which is headquartered in San Francisco (/wiki/San_Francisco) ; Levi Strauss Europe (LSE), which is based in Brussels (/wiki/Brussels) ; and Levi Strauss Asia Pacific, Middle East and Africa. Strauss passed the company to his nephews, the sons of David Stern, upon his death in 1902. Walter A. Haas (/wiki/Walter_A._Haas) , who married the daughter of David's fourth son, Sigmund Stern, became president in 1928, and the company remained under the ownership of the Stern-Haas family until first going public in 1971. However, in 1985, the Haas family recaptured ownership of the company, taking it private once again for the next 34 years. [70] (#cite_note-70) [71] (#cite_note-71) In February 2019, the company filed with the U.S. Securities and Exchange Commission (/wiki/U.S._Securities_and_Exchange_Commission) for an initial public offering (/wiki/Initial_public_offering) to be traded on the New York Stock Exchange (/wiki/New_York_Stock_Exchange) under the ticker symbol (/wiki/Ticker_symbol) LEVI. [72] (#cite_note-72) [73] (#cite_note-73) It was held on March 21, 2019, selling for $17 per share. The company is also well known for promoting progressive causes. [74] (#cite_note-74) It was one of the earliest private sector institutions to support LGBTQ causes and, during the 2016 presidential campaign, donated $1 million to support immigration and LGBTQ (/wiki/LGBTQ) rights. In 2018, CEO Chip Bergh published an op-ed (/wiki/Op-ed) in Fortune (/wiki/Fortune_(magazine)) magazine, speaking out against gun violence. [75] (#cite_note-75) However, the company is alleged to make use of Uyghur (/wiki/Uyghurs) forced labor provided by the China-based supplier Beijing Guanghua Textile Group from a report by the Helena Kennedy Center for International Justice (/w/index.php?title=Helena_Kennedy_Center_for_International_Justice&action=edit&redlink=1) , the socialists and democrats in the European Parliament (/wiki/Progressive_Alliance_of_Socialists_and_Democrats) . [76] (#cite_note-76) Levi's has disputed [77] (#cite_note-77) these claims. In the first few months of the COVID-19 pandemic (/wiki/COVID-19_pandemic) , the company experienced a 62% drop in sales and recorded a $364 million loss. Some 700 office jobs were pared to reduce expenses by $100 million. [78] (#cite_note-78) Current products [ edit ] As of 2019, Levi's are made in many developing countries, including Bangladesh, India, Egypt, Sri Lanka, Vietnam, Indonesia, and Mexico. Some top-end styles in the "Levi's Premium" and "Levi's Vintage Clothing" lines are produced in the United States. [79] (#cite_note-79) In addition to jeans, Levi's sells a full line of shirts, jackets, sweaters, underwear, socks, eyeglasses, accessories, dresses, skirts, and leather products. All jeans and pants are categorized by fit – skinny, slim, straight, bootcut, taper, relaxed, flare, and "big & tall" – identified by trademarked three-digit numbers. The 501, the company's original modern design, is available in styles for both men and women. The rest of the 500 series is designed for men, and the 300, 400, 700, and 800 series for women. [80] (#cite_note-80) Tag from a pair of Levi 501 button-fly jeans Detail of the back of a pair of Levi jeans See also [ edit ] Jean jacket (/wiki/Jean_jacket) Portals (/wiki/Wikipedia:Contents/Portals) : Companies (/wiki/Portal:Companies) Fashion (/wiki/Portal:Fashion) San Francisco Bay Area (/wiki/Portal:San_Francisco_Bay_Area) References [ edit ] ^ (#cite_ref-1) "Levi Strauss & Co. Announces Fourth-Quarter & Fiscal-Year 2013 Financial Results" (http://www.levistrauss.com/wp-content/uploads/2014/02/LSCo-Q4-and-FY-2013-Earnings-Release-Final1.pdf) (PDF) (Press release). Levi Strauss. February 11, 2014 . Retrieved March 11, 2016 . ^ Jump up to: a b "Levi Strauss & Co" (https://www.forbes.com/companies/levi-strauss-co/) . Forbes . Retrieved May 22, 2014 . ^ (#cite_ref-3) "Executive Profile: Stephen C. Neal" (https://www.bloomberg.com/research/stocks/private/person.asp?personId=21976958&privcapId=30773) . bloomberg.com . February 20, 2019 . Retrieved February 20, 2019 . ^ (#cite_ref-4) "Levi Strauss Revenue 2010-2022 | LEVI" (https://www.macrotrends.net/stocks/charts/LEVI/levi-strauss/revenue) . macrotrends.net . ^ (#cite_ref-5) "Levi Strauss Operating Income 2010-2022 | LEVI" (https://www.macrotrends.net/stocks/charts/LEVI/levi-strauss/operating-income) . macrotrends.net . ^ (#cite_ref-6) "Levi Strauss Net Income 2010-2022 | LEVI" (https://www.macrotrends.net/stocks/charts/LEVI/levi-strauss/net-income) . ^ (#cite_ref-7) "Levi Strauss Total Assets 2010-2022 | LEVI" (https://www.macrotrends.net/stocks/charts/LEVI/levi-strauss/total-assets) . macrotrends.net . ^ (#cite_ref-8) "2018 Form 10-K" (https://s23.q4cdn.com/172692177/files/doc_financials/2018/q4/10k-q4-2018.pdf) (PDF) . s23.q4cdn.com . ^ (#cite_ref-9) "Levi Strauss & Co. Celebrates 150th Anniversary" (https://web.archive.org/web/20170821004122/http://www.prnewswire.com/news-releases/levi-strauss--co-celebrates-150th-anniversary-55466052.html) (Press release). PR Newswire. May 1, 2003. Archived from the original (https://www.prnewswire.com/news-releases/levi-strauss--co-celebrates-150th-anniversary-55466052.html) on August 21, 2017 . Retrieved February 1, 2017 . ^ (#cite_ref-10) "In the United States Patent and Trademark Office Before the Trademark Trial and Appeal Board – Notice of Opposition" (https://ttabvue.uspto.gov/ttabvue/ttabvue-91253125-OPP-1.pdf) (PDF) . No. ESTTA1025287. USPTO. Trademark Trial and Appeal Board. December 24, 2019. ^ (#cite_ref-11) Duxbury, Sarah (July 13, 2009). "Levi Strauss to stay put in San Francisco" (http://www.bizjournals.com/sanfrancisco/stories/2009/07/13/daily7.html) . San Francisco Business Times . Retrieved March 7, 2012 . ^ (#cite_ref-12) Virk, Azhar Saleem (February 2003). Inspiration from Lives of Famous People . iUniverse. ISBN (/wiki/ISBN_(identifier)) 9780595268245 . Retrieved April 13, 2020 . ^ (#cite_ref-13) "353 Sacramento Street | 353 Sacramento St, San Francisco, CA, 94111-3620 | JLL PowerSearch" (https://powersearch.jll.com/us-en/property/31335/353-sacramento-st) . JLL PowerSearch - United States of America commercial KIKI real estate listings . ^ (#cite_ref-14) "David Stern & His Sons: Prime Movers of Levi Strauss & Co" (http://www.jmaw.org/stern-levi-strauss-san-francisco/) . Museum of the American West . Retrieved April 17, 2018 . ^ (#cite_ref-15) "Jacob Davis: Pioneer Jewish Tailor of Nevada & His Copper Rivets That Made History" (http://www.jmaw.org/jacob-davis-levi-rivets-jewish/) . Jewish Museum of the American West . Retrieved March 28, 2015 . ^ (#cite_ref-16) Rocha, Guy (September 1999). "Levi' 501 jeans: a riveting story in early Reno" (https://web.archive.org/web/20120305203817/http://nsla.nevadaculture.org/index.php?option=com_content&task=view&id=710&Itemid=418) . Nevada Archives . Archived from the original (http://nsla.nevadaculture.org/index.php?option=com_content&task=view&id=710&Itemid=418) on March 5, 2012. ^ (#cite_ref-17) "Levi pants invented in Reno, Nevada" (https://web.archive.org/web/20120305203817/http://nsla.nevadaculture.org/index.php?option=com_content&task=view&id=710&Itemid=418) . Sierra Sage, Carson City/Carson Valley, Nevada . March 1999. Archived from the original (http://nsla.nevadaculture.org/index.php?option=com_content&task=view&id=710&Itemid=418) on March 5, 2012 . Retrieved March 7, 2018 – via State of Nevada Archives. ^ (#cite_ref-18) "History of The Levi's 501 Jeans" (https://www.levistrauss.com/wp-content/uploads/2014/01/History-of-Levis-501-Jeans.pdf) (PDF) . Retrieved December 9, 2021 . ^ (#cite_ref-19) George Waldo Browne (1915). The Amoskeag Manufacturing Co. of Manchester, New Hampshire: A History . Amoskeag Manufacturing. ^ (#cite_ref-20) Deitch, Robert (2003). Hemp: American history revisited [electronic resource]: the plant with a divided history . New York: Algora Publishers. ISBN (/wiki/ISBN_(identifier)) 978-0-87586-226-2 – via Internet Archive. ^ (#cite_ref-21) Velasquez, Angela (March 6, 2019). "Levi's Wellthread and Outerknown Introduce Cottonized Hemp Denim" (https://sourcingjournal.com/denim/denim-brands/levis-outerknown-introduce-cottonized-hemp-denim-142199/) . Sourcing Journal . Retrieved May 6, 2024 . ^ (#cite_ref-22) "History of Jeans and Denim" (http://www.fashionintime.org/history-jeans/) . History of Fashion . January 17, 2015 . Retrieved June 12, 2017 . ^ (#cite_ref-23) "History of Denim Through the Ages - Western Wear Goes Hollywood" (https://web.archive.org/web/20131024074201/http://selvedgeyard.com/2009/10/17/history-of-denim-through-the-ages-western-wear-goes-hollywood/) . selvedgeyard.com . October 18, 2009. 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Retrieved March 21, 2019 . ^ Jump up to: a b "LEVI's Prevails in Double Arcs Trademark Infringement Case" (https://www.lexology.com/library/detail.aspx?g=1c49b0f4-9482-4ef0-91f9-eb2a2d7fb78a) . Law Business Research. lexology. September 16, 2019. ^ (#cite_ref-55) Cernansky, Rachel (October 17, 2019). "Only two big brands do enough to fight climate change, report claims" (https://www.voguebusiness.com/sustainability/fashion-climate-change-sustainability-standearth-paris-agreement) . voguebusiness.com . Retrieved May 5, 2021 . ^ (#cite_ref-56) Kapner, Suzanne (February 27, 2018). "Levi's Wants Lasers, Not People, to Rip Your Jeans" (https://www.wsj.com/articles/levis-wants-lasers-not-people-to-rip-your-jeans-1519740001) . Wall Street Journal . ^ (#cite_ref-57) "Halo Awards – CSR Awards" (https://engageforgood.com/halo-awards/) . engageforgood.com . Retrieved December 16, 2019 . ^ (#cite_ref-58) Glover, Simon (December 13, 2019). 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"Levi's pulling out of Russia reminds people of the country's jean smuggler era" (https://www.npr.org/2022/03/10/1085838486/levi-s-pulling-out-of-russia-reminds-people-of-the-country-s-jean-smuggler-era) . All Things Considered . National Public Radio . Retrieved May 18, 2024 . ^ (#cite_ref-Gordon_2016_67-0) Gordon, Text (August 19, 2016). "Exploring the USSR's underground obsession with Levi's 501s" (https://www.dazeddigital.com/fashion/article/32495/1/exploring-the-ussr-s-underground-obsession-with-levi-s-501s) . Dazed . Dazed Media . Retrieved May 18, 2024 . ^ (#cite_ref-68) "19th-century Levi's jeans found in mine shaft sell for more than $87,000" (https://edition.cnn.com/style/article/19th-century-levis-jeans-intl-scli/index.html) . CNN . October 13, 2022 . 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(February 13, 2019). "Form S-1: Registration Statement under the Securities Act of 1933" (https://www.sec.gov/Archives/edgar/data/94845/000119312519037135/d632158ds1.htm) . EDGAR . U.S. Securities and Exchange Commission . Retrieved February 13, 2019 . ^ (#cite_ref-74) "Levi Strauss & Co.'s Diversity Problem — And Our Plan to Fix It" (https://www.levi.com/US/en_US/blog/article/levi-strauss-co-s-diversity-problem-and-our-plan-to-fix-it/) . levi.com . Retrieved October 8, 2020 . ^ (#cite_ref-75) Bergh, Chip. "Why Business Leaders Need to Take a Stand on Gun Violence" (http://fortune.com/2018/09/04/levi-strauss-gun-violence-parkland/) . Fortune . Retrieved April 8, 2019 . ^ (#cite_ref-76) Tailoring Responsibility: Tracing Apparel Supply Chains from the Uyghur Region to Europe (PDF) . Uyghur Rights Monitor, the Helena Kennedy Centre for International Justice at Sheffield Hallam University, and the Uyghur Center for Democracy and Human Rights. December 2023. p. 20. {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: date and year ( link (/wiki/Category:CS1_maint:_date_and_year) ) ^ (#cite_ref-77) "Levi's: Forced Labor Probe Based on 'Outdated' Intel" (https://sourcingjournal.com/denim/denim-brands/levi-strauss-forced-labor-uyghur-xinjiang-canada-core-ombudsman-nike-456301/) . ^ (#cite_ref-78) "Levi's cuts 700 jobs due to falling sales" (https://www.bbc.com/news/business-53329555) . BBC News . July 7, 2000. ^ (#cite_ref-79) "Levi Strauss.com" (https://www.levi.com/US/en_US/search/%22made%20in%20the%20usa%22) . Retrieved July 20, 2019 . ^ (#cite_ref-80) "Levi Strauss.com" (http://www.levi.com/US/en_US) . Retrieved June 18, 2016 . Further reading [ edit ] Ford, Carin T. (2004). Levi Strauss: The Man Behind Blue Jeans (Famous Inventors) . Enslow Publishers. ISBN (/wiki/ISBN_(identifier)) 0-7660-2249-8 . Van Steenwyk, Elizabeth (1988). Levi Strauss: The Blue Jeans Man . Walker. ISBN (/wiki/ISBN_(identifier)) 0-8027-6795-8 . Cray, Ed (1978). Levi's: The Shrink to Fit business that stretched to cover the world . Houghton Mifflin. ISBN (/wiki/ISBN_(identifier)) 0-395-26477-4 . External links [ edit ] Wikimedia Commons has media related to Levi Strauss & Co. (https://commons.wikimedia.org/wiki/Category:Levi_Strauss_%26_Co.) . Business data for Levi Strauss & Co.: Bloomberg (https://www.bloomberg.com/quote/LEVI:US) Google (https://www.google.com/finance/quote/LEVI) Reuters (https://www.reuters.com/markets/companies/LEVI.N) SEC filings (https://www.sec.gov/cgi-bin/browse-edgar?action=getcompany&CIK=LEVI) Yahoo! 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Traditional Iranian female garment Young women in Herat (/wiki/Herat) , Afghanistan, wearing patterned chadors, which are rare amongst younger women in Iran since the Iranian Revolution but remain common in Afghanistan and Tajikistan Part of a series (/wiki/Category:Islamic_female_clothing) on Islamic (/wiki/Islam) female (/wiki/Women_in_Islam) dress (/wiki/Islamic_clothing) Types (/wiki/Types_of_hijab) Abaya (/wiki/Abaya) Al-amira (/wiki/Al-amira) Battoulah (/wiki/Battoulah) Boshiya (/wiki/Boshiya) Burkini (/wiki/Burkini) Burqa (/wiki/Burqa) Çarşaf (/wiki/%C3%87ar%C5%9Faf) Chador Haik (/wiki/Haik_(garment)) Hijab (/wiki/Hijab) Jilbaab (/wiki/Jilb%C4%81b) Kerudung (/wiki/Kerudung) Kimeshek (/wiki/Kimeshek) Khimar (/wiki/Khimar) Kurhars (/wiki/Kurhars) Mukena (/wiki/Mukena) Niqaab (/wiki/Niq%C4%81b) Paranja (/wiki/Paranja) Safseri (/wiki/Safseri) Selendang (/wiki/Selendang) Shayla (/wiki/Shayla) Tudong (/wiki/Tudong) Yashmak (/wiki/Yashmak) Practice and law by country (/wiki/Hijab_by_country) Australia (/wiki/Burka_ban_in_Australia) Britain (/wiki/British_debate_over_veils) Canada (/wiki/Islamic_veiling_practices_by_country#Canada) Egypt (/wiki/Niq%C4%81b_in_Egypt) France (/wiki/Islamic_scarf_controversy_in_France) Indonesia (/wiki/Women_in_Indonesia#National_law_and_sharia) Iran (/wiki/Hijab_in_Iran) Pakistan (/wiki/Women_in_Pakistan#Culture) Saudi Arabia (/wiki/Women%27s_rights_in_Saudi_Arabia#Hijab_and_dress_code) Taliban Afghanistan (/wiki/Taliban_treatment_of_women#Gender_policies) Turkey (/wiki/Headscarf_controversy_in_Turkey) Concepts Andaruni (/wiki/Andaruni) Awrah (/wiki/Intimate_parts_in_Islam) Fahisha (/wiki/Fahisha) Gender segregation (/wiki/Islam_and_gender_segregation) Haya (/wiki/Haya_(Islam)) Purdah (/wiki/Purdah) Zenana (/wiki/Zenana) Other Hijabophobia (/wiki/Hijabophobia) Hujum (/wiki/Hujum) Kashf-e hijab (/wiki/Kashf-e_hijab) My Stealthy Freedom (/wiki/My_Stealthy_Freedom) Wimple (/wiki/Wimple) World Hijab Day (/wiki/World_Hijab_Day) v t e A chādor ( Persian (/wiki/Persian_language) , Urdu (/wiki/Urdu_language) : چادر (https://en.wiktionary.org/wiki/%DA%86%D8%A7%D8%AF%D8%B1) , lit. (/wiki/Literal_translation) 'tent'), also variously spelled in English as chadah , chad(d)ar , chader , chud(d)ah , chadur , and naturalized (https://en.wiktionary.org/wiki/naturalize) as /tʃʌdər/ , is an outer garment (/wiki/Garment) or open cloak (/wiki/Cloak) worn by many women in the Persian-influenced countries of Iran (/wiki/Women_in_Iran) , Afghanistan (/wiki/Afghanistan) , Pakistan (/wiki/Pakistan) , and to a lesser extent Tajikistan (/wiki/Tajikistan) , as well as in Shia (/wiki/Shia) communities in Iraq (/wiki/Iraq) , Bahrain (/wiki/Bahrain) , and Qatif (/wiki/Qatif) in Saudi Arabia (/wiki/Saudi_Arabia) in public spaces or outdoors. A chador is a full-body-length semicircle of fabric that is open down the front. The garment is pulled over the head, and is held closed at the front by the wearer; the chador has no hand openings, buttons, or clasps. It may also be held closed by being tucked under the wearer's arms. The word in Classical Persian (/wiki/Classical_Persian) could be used in reference to almost any cloth, headscarf, or even tents. [1] (#cite_note-1) This definition is mostly retained in the Eastern Persian varieties Tajiki (/wiki/Tajik_language) and Dari (/wiki/Dari) , which commonly use reflexes of chādar in reference to almost any cloth or scarf, [2] (#cite_note-2) [3] (#cite_note-3) including loosely worn scarves that would be inappropriate to call a chador in Iranian Persian (/wiki/Iranian_Persian) . Before the 1978–1979 Iranian Revolution (/wiki/Iranian_Revolution) , black chadors were reserved for funerals and periods of mourning; colourful, patterned fabrics were the norm for everyday wear. Currently, the majority of Iranian women who wear the chador use the black version outside, and reserve light-coloured chadors for indoor use. Historical background [ edit ] Ancient and early Islamic times [ edit ] Malek Jahan Khanom (/wiki/Malek_Jahan_Khanom) , regent (/wiki/Regent) of Qajar Iran (/wiki/Qajar_dynasty) in 1848 Fadwa El Guindi (/wiki/Fadwa_El_Guindi) locates the origin of the veil in ancient Mesopotamia (/wiki/Mesopotamia) , where "wives and daughters of high-ranking men of the nobility had to veil". [4] (#cite_note-4) The veil marked class status, and this dress code (/wiki/Dress_code) was regulated by sumptuary laws (/wiki/Sumptuary_law) . One of the first representation of a chador is found on Ergili sculptures and the "Satrap sarcophagus" from Persian Anatolia. [5] (#cite_note-iranicaII-5) Bruhn/Tilke, in their 1941 A Pictorial History of Costume , do show a drawing, said to be copied from an Achaemenid relief of the 5th century BC, of an individual with their lower face hidden by a long cloth wrapped around the head. [6] (#cite_note-6) Some have mistakenly claimed this to be a woman, but it is actually a Mede soldier. [7] (#cite_note-7) Achaemenid (/wiki/Achaemenid_Empire) women in art were almost always uncovered. [5] (#cite_note-iranicaII-5) The earliest written record of chador can be found in Pahlavi scripts (/wiki/Pahlavi_scripts) from the sixth century as a female head dress worn by Zoroastrian (/wiki/Zoroastrianism) women. [8] (#cite_note-iranicachad-8) It is likely that the custom of veiling continued through the Seleucid (/wiki/Seleucid) , Parthian (/wiki/Parthian_Empire) , and Sasanian (/wiki/Sasanian) periods. Veiling was not limited to noble women but was practised also by Persian kings. [8] (#cite_note-iranicachad-8) During the Islamic era, the chador retained the meaning of adornment to some extent in Iran, but over time, it took on the meaning of Islam and the Islamic hijab which was one of the concepts of Quran [9] (#cite_note-9) and Islam which was considered a limitation of women. Pahlavi [ edit ] Military commanders of the Iranian armed forces, government officials, and their wives commemorating the abolition of the veil in 1936 " Statue of a Liberated Woman (/wiki/Statue_of_a_Liberated_Woman) " representing a woman tearing off her chador, Baku (/wiki/Baku) , Azerbaijan The 20th century Pahlavi (/wiki/Pahlavi_dynasty) ruler Reza Shah (/wiki/Reza_Shah) banned the chador and all hijab during the Kashf-e hijab (/wiki/Kashf-e_hijab) in 1936, as incompatible with his modernizing ambitions. [10] (#cite_note-10) According to Mir-Hosseini, as cited by El Guindi, "the police were arresting women who wore the veil and forcibly removing it". This policy outraged the Twelver Shia (/wiki/Twelver_Shia) clerics, and ordinary men and women, to whom "appearing in public without their cover was tantamount to nakedness". However, she continues, "this move was welcomed by Westernized and upperclass men and women, who saw it in liberal terms as a first step in granting women their rights". [11] (#cite_note-11) Eventually, rules of dress code were relaxed, and after Reza Shah's abdication in 1941, the compulsory element in the policy of unveiling was abandoned, though the policy remained intact throughout the Pahlavi era. According to Mir-Hosseini, 'between 1941 and 1979, wearing hejab [hijab] was no longer an offence, but it was a real hindrance to climbing the social ladder, a badge of backwardness, and a marker of class. A headscarf, let alone the chador, prejudiced the chances of advancement in work and society not only of working women, but also of men, who were increasingly expected to appear with their wives at social functions. Fashionable hotels and restaurants sometimes even refused to admit women with chador, schools and universities actively discouraged the chador, although the headscarf was tolerated. It was common to see girls from traditional families, who had to leave home with the chador, arriving at school without it and then putting it on again on the way home'. [12] (#cite_note-12) Iranian Revolution [ edit ] After the Iranian Revolution, compulsory hijab were introduced, which was met with opposition from women during the International Women's Day Protests in Tehran, 1979 (/wiki/International_Women%27s_Day_Protests_in_Tehran,_1979) . In April 1980, during the Iranian Cultural Revolution, it was decided that it would be mandatory for women in government offices and educational institutions to observe the veil. [13] (#cite_note-Ramezani10-13) In 1983, a dispute regarding the veiling broke out, and public conflict was motivated by the definition of veiling and its scale (so-called "bad hijab" issue), sometimes followed even by clashes against those who were perceived to wear improper clothing. [13] (#cite_note-Ramezani10-13) Government felt obligated to deal with this situation; so, on 26 July 1984, Tehran's public prosecutor issued a statement and announced that stricter dress-code is supposed to be observed in public places such as institutions, theaters, clubs, hotels, motels, and restaurants, while in the other places, it should follow the pattern (/wiki/Peer_pressure) of the overwhelming majority of people. [13] (#cite_note-Ramezani10-13) Stricter veiling implies both chador and more loosely khimar (/wiki/Khimar) -type headscarf, along with overcoat (/wiki/Overcoat) . Usage [ edit ] Women in Shiraz (/wiki/Shiraz) , Iran, 2019, wearing chadors Before the 1978–1979 Iranian Revolution (/wiki/Iranian_Revolution) , black chadors were worn by many women and girls for different purposes. Light, printed fabrics were the norm for everyday wear. Currently, the majority of women who wear the chador reserve the usage of light-colored chadors for around the house or for prayers. Most women who still go outside in urban areas in a light colored chador are elderly women of rural backgrounds. During the reign of the Shah of Iran (/wiki/Pahlavi_dynasty) , such traditional clothing was largely discarded by the wealthier urban upper-class women in favor of modernity for western clothing, although women in small towns and villages continued to wear the chador. Traditionally a light coloured or printed chador was worn with a headscarf (/wiki/Headscarf) ( rousari ), a blouse (/wiki/Blouse) ( pirahan ), and a long skirt (/wiki/Skirt) ( daaman ); or else a blouse and skirt or dress over pants ( shalvar (/wiki/Shalvar) ), and these styles continue to be worn by many rural Iranian women, in particular by older women. On the other hand, in Iran, the chador does not require the wearing of a veil. Inside the home, particularly for urban women, both the chador and the veil have been discarded, and there, women and teenagers wore cooler and lighter garments; while in modern times, rural women (/wiki/Rural_women) continue to wear a light-weight printed chador inside the home over their clothing during their daily activities. The chador is worn by some Iranian women, regardless of whether they are Sunni (/wiki/Sunni) or Shia, but is considered traditional to Persian Iranians, with Iranians of other backgrounds wearing the chador or other traditional forms of attire. For example, Arab Iranian women in Western and Southern Iran retain their overhead Abaya which is similar to the overhead Abaya worn in Iraq (/wiki/Iraq) , Kuwait (/wiki/Kuwait) , and Bahrain (/wiki/Bahrain) . Beyond Iran [ edit ] The Persian word entered South Asia (/wiki/South_Asia) , and appeared in the Hindustani language (/wiki/Hindustani_language) as cādar ( चादर (https://en.wiktionary.org/wiki/%E0%A4%9A%E0%A4%BE%E0%A4%A6%E0%A4%B0#Hindi) , anglicized as chaddar , chuddar and chudder ). [14] (#cite_note-14) However, an Indian and Pakistani cādar may more closely resemble a dupatta (/wiki/Dupatta) . [15] (#cite_note-15) [16] (#cite_note-16) The Hindustani word can also refer to other type of sheets, such as bed sheets. [17] (#cite_note-17) [18] (#cite_note-18) There are also a small Haredi Jewish (/wiki/Haredi_Judaism) groups in which the women wear black head-to-toe cloaks similar to the chador, such as the extremist Lev Tahor (/wiki/Lev_Tahor) . [19] (#cite_note-19) See also [ edit ] Fashion portal (/wiki/Portal:Fashion) Iran portal (/wiki/Portal:Iran) Headscarf (/wiki/Headscarf) Women in Iran (/wiki/Women_in_Iran) Islamic veiling practices by country (/wiki/Islamic_veiling_practices_by_country) References [ edit ] ^ (#cite_ref-1) "Chador word origin" (https://etymologeek.com/eng/chador) . Etymologeek . Retrieved 2022-04-02 . ^ (#cite_ref-2) "Search Engine" (http://www.afghan-dic.com/) . Afghan Dari Dictionary . Retrieved 2022-04-02 . ^ (#cite_ref-3) "чодар | Таджикский Словарь" (http://lugat.tj/index.php?word=%D1%87%D0%BE%D0%B4%D0%B0%D1%80) . Tajik-Russian Dictionary . Retrieved 2022-04-02 . ^ (#cite_ref-4) El Guindi, Fadwa (/wiki/Fadwa_El_Guindi) (1999), Veil: Modesty, Privacy, and Resistance , Oxford/New York: Berg, p. 16. ^ Jump up to: a b "CLOTHING ii. In the Median and Achaemenid periods" (http://www.iranicaonline.org/articles/clothing-ii) at Encyclopædia Iranica (/wiki/Encyclop%C3%A6dia_Iranica) ^ (#cite_ref-6) Bruhn, Wolfgang, and Tilke, Max (1955), Kostümwerk, Tübingen: Ernst Wasmuth, p. 13, plate 10. ^ (#cite_ref-7) "Iran mistakenly promotes hijab with ancient bas-relief of veiled men" (https://observers.france24.com/en/20150413-iran-hijab-sculptures-veil-men) . The Observers - France 24 . 2015-04-13 . Retrieved 2021-11-28 . ^ Jump up to: a b "ČĀDOR (2)" (http://www.iranicaonline.org/articles/cador-a-loose-female-garment-covering-the-body-sometimes-also-the-face) at Encyclopædia Iranica (/wiki/Encyclop%C3%A6dia_Iranica) ^ (#cite_ref-9) "˹O Prophet!˺ Tell the believing men to lower their gaze and guard their chastity. That is purer for them. Surely Allah is All-Aware of what they do. And tell the believing women to lower their gaze and guard their chastity, and not to reveal their adornments except what normally appears. Let them draw their veils over their chests, and not reveal their ˹hidden˺ adornments except to their husbands, their fathers, their fathers-in-law, their sons, their stepsons, their brothers, their brothers' sons or sisters' sons, their fellow women, those ˹bondwomen˺ in their possession, male attendants with no desire, or children who are still unaware of women's nakedness. Let them not stomp their feet, drawing attention to their hidden adornments. Turn to Allah in repentance all together, O believers, so that you may be successful. (https://quran.com/24?startingVerse=30) — Surah An-Nur 24:30-31" (https://quran.com/24?startingVerse=30) . ^ (#cite_ref-10) mshabani (10 December 2015). "More veils lift as topic loses political punch in Iran" (https://www.al-monitor.com/pulse/originals/2015/12/iran-mandatory-veil-change-views.html) . ^ (#cite_ref-11) El Guindi, Fadwa (/wiki/Fadwa_El_Guindi) (1999), Veil: Modesty, Privacy, and Resistance , Oxford/New York: Berg, p. 174. ^ (#cite_ref-12) El Guindi, Fadwa (/wiki/Fadwa_El_Guindi) (1999), Veil: Modesty, Privacy, and Resistance , Oxford/New York: Berg, pp. 174–175. ^ Jump up to: a b c Ramezani, Reza (2010). Hijab dar Iran az Enqelab-e Eslami ta payan Jang-e Tahmili [Hijab in Iran from the Islamic Revolution to the end of the Imposed war] (Persian), Faslnamah-e Takhassusi-ye Banuvan-e Shi’ah [Quarterly Journal of Shiite Women], Qom: Muassasah-e Shi’ah Shinasi, ISSN (/wiki/ISSN_(identifier)) 1735-4730 (https://www.worldcat.org/search?fq=x0:jrnl&q=n2:1735-4730) ^ (#cite_ref-14) "Chudder" (https://www.thefreedictionary.com/Chudder) . American Heritage Dictionary (in: The Free Dictionary) . A cotton shawl traditionally worn in India by men and women ^ (#cite_ref-15) Habib, Kiran; Khan, Foqia Sadiq (2008). Women and Human Security in South Asia: The Cases of Bangladesh and Pakistan . University Press. p. 108. the woman was sent back on the horse with gifts and a chaddar / dupatta , signifying that a woman's honour has remained intact ^ (#cite_ref-16) Leitner, Gottlieb William (1880). A Detailed Analysis of Abdul Ghafur's Dictionary of the Terms Used by Criminal Tribes in the Panjab . Punjab Government Civil Secretariat Press. p. 5. "Chándá kar le" for "Take off the sheet or chaddar or dupatta" ^ (#cite_ref-17) Platts, John T. (1884). "A Dictionary of Urdu, Classical Hindi, and English" (https://dsal.uchicago.edu/cgi-bin/app/platts_query.py?page=416) . Digital Dictionaries of South Asia . p. 416. ćādar, s.f. A sheet; a table-cloth; a covering; a coverlet; a calico mantle or wrapper (of one fold, which reaches from the head to the ankles) ^ (#cite_ref-18) "चादर" (https://www.collinsdictionary.com/dictionary/hindi-english/चादर) . Collins Hindi-English Dictionary . A sheet is a large rectangular piece of cloth that you sleep on or cover yourself with in a bed. ^ (#cite_ref-19) "Israeli court rules Central American ultra-Orthodox sect is a 'dangerous cult' (https://www.timesofisrael.com/israeli-court-rules-south-american-ultra-orthodox-sect-is-a-dangerous-cult) " (https://www.timesofisrael.com/israeli-court-rules-south-american-ultra-orthodox-sect-is-a-dangerous-cult) . The Times of Israel (/wiki/The_Times_of_Israel) . Further reading [ edit ] Wikimedia Commons has media related to Chador (https://commons.wikimedia.org/wiki/Category:Chador) . Briant, Pierre (2002), From Cyrus to Alexander , Winona Lake: Eisenbrauns Bruhn, Wolfgang, and Tilke, Max (1973), A Pictorial History of Costume , original published as Kostümwerk , 1955, Tübingen: Ernst Wasmuth El Guindi, Fadwa (/wiki/Fadwa_El_Guindi) (1999), Veil: Modesty, Privacy, and Resistance , Oxford/New York: Berg Mir-Hosseini, Ziba (/wiki/Ziba_Mir-Hosseini) (1996), "Stretching The Limits: A Feminist Reading of the Shari'a in Post-Khomeini Iran," in Mai Yamani (ed.), Feminism and Islam: Legal and Literary Perspectives , pp. 285–319. 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Black evening or cocktail dress For other uses, see Little Black Dress (disambiguation) (/wiki/Little_Black_Dress_(disambiguation)) . A little black dress from 1964 worn by Anneke Grönloh at Eurovision 1964 The little black dress ( LBD ) is a black evening (/wiki/Evening_gown) or cocktail dress (/wiki/Cocktail_dress) , cut simply and often quite short. Fashion historians (/wiki/History_of_fashion_design) ascribe the origins of the little black dress to the 1920s designs of Coco Chanel (/wiki/Coco_Chanel) . [1] (#cite_note-1) It is intended to be long-lasting, versatile, affordable, and widely accessible. Its ubiquity is such that it is often simply referred to as the "LBD". [2] (#cite_note-2) [3] (#cite_note-3) [4] (#cite_note-4) The little black dress is considered essential to a complete wardrobe (/wiki/Clothing) . Many fashion observers state that every woman should own a simple, elegant black dress that can be dressed up (/wiki/Formal_wear) or down depending on the occasion. For example, the LBD can be worn with a jacket and pumps (/wiki/Court_shoe) for daytime business wear (/wiki/Business_wear) . It can also be worn with ornate jewelry and accessories for evening wear or a formal event such as a wedding (/wiki/Wedding) or ball (/wiki/Ball_(dance_party)) . History [ edit ] Black has always been a color rich in symbolism (/wiki/Black#Associations_and_symbolism) . In the early 16th century, black represented wealth among Spanish aristocrats and Dutch merchants as it was incredibly expensive to produce the black color from "imported oak apples." [5] (#cite_note-5) In the early 18th century, black represented romance and artistry. As Ann Demeulemeester (/wiki/Ann_Demeulemeester) said of it, "Black is poetic. How do you imagine a poet? In a bright yellow jacket? Probably not." In the early 19th century, black was adopted by the Romantics (/wiki/Romantics) such as Byron (/wiki/Byron) , Shelley (/wiki/Percy_Bysshe_Shelley) , and Keats (/wiki/Keats) , due to its melancholic aura. As the Victorian era (/wiki/Victorian_era) began, black transitioned from a color of art to one of grief and mourning – widows were expected to wear black for at least a year – and also for service livery, as the uniform for maids (/wiki/Maid) . In 1926 Coco Chanel (/wiki/Coco_Chanel) published a picture of a short, simple black dress in American Vogue (/wiki/Vogue_(magazine)) . It was calf-length, straight and decorated only by a few diagonal lines. Vogue called it "Chanel's Ford". Like the Model T (/wiki/Model_T) , the little black dress was simple and accessible for women of all social classes. Vogue also said that the LBD would become "a sort of uniform for all women of taste". [6] (#cite_note-Edelman,_Amy_Holman_(1998)._The_Little_Black_Dress._Aurum.-6) This, as well as other designs by the house of Chanel helped disassociate black from mourning, and reinvent it as the uniform of the high-class, wealthy, and chic. As Coco herself proclaimed, "I imposed black; it's still going strong today, for black wipes out everything else around." [7] (#cite_note-picardie92-7) The little black dress continued to be popular through the Great Depression (/wiki/Great_Depression) , predominantly through its economy and elegance, albeit with the line lengthened somewhat. Hollywood (/wiki/Cinema_of_the_United_States) 's influence on fashion helped the little black dress's popularity, but for more practical reasons: as Technicolor (/wiki/Technicolor) films became more common, filmmakers relied on little black dresses because other colors looked distorted on screen and botched the coloring process. During World War II (/wiki/World_War_II) , the style continued in part due to widespread rationing of textiles, and in part as a common uniform (accessorized for businesswear) for civilian women entering the workforce. Variations on Chanel's (/wiki/Coco_Chanel) little black dress during the Chanel: The Legend exhibition at the Gemeentemuseum (/wiki/Gemeentemuseum) in The Hague (/wiki/The_Hague) in 2014 The rise of Dior's "New Look" (/wiki/The_New_Look_(style)) in the post-war era and the sexual conservatism of the 1950s returned the little black dress to its roots as a uniform and a symbol of the dangerous woman. Hollywood femmes fatales (/wiki/Femme_fatale) and fallen women (/wiki/Fallen_women) characters were portrayed often in black halter-style dresses in contrast to the more conservative dresses of housewives or more wholesome Hollywood stars. Synthetic fibres made popular in the 1940s and 1950s broadened the availability and affordability of many designs. The generation gap of the 1960s created a dichotomy in the design of the little black dress. The younger " mod (/wiki/Mod_(subculture)) " generation preferred, in general, a miniskirt on their versions of the dress and designers catering to the youth culture (/wiki/Youth_culture) continued to push the envelope - shortening the skirt even more, creating cutouts or slits in the skirt or bodice of the dress, using sheer fabrics such as netting (/wiki/Netting) or tulle (/wiki/Tulle_(netting)) . Many women aspired to simple black sheath dresses similar to the black Givenchy dress (/wiki/Black_Givenchy_dress_of_Audrey_Hepburn) worn by Audrey Hepburn (/wiki/Audrey_Hepburn) in the acclaimed film Breakfast at Tiffany's (/wiki/Breakfast_at_Tiffany%27s_(film)) . The popularity of casual fabrics, especially knits, for dress and business wear during the 1980s brought the little black dress back into vogue. Coupled with the fitness craze, the new designs incorporated details already popular at the time such as broad shoulders or peplums (/wiki/Overskirt) : later in the decade and into the 1990s, simpler designs in a variety of lengths and fullness were popular. The grunge (/wiki/Grunge#Presentation_and_fashion) [ broken anchor ] culture of the 1990s saw the combination of the little black dress with both sandals and combat boots (/wiki/Combat_boots) , though the dress itself remained simple in cut and fabric. The new glamour of the late 1990s led to new variations of the dress but, like the 1950s and the 1970s, colour re-emerged as a factor in fashion and formalwear and repeatedly shows an aversion to black. The resurgence of body conscious clothing, muted colour schemes, and the reemergence of predominant black, along with the retrospective trends of the 1980s in the late 2000s paved way to the return of interest to the dress. Famous examples [ edit ] Betty Boop (/wiki/Betty_Boop) by Max Fleischer (/wiki/Max_Fleischer) , 1931 The black dress (/wiki/Black_Givenchy_dress_of_Audrey_Hepburn) worn by Audrey Hepburn (/wiki/Audrey_Hepburn) as Holly Golightly in the film Breakfast at Tiffany's (/wiki/Breakfast_at_Tiffany%27s_(film)) (1961), designed by Hubert de Givenchy (/wiki/Hubert_de_Givenchy) , epitomized the standard for wearing little black dresses accessorized with pearls (together called "basic black"), as was frequently seen throughout the early 1960s. The dress set a record in 2006 when it was auctioned for £410,000, six times its original estimate. [8] (#cite_note-8) Betty Boop (/wiki/Betty_Boop) , a cartoon character based in part on the 1920s it girl (/wiki/It_girl) Helen Kane (/wiki/Helen_Kane) , was drawn wearing a little black dress in her early films, though with Technicolor (/wiki/Technicolor) later, Betty's dress became red. [6] (#cite_note-Edelman,_Amy_Holman_(1998)._The_Little_Black_Dress._Aurum.-6) Wallis Simpson (/wiki/Wallis_Simpson) , Duchess of Windsor, was known to own several little black dresses and said much in praise of the garments. One quote of the Duchess: "When a little black dress is right, there is nothing else to wear in its place." [6] (#cite_note-Edelman,_Amy_Holman_(1998)._The_Little_Black_Dress._Aurum.-6) Édith Piaf (/wiki/%C3%89dith_Piaf) , the French folk icon, performed in a black sheath dress throughout her career: for this habit she was nicknamed "little black sparrow". It was thought that the dress helped audiences focus more on Piaf's singing and less on her appearance. [6] (#cite_note-Edelman,_Amy_Holman_(1998)._The_Little_Black_Dress._Aurum.-6) Diana, Princess of Wales (/wiki/Diana,_Princess_of_Wales) wore a black Christina Stambolian dress (/wiki/Revenge_dress) to the Serpentine Gallery (/wiki/Serpentine_Galleries) 's summer party hosted by Vanity Fair (/wiki/Vanity_Fair_(magazine)) in June 1994, the night her husband Charles, Prince of Wales (/wiki/Charles_III) admitted to having an adulterous affair with Camilla Parker Bowles (/wiki/Queen_Camilla) . Diana's dress has been likened to a "little black dress". [9] (#cite_note-9) Maria Sharapova (/wiki/Maria_Sharapova) wore a "little black dress" during her night matches at the 2006 US Open (/wiki/2006_US_Open_(tennis)) which she helped design with Nike (/wiki/Nike,_Inc.) and featured a round crystal-studded collar after being inspired by Hepburn, [10] (#cite_note-nytdress-10) and went on to win the tournament. Upon her return to the sport in 2017, eleven years after winning the tournament, she again wore a "little black dress" collaborating with Nike and Swarovski (/wiki/Swarovski) for her night matches at the 2017 US Open (/wiki/2017_US_Open_(tennis)) to celebrate her return at the championships (/wiki/US_Open_(tennis)) . The look was intended to be reminiscent of her 2006 dress. In an incident at London (/wiki/London) 's Covent Garden (/wiki/Covent_Garden) theatre in 2004, a director fired the then- obese (/wiki/Obesity) soprano (/wiki/Soprano) Deborah Voigt (/wiki/Deborah_Voigt) from an opera (/wiki/Opera) because she could not fit into a "little black cocktail dress", replacing her with the slimmer Anne Schwanewilms (/wiki/Anne_Schwanewilms) . [11] (#cite_note-Body-11) [12] (#cite_note-Date-12) [13] (#cite_note-Heft-13) [14] (#cite_note-cbs-14) References [ edit ] ^ (#cite_ref-1) Steele, Valerie (1988). Paris Fashion: A Cultural History . Oxford University Press. pp. 246–248 (https://archive.org/details/parisfashioncult0000stee/page/246) . ISBN (/wiki/ISBN_(identifier)) 0-19-504465-7 . ^ (#cite_ref-2) styledotcom (2010-08-19). "The LBD Gets Official" (http://www.style.com/stylefile/2010/08/the-lbd-gets-official/) . Style.com . Retrieved 2013-07-13 . ^ (#cite_ref-3) "Katy Perry looks stunning in slinky LBD" (https://www.mirror.co.uk/celebs/news/2010/04/15/katy-perry-looks-stunning-in-slinky-lbd-115875-22187069/) . Mirror.co.uk . 2010-04-15 . Retrieved 2013-07-13 . ^ (#cite_ref-4) "Women's History Month kicks off in 'Little Black Dress' style" , Northern Illinois University (http://www.niu.edu/PubAffairs/RELEASES/2007/feb/blackdress.shtml) Archived (https://web.archive.org/web/20101011134843/http://niu.edu/PubAffairs/RELEASES/2007/feb/blackdress.shtml) 2010-10-11 at the Wayback Machine (/wiki/Wayback_Machine) ^ (#cite_ref-5) Puhak, Shelley (2017-10-13). "The Underclass Origins of the Little Black Dress" (https://www.theatlantic.com/technology/archive/2017/10/the-underclass-origins-of-the-little-black-dress/542910/) . The Atlantic . Retrieved 2020-02-22 . ^ Jump up to: a b c d Edelman, Amy Holman (1998). The Little Black Dress . Aurum. ^ (#cite_ref-picardie92_7-0) Picardie, Justine (2010). Coco Chanel: the legend and the life . London: Harper Collins Publishers. pp. 92–93. ISBN (/wiki/ISBN_(identifier)) 9780061963858 . ^ (#cite_ref-8) "Audrey Hepburn's Little Black Dress Sells for a Fortune" (http://www.hellomagazine.com/celebrities/2006/12/06/audrey-hepburn-dress/) . Hellomagazine.com . 2006-12-06 . Retrieved 2013-07-13 . ^ (#cite_ref-9) Wong, Brittany (June 29, 2018). "The Day Princess Diana And Her 'Revenge Dress' Shocked The World" (https://m.huffingtonpost.com.au/entry/princess-diana-revenge-dress_us_5b3514a2e4b0b5e692f5cf6b) . HuffPost Australia . Retrieved July 7, 2021 . ^ (#cite_ref-nytdress_10-0) Wilson, Eric (25 May 2011). "Maria Sharapova's Campaign to Establish Herself as a Brand" (https://www.nytimes.com/2011/05/26/fashion/maria-sharapovas-campaign-to-establish-herself-as-a-brand.html?pagewanted=all) . The New York Times (/wiki/The_New_York_Times) . Retrieved 5 May 2013 . ^ (#cite_ref-Body_11-0) Anthony Tommasini, "With Surgery, Soprano Sheds a Brünnhilde Body," New York Times , March 27, 2005, found at New York Times website (https://www.nytimes.com/2005/03/27/arts/music/27voig.html) . Before and after images included . Accessed May 27, 2009. ^ (#cite_ref-Date_12-0) Anthony Tommasini, "Second Date With a Little Black Dress," New York Times , June 11, 2008, found at New York Times website (https://www.nytimes.com/2008/06/11/arts/music/11voig.html) . Accessed May 27, 2009. ^ (#cite_ref-Heft_13-0) Vivien Schweitzer, "Music Review: A Slimmed-Down Diva Keeps Her Vocal Heft," New York Times , June 18, 2009, found at New York Times website (https://www.nytimes.com/2008/06/18/arts/music/18aria.html) . Accessed May 27, 2009. ^ (#cite_ref-cbs_14-0) "Deborah Voigt: Off The Scales: Opera Star Talks About Lifelong Battle With Weight," found at "Deborah Voigt: Off The Scales, Opera Star Talks About Lifelong Battle With Weight" (http://www.cbsnews.com/stories/2006/01/27/60minutes/main1245332.shtml) , CBS News. Retrieved May 29, 2009. Further reading [ edit ] Fashion portal (/wiki/Portal:Fashion) Wikimedia Commons has media related to Little black dresses (https://commons.wikimedia.org/wiki/Category:Little_black_dresses) . Edelman, Amy Holman (1998). The Little Black Dress . Aurum. ISBN (/wiki/ISBN_(identifier)) 1-85410-604-X (/wiki/Special:BookSources/1-85410-604-X) . "Little Black Dress Transcends Fashion" (https://web.archive.org/web/20121108143616/http://fashion.about.com/cs/dresses/a/littleblackdres.htm) . About.com. May 2006 "Sixties Fashions" (https://web.archive.org/web/20150905110551/http://www.fiftiesweb.com/fashion/basic-black-dress.htm) . June 2, 2006. "The Little Black Dress" (https://www.bbc.co.uk/radio4/womanshour/04/2006_12_thu.shtml) . Woman's Hour Radio . BBC (/wiki/BBC) . May 2006. "The Myth Of The Little Black Dress" (https://web.archive.org/web/20170630024437/http://www.fashionculte.com/fashion/little-black-dress-myth/) . Jane Curtain . The Fashion Culte Magazine. 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