Collette Dinnigan’s designs possess an elegant, soft and ethereal sensation reflecting her individual style and ultimately resulting in her worldwide success. Her are designs for all ages from infant through to bridal wear and established her self-titled label, Collette Dinnigan in 1990. She is well known for her lingerie and bridal wear which has featured in Vogue magazine. Dinnigan’s garments are carefully hand-made in Sydney, Australia; according to Dinnigan “The product itself is not necessarily about a new shape each season; it’s much more about the detail to me. It’s all about the intricacy of the work, the quality of the workmanship. Every piece, beaded or lace is hand cut one by one.” Dinnigan’s clothing is characterised by the delicate, feminine and finely tailored designs which are draped with her signature luxurious fabrics of lace, tulle, chiffon and satin and exquisitely embellished with embroidery and beads. Her products are intended to be indicative of the female form, rather than exposing; hence achieving the sense of individuality, sensuality and most importantly confidence.
Although Collette Dinnigan’s style varies slightly from season to season the same philosophy “to produce beautiful pieces that are affordable, wearable, versatile and child friendly” remains constant as does her “passionate feeling for what women want” 2. This is especially evident in her Autumn/Winter 2008 collection ‘Midnight in Moscow’ where Dinnigan implements a more ominous theme making it luxury self-indulgence. The collection is dark with an armoured feel combined with silver hues and dark shades in gladiator-style dresses, girly pleated gowns and military-style jackets. The darkness of these designs contrast heavily with her tr...
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Dinngan, C. (n.d.). Collette Dinnigan. Retrieved October 26, 2011, from Collette Dinnigan: http://www.collettedinnigan.com.au/
Dinnigan, C. (2005, April 24). Collette Dinnigan. (M. Attard, Interviewer) Retrieved October 26, 2011, from http://www.abc.net.au/sundayprofile/stories/s1350407.htm
Dinnigan, C. (2008, March 3). Talking Heads - Collette Dinnigan. (P. Thompson, Interviewer) Retrieved on October, 25, 2011, from http://www.abc.net.au/tv/talkingheads/txt/s2178583.htm
Magazine, V. (2002, Autumn). Collette Dinnigan. Retrieved October 26, 2011, from Only Melbourne: http://www.onlymelbourne.com.au/melbourne_details.php?ad=987
Mirbach, I. (n.d.). Collette Dinnigan - Fashion Designer. Retrieved October 26, 2011, from Fashion Model Directory: http://www.fashionmodeldirectory.com/designers/collette-dinnigan/
The article focuses on Individualization and uniqueness and how it has begun to find its way into current advertisements. By allowing a woman to express her individuality it shows boldness, fearlessness, and confidence and that is refreshing in today’s world of fashion.
Joy, M. (2012). Your Mob - Aboriginal Nursing. [video online] Available at: https://www.youtube.com/watch?v=phz7DwQ80w8 [Accessed: 14 Apr 2014].
Fashion is a constantly changing industry; what is trendy one day is outdated the next. The 21st century has been a catalyst for a large movement in fashion. Paris, New York, and London are some of the main contributors to the fashion industry (“Fashion Capitals”). Along with being the main influences in fashion, they have significantly connected the world on a global level. Even on a local level, students and young adults indulge in fashion as a way to express themselves. Some people may argue that fashion helps express one’s imagination; however, fashion has become one of the major influences that promotes an unrealistic image of women that is detrimental to their bodies. This unrealistic image can lead to health problems, a negative body image, and a society based on appearances which is disadvantageous to our culture as a whole.
Women have spent a large amount of time throughout the 20th century fighting for liberation from a patriarchal form that told them that they must be quiet and loyal to their husbands and fathers. For the duration of this essay, I will be discussing how the “Modern Woman” image that appeared through the Art Deco style — that emulated ideas such as the femme fatale and masqueraded woman, and presented new styles to enhance women’s comfortability and freedom — is still prevalent and has grown in contemporary art and design since. Overall I will describing to you how fashion, sexuality, and the newly emerged ‘female gaze’, and how these tie in together — in both periods of time — to produce what can be described as powerful femininity.
Yet, the sexual revolution and the changing lifestyles of the decade has also arrived, but in the form of often “alien” women, who are presented in exclusively little clothing, some wearing no more than bathing suits or bikinis, while at the same time representing the ideal of youth and beauty. The newfound openness in clothing reflected the openness in behavior.
Thomas, Evan, Holly Bailey, Richard Wolffe, Andrew Murr, and Keith Naughton. Rita's Lessons. Rep. 14th ed. Vol. 146. N.p.: Newsweek, 2005. Academic Search Premier. Web. 12 Dec. 2013.
Morris, BM, 1996. Valentino: (The Universe of Fashion) . 1st ed. England: London : Thames & Hudson
The future of women’s fashion is uncertain—in that shock value is harder to come by with each passing year. There is a concept in fashion that nothing is new, everything has been done before. This theory is coming closer to obvious reality, as fashion shows of recent years have visual throwbacks as late as the Victorian era. Although the direction is not yet decided, it is almost definite that women will use fashion as an important tool for expression and freedom in the future.
Women in pictorial history have often been used as objects; figures that passively exist for visual consumption or as catalyst for male protagonists. Anne Hollander in her book Fabric of Vision takes the idea of women as objects to a new level in her chapter “Women as Dress”. Hollander presents the reader with an argument that beginning in the mid 19th century artists created women that ceased to exist outside of their elegantly dressed state. These women, Hollander argues, have no body, only dress. This concept, while persuasive, is lacking footing which I will attempt to provide in the following essay. In order to do this, the work of James Tissot (b. 1836 d. 1902) will further cement the idea of “women as dress” while the work of Berthe
“Elegance is not the prerogative of those who have just escaped from adolescence, but of those who have already taken possession of their future “(Elegance par. 1). Chanel was a woman who was always seen wearing her own unique fashion. She would never be seen wearing something society would see as something a normal woman would wear; this made her unforgettable (Charles-Roux 5-6). In the beginning, Chanel was only known for creating and designing hats, but she would soon be known for so much more (Charles-Roux 91). Because of Chanel’s new bold ideas, the women’s fashion industry has forever been changed (Charles-Roux 6).
Diana, Princess of Wales was known throughout the world as a trend setter. She was always being photographed for her fashion sense and constantly topped the “Best Dressed” lists. Even now, seventeen years after her death, she is an influence on fashion. “Princess Diana’s style has been d...
Gabrielle Chanel remains one of the most well-known fashion designers of all time. She was born on August 19, 1883 in France and died in 1971. Chanel revolutionized the fashion industry with her distinctive style. After the death of her mother, she spent much of her childhood in an orphanage. The challenges of her early life helped build her strong character which influenced her path in life. Chanel was nicknamed “Coco” after a lost dog in a popular song she loved to sing. Her early career was funded by a succession of her rich lovers. This allowed her to open her first shop in Paris in 1910. She sold hats as well as some garments. Coco developed a significant following of clientele who enjoyed her practical sportswear creating great success.
Chevrier, Donna. (1994, July). Let's Face It. CMA Magazine, Vol. 68, pp. 26 - 27.
A legend in the fashion world, a magician in bridal trousseau, designer Neeta Lullain her 20 years of design career has always kept the quotient of royalty high in her creations with strokes of simplicity and
Adele Ferguson. “Glass Ceiling Scratched not broken.” The (Melbourne Age) 7 March 2014: Page 28