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Caroline Evans is Reader in Fashion at Central Saint Martins, where her focus as a fashion theorist has been plied on the AHRB-funded project, ‘Fashion and Modernity,' and in her 2003 book, Fashion at the Edge: Spectacle, Modernity and Deathliness, documenting the more subversive side of contemporary fashion. This collaboration embodies the.
- Caroline Evans is Professor of Fashion History and Theory at Central Saint Martins, University of the Arts London. She is the author of The Mechanical Smile: Modernism and the First Fashion Shows in France and America, 1900–1929 (2013) and Fashion at the Edge: Spectacle, Modernity, and Deathliness (2003), among many other publications.
- Review: Radu Stern, Against Fashion: Clothing as Art 1850–1930; Caroline Evans, Fashion at the Edge: Spectacle, Modernity and Deathliness Robert Radford University of East Anglia.
- Collaboration with fashion historian and theorist Caroline Evans. By using Evans' important insights about fashion and history from her 2003 book Fashion at the Edge: Spectacle, Modernity and Deathliness, Clark revealed fashion's hidden impulses. Evans shows how influences from the past haunt fashion.
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发表于2020-12-13
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Recent experimental fashion has a dark side, a preoccupation with representations of death, trauma, alienation, and decay. This intriguing book looks closely at this strand of fashion design in the 1990s, exploring what its disturbing themes tell us about consumer culture and contemporary anxieties. Caroline Evans analyzes the work of experimental designers, the images of fashion photographers, and the spectacular fashion shows that developed in the final decade of the twentieth century to arrive at a new understanding of fashion's dark side and what it signifies. Fashion at the Edge considers a range of cutting-edge contemporary fashion in unprecedented depth and detail, including the work of such current designers as John Galliano, Alexander McQueen, Hussein Chalayan, and Viktor & Rolf. Contrasting images by photographers like Steven Meisel, Nick Knight, and Juergen Teller are also reviewed. Drawing on diverse perspectives from Marx to Walter Benjamin, Evans shows that fashion stands at the very center of the contemporary, and that it voices some of Western culture's deepest concerns.
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