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Late seventies fashion. History of high fashion

Late Seventies Fashion

late seventies fashion

  • the decade from 1970 to 1979

  • the time of life between 70 and 80

  • "Seventies" is a song by Okinawan dance unit, MAX. It is a Japanese cover of Italo Disco artist Mega NRG Man's song of the same name. It was composed by Groove Surfers with Japanese lyrics written by Kazumi Suzuki.

  • Use materials to make into

  • Make into a particular or the required form

  • manner: how something is done or how it happens; "her dignified manner"; "his rapid manner of talking"; "their nomadic mode of existence"; "in the characteristic New York style"; "a lonely way of life"; "in an abrasive fashion"

  • characteristic or habitual practice

  • make out of components (often in an improvising manner); "She fashioned a tent out of a sheet and a few sticks"

  • belated: after the expected or usual time; delayed; "a belated birthday card"; "I'm late for the plane"; "the train is late"; "tardy children are sent to the principal"; "always tardy in making dental appointments"

  • The most recent news or fashion

  • being or occurring at an advanced period of time or after a usual or expected time; "late evening"; "late 18th century"; "a late movie"; "took a late flight"; "had a late breakfast"

  • later than usual or than expected; "the train arrived late"; "we awoke late"; "the children came late to school"; "notice came so tardily that we almost missed the deadline"; "I belatedly wished her a happy birthday"

late seventies fashion - Fashionable Clothing

Fashionable Clothing from the Sears Catalogs: Late 1970s (A Schiffer Book for Collectors)

Fashionable Clothing from the Sears Catalogs: Late 1970s (A Schiffer Book for Collectors)

The gamut of trends and fashions during the late 1970s are explored in this priceless pictorial review. Pages from the Sears catalogs open for a trip back in time to the disco era, the "me decade," the bundled-up fashions of the oil embargo, and the buckled-down cowboy look of the new macho man. Lace up your earth shoes for a trip to the prairie, take a tour of the peasant cultures of Eastern Europe, go on safari, hit the ski slopes, or go surfing. Join in the fitness craze, and take a look at the new line of clothing for larger women. Polyester's outer limits are explored, from its most garish applications in plaid suits to its transformation into the textured realms of tweed. And blue jeans get their due, too, in a look at the time when designer jeans and the faded look ruled everyday wear. All this, and more, with original prices and current day values for the collector, fashion aficionado, and designer.

79% (14)

Rubin, Reuven (1893-1974) - 1963 Self-Portrait at Seventy (Rubin Museum, Tel Aviv, Israel)

Rubin, Reuven (1893-1974) - 1963 Self-Portrait at Seventy (Rubin Museum, Tel Aviv, Israel)

Oil on canvas; 116 x 89 cm.

Reuven Rubin was a Romanian-born Israeli painter and Israel's first ambassador to Romania. Rubin Zelicovici (later Reuven Rubin) was born in Galati to a poor Romanian Jewish Hasidic family. In 1912, he left for Ottoman-ruled Palestine to study art at Bezalel Academy of Art and Design in Jerusalem. Finding himself at odds with the artistic views of the Academy's teachers, he left for Paris, France, in 1913 to pursue his studies at the Ecole Nationale Superieure des Beaux-Arts. At the outbreak of World War I, he was returned to Romania, where he spent the war years. In 1921, he traveled to the United States with his friend and fellow artist, Arthur Kolnik, with whom he had shared a studio in Cernauti. In New York City, the two met artist Alfred Stieglitz, who was instrumental in organizing their first American show at the Anderson Gallery. Following the exhibition, in 1922, they both returned to Europe. In 1923, Rubin emigrated to Mandate Palestine.

The history of Israeli art began at a very specific moment in the history of international art, at a time of Cezannian rebellion against the conventions of the past, a time typified by rapid stylistic changes. Thus Jewish national art had no fixed history, no canon to obey. Rubin began his career at a fortunate time. The painters who depicted the country’s landscapes in the 1920s rebelled against Bezalel. They sought current styles in Europe that would help portray their own country’s landscape, in keeping with the spirit of the time. Rubin’s Cezannesque landscapes from the 1920s were defined by both a modern and a naive style, portraying the landscape and inhabitants of Israel in a sensitive fashion. His landscape paintings in particular paid special detail to a spiritual, translucent light.

In Palestine, he became one of the founders of the new Eretz-Yisrael style. Recurring themes in his work were the biblical landscape, folklore and people, including Yemenite, Hasidic Jews and Arabs. Many of his paintings are sun-bathed depictions of Jerusalem and the Galilee. Rubin might have been influenced by the work of Henri Rousseau whose style combined with Eastern nuances, as well as with the neo-Byzantine art to which Rubin had been exposed in his native Romania. In accordance with his integrative style, he signed his works with his first name in Hebrew and his surname in Roman letters.

Rubin was among the formulators of the primitivistic trend in the Eretz Israel art of the 1920s, which, in the spirit of the Zionist revival, saw the East as a primal, innocent world. His primitive linoleum cuts from his early years in the country, influenced by Medieval, German Expressionist and Modern Russian art, constitute a break with his earlier work abroad. In 1924, he was the first artist to hold a solo exhibition at the Tower of David, in Jerusalem. That year he was elected chairman of the Association of Painters and Sculptors of Palestine. From the 1930s onwards, Rubin designed backdrops for Habima Theater and other theaters.

His biography, published in 1969, is titled My Life - My Art. He died in Tel Aviv in 1974, after having bequeathed his home on 14 Bialik Street and a core collection of his paintings to the city of Tel Aviv. The Rubin Museum opened in 1983. Rubin's paintings are now increasingly sought after. At a Sotheby's auction in New York in 2007, his work accounted for six of the ten top lots.

Maria D´Angelo - Ethereal Return Lana Turner

Maria D´Angelo - Ethereal Return Lana Turner

Full Name: Maria D?Angelo

Age: 51-years

Nationality: French

Sexuality: Straight

Occupation: Actress / fashion icon

Enjoys: Relaxing afternoon tea with good friends, attending haute couture runway shows

Hates: Her earlier movies

Friends: Christabella Buonnarroti, Lucrezia, Jekaterina Eder-Dietrich

Love Interest: None

Famous actress, fashion icon and a face of many cosmetic campaigns, elegantly aged Maria D?Angelo seems to grow more beautiful every year. Her acting career started in late seventies with the historical drama "Antoinette" and she has been the most well known actress of France ever since, also making films in Spain and Italy and occasionally appearing in Hollywood productions as well.

Maria D?Angelo married a famous film producer Marcel Girard with whom she had a daughter Apollonia, but their happiness did not last long. Apollonia was diagnosed with leukaemia in the age of 8 and passed away in the age of 11. Maria D?Angelo and her husband were left devastated by their loss and could not no longer stand each others company, every moment reminding them of their grief.

They divorced, but D?Angelo kept their old Parisian Art Nouveau apartment where Apollonia had spend her short life. Some wicked tongues gossip her tiny spirit still hunts the house. Nonetheless, Maria D?Angelo?s regal elegance remains unharmed by scandalous rumours, she still is the untouchable goddess in the hearts of the France.

late seventies fashion

late seventies fashion

America in the Seventies (Culture America)

Tucked between the activist Sixties and the conservative Eighties lies a largely misunderstood and still under-appreciated decade. Now nine leading scholars of postwar America offer a revealing look at the Seventies and their rightful place in the epic narrative of American history.
This is the first major work to relate the economic decline and cultural despair of the Seventies to the creative efforts that would reshape American society. Dogged by economic and political crises at home and foreign policy failures abroad, Americans responded to a growing sense of uncertainty in a variety of ways. Some explored the new freedoms promised by the social change movements of the late Sixties. Some challenged the technological verities that ruled corporate America. Others sought to create autonomous zones in the ruins of decaying cities or on the bleak landscape of anomic suburbia. And, against a backdrop of massive economic dislocation and bicentennial celebrations, many Americans struggled to redefine patriotism and the meaning of the American dream.
Focusing on how Americans made sense of their changing world by analyzing such sources as film, popular music, use of public space, advertising campaigns, and patriot rituals, these essays interweave the themes of economic transformation, identity reconfiguration, and cultural uncertainty. The contributors cover such topics as the public's increasing mistrust of government, the reshaping of working-class identity, and the tensions between the ideological and economic origins of changing gender roles.
From existential despair in popular culture to the reactions of youth subcultures, these provocative articles plot the lives of Americans struggling to redefine themselves as their nation moved into an uncertain future. Together they recapture the essence and spirit of that era--for those who lived it and for curious readers who have come of age since then and struggle to understand their own time.
This book is part of the CultureAmerica series.

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