Fashion in 1990s Magazine Essay

The 1990s

FASHION IN CONTEXT: ASSIGNMENT 1 STUDENT NAME: EMILY RATHBONE STUDENT NUMBER: 201219903 COURSE NAME: FASHION MARKETING MODULE: DESN1375 YEAR: 2018 WORD COUNT: 2987 WORDS

FIG. 1 PETER LINDBERGH BRITISH VOGUE JANUARY 1990 COVER

Contents 3

Introduction

4 World events, Politics and Society

5

Economy and Demographic

8

Technological Developments

9

Media, Music, Cinema and Television

11

Influential People

14

Art and Design

15

Conclusion

Introduction

-03

Fashion trends of the 1990s emerged from a variety of origins, contributing to the transient nature of garment styles across the decade. The ambivalence of the nineties catalysed the development of a progressively minimalist and conceptual approach to fashion and art, with globalisation and the emergence of the European Single Market diversified the industry, facilitating infiltration from ‘foreign’ brands, leading to growth in domestic fashion industries and the emergence of new construction techniques and trends.

In this essay, it becomes evident that fashion trends, particularly amongst the younger demographic, are significantly influenced by drivers including, world events and politics, the economy, technological developments, media, influential figures and art and design.

ABOVE: FIG 2: CALVIN KLEIN SPRING 1994 LEFT: FIG 3: PERRY ELLIS SPRING 1993: THE GRUNGE COLLECTION

World events, politics, and society:

World events, politics, and society:

FIG 5: ACID HOUSE FASHION

ABOVE:FIG 4: DROP ACID NOT BOMBS

In regards to politics and world events, the

suits, oversized trousers or jeans, dungarees

early 1990s proved a period of adversity,

and converse trainers Natasha Slee Dazed

seeing a divide in public opinion and

Digital, 2014).The general colour palette of

manifestations of rebellion. With the election

the clothing echoes the movements sixties

of a new Conservative Prime Minister in

and seventies foundations, with bright and

1990, accompanied by the outbreak of the

neon colours often incorporated into tie-

Gulf War, the U.K. was going through a

dye prints, allowing ‘ravers’ to emulate the

period of tension and mild uncertainty.

colours of the strobe lights, and express

Viewed as a means of escape from the

their individuality (Omri. 2016).

political upheaval, ‘Acid House’ and ‘Rave

With enforcement of Section 63 of the

Culture’ grew in popularity in the early

Criminal Justice Act, rave ‘gatherings’ were

1990s, with the concept being to ‘turn on,

outlawed in the UK (Omri. 2016). Despite

tune in and drop out’ (Reed, 2013. p38).

protests, police continued to raid parties,

Comparable and arguably influenced by

and the scene began to trickle out of fashion.

subculture

favoured

a

‘hedonistic

DIY

aesthetic’ through bohemian styles for both sexes, reflecting the spontaneity of the culture (Reed, 2013. p38). Typically unisex and loose fitting, the silhouette of the scene was intended to facilitate movement for dancing, with popular garments including smiley-faced

printed

t-shirts

(the

FIG 6: BRIGHT COLOURS AND BAGGY TROUSERS

the ‘Summer of Love’ in 1967, the youth

recognised symbol of Acid House), boiler 4

-05

FIG 8: SPICE GIRLS IN JOHANNESBURG, BRITISH ROYAL TOUR 1997

FIG 7: GAP LOGO FLEECE PULLOVER HOODIE

The

harsh

economic

period

in

the

opening of the decade catalysed the emergence of the ‘dressed-down’ trend, with consumers adopting ‘economical’ retail buying patterns (Pettinger, T. 2018). With the recession leaving a greater proportion of the population receiving a lower-income, the fashion industry

witnessed

a

shift

towards

Economy and Demographic:

conscious consumerism in the Westernworld, resulting in the popularisation of lower-cost fashion brands, such as ZARA, New Look, GAP, etc. Offering affordable, yet high-quality clothing, these labels saw increased sales during this period, with GAP Inc.’s 1999 annual report recording sales rise ‘more than sixfold’ from 1990 to 1999 (Gross. Slate. 2006). A particular product accredited to this trend was the GAP hoodie, a simple cotton sweatshirt with the logo emblazoned across the chest available to men, women and children. (The Telegraph. 2016).

Deemed a ‘mega brand’ of the decade, The GAP “shaped retailing and consumer culture in the 1990s”(Gross. Slate. 2006), through facilitating the trend of functional, lower-cost clothing, thus initiating the commoditization of fashion.

In 1994, the global economic recession began to lift, and unemployment

decreased

by

consequence.

Alongside

this,

total consumer spending (in the UK) increased at a greater rate than during the recessional period of the early nineties (Harari,D.2016). One may infer that apparel sales would have emulated this increase, with fast-fashion brands expanding into menswear and homeware, gaining significant popularity.

Magazine Title

Economy and Demographic:

With the growing success of affordable

of the range (Nellis, C. 2018), as consumers

fashion, luxury designers began to release

appreciated the contrasting aesthetic to

‘diffusion lines’ as a means to compete in

their surroundings, and hence desired to

order to maintain demand for the brand

‘buy into the lifestyle’.

in the expanding market. Sold at a lower price than the label’s other collections,

Facilitated

the ready-to-wear garments increased

European

the brand’s accessibility to lower-budget

was instrumental in creating fashions of

consumers

existing

the late nineties. With improved modes of

consumers to withhold a sense of brand

transport and communication, the Western

loyalty,

whilst and

creating

the

enabling

hence

by

the

Single

emergence

Market,

‘branded

exemplar label

is

of

renowned ‘brand’

an

as

became in

trend

of

in

imported

(Bailey,

T

&

Eicher, T. 1992), as well

designer

that

globalisation

increase apparel

Klein

the

fashion industry saw an

trend’.

Calvin

of

oriental

influences

beginning to influence

the

mainstream

the

Renowned

fashion. designers

mid-nineties and early

of the time, including

2000s (Garratt,S.2015),

Valentino and Alexander

partially by virtue of

McQueen,

created

their

collections

heavily

diffusion

line,

CK, targeting fashion-

influenced by traditional

conscious youth. Logos

Japanese

emblazoned on clothing

garments, popularising

were a popular form of

satin and silk materials

branding and marketing

(Mendes et al, 2010). For

during this time, with

women, the trend saw

and

Chinese

consumers building ‘relationships’ with

the popularisation of a straight silhouette,

brands, and creating their own subcultures

with traditional clothing being appropriated

(Harris, J. 2018). The CK line took advantage

to Western styles, epitomized through Geri

of this, manufacturing garments such as

Halliwell’s cheongsam at the ‘British Royal

simple t-shirts and underwear with central

Tour of Africa’ in 1997 (Street, C. 2018).

logo placement. Targeting the younger

Furthermore, the ‘mandarin’ collar and

generation of males and females, the

intricate embroidery became popular in

brand was made distinguishable through

men’s and women’s clothing, in attempt

it’s controversial advertising campaigns,

to emulate the traditional styles. The

creating

that

success of orientalism may be attributed

drew in consumers. In an interview with

to a change in consumers tastes, shifting

Women’s

credited

away from classicism and demanding new

CK’s ‘sexy, clean and minimal’ design

textures and colourways (Bailey, T .2001).

provocative Wear

Daily,

reputation Klein

philosophy to be elemental in the success

-07

‘There’s a restructuring of priorities (in the ‘90s). It’s less about flash and more about people in the streets, the environment.

People are becoming more real’ (Calvin Klein, Nov 1991).

F I G 1 0 : C A L VMagazine I N K L E Title IN ADS OF THE 90S

Technological Developments:

The

1990s

was

a

period

of

significant

technological development, leading to changes in the design, manufacturing, advertising and sales of garments.

With the introduction of the Adobe Photoshop in 1990, and the World Wide Web in 1991, the early nineties provided the foundations for

modern

forms

of

advertising

and

communication.

With the Internet providing a place to share images, styles began to disseminate on a global scale, provoking the popularity of certain

designers.

Gianni

Versace

serves

as an exemplar; recording sales more than double between 1990 and 1994 (International Directory of Company Histories.1998), after the media attention given to Elizabeth Hurley at the 1994 premiere of Four Weddings and a Funeral, wearing a black Versace ‘safety pin’ dress. Though the report does not explicitly

Technological Developments:

state this is the result of the worldwide FIG 10: ELIZABETH HURLEY IN VERSACE DRESS, 1994

publicity received from the dress, one may suggest that the exposure influenced the label’s sales.

In 1995, both Amazon and eBay were launched on the World Wide Web, facilitating e-commerce and revolutionizing the fashion industry. Such platforms facilitated the globalisation of the industry, allowing brands and independent sellers to advertise their products across the world, reaching a wider audience than previously.

With regards to technology’s effect on manufacturing in the late 1990s, computer-aided design and computer-aided manufacturing facilitated the mass-production of goods. Despite the computer systems and software being available in earlier years, progressions, such as the move from Unix to PC, opened up the availability of the programs to designers and engineers (Bethany, 2018). Through shortening the concept development, design and manufacturing period, CAD and CAM transformed the industry by facilitating ‘fast-fashion’ and enabling brands to meet demand for certain products through quicker output of stock.

Media, Music, Cinema and Television: In the early nineties, the infamous ‘grunge’ trend was established, having ‘trickled-up’ from subculture and then adopted and consolidated by musicians, such as Kurt Cobain and Nirvana (Steele, 2006, p145), giving the trend exposure and disseminating

FIG 11: COURTNEY LOVE AND KURT COBAIN (1991)

-09

it across other classes and into Europe.

Originating from the Seattle working class, the grunge style was adopted by both genders, and was and heavy boots.

It may be inferred that the characteristic ‘unfashion’ (Truman, 1992) of grunge aided in the growth of the trend, as it served as a symbol of society’s

FIG 12: MC HAMMER

characterized by loose layered clothing, plaid prints

dissatisfaction with the state of political, cultural ‘respectable’ appearance. In an interview with the Wall Street Journal, Anna Wintour (2003) appears to supports this notion, stating that designers were ‘reflecting’ on the ‘down time in our economy and the world’. Undeterred by evident dislike of the ‘fashion’ by critics and retailers (Newell-Hanson, 2015), designers such as Anna Sui and Marc Jacobs drew upon this subculture as inspiration for their collections (Steele, 2006, p145), leading to the infamous Perry Ellis for Marc Jacobs S/S Collection of 1993, in which contrasting materials were combined to create an inauthentic look that ultimately led to the loss of his job.

Despite its following, the aesthetic was short-lived, primarily due to the death of Kurt Cobain (a key propagator of grunge) in 1994, and the improving economic prowess of Europe (Reed, 2013. p44).

FIG 13: BRITNEY SPEARS SHOOT FOR ‘IN THE ZONE’, 2003

and economic affairs through their rejection of a

Media, Music,

FIG 14: MID-NINETIES HIP-HOP STYLE

Hip-hop and gangsta rap lead the streetstyle scene in 1991, with characters such as ‘street thugs’, prison inmates and rappers, influencing youth subculture and

street

style

and

changing

the

conventional, classic silhouette of the past.

American

hip-hop

artist,

MC

Hammer, was a key propagator of this shift

through

his

popularisation

of

‘harem pants’, a form of loose fitting, ‘drop-crotch’ trouser in a lightweight material (The Artyologist. 2016), arguably influencing the emergence of the baggy trouser trend, a significant trend in men’s fashion (Newstex. 2015). Despite minimal changes typically being observed in men’s fashion, the onset of the baggytrouser trend was a drastic change in silhouette from the straight-leg tailor of the eighties. Paired with a slim-fitting shirt, Timberland boots, and plaid print, a look synonymous with the ‘street’ and hip-hop scene was established.

Certain brands became popular during the rise of street-style, with artists influencing demand for certain labels, stimulating trends.

FIG 15: SPICE GIRLS MTV AWARDS 1997

FIG 16: SNOOP DOGG SATURDAY NIGHT LIVE, 1994

-011

CONTINUATION OF MEDIA, MUSIC, CINEMA AND TELEVISION This phenomenon is encapsulated

union jack fashion, etc. (Guerrero,

in Behling’s (1985) ‘Trickle Down’

Y. 2018). Despite there not being a

theory. Reed (2013) exemplifies this

sole distinguishable trend emerging

through Snoop Dogg’s appearance

from the pop-group, one may infer

on Saturday Night Live wearing a

that the group is responsible for

Tommy Hilfiger shirt, with sales of

propagating

the shirt soaring within twenty-

non-conformism in dressing, as

four hours.

female youth began to adopt a

independence

and

range of styles and silhouettes.

With

the

popularisation

of

the

slogan ‘girl power’ in the mid-

Britney Spears was also instrumental

nineties, pop cultural leaders of the

in dictating trends favoured female

late nineties served to reinvigorate

youth of the late 90s and 2000s, and

female empowerment in a new form

was influential in the normalisation

of feminist movement (Armstrong,

of sexualisation. Spears’ signature

2016). With the office for National

style composed of cropped shirts

Statistics suggesting “by the year

and low-rise trousers, exposing

2000,

her midriff. Despite the revealing

a

quarter

of

all

women

will be single” (P84.Vogue:20th

clothing

Century Fashion), the movement,

trends before this, Britney’s status

lead by idols such as the Spice Girls

saw the trend ‘trickle-down’ to the

and

determined

younger female generation, with

trends adopted the young female

the style becoming mainstream.

demographic.

Spears’ may also be accredited

The Spice Girls were one of the first

with the evolution of fetishism in

female pop groups to target a female

mainstream fashion, through her

audience and encourage women to

popularisation of the textile PVC

embrace themselves, demonstrating

(polyvinyl

that one does not have to conform

for

to

feminine

body (Farfetch. 2017), designers

stereotype. Each adopting a look to

such as Givenchy, Perry Ellis and

complement their personality, the

Issey Miyake to incorporating the

group formed a unique connection

material into their works (Darcella,

with their audience, seeing fans

A. 2018).

imitating the style of the artist

The

they

inherently

Britney

the

Spears

conventional

identified

with.

This

lead

its

appearing

in

chloride).

ability

youth’s

to

certain

Renowned

objectify

imitation

sexualised

of

the

the

clothing

to the popularisation of various

worn by Spears’ not only serves

trends amongst women, including

as a reflection of the demographic

sportswear

animal

of nineties pop culture, but also

print, cropped shirts slip and ‘little

of society’s changing opinion on

black

gender and sexuality.

tracksuits,

dresses’,

platform

shoes,

Magazine Title

Influential People:

Influential People: Appearing on British Vogue Magazine’s

connection with an African-American

first

sports star and basketball’s association

cover

Naomi

nineties,

Campbell,

‘supermodels’,

Linda

Evangelista,

with

the

racial

uplift

(Chertoff,

E.

Tatjana Patitz, Christy Turlington and

2012), the style soon became adopted

Cindy

gradual

by suburban, white middle-class youth,

decline, with a ‘waif’ body-type becoming

bringing the Air Jordan sneaker into

favoured over their voluptuous frames

mainstream men’s street-style fashion.

Crawford,

saw

their

and contemporary classicism (Steele, 2006, p144). Initially popularised for

With

their ‘alternative’ look, models including

‘Clueless’,

Kate

female adolescents moved away from

Moss

soon

became

accredited

the

release in

of

1995,

and

the

cult

trends

amongst

with the ‘heroin chic’ appearance, an

street-style

essentially frail, disengaged aesthetic.

expediting

Prized in catwalk and editorial fashion,

‘preppy’ style (Kim, M. 2015).

the look disseminated into mainstream,

Brought to limelight by protagonist, Cher

becoming the desired bodyshape of many

Horowitz, iconically classic combination

young women.

of a matching brightly-coloured plaid

the

grunge

film,

tendencies,

minimalist,

feminine

skirt and blazer, paired with layered tops Regarding men’s fashion in the nineties,

and knee-high socks became infamous

Michael Jordan was a significant figure,

amongst women, inspiring trends that

credited uniting athleisure with street-

embraced bright printed and layered

style. It has been argued that sneaker

textiles.

‘culture’ reached its pinnacle during the 90s, with one of the most acclaimed sneaker

collections

being

the

‘Air

Jordan’ line for Nike. Released in 1985, and originally marketed to basketball players, the line grew in popularity following controversy over colourway, and hence became respected by a wider audience

for

(Wilson,4.2017).

its

non-conformism

Particularly

popular

amongst black communities, due to the

FIG 17: AIR JORDAN, 1990-1991

FIG 18: AIR JORDAN I, 1985

FIG 19: MICHAEL JORDAN,1991

-013

The trend that developed was heavily

influenced

by

FIG 20: KATE MOSS AND NAOMI CAMPBELL,DIAMONDS ARE FOREVER, SYON HOUSE IN LONDON, 1999

the

coordinate sets, plaid prints and tweed textile of the sixties and

seventies,

as

well

as

drawing the ‘modern twist’ from acclaimed designers of the time, Jean Paul Gaultier and Azzedine Alaïa (Kim, M. 2015).

Despite its fictional nature, Horowitz’s effective

fashion at

attention for

two

proved

capturing

of

female

particular

the youth

reasons.

Firstly, throughout the film Horowitz

is

depicted

in

a

high school environment, a relatable

environment

for

the majority, thus giving the clothing context in a setting in which they are familiar.

Secondly, Horowitz is seen to promote the notion that clothes influence popularity, naturally influencing the mentality of absorbent teenagers.

The to

style

has

reverberate

continued throughout

modern media and fashions, a

sign

popularity Arguably,

of

its

widespread

and

reputation.

Clueless

also

influenced the re-established popularity of designer brand amongst young adults, through the

protagonist’s

frequent

FIG 21: CLUELESS, 1995

references to designer labels, such as Azzedine Alaïa.

Magazine Title

IG 22:JIL SANDER,SPRING ArtF and 2000, READY-TO-WEAR

FIG 23: YOHJI YAMAMOTO, SPRING 1999, READY-TO-WEAR

Art and Design: As previously discussed, values from

in dynamic harmony with the body’

the Minimalist era were emulated

(Vinson, N. 2017). Favoured by many

throughout

early

women during this time, the look

and mid nineties, namely through

starkly contrasted the exorbitance

repetition, the grid and geometry,

of the eighties and provided a sense

creating clean lines and classic cuts

of empowerment through its luxury

(The Museum of Modern Art,1994).

fabrics and classicism.

The

between

Alongside this, in the decade’s latter

feminism and minimalism in the

years, Cubism and Post-Modernism

mid-nineties

began to appear latent in garment

fashion

in

the

inter-relationship was

epitomised

in

the MoMA exhibition, ‘Sense and

trends

Sensibility’, with works exploring

world by Asian artists, resulting in

pervasive

the emergence of new silhouettes.

ideals

of

femininity,

brought

to

the

‘(recasting) Minimalist forms and

Avant-garde

strategies’ (MoMA, 1994).

Junya Watanabe and Yohji Yamamoto,

Jil Sander was a leading designer in

came to experiment with new forms

the minimalist fashion movement,

of

constructing

that

inspiration from Picasso and Braque’s

(Steele,

works with Cubism, architecture of

2006, p70), and adopted neutral or

the Modern Movement and Japanese

monochromatic

Despite

origami clothing forms (Mendes et

playing a key role in the development

al, 2010). Tonally comparable to Jil

of the moment, one of Sanders most

Sander, the artists often worked in

notable influences on mainstream

monochromatic and neutral shades,

fashion was her popularisation of

complimenting the fluidity fabrics

the unlined, soft-shouldered jacket

such as silk. Alongside this, the

(Steele, 2006, p70). Sander describes

origami folding techniques brought

the importance of ‘unusual’ material

dynamism to the clothing and with

in her work as a means of providing

the garments adapting to the wearer,

character and sculpture, to create

a novice notion in comparison to the

an ‘autonomous shape that moves

popular material PVC.

respected

garments

natural

form

palettes.

shape

designers,

Western

and

structure,

including

drawing

-15

Conclusion In conclusion, consumers during the nineties favoured comparative simplicity over the bold excessiveness of eighties fashions. It may be observed that male fashion predominantly developed from subcultures, namely grunge, rave and street-style. On the other hand, women’s fashions were largely brought about through the ‘trickle down effect’, progressively developing into a minimalist, feminine style, embracing individuality.

With the United Kingdom’s demographic demonstrating a medium age of 35.8 in 1990, and 37.6 in 2000 (Statista,2018), it can be inferred that the demographic is neither ‘young’, nor ‘old’. Thus, when considering Behling’s (1985) relationship theory between demographics and fashion, it may be suggested that this middle aged demographic is responsible for the combination of trickle-down and trickle-up effects of trends in throughout the decade.

With consideration of the drivers of fashion explored above, it is possible to suggest media, music, cinema and television played the most prominent role in influencing fashion trends during the nineties, particularly when one considers the crossover between the other drivers, such as influential people, and the media.

FIG 24: THE 25 MOST RUNWAY SHOWS OF THE ‘90S

References:

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Image References:

Image References: • Fig 1: Peter Lindbergh. 1990. British Vogue January 1990 cover. [Online]. [Accessed: 3 December 2018]. Available from: https://www.vogue.co.uk/article/peter-lindbergh-voguesupermodel-cover-story • Fig 2: Vogue Runway. 1994. Calvin Klein Spring 1994. [Online]. [Accessed: 3 December 2018]. Available from: https://www.vogue.com/fashion-shows/spring-1994-ready-to-wear/ calvin-klein-collection/slideshow/collection#89 • Fig 3: Vogue Runway. 1993. Perry Ellis Spring 1993: The Grunge Collection. [Online].

[Accessed: 3 December 2018]. Available from: https://www.vogue.com/fashion-shows/spring1993-ready-to-wear/perry-ellis • Fig 4: Technostation.a. n.d. Drop Acid Not Bombs. [Online]. [Accessed: 3 December 2018]. Available from: https://www.technostation.tv/90s-rave-culture/ • Fig 5: Technostation.b. n.d. Acid House Fashion. [Online]. [Accessed: 3 December 2018]. Available from: https://www.technostation.tv/90s-rave-culture/ • Fig 6: Technostation.c. n.d. Bright colours and Baggy Trousers. [Online]. [Accessed: 3 December 2018]. Available from: https://www.technostation.tv/90s-rave-culture/ • Fig 7: The Gap. 2018. GAP Logo Fleece Pullover Hoodie. [Online]. [Accessed: 3 December 2018]. Available from:https://www.gapcanada.ca/browse/product. do?pid=867073203&locale=en_CA&sdkw=logo-fleece-pullover-hoodie-P867073&sdReferer=h ttps%3A%2F%2Fwww.google.co.uk%2F • Fig 8: Evening Standard. 2018. Spice Girls in Johannesburg, British Royal Tour 1997.

[Online]. [Accessed: 3 December 2018]. Available from: https://www.standard.co.uk/fashion/ spice-girls-spice-world-style-victoria-beckham-geri-halliwell-a3748686.html • Fig 9: Browns. 2018. Valentino ‘Kimono 1997’ Robe Coat. [Online]. [Accessed: 3 December 2018]. Available from: https://www.brownsfashion.com/no/shopping/kimono1997-robe-coat-11566854 • Fig 10: Getty Images. 2018. Elizabeth Hurley in Versace Dress, 1994. [Online].

[Accessed: 3 December 2018]. Available from:https://www.harpersbazaar.com/uk/celebrities/ news/a21092624/elizabeth-hurley-versace-dress-hugh-grant/ • Fig 11: Marie Claire. 2018. Courtney Love and Kurt Cobain (1991). [Online]. [Accessed: 3 December 2018]. Available from:https://www.marieclaire.com/fashion/advice/g1905/bestfashion-moments-of-the-90s/?slide=5 • Fig 12: Steinfeldt, J. 2016. MC Hammer. [Online]. [Accessed: 3 December 2018].

Available from: https://people.com/style/mc-hammer-has-no-regrets-over-hammer-pantsim-proud-of-being-a-visionary/ • Fig 13: South Chine Morning Post. 2016. Britney Spears shoot for ‘In the Zone’ in 2003.

[Online]. [Accessed: 3 December 2018]. Available from: https://www.scmp.com/magazines/ style/news-trends/article/2086697/5-britney-spears-looks-dominated-90s-and-noughties • Fig 14: CNN. 2016. Mid-nineties Hip-hop Style. [Online]. [Accessed: 3 December 2018].

Available from: https://www.highsnobiety.com/2016/12/06/hip-hop-denim-style-evolution/ • Fig 15: REX USA. 2018. Spice Girls MTV Awards 1997. [Online]. [Accessed: 3 December 2018]. Available from: https://www.savoirflair.com/fashion/366329/spice-girls-reuniontour-outfits • Fig 16: Bet.com. 2016. Snoop Dogg Saturday Night Live, 1994. [Online]. [Accessed: 3 December 2018]. Available from: https://www.highsnobiety.com/2015/10/07/tommy-hilfigerracism-scandal/ • Fig 17: Sneakernews.com. 2016. AIR JORDAN VI: 1990-91. [Online]. [Accessed: 3 December 2018]. Available from: https://sneakernews.com/air-jordan/air-jordan-6/ • Fig 18: Cardboardconnection. 2018. Air Jordan I, “Notorious” 1985. [Online]. [Accessed: 3 December 2018]. Available from: https://www.cardboardconnection.com/the-history-ofnikes-air-jordan-shoes-told-through-pictures

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Image References: continued • Fig 19: Drake, B. 2016. Snoop Dogg Saturday Night Live, 1994. [Online]. [Accessed: 3 December 2018]. Available from:https://ak-static.cms.nba.com/wp-content/uploads/ sites/48/2016/09/GettyImages-138668328.jpg • Fig 20: Benett, D. 1999. Kate Moss and Naomi Campbell attending the Diamonds are Forever event at Syon House in London, June 9 1999. [Online]. [Accessed: 3 December 2018].

Available from: https://en.vogue.fr/fashion/fashion-inspiration/diaporama/kate-moss-inthe-nineties/22052#kate-moss-et-naomi-campbell-a-la-soiree-diamonds-are-forever-ala-syon-house-de-londres-le-9-juin-1999_image3 • Fig 21: Alamy. 2017. Clueless, 1995. [Online]. [Accessed: 3 December 2018]. Available from: https://www.vogue.com/article/summer-fashion-trends-clueless • Fig 22: Vogue Runway. N.d. Jil Sander, Spring 2000, Ready-to-wear. [Online].

[Accessed: 3 December 2018]. Available from: https://www.vogue.com/fashion-shows/spring2000-ready-to-wear/jil-sander/slideshow/collection#13 • Fig 23: Vogue Runway. N.d. Yohji Yamamoto, Spring 1999, Ready-to-wear. [Online].

[Accessed: 3 December 2018]. Available from: https://www.vogue.com/fashion-shows/spring1999-ready-to-wear/yohji-yamamoto • Fig 24: Vogue.com. N.d. The 25 Most Runway Shows of the ‘90s. [Online]. [Accessed: 3 December 2018]. Available from: https://www.vogue.com/tag/misc/nineties

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