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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