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      <image:caption>'Twisted Silks &amp; Stilettos: The History of Italian Fashion' Webinar</image:caption>
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    <lastmod>2023-05-06</lastmod>
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    <loc>https://elenowitz-hess.com/publications-1</loc>
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    <lastmod>2023-06-25</lastmod>
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  <url>
    <loc>https://elenowitz-hess.com/publications-1/comtesse-de-monteil</loc>
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    <lastmod>2021-05-06</lastmod>
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      <image:title>Publications - How the ‘Queen of Thieves’ Conned French Riviera Wealthy (Atlas Obscura)</image:title>
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    <loc>https://elenowitz-hess.com/publications-1/highland-rape</loc>
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    <lastmod>2021-05-06</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5ef3ae4006d08d1ce062657d/1620331291241-EIPF1ZCDD4LS2FW1D47O/Figure+2_103435_103435-2_0002_fs.jpg</image:loc>
      <image:title>Publications - “Reckoning with Highland Rape: Sexuality, Violence, and Power on the Runway” (Fashion Theory)</image:title>
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  <url>
    <loc>https://elenowitz-hess.com/publications-1/bloomsbury-fashion-video-archive</loc>
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    <lastmod>2022-01-03</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5ef3ae4006d08d1ce062657d/a63834e1-40f8-4437-a718-703291bee55b/fashion-photography-archive-article-group----FashionPhotographyArchive-b-9781474260428----images-104742-104742-27-0045-fs.jpg.jpg</image:loc>
      <image:title>Publications - Bloomsbury Fashion Video Archive</image:title>
      <image:caption>Mad for Plaid: The Many Types of Tartan in 1990s Fashion</image:caption>
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      <image:title>Publications - Bloomsbury Fashion Video Archive</image:title>
      <image:caption>Underwear as Outerwear</image:caption>
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      <image:title>Publications - Bloomsbury Fashion Video Archive</image:title>
      <image:caption>Key Collection: Alexander McQueen AW1995 "Highland Rape"</image:caption>
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      <image:title>Publications - Bloomsbury Fashion Video Archive</image:title>
      <image:caption>Key Collection: Alexander McQueen SS2001 "Voss"</image:caption>
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      <image:title>Publications - Bloomsbury Fashion Video Archive</image:title>
      <image:caption>Key Collection: Franco Moschino AW1993</image:caption>
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    <loc>https://elenowitz-hess.com/publications-1/reconstructing-the-femme-fleur-journal-of-design-history</loc>
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    <lastmod>2022-09-03</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5ef3ae4006d08d1ce062657d/52117020-3843-4e41-9840-b2b629aa9c72/Fig+6_OF-TOL-21012449_BNF.jpg</image:loc>
      <image:title>Publications - Reconstructing the “Femme-Fleur:” Floral Modernism in Vionnet &amp; Lanvin (Journal of Design History) - Journal of Design History</image:title>
      <image:caption>Reconstructing the “Femme-Fleur”: Floral Modernism in the Work of Madeleine Vionnet and Jeanne Lanvin Abstract The seeds of modernism had been planted before the First World War, but it was in the post-war period that there was a true blossoming of self-consciously “modern” aesthetics and the new, “modern” woman. Although modernism is often associated with the masculine, urban, and geometric—indeed, women’s fashion took a more androgynous turn—influential couturières Madeleine Vionnet and Jeanne Lanvin still drew upon traditionally feminine floral and pastoral themes to create their modern fashions. Fashion designers were not alone in this use of the floral in a “modern” context. Writers, visual artists, architects, and garden designers of the period were also renegotiating ideas of the natural world and reinterpreting the pastoral in the context of the devastating effect of the First World War upon the people and the landscape of France. In particular, the legacy of the femme-fleur (“flower-woman”) in art, literature, and performance found new relevance in 1920s fashion, uniting ideas of modernity and renewal. For Vionnet and Lanvin, the use of floral motifs in conjunction with modernist fashions, signalled a desire to draw upon and reinterpret these long-held signals of femininity, allowing for a new understanding of womanhood while evoking the familiar, eternal and procreative elements of flowers.</image:caption>
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    <loc>https://elenowitz-hess.com/publications-1/book-review-fashion-society-and-the-first-world-war</loc>
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    <priority>0.5</priority>
    <lastmod>2022-09-03</lastmod>
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      <image:title>Publications - Book Review: "Fashion, Society and the First World War: International Perspectives" (Textile) - Textile: Journal of Cloth and Culture</image:title>
      <image:caption>Book Review Fashion, Society and the First World War: International Perspectives Abstract If imagining The First World War conjures up images of trenches, poppies, and uniforms, prepare to add showgirl feathers, Alsatian hairbows, and “war crinolines” to the visual landscape. That is not to say that uniforms are unimportant, but Fashion, Society and the First World War: International Perspectives, edited by Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian, is a text that explores a variety of ways in which fashion industries and dress practices were affected by World War I among different nations and classes. Although this time period had long been overlooked in fashion history, this book contributes to growing scholarship on the topic and builds on the prior work of Bass-Krueger and Kurkdjian, whose book French Fashion, Women, and the First World War was published in 2019 following exhibitions on French fashion and World War I at the Bibliothèque Forney in Paris and Bard Graduate Center in New York</image:caption>
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  <url>
    <loc>https://elenowitz-hess.com/publications-1/book-review-paris-to-new-york-the-transatlantic-fashion-industry-in-the-twentieth-century</loc>
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    <priority>0.5</priority>
    <lastmod>2022-09-03</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5ef3ae4006d08d1ce062657d/fbe51e09-a971-4191-8c2b-9d9d3329f625/Paris+to+New+York.jpeg</image:loc>
      <image:title>Publications - Book Review: "Paris to New York: The Transatlantic Fashion Industry in the Twentieth Century" (JDH) - The Journal of Dress History</image:title>
      <image:caption>Book Review Paris to New York: The Transatlantic Fashion Industry in the Twentieth Century Abstract Véronique Pouillard’s Paris to New York: The Transatlantic Fashion Industry in the Twentieth Century is a fluidly written and compelling narrative of the business of fashion in the last century, with a focus on haute couture. The heart of the book is in the decades 1900 1950 and the oscillating balance of the power and influence between the fashion industries in France and the United States. While the artistic creations and cultural impact of designers such as Jeanne Paquin, Madeleine Vionnet, and Christian Dior have been addressed extensively in books and exhibitions, their business practices and economic context have been left relatively unexplored; this book aims to fill that space.</image:caption>
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  <url>
    <loc>https://elenowitz-hess.com/publications-1/the-fashionable-swastika-in-the-us-before-1939</loc>
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    <priority>0.5</priority>
    <lastmod>2024-04-21</lastmod>
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      <image:title>Publications - “Something Really Very Odd and Singularly Appropriate:” The Fashionable Swastika before 1939 (JDH) - Journal of Design History</image:title>
      <image:caption>“Something Really Very Odd and Singularly Appropriate:” The Fashionable Swastika in the US Before 1939 Abstract More than a decade before Hitler became the leader of the Nazi party, on the other side of the Atlantic, the Ladies’ Home Journal hit on the perfect insignia for their new “Girl’s Club”: a swastika. This was far from anomalous; an examination of American fashion and lifestyle publications shows that the swastika was a fashionable motif for dress, home decor, and particularly jewelry from the turn of the twentieth century until the outbreak of World War II. Moreover, the swastika continued to be used as a decorative motif even as news of life under the Third Reich was published in American newspapers. This regular use in fashion and consumer goods suggests that Americans did not want to recognize the dissonance between the way that they wore the swastika and the symbol in its German context. This distinction began to disintegrate in the mid-1930s, as conflict over the use of the symbol revealed fracture lines between those affected by its anti-Semitic connotations and those who thought that these connotations were either acceptable or easy enough to ignore. The lifecycle of the swastika in American culture in the first four decades of the twentieth century offers a unique case study of how a sign can gain and lose meaning; after arising as a seemingly superficial fad, the persistence of the motif took on increasingly problematic associations raising difficult questions of how to contend with new readings of old signs.</image:caption>
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</urlset>

