<Checklist of historical sources and theoretical sources>
1. Lehmann, Ulrich. “Art and Fashion.” In The Berg Companion to Fashion, edited by Valerie Steele. Oxford: Bloomsbury Academic, 2010. Accessed February 13, 2017. https://www-bloomsburyfashioncentral-com.libproxy.newschool.edu/products/berg-fashion-library/encyclopedia/the-berg-companion-to-fashion/art-and-fashion.
This source is helpful in a way that it explains “the breaking up of corporeality (cubism) was inspired by and became visually reflected in contemporary couture.” It helps me to understand the relationship between cubism and fashion.
2. McNeil, Peter. “Art and Dress.” In Berg Encyclopedia of World Dress and Fashion: West Europe, edited by Lise Skov, 522–527. Oxford: Berg, 2010. Accessed February 13, 2017. http://dx.doi.org.libproxy.newschool.edu/10.2752/BEWDF/EDch8087.
In this article, “Richard Martin has argued in Cubism and Fashion (1999) that a visual revolution occurred in both art and fashion between 1908 and 1930, in which the belle epoque focus on the three-dimensional carapace of nineteenth-century fashion dissolved into a focus on either flatness or modular cylindricality.”
3. Stabb, Jo Ann. “Influence of the Arts.” In Berg Encyclopedia of World Dress and Fashion: The United States and Canada, edited by Phyllis G. Tortora, 255–266. Oxford: Bloomsbury Academic, 2010. Accessed February 13, 2017. http://dx.doi.org.libproxy.newschool.edu/10.2752/BEWDF/EDch3035.
Jo explains that “the international style advocated utter simplicity and elimination of ornamentation—“form follows function.” In its quest for universal geometric purity, it also played cubistic solids against voids, giving each equivalency. This reductionist philosophy stripped away nonessentials and provided cold, clean abstract shapes and uncluttered surfaces that eventually led to minimalism.”
4. Martin, Richard. 1999. Cubism and fashion. New York: Metropolitan Museum of Art. https://www.worldcat.org/title/cubism-and-fashion/oclc/796022322/viewport