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By using our site, you agree to our collection of information through the use of cookies. To learn more, view our Privacy Policy. To browse Academia. Heroin Chic was a trend which emerged in the 90s, based upon the roles of a fashion model. Henceforth, I have analysed in this paper the great importance of 90s style icons within politics and the media. Felicitas Hentschke and James Williams eds. Studies in Manuscript Cultures Berlin — Boston, Walter de Gruyter, In this online edition, gallery owners from all over the world participated in the four-day event from 1 to 4 November. Each gallery was able to show a representative work accompanied by images, texts and videos to contextualize it and provide relevant information about it. This highly original method has enabled visitors to see the works from all over the world and to interact with the exhibitors. With all this, TEFAF Online has been the first digital fair to show 7, years of art history in which we have found three very interesting and high-profile pieces from Ancient Egypt. Despite its long and layered histories, critical analyses of photography in India began rather late and remain comparatively limited in number. However, the burgeoining scholarship in the field illuminates photography's role in conditioning modern South Asian experiences, while also highlighting the global character of the medium that complicate the unmarked history of photography. Three intertwined historiographical threads are influential in narrating the colonial Indian camera cultures. The first thread emphasized descriptive histories, the second thread debated cultural essentialism, while the third thread inquired into myriad photographic genres to rethink colonialism. An inquiry into these three threads helps reflect on the intellectual scope of photographs from colonial India, while also directing to future archival and analytical possibilities. This article describes two persons and their environment in the struggle for power between pagans and christians in the Schelde basin and surroundings. Leaders were found on the side of the Franks and the prelates bishops, missionaries, abbots There were chieftains, gau-counts, waldheren chosen lords representatives, governors, princes, warlords, etc. These battles also occurred more than once within the families, because some converted to belong to the new power, while others preferred to remain faithful to their roots. From Brugge to the coast there were salt marshes and gullies with mudflats and sandy banks. The area became economically more interesting from the eighth century because sheep were bred there. Salt and peat were also extracted. As early as the seventh century, but especially in the eighth and ninth centuries, large landownership became important. The test is simple and robust but difficult to control and not fully standardized. As a result, experimental results typically show large variations and poor repeatability. To mitigate that correction factors such as energy normalization and rod length have been introduced in SPT practice. This study provides an examination of the two correction factors using models based on the discrete element method DEM. MA Dissertation for the University of Manchester, International Electronic Journal of Elementary Education, Log in with Facebook Log in with Google. Remember me on this computer. Enter the email address you signed up with and we'll email you a reset link. Need an account? Click here to sign up. Jenny Graham. Related papers Molinological graffiti in Lousada Portugal : an ethnoarchaeological study Manuel Nunes. Notes on historiography of photographs from India Ranu Roychoudhuri. Ragnar and Bern, from Wulpen to Bonen-Boulogne. Two ninth-century monarchs in early Flanders. Luc Vanbrabant. The public grew more interested in their personal lives as opposed to their work. Known widely for their anorexia and cocaine consumptions, this led to large controversy within the media. Even president at the time, Bill Clinton became interested in these latest style icons. The point of modelling as a career is to advertise and sell a product, however fashion models led promiscuous lives outside of work and faced enormous pressure from employees, demanding them to look a certain way. To expand, height had to reach above 5. Corinne Day, a fashion photographer who shaped the 90s photographed a fourteen year - old Kate Moss as photographed above and anger was received from the media due to child exploitation and the fashion model looking supposedly anorexic. Theoretically, people who suffer anorexia are known to wear larger clothes in order to hide their bodies and this could be why over-sized sweaters became a fashion trend during the 90s. This is the essence I will be examining within my dissertation based on how fashion models influenced 90s trends. Although, I am mainly focusing on 90s fashion model identifications, I will be researching into fashion models throughout various decades. In other words, how they were expected to behave and the way in which this compared to the 90s. For example, in the s pressure to be thin was not of great importance when swimwear and high street ensembles were advertised. However, Haute Couture lines since the early 20th century were considered strict with regards to female models shape and size. Henceforth my interest in exploration towards how specifications changed throughout various decades in the 20th century. Both primary and secondary research will be applied, assisting me to source relevant imagery and factual information with regards to how supermodels were exposed and shamed via the media. Lastly, I will explore not only the exploitation of female models but how male models were exposed to the bitter world of modelling. Academic author, Thompson emphasizes weight was not a large issue apart from the Haute Couture fashion lines where tall and thin was preferred. Marilyn Monroe, a sought-out model of the s was the face fashionable women of that decade aspired to resemble. This statement explains men still remain blandly in the photograph without criticism raised to a grand extent. To explain further, Arnold expresses men in this industry can remain unbroken whereas women must fit a crucial description and strive to reach an underweight body mass. Male and Female Identity in The Fashion Modelling Industry The famous drug culture trend of the 90s was endured by male style icons as well as women. This was the case for heterosexual men, who were more commonly used as fashion models for magazine editorials as opposed to homosexual models. Emphasizing, the s was the decade homosexual men working in fashion were not attempting to hide their sexuality. Fashion designers were opening up the media to the constantly changing industry. Methodology The analysation of key titles: history of a fashion model, beauty Identity and male and female identity in the fashion industry defines the subject areas of my literature. Headlines relating to drug culture of the 90s, anorexic fashion models and how this movement impacted politics. What I have gathered from previous research is the extent of their drug addictions, mental health and how expectations of models were impacting the media. The context of my dissertation will further analyse and argue critical theories. Research I have taken upon myself to gather further are Vogue magazines dating back to this profound era, exploration of various social media handles and online articles associated with Corinne Day such as: ID, Dazed and Confused, etc. During the early 21st century author, Thompson ascertains the importance to be elegant in fashion due to Haute couture lines inspiring trends. Whereas Conekin suggests models in the s were to be stylish on the high street. However, from my previous research anorexia was an unheard-of necessity until the 90s, also proposed by author Soley-Beltran. Chapter two summarizes beauty identity of a 90s-fashion model. Consequently, my primary research relating to my explained topic will be analysing Instagram accounts and exploring 90s fashion model imagery. Subjectively I came to learn that glamour and weight cast a large importance over celebrity lifestyle. Finally, my last chapter develops my beauty identity theory further, however summing up male and female beauty specifications and the methods in which they differed. Whereas Richard Dyer argues in Male Sexuality in The Media, male models were vague in this industry and were not necessarily of great importance. Primarily I have approached this research by collecting archives of 90s magazines and analysed the importance of women in comparison to men. Henceforth my discovery of female models featured in more editorials, were therefore the gender that attracted higher popularity status. Every decade a new desired aesthetic for fashion models occurred. Whom of which often portrayed slender figures in order for the garments to hang steadily. As time progressed between the s and s, a new aesthetic emerged allowing fashion models to be curvy and robust. Leading on from this, in the s and s advertisers were reaching out for thinner models, although height necessities were un-common. Finally, the fashion modelling industry of the s and s is what shaped fashion and politics. Figure 1 represents a slender woman posing in an elegant Haute Couture garment, advertising to the public a modern look of that era. The duration of these exquisite ten years were outlined by drooping pearl necklaces and drop-waistline dresses like we can see above. This supposedly new post-World War freedom allowed women to focus less on household domestics and opportunity to gain employment was henceforth the beginning of a new job role; fashion modelling. Haute Couture, became exceptionally popular throughout this decade and designers such as, Coco Chanel and Jeanne Lanvin were emerging into the fashion industry. Academic authors, Brocco and Hennell-Foley are establishing in their theories freedom for women and an allowed interest into the artistic industry. This image represents a poster of a fashion model in the s, advertising that men find curvier women sexier. During this era, swimwear lines were increasingly popular as opposed to Haute Couture lines. Henceforth the majority of fashion models from the s were chosen to model swimwear for fashion photographers such as, Helmut Newton, Mario Testino and Richard Avedon. Marylin Monroe, widely known for her Hollywood glamour and robust figure was the most popular icon women of this decade aspired to. Although anorexia was not common during this decade, this does not mean to say drugs and various other mental health problems did not occur for fashion models. As figure 2 suggests this female model was using drugs to assist her curvier weight. Although fashion models did not have to portray prominent bone structure and a narrow figure, nonetheless they still had beauty standards to follow in the s. Twiggy photographed in figure 3 became the face of this fun-driven era as she made it to stardom at just sixteen years of age. Twiggy quickly escalated to becoming one of the most popular faces of the s. Which explains whilst referring to the s, that London was the energetic place to be and the way youth dressed, or behaved was impacting everyone else in London. This meant that fashion models were working their way up, becoming a type of characteristic in the way they looked. The fashion industry was now catering for working-class youth, as Brown emphasizes. The latest fashion model trend was young girls parading flimsy, high-street attires like Twiggy is modelling in figure 3. Before the s, it is argued whether fashion modelling was considered full-time work or not. However, towards the end of the s various academics including, Ashley Mears and Patricia Soley Beltran argued that fashion modelling over-ruled the standard expectations of employment. Therefore, figure 4 depicts your traditional face of a s- heroin chic supermodel, meaning messy hair, dominant bone structure and a wafer-thin body. Figure 4 also showcases various video clips of fashion models behind the scenes at work and attending social events. Although the s portrayed, twig-thin models in fashion photography, a cause for anorexia concern was un-necessary. In the s models were naturally thin and you could argue fashion models maintained more professionalism with regards to opening up to the media. However, in the 90s starvation was a suggested method to maintain an attractive, slim figure and drugs were a heavy influence over fashion models. Chapter 2 Beauty Identity Fashion models were not the only people described as heroin chic, this label also applied to iconic actresses and musicians of the s such as, Courtney Love, Drew Barrymore and Winona Ryder. This was due to grungy matted hairstyles, excessive drug use and rebellious behaviour. Other than the heroin chic aesthetic skinny and messy fashion models portrayed another un-named identity where they were expected to have luscious hair, thick eyebrows and clear skin, which was not classed as grunge at all. Figure 5: Fashion Models of the 90s, Vogue Magazine cover In the above image, we can see an array of fashion models each portraying various nationalities, skin tones, bone structures and hair styles. To expand, represented on this Vogue cover is a selection of fashion models who are promoting their faces as opposed to fashion clothing. Figure 6: Impromptu photograph taken of Cindy Crawford at a social event A spontaneous and compelling image taken of American fashion model, Cindy Crawford at a social event examines the beauty a fashion model was expected to portray. Which emphasizes the more qualities you had in terms of slender shape and size, the more likely you were to be a fashion model. Claiming that pressures to look a certain way were not enormously high, they were only expected to maintain a healthy weight. However, Charles is proposing there are many desired aesthetics that must be carried off when fashion modelling, as represented by Cindy Crawford in figure 6. Figure 7: Fashion photography shot by Corinne Day Figure 8: Another Corinne Day photograph, representing heroin chic To explain further, Day has emphasized this fashion model identity in a dull environment. Which promotes bony, pale, therefore ill-looking models. Previously, I have depicted images of clean, healthy and attractive fashion models on the front cover of Vogue and attending social events, however figures 7 and 8 depict less clean, scruffy fashion models. Henceforth Gow emphasizes a positive effect to the trend asserting British fashion. Therefore, indicating heroin chic was completely harmless, although Shevory emphasizes unacceptability. Henceforth, I briefly explained that fashion models were not the only icons who carried a heroin chic label, this was alongside actresses and musicians. As a result, I have carefully selected relevant imagery from 90s-based Instagram accounts to express celebrity icons styles and social behaviour. Whereas, Entwistle examines everyone plays a role in fashion. The three icons in figures 9, 10 and 11 all held a reputation in the 90s for their heavy drug usage and although not considered fashion models, these three style icons were often featured to model clothes for brands such as: Miu Miu, Marc Jacobs and Yves Saint Laurent. Initiating any woman in the media flaunting a grunge aesthetic was considered worthy of fashion photography. Figure Kate Moss for Calvin Klein Figure Charlotte Moss for Calvin Klein To analyse how beauty identity has changed since the s in comparison to modern day society, I have selected imagery of Kate Moss and younger sister, Lottie Moss for Calvin Klein. This set of photographs were taken twenty-one years apart and exemplify the differences between a fashion model in the s and now. Therefore, this academic is indicating beauty identity when referring to fashion models does not change and the industry demands too much. However, we can see from figure 13, nudity and anorexia within younger women is not as common and classified as a beauty identity today. Chapter 3 Male and Female Identity in The Fashion Modelling Industry Lastly, I will identify the difference between male and female fashion model importance in terms of the fashion photography industry. To explain, women were of greater success according to academics such as, Entwistle and Soley — Beltran. However, it is argued by other academics that pressures in the modelling industry for men were also high. Overall, I will analyse what fashion designers expected of fashion models, how this impacted their social behaviour, which gender was of higher popularity in fashion magazines and why. Judging by figures 14 and 15, fashion models whether male or female were expected to look glamorous, sleek and maintain a smaller weight. Both figures also depict the fashion models representing campaigns for high-end brand advertisements, in these campaigns they portray delicate facial features and luscious locks. Although, Holla claims fashion models must earn their unique looks through the form of body abuse. An argument between many academics when referring to fashion models is the most significant gender. As we can see in figures 16 and 17, both genders looking elegant was not always performed in fashion photography. These two photographs captured by photographer, Corinne Day depict grungy, young models with messy hair, no makeup and creased clothing. This was due to more clothes, make-up, accessories and hairstyles to experiment with as opposed to men. However, Kate Moss alongside other fashion models became involved with drug consumption. Musical icons such as, Kurt Cobain and Pete Doherty were large male style influences of the 90s, however male fashion models were unable to attract as much attention. Henceforth, this statement suggests men do not feel as pressured when it comes to popularity status in the media and men rely on each other to receive merit. Henceforth, Thompson and Haytko suggest fashion models led higher profile lifestyles in comparison to musicians and actors. To sum up, female fashion models were the highest profile type of celebrity due to their unique looks, because they had to portray a certain aesthetic, without being represented of much talent. In addition to male fashion models as there was only so much styling a creative fashion team could do with men, due to traditionally a less broader clothing line catered to them by fashion designers. Figures 22 and 23, depict catwalk garments of two signature fashion designers from this era. Alexander McQueen, was popular for his dramatic elegance, delicate fabrics and frivolous head pieces. Both of these designers cast a large impact over 90s fashion and the heroin chic movement. Like we can see in figures 22 and 23 these garments were only constructed to fit smaller sized women. As I have gathered from previous research, it is argued by many academics that photographer, Corinne Day was the person responsible for the rise in anorexia for fashion models. Although other academics such as, Jay Calderin argue fashion designers played a vital part in this trend. Designers, Alexander McQueen and Burberry took this trend on within various catwalk shows, however over-sized clothes are a known coverage style of anorexia. The comparison of smaller and over-sized garments by fashion designers is represented in figures 22 and 23 enabling women to receive an equal balance. Furthermore, Wilcox and Easey emphasize a carefree view with regards to fashion designers constructing their garments to smaller sizes. Whereas, Calderin and Hall express dangers and ugliness with regards to anorexia and how this impacted fashion. Conclusion The aim of my dissertation was to revolve around key concepts of the fashion modelling industry. Not only researching the 90s which was the main focus of my topic however, other decades throughout the 20th century were also analysed. Specific subject areas of my dissertation were fashion modelling history, beauty identifications and female and male beauty identity comparison. Alongside this, I have summed up the heroin chic movement identifying how this effected politics and the lives of fashion models in the 90s. Kate Moss, was the key fashion icon of his era and of fashion photography. Not to mention, Kate Moss was also a key icon for paparazzi shots in newspapers and magazines due to her excessive partying and regular drug consumption. Often partying alongside fellow South Londoner, Naomi Campbell the pair created this new idolization of how a fashion model should look and behave. As I have gathered from primary research on Instagram, accounts have been created specifically to emphasize icons from this symbolic era for young girls to aspire to today. Women, also achieved the higher popularity status and higher beauty standards as opposed to men. Consumers were more interested in how a fashion model in a magazine was striving to perfection, how she was losing weight, what hair products she was using, what trends she was wearing, where she purchased her clothing, etc. Whereas, male icons did not create high fashion attention, due to their messy, grunge-like aesthetic, which female fashion models would occasionally portray in a photoshoot for a fashion photographer such as, Corinne Day but not when photographed outside of work. However, when it came to male fashion models they would often not wear the latest styles fashion consumers of the 90s wanted and that is how they attracted less press. Overall, the public were more interested back then than what they are today in the life of a fashion model due to higher, significant figures in the 90s and their rebellious lifestyles outside of work. From: Heroin Chic Directed by: unknown. London: I. In: Academia. Abingdon: Routledge PP. Fashion Model Showdown. London: Macmillan Education PP. In: journals. In: academia. California: California University Moore, M. California: Praeger Publishing Soley-Beltran. In: books. In: tandfonline. New York: New York University 7. How to Write a Report jinfeng wang. Youth Radicalization in Kenya or Unemployment Crisis? Incidental prostate cancer in Asian men: High prevalence of incidental prostatic adenocarcinoma in Chinese patients undergoing radical cystoprostatectomy for treatment of bladder cancer and selection of candidates for prostate-sparing cystectomy Darrell Davidson. Carta ao Leitor Eduardo Galhardo. Patient adherence in the treatment of depression Giuseppe Tibaldi. The advanced Virgo longitudinal control system for the O2 observing run Carole Perigois.

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Copy For Citation. Gazi Medical Journal, vol. Purpose: To describe and present for the first time the typical skin lesions at the injection sites of drug addicts using an unusual combination of heroin and flunitrazepam. Methods: Regarding drug dependence, patients were assessed over a 6-year period during , at the State Institute of Forensic Medicine, 4th Specialization Department. Results: This study is composed of 7 unique cases of typical skin lesions in which forensic medical observations were established at the State Institute of Forensic Medicine, Department of Forensic Psychiatry, Istanbul, Turkey, from January to January Seven male heroin-flunitrazepam users age range, years; average, 41 years were identifed among the 38 heroin addicts. According to their explanation, this was the best and cheapest way to enhance the high feeling when they could buy only a small amount of heroin. Conclusion: We described unusual skin lesions of mixed drug addicts. Home page Latest Publications Skin lesions in heroin-flunitrazepam add Skin lesions in heroin-flunitrazepam addicts: An unusual type of mixed drug abuse between and

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