Cultural studies: dress and society Books

Book SynopsisThe interrelationship between fashion and celebrity is now a salient and pervasive feature of the media world. This accessible text presents the first in-depth study of the phenomenon, assessing the degree to which celebrity culture has reshaped the fashion system. Fashion and Celebrity Culture critically examines the history of this relationship from its growth in the 19th century to its mutation during the twentieth century to the dramatic changes that have befallen it in the last two decades. It addresses the fashion-celebrity nexus as it plays itself out across mainstream cinema, television and music and in the celebrity status of a range of designers, models and artists. It explores the strategies that have enabled visual culture to recast itself in the new climate of celebrity obsession, popular culture and the art world to respond adaptively to its insistent pressures. With its engaging analysis and case studies from Lillian Gish to Louis Vuitton to Lady Gaga, Fashion and Celebrity Culture is of major interest to students of fashion, media studies, film, television studies and popular culture, and anyone with an interest in this global phenomenon.Trade ReviewFashion and Celebrity Culture explores the relationship between fashion and style that underpins contemporary celebrity culture. By tracing particular contemporary stylistic shifts as they have intersected with media technologies - photography, cinema, magazines and music - Pamela Church Gibson engages with broad social and cultural transformations in the field of popular culture. Focusing on fashion and its representation, Church Gibson offers a useful point of entry for understanding the processes and meanings that characterize celebrity culture today. * Vicki Karaminas, Associate Professor and Associate Head of the School of Design, University of Technology, Sydney, Australia *Pamela Church Gibson shows that while cinema has, from the early twentieth century forward, influenced fashion trends and often determined who would become a star, the intersection of celebrity, fashion, and high art that has developed in the last twenty years requires us to look "sideways" across the film-media-art-fashion-culture landscape...This is a very smart book in all senses. * Cynthia Baron, Associate Professor in the Department of Theatre and Film, Affiliated Faculty in the American Studies Program, Bowling Green State University, U.S. *Table of Contents1 Introduction 2 Fashion and Celebrity Culture, Past and Present PART I: FASHION & FILM 3 Film Stars as Fashion Icons 4 Hollywood Celebrity Cover Girls 5 ‘Fashion Films': from Prêt-a-porter to A Single Man 6 Sex and The City: From Small Screen to Big Screen PART II: FASHION MEDIA & CULTURE 8 Fashion on Television: So Many Celebrities, So Little Fashion? 7 The Changing Face(s) of the Fashion Magazine and the New Media Landscape 9 Fashion, Music and Celebrity 11 Artists, Celebrity and Fashion: From Wilde and Warhol to Taylor-Wood PART III: FASHION GONE GLOBAL 10 Designers and Models become Brands 12 Other Continents, Other Celebrities, Other Fashions 13 Conclusion: The Future of Celebrity-Driven Fashion Notes References Index

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Book SynopsisThe relationship between popular music and fashion has been a culturally significant one since the 1950s, and this book explores how music and musicians play a key role in the shaping of identity, taste and consumption. Using a range of historical and contemporary examples, this book uncovers the way in which fashion and music have worked to shape contemporary attitudes to bodies and identities.Focusing on performers as much as fans, on the mainstream as much as the underground, Fashion and Music provides a lens through which to examine themes of gender, sexuality, ageing and youth, ethnicity, body image, consumer culture, fandom and postmodernity.Trade ReviewThis book is not only entertaining, but also informative. Miller presents a current perspective on various aspects of popular music in one easy to read book, which I plan to use in the classroom. * Jessica Strubel, School of Merchandising and Hospitality Management, University of North Texas *Table of ContentsIntroduction: Fashion, Identity and Music1. Dressing Fans: Music, Clothes and Consumption 2. Gwen Loves Vivienne: Branding, Fashion and Music 3. Witchy Women: Fashioning the Womanly Body of the Female Singer-Songwriter4. White Suited Men: Style and the Marketing of the Boyband 5. Dressing your Age: Fashioning the Ageing Body of Performers and Fans 6. Styling, Race and Nation 7. Spectacle and Sexuality: Clothes, Concerts and the CarnivalesqueConclusion: Image, MusicIndex

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Book SynopsisIn Victorian England, women's accessories were always much more than incidental finishing touches to their elaborate dress. Accessories helped women to fashion their identities.Victorian Fashion Accessories explores how women's use of gloves, parasols, fans and vanity sets revealed their class, gender and colonial aspirations. The colour and fit of a pair of gloves could help a middle-class woman indicate her class aspirations.The sun filtering through a rose-colored parasol would provide a woman of a certain age with the glow of youth. The use of a fan was a socially acceptable means of attracting interest and flirting.Even the choice of vanity set on a woman's bedroom dresser reflected her complicity with colonial expansion. By paying attention to the particular details of women's accessories we discover the beliefs embedded in these artefacts and enhance our understanding of the culture at large. Beaujot's engaging prose illuminates the complex identities of the women who used accessories in the Victorian culture that created and consumed them. Victorian Fashion Accessories is essential reading for students and scholars of, history, gender studies, cultural studies, material culture and fashion studies, as well as anyone interested in the history of dress.Trade ReviewIn addition to explaining the history of how these objects were manufactured and sold, Beaujot offers interesting insights into middle class Victorian social customs, prejudices, hopes and fears. This book will appeal both to academics, especially as an introductory text, and to anyone interested in the Victorian period. * TRC *Table of ContentsIntroduction 1. The Glove and the Making of Middle-Class Womanhood 2. The Language of the Fan: Pushing the Boundaries of Middle-Class Womanhood 3. Underneath the Parasol: Umbrellas as Symbols of Imperialism, Race, Youth and Flirtation 4. The Celluloid Vanity Set and the Search for Authenticity Conclusion Notes Bibliography Index

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Book SynopsisIn Victorian England, women's accessories were always much more than incidental finishing touches to their elaborate dress. Accessories helped women to fashion their identities.Victorian Fashion Accessories explores how women's use of gloves, parasols, fans and vanity sets revealed their class, gender and colonial aspirations. The colour and fit of a pair of gloves could help a middle-class woman indicate her class aspirations.The sun filtering through a rose-colored parasol would provide a woman of a certain age with the glow of youth. The use of a fan was a socially acceptable means of attracting interest and flirting.Even the choice of vanity set on a woman's bedroom dresser reflected her complicity with colonial expansion. By paying attention to the particular details of women's accessories we discover the beliefs embedded in these artefacts and enhance our understanding of the culture at large. Beaujot's engaging prose illuminates the complex identities of the women who used accessories in the Victorian culture that created and consumed them. Victorian Fashion Accessories is essential reading for students and scholars of, history, gender studies, cultural studies, material culture and fashion studies, as well as anyone interested in the history of dress.Table of ContentsIntroduction 1. The Glove and the Making of Middle-Class Womanhood 2. The Language of the Fan: Pushing the Boundaries of Middle-Class Womanhood 3. Underneath the Parasol: Umbrellas as Symbols of Imperialism, Race, Youth and Flirtation 4. The Celluloid Vanity Set and the Search for Authenticity Conclusion Notes Bibliography Index

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Book SynopsisFashion in India is distinctly unique, in its aesthetics, systems, designers and influences. Indian Fashion is the first study of its kind to examine the social, political, global and local elements that give shape to this multifaceted center. Spanning India’s long historical contribution to global fashion to the emergence of today’s vibrant local fashion scene, Sandhu provides a comprehensive overview of the Indian fashion world. From elite high-end to street style of the masses, the book explores the complex realities of Indian dress through key issues such as identity, class, youth and media. This ground-breaking book does not simply apply western fashion theory to an Indian context, but allows for a holistic understanding of how fashion is created, worn, displayed and viewed in India. Accessibly written, Indian Fashion will be a fantastic resource for students of fashion, cultural studies and anthropology.Trade Review[This] is an excellent entry-level book to the subject. * Costume *At its heart, Indian Fashion’s narrative emphasizes the role of dress in the promotion of national identity, culture and tradition, and also in the embodiment of personal identity, resistance and modernity. In doing so, it establishes India as a unique global powerhouse, where luxury, couture, craft and casual are conspicuously consumed, mixed and matched to articulate a distinctly modern – yet also distinctly Indian – style identity. * Fashion, Society & Popular Culture *Table of ContentsChapter 1: Introduction: Indian Fashion Chapter 2: A Brief History of Dress, Difference and Fashion Change in India Chapter 3: Contemporary Fashion Practice in Urban India Chapter 4: Reel to Real Life: Re-Fashioning India from Bollywood to Street Chapter 5: Desi-Chic: The Image and Ideals of Fashion in Indian Magazines Chapter 6: Darzi to "Designer": Crafting Couture and High-Fashion for India Chapter 7: Conclusion: "Wrapping it Up" Bibliography Index

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Book SynopsisFor at least two centuries, fashion and art have maintained a competitive love-hate relationship. Both fashion and art construct imaginary worlds, and use a language of style to invigorate beliefs, perceptions and ideas. Until now the crossovers of fashion and art have received only scattered treatment and suffered from a dearth of theorization. As an attempt to theorize the area, this collection of new and updated essays is the most well-rounded and authoritative to date. Some of the world's foremost scholars in the field are assembled here to explore the art-fashion nexus in numerous ways: from aesthetics and performance to masquerade and media. Original and inspiring, this book will not only secure ‘art-fashion' as a discrete area of study, but also suggest new critical pathways for exploring their continuing cross-pollination. Fashion and Art is essential reading for students and scholars of fashion, art history and theory, cultural studies and related fields.Trade ReviewFinally a book on the complex relationship between art and fashion adopts a different approach. Instead of the usual attempts to decide where the boundary lines might be drawn , this anthology examines the areas where art and fashion meet. These essays are not only vital for scholars and students within both disciplines - for anyone and everyone, this is a highly enjoyable book. * Pamela Church Gibson, Reader in Cultural and Historical Studies, London College of Fashion, University of the Arts, London *A book that both traces, and participates in, the decay of the idea that Fashion is the superficial Other of Art. Between the covers of this book lies all the evidence one might need about the sustained collaboration between modernist artists and fashion designers. Through a wealth of historical detail and conceptual sophistication this book tells a fascinating story whose relevance will lie far beyond Fashion Studies. * Michael Carter *There have been previous books written on Fashion and Art, but none is of this standard. In its reach and sophistication, this book is a stand-alone in its field. For many years, fashion and art have been points of discussion and debate, and the subject of isolated disciplinary studies. Geczy and Karaminas and the key authors assembled here have done us a great service in elevating this topic to an area of serious interdisciplinary study, giving it coherence and circumscription. Fashion and Art is a landmark book for whose appearance couldn't be more timely. * Joseph H. Hancock II. Drexel University, Philadelphia. *A much awaited and exciting collection... bringing together some of the most prominent scholars and curators working within fashion (studies) and art (history), Fashion and Art boldly problematises the conflicting, yet symbiotic relations between art and fashion. * Louise Wallenberg, Director, Centre for Fashion Studies at Stockholm University, Sweden *Using thickly described and critically analyzed case materials, the authors in this edited volume break new ground in the ongoing debate regarding fashion and art. From euromodernities to contemporary, global "fashionscapes," this volume sheds refreshing light on the ambiguities, anxieties, and aesthetic pleasures associated with the fashion-art relationship. * Susan B. Kaiser, Chair of the Division of Textiles and Clothing at the University of California, Davis *Table of ContentsIntroduction: Adam Geczy and Vicki Karaminas 1. Fashion: Valerie Steele, The Museum at the Fashion Institute of Technology, USA 2. Art: Nancy Troy, Stanford University, USA 3. Aesthetics: Llewellyn Negrin, University of Tasmania, Australia 4. Modernity: Adam Geczy, Sydney College of the Arts, Australia 5. Conceptual: Hazel Clark, Parsons the New School of Design, USA 6. Body: Joanne Eicher, University of Minnesota, USA 7. Beauty: Morag Martin, State University of New York, USA 8. Boundaries: Diana Crane, University of Pennsylvania, USA 9. Authenticity: Efrat Tseëlon, Leeds University, UK 10. Performance: Herbert Blau, University of Washington, USA 11. Dressing up: Mary Gluck, Brown University, USA 12. Clothing: Margaret Maynard, University of Queensland, Australia 13. Patronage: Nicky Ryan, University of the Arts, London, UK 14. Painting: Aileen Ribeiro, University of London, UK 15. Image: Vicki Karaminas, University of Technology, Sydney, Australia 16. Exhibition: Alistair O'Neil, Central St Martins, London, UK 17. Curatorial: Barbara Heinemann, Goldstein Museum of Design, University of Minnesota, USA Bibliography Index

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Book SynopsisWhat happens to punks, clubbers, goths, riot grrls, soulies, break-dancers and queer scene participants as they become older? For decades, research on spectacular 'youth cultures' has understood such groups as adolescent phenomena and assumed that involvement ceases with the onset of adulthood. In an age of increasingly complex life trajectories, Ageing and Youth Cultures is the first anthology to challenge such thinking by examining the lives of those who continue to participate into adulthood and middle-age. Showcasing a range of original research case studies from across the globe, the chapters explore how participants reconcile their continuing involvement with ageing bodies, older identities and adult responsibilities. Breaking new ground and establishing a new field of study, the book will be essential reading for students and scholars researching or studying questions of youth, fashion, popular music and identity across a wide range of disciplines.Trade Review"This book brings forth some new avenues for studying youth cultures (and subcultures) within emerging fields such as Postyouth Studies, Dance Studies, and other original intersections. Graduate students studying popular music, cultural studies, sociology, and youth studies will appreciate its questionings and conceptualisation about the practices and the (sometimes unusual) representations of age and ageing persons, mostly from the ‘‘X’’ Generation, in various contexts. - International Journal of Ageing and Later Life - Yves Laberge The book sets the tone for an emerging social system, distinctive in its acceptance and re-accommodating of age within youth culture, and provides a framework for further research - Anthropological Notebooks - David Lorbiecke, Tallinn University, Estonia Summing Up: Recommended. Upper-division undergraduates and above. - CHOICE - D.S. Carr, Rutgers University Mentioned - Anthropological Notebooks"Table of ContentsIntroductionAgeing and Youth Cultures, Andy Bennett, Griffith University and Paul Hodkinson, University of Surrey, UKPart One: Ageing, Image and Identity'More than the Xs on my Hands': Older Straight Edgers and The Meaning of Style, Ross Haenfler, University of Mississippi, USAPerformances of Post-Youth Sexual Identities in Queer Scenes, Jodie Taylor, Griffith University, AustraliaAgeing Rave Women's Post-Scene Narratives, Julie Gregory, Queen's University, CanadaPart Two: Constraints of the Ageing Body'Each One Teach One': B-Boying and Ageing, Mary Fogarty, York University Toronto, CanadaSlamdancing, Ageing and Belonging, William Tsitos, University of Arizona, USARock Fans' Experiences of the Ageing Body: Becoming More Civilized, Lucy Gibson, University of Manchester, UKPart Three: Resources and ResponsibilitiesDance Parties, Lifestyle and Strategies for Ageing, Andy Bennett, Griffith University, AustraliaPunk, Ageing and the Expectations of Adult Life, Joanna Davis, University of California, Santa Barbara, USAAlternative Women Adjusting to Ageing: How to Stay a Freak at Fifty, Samantha Holland, Leeds Metropolitan University, UKPart Four: Ageing CommunityThe Collective Ageing of a Goth Festival, Paul Hodkinson, University of Surrey, UKStrong Riot Women and the Continuity of Feminist Subcultural Participation, Kristen Schilt, University of Chicago, USA and Danielle Giffort, University of Illinois at Chicago, USAParenthood and the Transfer of Subcultural Capital in the Northern Soul Scene, Nicola Smith, University of Wales Institute, Cardiff, UKBibliographyIndex

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Book SynopsisLess than three decades ago, when the Chinese bought cloth or clothes, they would have had to use a government-issued coupon. Today the Chinese fashion industry is one of the most dynamic in the world - it not only supplies fashions to the increasingly discerning domestic market, but also provides one-third of the clothing sold in the global market. How did this phenomenal transition come about? What can the growth of the Chinese fashion industry tell us about the post-Mao China? What roles do the local and the global play in the dramatic changes? This book offers a historically informed, ethnographically grounded and interpretive analysis of contemporary Chinese fashion and the fashion industry. It examines the interplay of state politics, market forces, local social and cultural factors, and the global political economy, both in the rise of the Chinese fashion industry and in the life and work of Chinese fashion professionals. As the first ethnographic account of the Chinese fashion industry in the post-Mao era, The Chinese Fashion Industry combines first-hand accounts with sophisticated cultural analysis to offer new insights, and will be of interest to students and scholars of fashion, anthropology and China.Trade ReviewThe analyses are timely and important, and Zhao shows conclusively that many of our assumptions about fashion, the market, and modernization do not apply simplistically in the case of China. The book is short and readable and would be of interest to anthropologists working on material culture, globalization, and fashion and would be accessible to students and the general public. -- Jack David Eller * Anthropology Review Database *The book is a “must-read” for anyone who wants to know about China’s fashion scene. Zhao has contributed many unique and interesting insights that are informed by his scholarly background in anthropology. His ability to challenge established theories and traditional views deserves admiration from both scholars and general readers. Another noteworthy point is Zhao’s accessible yet informed writing style. This is not just a book for scholars in the field, but also an interesting text for anyone who wants to understand more about Chinese political, social and economic culture, as it has applied to the fashion industry. -- Christine Tsui, Parsons The New School for Design * The China Journal, No. 72 *Table of ContentsI. Introduction II. Rise of the Chinese Fashion Industry Chapter 1: The Growth of Chinese Textile and Apparel Industries Chapter 2: What Do Changing Chinese Fashions Really Tell Us? III. Creating Fashion in China Chapter 3: Designing a National Style: The Tangzhuang Phenomenon Chapter 4: For the Sake of Art or for the Market? The Cultural Economy of Fashion Design Chapter 5: Creating Fashion on the Runway, Chinese Style Chapter 6: Making Clothes for International Markets IV. Conclusion: Clothing, Modernization, and Globalization Bibliography Index

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Book SynopsisBy the sixth century of the common era the Roman Empire already had many hundreds of years of accumulated ceremonial embedded in its government, and practical science embodied in its army. The transition from Republic to Imperium and the more hierarchical structure that entailed, and the absorption of Christianity into state processes, had pushed the development of court ceremonial apace, and particularly driven its embodiment and display in ever more opulent regalia. The regalia embraced not only garments of distinctive form and decoration, but also both dress and non-dress accessories. It was crucial in displaying rank and function on an everyday basis, yet was also varied considerably for special occasions. Military dress largely reflected forms current amongst ordinary men, but with an emphasis on functionality, eschewing the excesses of fashion. Detailed literary and artistic sources, archaeology and insights derived from reconstruction and practical experience has gone into creating an incredibly lavish picture of the clothing of the longest-enduring political entity in history.

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Book SynopsisThere is plenty of information about military dress in Roman Britain and the rest of the Roman Empire, but the evidence for civilian dress has not been comprehensively looked at since the 1930s. In this richly illustrated survey, Alexandra Croom describes the range and style of clothing worn throughout the Western Empire and shows how fashions changed between the first and the sixth centuries. After a short introduction to the evidence (from archaeology, art and literature), and to the manufacture of clothing and its use in status display, she systematically treats male and female dress, looking at the tunic, toga (for men), mantle (for women) and cloaks; underwear, footwear and specialist wear; hats, hairstyles and jewellery. The book concentrates on the clothing work in the Mediterranean region, but includes a section on provincial fashions. A fine and varied corpus of illustrations (including colour plates) helps to bring the everyday world of the Roman Empire to life.

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Book SynopsisWhat do you use every day that is small and large, worthless and beyond price? It's easily found in the gutter, yet you may never be able to replace it. You are always losing it but it faithfully protects you; sexy and uptight, it is knitted in to your affections or it may give you nightmares. It has led to conflict, fostered and repressed political and religious change and epitomizes the great aesthetic movements. It's Eurocentric, and is found all over the world. On the Button is an inventive and unusual exploration of the cultural history of the button, illustrated with a multiplicity of buttons in black and white and colour. It tells tales of a huge variety of the button's forms and functions, its sometimes uncompromising glamour, its stronghold in fashion and literature, its place in the visual arts, its association with crime and death, its tender call to nostalgia and the sentimental. There have been works addressed to the button collector and general cultural histories. On the Button links the two, revealing why we are so attracted to buttons, and how they punch way above their weight.Trade Review'Nina Edwards knows everything you might want to know about buttons, and much more that you have never imagined. Her book is a tour de force, and full of interesting stories.' - Alison Lurie, novelist and author of 'The Language of Clothes'Table of ContentsIntroduction 1. As a notion 2. Why we collect 3. The Enlightenment button 4. Gentlemen prefer buttons 5. Commerce and cuteness 6. War and grief 7. Culture and creed 8. Sex, love and buttons 9. Arts and crafts 10. Dash my buttons! Glossary Bibliography Websites End notes

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Book SynopsisUsing radical materials and designs that range from refined to whimsical, Stephen Jones’s exquisitely crafted hats ignited a revival of British millinery in the early 1980s and today continue to attract stylish celebrities. Jones has also collaborated with legendary designers, including Vivienne Westwood, Jean Paul Gaultier, and Marc Jacobs. Published to accompany a touring exhibition, Hats offers an unprecedented view of the world of millinery. Drawing on Jones’s own archive and the V&A’s extensive collection, this vividly illustrated book examines the inspiration behind hat design, the history of millinery from the process to the materials to the workshop, and the etiquette of hat-wearing.

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Book SynopsisThroughout its long history, home dressmaking has been a formative experience in the lives of millions of women. In an age of relative affluence and mass production, it is easy to forget that just over a generation ago, young girls from middle- and working-class backgrounds were routinely taught to sew as a practical necessity. However, not only have the skills involved in home dressmaking been overlooked and marginalized due to their association with women and the home, but the impact home dressmaking had on women's lives and broader socioeconomic structures also has been largely ignored. This book is the first serious account of the significance of home dressmaking as a form of European and American material culture. Exploring themes from the last two hundred years to the present, including gender, technology, consumption and visual representation, contributors show how home dressmakers negotiated and experienced developments to meet a wide variety of needs and aspirations. Not merely passive consumers, home dressmakers have been active producers within family economies. They have been individuals with complex agendas expressed through their roles as wives, mothers and workers in their own right and shaped by ideologies of femininity and class.This book represents a vital contribution to women's studies, the history of fashion and dress, design history, material culture, sociology and anthropology.Trade Review'Sewing,as a fixture of production, consumption, femininity, gentility, home, and work, deserves the serious attention of historians and theoreticians ... the most interesting essays reveal how ... women actually served to integrate the home into commercial life ... This series(dress,body culture) attempts to move specialists out of their professional ghetto while infusing such theoretically 'hot'subjects such as dress and bodies with some real material content.Both are welcome goals'.Business History Review'A collection of well researched essays ... An interesting book to dip into as each essay is complete in itself. A student of dress would find it useful as it has personal accounts that you wouldn't find anywhere else.'Costume 'This seminal publication contributes to Berg's recent prolific impact on the field of costume studies, and this book will not disappoint those searching for the latest serious academic inquiry into new areas in the field of dress ... The editor's incisiv

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Book SynopsisThe way a society deals with hair speaks volumes about its structures, its wealth, and its values. How is hair arranged? Is it left long or cut short? How often is it washed? Do men and women treat their hair differently and what does this tell us about gender? This stimulating book contains articles written by the Paris hairstylist Emile Long between December 1910 and December 1920 for an English trade journal. Long's purpose in writing was to keep English coiffeurs informed about the goings-on in the world of fashion and hairdressing in France, and especially in Paris. In doing so he has provided us with a personal cultural history of the world's most fashionable city in a period that stretches from the end of the Belle Epoque, through the First World War, and into the opening year of the Roaring Twenties. His investigation of hairstyles and fashion inevitably leads him to a fascinating discussion of important historical issues: the 'true' nature of Woman; the genesis and democratization of fashion; and popular attitudes towards hygiene. With his engaging literary style Long invites us to think about consumer habits and technology, notions of fashion and cleanliness, and changing ideals of femininity and the social order.Students and scholars of history, fashion and French society will enjoy these rich and revealing accounts of what hair means to identity and culture.Trade Review'The evolution of fashion is driven by 'some internal logic of mind and eye' rather than by sex or functional considerations [for Steven Zdatny]. It is a proposition which readers may test for themselves, both in Zdatny's sharp, stimulating introduction and in the main business of this engaging, handsomely illustrated book: the pensees of Emile Long, a Parisian coiffeur de dames ... Tut-tutting, sniffily pompous and snobbish, Emile Long ... lights up the social history of his times.'TLS 'Since January, when the Washington Post persuaded him to untangle the significance of Paula Jones's sleek hair makeover, Steven Zdatny has reigned as this country's most quoted expert on 'the aesthetics and politics of hair'.'Lingua Franca'At first sight a study of fashionable hairdressing might seem an unlikely topic for academic attention. However, as Steven Zdatny's collection illustrates, even a ha

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Book SynopsisFrom the zoot suit and Black dandy through to Rastafarianism and beyond, Black style has had a profound influence on the history of dress in the twentieth century. Yet despite this high profile, the dress styles worn by men and women of the African diaspora have received scant attention, even though the culture itself has been widely documented from historical, sociological and political perspectives. Focusing on counter - and sub-cultural contexts, this book investigates the role of dress in the creation and assertion of Black identity. From the home-dressmaking of Jamaican women, through to the Harlem Renaissance and contemporary streetstyles such as Hip-Hop and Raggamuffin, Black Britons, African Americans and Jamaicans have been at the forefront of establishing a variety of Black identities. In their search for a self-image that expresses their diaspora experience, members of these groups have embraced the cultural shapers of modernity and postmodernity in their dress. Drawing on materials from the United States, Britain and Jamaica, this book fills a gap in both the history of Black culture and the history of dress, which has until recently focused on high fashion in Europe. Because dress can both initiate and confirm change, it provides an especially useful tool for analyzing identity and resistance.Trade ReviewAn amazing new celebration of black style, from Billie Holiday to Malcolm X … the product of a lifetime’s research. * The Observer *Readers/researchers interested in understanding the style practices of the African diaspora, or looking for ways to understand the field from a position that allows for a richer and more complicated ways of observing dress history [will] certainly get something from this book. * The Journal of Dress History *In this engaging book, Tulloch (Univ. of the Arts, London) expands on her work on the ‘styled black body’…She uses an image or object—of the 2006 Stoned Cherrie Steve Biko T-shirt, say—and discusses its cultural weight and significance, presents readings and ‘wonderings’ (from her colleague Mona Choo), and then offers her own ‘alternative reading.’ The end result is a winsome mix of approaches to her subjects, backed up by serious scholarship. Summing up: Recommended. * CHOICE *The Birth of Cool makes a unique contribution to studies of dress and culture, as well as to black studies and diaspora studies. Tulloch deconstructs and reconstructs black aesthetics to open new pathways for understanding the lives and social histories of figures like Billie Holiday and Malcolm X. It is one of the most impressive works I have read in years. * D. Soyini Madison, Northwestern University, USA *The Birth of Cool offers a passionate reflexive analysis of transnational black glamour as an expression of undeniable presence, knowledge, and agency. As a foundational text, this book offers readers a deeper and more historical understanding of contemporary 'cool response' activism perhaps most famously practiced by Barack Obama, but visibly evident across the entire African diaspora. * Annette Lynch, University of Northern Iowa, USA *Table of ContentsPROVISIONAL Introduction Angel in the Market Place: The African-Jamaican Higgler 'All of Me': Billie Holiday Lasting Impressions: Harlem, Portraiture and Newness Strawberries and Cream: Dress, Migration and the Quintessence of Englishness My Man Let Me Pull Your Coat to Something: Malcolm X Beyond the Frame: Hair, Headwraps and Identity

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Book SynopsisIs there a peculiarly English 'look' and if so how does one define it? From the 'traditional' dress of the Victorian rural working class through to the contemporary collections of Vivienne Westwood and a younger generation of London-based designers, notions of Englishness, either real or imagined, have always been at play in considerations of English fashion and clothing. This provocative book explores how far these fraught ideals can be applied to the dress of the past and present. English expressions of taste and creativity have had a profound influence on style over the last three centuries, and the pursuit and subversion of an English 'look' have shaped conceptions of fashionability from the pastoralism of the eighteenth-century through to the eras of Twiggy, Punk and beyond. But are these simply stereotypical characterizations that relate to an imagined 'Englishness', or is there some concrete basis for them? If the former, what has led to their development? If the latter, what definitions can be employed to unravel such complicated conceptions of national identity? What role has social decorum played in developing an 'English' style, and is this preoccupation with etiquette in fact unique to England ? With chapters authored by leading scholars in the fields of costume history, social history and cultural studies, this is the first book to examine the ways in which fashion and dress might be considered in the context of national identities as they apply in England. Presenting an overview of how particular designers and consumer groups have striven to present or contest versions of Englishness through clothing from the 18th through to the 21st centuries, it will fascinate anyone interested in dress history, national and ethnic identity or English cultural history.Trade ReviewThis highly illustrated text will fascinate anyone interested in dress history, national and ethnic identity or English cultural history. International Textiles A well-researched scholarly piece that is definitely worth reading ... highly recommended for those who are interested in dress, fashion, and cultural and national identity. ITAA Newsletter The Englishness of English Dress is an intelligent, thoughtful and engaging collection of essays addressing the construction of national identity through dress and tradition ... Every essay in this book is worth reading - not always the case with collections of this sort. It should be on the bookshelf of anyone with an academic interest in the language of dress. Embroidery Magazine Whether the subject is tennis garb, home dressmaking, rural working-class clothing, royal couturiers, or fashion photographers, the volume's contributors turn the idea of universal Englishness upside down and inside out. Business History Review

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Book SynopsisWhen Hong Kong entrepreneur David Tang opened his Shanghai Tang boutique on New York's Madison Avenue, it was not an isolated example of the globalization of Asian fashion. Further evidence is written on the labels in our closets, and paraded in the form of salwaar-kameez and silk sarongs by the rich and famous of London. The phenomenon merits scrutiny. This vanguard attempt points to the colonial era as the origin of fashion globalization, and describes its development as paralleling the gradual take-over of Asian daily wear by Western dress. From indigenous Batak weavers to Hong Kong designers, and from Indonesian businesswomen's power suits to Korean feminists' national costume, this book explores the sartorial interface of East and West.The globalization of Asian dress needs to be understood as part of an ongoing Orientalism that construes Asia as a feminine Other to the masculine West. The conventional Orientalist definition of fashion as an exclusively Western phenomenon has proved self-fulfilling in both East and West so that the conceptual boundary between the two is continually reasserted by design. Paying close attention to Asians' decisions about what clothing to make, sell, buy, and wear, the case studies in this book challenge Orientalist stereotypes of Asian style as passive and traditional and highlight how these actions are often made invisible by global cultural, rhetorical, and material practices that feminize Asia and the fashion world. This timely book will be of interest to dress and fashion theorists, anthropologists, sociologists, historians, art historians and all those interested in globalization, Orientalism and their effects.Trade Review'This is a very good book that will be read with great appreciation by people who understand the importance of fashion in the web of human society.'Fashion Theory 'This book will be useful to readers (or fashion theorists) who are interested in understanding globalization of Asian dress from anthropological, sociological, political and historical perspectives.'Myoung Kim, University of Wisconsin, in International Textile and Apparel Association newsletter (Jan 06)Table of ContentsContents Notes on Contributorsvii Acknowledgmentsix Introduction: The Globalization of Asian Dress: Re-Orienting Fashion or Re-Orientalizing Asia?1 Carla Jones and Ann Marie Leshkowich 1Three Scenarios from Batak Clothing History: Designing Participation in the Global Fashion Trajectory49 Sandra Niessen 2The Ao Dai Goes Global: How International Influences and Female Entrepreneurs Have Shaped Vietnam's "National Costume"79 Ann Marie Leshkowich 3Korean Alterations: Nationalism, Social Consciousness, and "Traditional" Clothing 117 Rebecca Ruhlen 4Designing Diasporic Markets: Asian Fashion Entrepreneurs in London139 Parminder Bhachu 5National Colors: Ethnic Minorities in Vietnamese Public Imagery159 Hjorleifur R. Jonsson and Nora A. Taylor 6Dress for Sukses: Fashioning Femininity and Nationality in Urban Indonesia185 Carla Jones 7Fashion-Nation: A Japanese Globalization Experience and a Hong Kong Dilemma215 Lise Skov Afterword: Re-Orienting Fashion Theory243 Sandra Niessen Index267

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Book SynopsisWith an afterword by Roger Griffin.Fashion is often thought of as a matter of personal taste, completely unconnected with the public domain of political life and citizenship. Overturning this perspective, this absorbing book reveals that, from the French Revolution to post-revolutionary China, fashion has played a significant role in political participation and protest. Fashioning the Body Politic challenges the perception of helpless fashion victims, subject to manipulation by consumerism and the fashion industry, and shows how, in a range of historical and national contexts, certain styles of dress and display were significant for both men and women's political participation and the formation of their identities as citizens.How did 'dressing up' in a variety of ways allow suffragette women to perform unconventional forms of political protest? In what ways did the uniforms of scouts and guides function to erect gender, racial and religious boundaries? Following the ban on traditional clothing in Imperial Russia, how did Russians appropriate European fashions and ethnic costumes to fashion new identities for themselves? Using these and a wealth of other case studies, Fashioning the Body Politic offers a fresh perspective on the relationship between men, women and fashion and shows that the political domain has always been permeated with the cultural practices of dress, display and bodily performance.

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Book SynopsisClothing occupies a complex and important position in relation to human experience. Not just utilitarian, dress gives form to a society's ideas about the sacred and secular, about exclusion and inclusion, about age, beauty, sexuality and status. In Dressing the Elite, the author explores the multiple meanings that garments held in early modern England.Clothing was used to promote health and physical well-being, and to manage and structure, life transitions. It helped individuals create social identities and also to disguise them. Indeed, so culturally powerful was the manipulation of appearances that authorities sought its control. Laws regulated access to the dress styles of the elite, and through less formal strategies, techniques of disguise were kept as the perquisites of the powerful.Focusing on the elite, the author argues that clothing was not just a form of cultural expression but in turn contributed to societal formation. Clothes shaped the configurations of the body, affected spaces and interactions between people and altered the perceptions of the wearers and viewers. People put on and manipulated their garments, but in turn dress also exercised a reverse influence. Clothes made not just the man and the woman, but also the categories of gender itself. Topics covered include cross-dressing, sumptuary laws, mourning apparel and individual styles.Trade Review'This will be a very important publication. Susan Vincent uses techniques of historical and literary analysis to move beyond the conventional narratives of clothing history. It is a significant contribution and should be read by more than those with an existing interest in Early Modern England.'Evelyn Welch, University of SussexTable of ContentsContents Abbreviations Introduction 'When I am in Good Habitt' History and Dress The Meaning of Clothing and the Clothing of Meaning in Early Modern England . Chapter 1 Fashioning Appearances The Wardrobe - Men The Wardrobe - Women Reviewing the Wardrobe Chapter 2 Addressing the Body Outwardly for Defence - Inwardly for Cleanliness Bodily Transitions Clothing Grief Chapter 3 Clothes Make the Man His Garments Helpe Him to bee Counted Such a One Godly Apparel The Way of Wearing - Hat Honour To See and be Seen Increasing Visibility - Portraits and Livery Punishment and Shame A Very Good Fancy in Making Good Clothes Chapter 4 None Shall Wear Dress and the Law Economic Regulation Moral Regulation Social Regulation Deformity and Change - Discipline and Display Doomed to Failure? Chapter 5 Them and Us, He or She? ... p. 200 The Rogue ... p. 202 Being and Seeming ... p. 207 Actors and Courtiers ... p. 213 Wo to Men ... p. 219 Cross-Dressing ... p. 228 Conclusion From Riches to Rags ... p. 250 Bibliography ... p. 259

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Book SynopsisMoralists have raged throughout history against various fashions for being too short, too long, too tight, too loose or too costly. Highlighting the times when choice of dress was a moral minefield, this enlightening and entertaining book looks at fashion extremes over the centuries, from the sexual display of the codpiece through to corsets, crinolines and decolletage. Providing a sharp and humorous look at the outright risque as well as the grotesquely exaggerated and even the repulsive, Ribeiro shows how dress has functioned variously as a vehicle of righteousness or turpitude and as an expression of sexuality, class or social status. In 747 St Boniface deemed wide stripes and scarlet borders to incite lust and ruination of the soul. Well over a millennium later immodest dress ranked high in Jesuit Father Bernard Vaughan's book on the sins of society. Medical practitioners once labelled the v-necked top, now a standard style, 'the pneumonia neckline'. Was it the force of society or sheer vanity of fashion that drove women to wear sleeves the size of balloons? Are sexual boundaries between dress worn by men and women diminishing? What morals still bind us to our Judeo-Christian heritage and lead us to express ourselves through appearances?Lavishly illustrated and packed with countless thought-provoking quotes, Dress and Morality is an in-depth exploration of the comical vanities and social etiquettes associated with dress in the past. At last here is the much-anticipated updated edition of this classic book.Trade Review'Sexual morality is the story of Dr Ribeiro's meticulously researched and racy book.'The Times'Aileen Ribeiro has painstakingly charted the history of dress - from the earliest times to the present day - as seen from the point of view of its moralist critics.'The Guardian'Superb.'The New York Times

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Book SynopsisDress is everywhere imbued with symbols that reflect different meanings in different contexts. This compelling book convincingly demonstrates how clothing is analogous to a working language and is similarly underpinned by deeper meanings and philosophies.From tattoos and mini-skirts, to skin decoration, makeup and hair, Calefato unpicks the multiple functions of modern dress. Exploring intriguing commonalities - for example, between tattooed Egyptian mummies of 2000 BC and modern subcultural styles - Calefato considers the psychological, cultural, spiritual and symbolic significances at play in what she aptly labels 'body cartography'. What we wear is a vehicle for the (often contentious) expression of politics, gender and identity, placing clothing at the root of a complex set of messages, many of which are paradoxical. Clothing may, for example, liberate through the pleasures of masquerade and at the same time 'cage' or control the body. The Clothed Body shows how semiotics can provide a convincing template for understanding dress in a wide range of contexts and will be essential reading for anyone interested in the meaning of what we wear.Trade Review'If you like semitoics, you will love this...The author provides vivid examples to ponder from history, from popular culture, especially from film, and from her own personal experience and observation.'Textiles MagazineTable of ContentsINTRODUCTION CHAPTER 1 DRESS, LANGUAGE AND COMMUNICATION CHAPTER 2 DRESS AND SOCIAL IDENTITY CHAPTER 3 STYLE AND STYLES BETWEEN FASHION AND THE GROTESQUE CHAPTER 4 TASTE BETWEEN COMMON SENSE AND RECEIVED MEANING CHAPTER 5 WRITING THE BODY CHAPTER 6 MENS BODIES, WOMENS BODIES CHAPTER 7 EVERYDAY MODELS CHAPTER 8 THE FACE AND THE GAZE CHAPTER 9 DEGREE ZERO OF FASHION AND THE BODY: THE MODEL, THE NUDE, AND THE DOLL CHAPTER 10 FASHION AND THE WORLD CHAPTER 11 FASHION AND CINEMA CHAPTER 12 WEARING BLACK CHAPTER 13 FASHION AND MUSIC CHAPTER 14 TIME CHAPTER 15 FASHION INTERTEXTS CHAPTER 16 OBJECTS

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Book SynopsisRecent interest in 'vintage' and second hand clothes by both fashion consumers and designers is only the latest manifestation of a long and complex cultural history of wearing and trading second hand clothes. With its origins in necessity, the passing of clothes between social and economic groups is now a global business, but with roots that are centuries old. To move from one social and cultural situation to another used clothes must be 'transformed' to become of potential value to a new social group. How, when and why this has happened is the subject of this book. Old Clothes, New Looks presents a three-part focus on the history, the trading culture, and the contemporary refashioning of second hand clothing. Historical perspectives include studies located in Renaissance Florence, early industrial England, colonial Australia, and mid twentieth-century Ireland. The global nature of the second hand trade in clothing is presented through original research from Zambia, India, the Philippines, Hong Kong, and Japan. The reuse of garments as contemporary fashion statements is explored through studies that include neo-mod retro-sixties subculture in Germany, the impact of 'vintage' in the USA on consumers and designers, as well as consideration of its sartorial and cultural challenges, encapsulated by the work of designer XULY.Bet. This groundbreaking book will be essential reading for all those interested in fashion and dress, material culture, consumption and anthropology, as well as to dealers, collectors and wearers of second hand clothes.Table of ContentsIntroduction--Alexandra Palmer, Royal Ontario Museum, Canada and Hazel Clark, Parsons School of Design Historical Perspectives * Introduction--Alexandra Palmer, Royal Ontario Museum and Hazel Clark, Parsons School of Design * 'The Florentine Arigattieri: Second Hand Clothing Dealers and the Circulation of Goods in the Renaissance'--Carole Collier Frick, Southern Illinois University * 'Shifting Currency: the Culture and Economy of the Second Hand Trade in England, c. 1600-1850'--Beverly Lemire, University of New Brunswick, Canada * 'Cast Offs: Civilization, Charity or Commerce? Aspects of Second Hand Clothing Use in Australia'--Margot Riley, Independent Scholar * 'Second Hand Silk Kimono Migrating Across Borders'--Terry Satsuki Milhaupt, Independent Researcher * 'Parcels from America: American Clothes in Ireland, c. 1930 - 1980'--Hilary O'Kelly, National College of Art and Design, Dublin Trading Cultures * Introduction--Alexandra Palmer, Royal Ontarion Museum and Hazel Clark, Parsons School of Art and Design * Crafting Appearances: The Second Hand Clothing Trade and DressPractices in Zambia'--Karen Tranberg Hansen, Northwestern University * 'Creative Entrepreneurs: The Recycling of Second Hand Indian Clothing'--Lucy Norris, University College London * 'Ukay-Ukay@ Chic: Tales of Second Hand Clothing in the Philippine Cordillera'--Lynne Milgram, Ontario College of Art and Design, Canada * 'Second Hand Fashion, Culture and Identity in Hong Kong'--Hazel Clark, Parsons Scool of Art and Design Contemporary Re-Fashioning * Introduction--Alexandra Palmer, Royal Ontario Museum and Hazel Clark, Parsons School of Art and Design * 'Sixties Dress Only! The Consumption of the Past in a Retro Scene'--Heike Jen, Dortmund University, Germany * 'Vintage Whores and Vintage Virgins: Second Hand Fashion in the 21st Century'--Alexandra Palmer, Royal Ontario Museum * 'Working the Edge: XULY.Bt=s Recycled Clothing'--Victoria Rovine

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Book Synopsis“Entertaining reading.”—Wall Street Journal What’s the most important garment in a woman’s closet? More often than not, the answer is “the little black dress.” For decades, fashion magazines have touted the LBD as the perfect solution to almost every fashion crisis. Dressed up or down, with flats or heels, statement jewelry or a subdued jacket, the little black dress can be worn anywhere, for any occasion. Where did the little black dress come from? And how did black become the color of choice for every occasion? In Little Black Dress, Shannon Meyer answers these questions by offering a visual history of the black dress, illustrating its transformation from a traditional mourning garment to the fashion staple it is today. Beginning with the Victorian era, Meyer describes how widows were required to wear plain black clothing with no decoration for one year and a day, as a symbol of full mourning. This gave way to concepts such as “ordinary” and “half” mourning that allowed for different fabrics and embellishments. Then, in the early twentieth century, women began to slowly adopt black into their everyday wardrobe, and, in the 1920s, Coco Chanel launched her revolutionary first line of black dresses, advertising them as versatile, affordable, and fashionable choices for women. As Meyer shows, other designers quickly followed suit, and black has since prevailed as a universal, ever appropriate, always fashionable choice. Richly illustrated with seventy-five full-color photos of dresses and accessories spanning 150 years, and including information about the designer, original owner, and historical context for each, readers will find Little Black Dress a stylish guide to this wardrobe essential. Designed to accompany an exhibit by the same name at the Missouri History Museum, the book will impress historians and fashionistas alike.

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Book SynopsisA visual introduction to some of the most exciting innovators in their field today.

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Book SynopsisTwists, dreads, comb styles, weaves, afro'd and treated: every style has its own stories, occasions and meanings. Each one says a different thing about how people present themselves to the world, and each are included in this enthralling book.

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Book SynopsisThis book focuses on the dress of one royal individual, Henry and his physique, portraiture, personal wardrobe, jewellery, regalia and ceremonial robes. It is the only other substantial record of the king's clothes in English archives on wardrobe and inventory.Trade Review...Hayward's study would be an excellent library addition for museum professionals, costume designers, teachers - really any reader with a scholarly interest in dress of the Tudor period. The bibliography is exhaustive, up-to-date, and an excellent research tool on its own.' -- Costume Society of America Costume Society of America Hayward...has written the first, and what will surely remain the fullest, history of early Tudor court dress.(...)Haywards painstaking research yields raw data that will be of interest to anyone studying Renaissance kingship.(...)...a meticulous, informative study of one aspect of court culture that all students of Renaissance monarchy will want to consult. -- Renaissance Quarterly Renaissance Quarterly ...a compelling collection of information and a useful reference.' -- Medieval Clothing and Textiles , vol 14 Medieval Clothing and Textiles , vol 14Table of Contents1. Henry VIII: The Man and his Image 2. Henry VIII: European Prince and King of England 3. Creating Magnificence: The Role of the Great Wardrobe 4. The Cycle of Royal Life: Coronations to Funerals 5. Henry VII: Establishing the House of Tudor 6. Henry VIII's Wardrobe Unlock'd 7. Henry VIII's Ceremonial Wardrobe: Observing the Ritual Year 8. Caring for the King's Clothes: The Wardrobe of the Robes and the Laundry 9. Female Fashions at Henry VIII's Court 10. An Expression of Individuality: An Analysis of the Wardrobes of Henry VIII's Wives and Sisters 11. The King's Children: Dressed to Impress 12. The Henrician Court 13. The Royal Household: Form, Function and Livery 14. Livery for the Households of Henry VII and his Family 15. Henry VIII's Household: The Domus Magnificencie and the Domus Providencie 16. Outside the Household: The Stable, the Hunts and Beyond 17. Tudor Military Splendour 18. The Households of Henry VIII's Wives, Sisters and Children 19. The Royal Artificers: The Royal Artificers 20. Making the Tudor Wardrobe 21. Transcription Notes

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Book SynopsisA visual overview of contemporary African fashion, Fashion Africa is a comprehensive guide compiled with an ethical perspective.Jacqueline Shaw promotes Africa as a place not just for sourcing materials, but with the potential to be a vital epicentre of trade within the global marketplace. This guide is the first of its kind to bring together designers, design companies, ethical manufacturers and more, all with an African connection.Fashion Africa is a comprehensive guide to the designers, materials, and sustainable practices available on continental Africa, and provides an excellent resource in conjunction for the very vibrant growing industry already in existence.Trade ReviewDecked out with fine illustrations, photographs, interviews and critical analysis; Shaw does well to explore all aspects of the African fashion field. * Amy Iheakanwa, Haute Fashion Africa *Jacqueline Shaw's visual ode to African fashion... grabs the eyes with bold colours and an almost encyclopaedic approach to the nuts of bolts of making and sustaining fashion on the African continent. * Words of Colour *

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Book SynopsisThis is my love letter to the nation that gives us the blueprint for international style. From Grace Kelly in her Pringle of Scotland twinset to Cher and Dionne tartan-twinning in Clueless, it all returns to Alba. In How Scotland Dressed the World, Lynne Coleman explores the country’s rich cultural impact on the modern world. Telling the tales of the cloth that covers continents and how it has been woven into political and economic movements. No matter what style tribe you subscribe to, this book shows how it all starts in Scotland. From ‘gallus’ and ‘peely-wally’, to ‘tartan-punk’ and Ralph Lauren’s ‘preppy chic’, whoever you are, however you dress, you will always have a piece of Scotland with you – even if it’s only in the lining of your wellies!Trade Review'With her twin passion for rich history and modernity, Lynne Coleman is a global champion of Scottish fashion via every medium imaginable.' The HeraldTable of ContentsIntroduction 8 Gallus 12 Romance 22 Peely-wally 38 Grunge 44 Trews 58 Preppy 62 Ode to the Welly 82 Gothic 84 Ned 98 Royalty 102 Bunnet 116 Punk 126 Goonie and Goodnight 144 Picture Credits 152 Acknowledgements 159

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Book SynopsisAt its inception, the ‘Little Black Dress’ was radically modern: a masculine-inspired, anti-traditionalist female attire. Yet it has remained a wardrobe staple for almost a century, each new silhouette redressing gendered boundaries of fashion to reflect evolving ideals of beauty and sexuality. In attempting to reconcile the historical study of fashion in the West with the reality of a global fashion system of production, distribution and consumption, and the urgent demand for the industry to be more aware of its footfalls in our culture, Little Black Dress: A Radical Fashion widens the lens through which we interpret the colour black. In this book, international scholars, curators and fashion writers explore how black’s paradoxical meanings have made the LBD simultaneously expressive of respect and rebellion, sophistication and dissident sexualities, piety and perversion. Bridging tradition and innovation, fashion and anti-fashion, the LBD emerges as a radical fashion for the 21st century.Table of ContentsForeword by Dr Christopher Breward / Well-mannered Black?: Fashion, Femininity and Feminism by Georgina Ripley / Spiritual Black by Lynne Hume / Sublime Black: Perfection of Line and Technical Wizardry by Iain R Webb / Black Will Take Any Other Hue by Makoto Ishizeki / LBD(SM) by Fiona Jardine / Fashion, Technology and the LBD by Pamela A Parmal / The Transmodern Little Black Dress by Georgina Ripley / Bibliography / Index

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Book SynopsisThe Iconic Jersey: Baseball x Fashion explores the design and aesthetics of the iconic baseball jersey both on and off the sandlot. Featuring over 35 historic and contemporary jerseys and baseball-inspired fashion, this ground-breaking volume also examines wider sociological issues: why do we care so much about sports attire, and what do such clothes mean to us and the wider world? The Iconic Jersey is packed with images: often controversial baseball-inspired fashion— flannel wool fabrics, vibrant technicolour, button-up bib fronts, even ties and collars— drawn from the Baseball Hall of Fame, Cooperstown; the Smithsonian’s National Museum of American History, Washington, D.C.; and the Boston Red Sox; baseball magazines; fashion magazines; and archival photographs, including Terry O’Neill’s famous photos of Elton John at Los Angeles’ Dodger Stadium in 1975 in a Bob Mackie-designed Dodger’s uniform, and Nike’s 2020 designs for the Major Leagues. An essay by Erin R. Corrales-Diaz explores the jersey as an entry point into 170 years of baseball uniforms and examines the relationship between aesthetics and athletics, fashion and function, the collective and the individual, regional and national impulses, and nostalgia and modernity.Table of ContentsDirectors’ Foreword; Acknowledgments; Rooting for Laundry; Behind the Seams; Plates: The Modern Jersey; Experimental Design; Off the Field; Notes; Selected Bibliography; Photography Credits; Index

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Book SynopsisThis book contains everything you need to know about suits, from the traditional designs of the early 1900s, to innovative contemporary variations. It was awarded Financial Times’ Fashion Book of the Year. Clothes maketh the man. For millions of men across the world the common denominator that identifies them is the suit. Just three and a half metres of fabric, some internal shaping elements, lining, buttons and several metres of thread are all it takes to produce the jacket-and-trouser combination that can be seen from boardrooms to bars, wherever men gather. In Sharp Suits we examine the fascinating history and evolution of the modern suit from the late seventeenth century to date. From eighteenth-century bespoke to the mass industrialization of the twentieth century, we see how the uniform of the ruling classes became the utilitarian outfit of the worker. A series of thematic chapters also illustrate how the universal staple of a man’s wardrobe can play many different roles and, chameleon-like, can mean different things in different situations. From the Duke of Windsor to The Thin White Duke, David Bowie; from James Brown to The Jamel from Guys and Dolls to The Godfather, movie stars, rock stars, heroes and villains, philanthropists, presidents and gangsters – all these men and many more have dressed to impress in a matching jacket and trousers and have found that a suit will suit them very well. ‘Clothes can ‘do a job’. A well-cut suit can make you slimmer, taller, sexier, more elegant or business-like.’ Sir Paul SmithTrade Review‘The ultimate history of the world of suiting’ * The Jackal *

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Book SynopsisPrince was devoted to the art of dressing. A multi-million selling artist and musical trailblazer, he used fashion as an added storytelling tool. On His Royal Badness explores how Prince's distinctive style disrupts hegemonic, heteronormative and Black masculinities, and considers his own reverence for fashion and self-expression. As a lifelong fan and academic specialising in the field, Casci Ritchie believes Prince's transgressive acts of dress warrant further exploration and acknowledgement within fashion, and here she begins that journey, from ornate ear cuff down to bespoke heel. Taking core pieces from his wardrobe, she embarks on a greatest hits compilation of how the simplest pieces can tell the most incredible stories, and how they act as their own marker for Prince's career and surrounding cultural impact. Fearless in style and experimentation, Prince's impact upon contemporary fashion deserves a closer look and this is just that. Unaffiliated with the Prince estate.

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Book SynopsisHair is potent. Its presence and its absence has profound influence upon our lives, across race, gender, sexuality, status, and more. It will grow in places you don't like and it may desert you - suddenly, or gradually. Whatever your experience, you have had a relationship with hair and its power. Kajal Odedra considers how hair has shaped society today, from the 'perfect' blondes in the school playground to the angry skinheads on the streets. Mohawks, wigs, afros, these are just a few of the ways in which hair has been part of history and wider activism. The word 'essay' derives from the French 'essayer', meaning 'to try' or 'to attempt'. This is Odedra's 'try' at hair - part memoir, part observation across history, politics, religion, and culture. Hair/Power explores the power, control and ultimate liberation that hair can provide.

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Book Synopsis**THE SUNDAY TIMES BESTSELLER**A riveting, inspiring memoir from the star of Netflix's My Unorthodox Life'Haart is a hustler, a born entrepreneur, charismatic enough to attract investment like a pop ingenue attracts talent scouts and a fighter.' POLLY VERNON, THE TIMES'An irresistible read . . . Written with great intensity and rare candor, Brazen is a story of longing for more and manifesting that vision.' TOMMY HILFIGEREver since she was a child, every aspect of Julia Haart's life - what she wore, what she ate, what she thought - was controlled by the rules of ultra-Orthodox Judaism. At nineteen, after a lifetime spent caring for her seven younger siblings, she was married off to a man she barely knew. But when she realises her daughters will be forced into the same unending servitude, Haart secretly starts preparing for a life beyond the confines of their Orthodox suburb - where she can pursue her 'sinful' dreams designing clothes. Propulsive and unforgettable, Brazen follows Haart's extraordinary journey from an extreme religious sect to how she found freedom and success in the world of fashion. 'Julia lives her life with an exhilarating fervour that's contagious to anyone lucky enough to be around her. Never willing to accept the status quo, time and again she has fought for her place in the world and demanded her seat at the table. I'm incredibly inspired by her stories, which are always told with honesty and heart. This book is a must read!'COCO ROCHA'Julia Haart is a hustler. Her story is an inspiring, believe-in-your-dreams, never-give-up, anything-in-life-is-possible story of hope. Run, don't walk, to get this book!'LISA RINNA

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Book SynopsisThe clothing and ornament of Greek women signalled much about the status and the morality assigned to them. Yet this revealing aspect of women's history has been little studied. In this collection of new studies by an international team, ancient visual evidence from vase-painting and sculpture is used extensively alongside Greek literature to reconstruct how women of the Greek world were perceived, and also, in important ways, how they lived.Trade ReviewThe essays, though concise, are mostly of high quality, opening up the field of 'Greek dress in social and cultural context', a field with enormous potential, and no shortage of material. Indeed this is one of the more substantial and original recent volumes on Greek women and their (self-)representation tout court. The papers of Blundell and Ogden, in particular, deserve to become mainstays of student bibliographies. -- James Davidson * Journal of Hellenistic Studies *Table of ContentsIntroduction 1. Constraints and Contradictions: Whiteness and Femininity in Ancient Greece - Bridget M. Thomas 2. The Graces and Colour Weaving - Beate Wagner-Hasel 3. Transvestism or Travesty? Dance, Dress and Gender in Greek Vase-Painting - Tyler Jo Smith 4. The 'Language' of Female Hunting Outfit in Ancient Greece - Eva Parisinou 5. The Meaning of the Veil in Ancient Greek Culture - Douglas L. Cairns 6. Investing the Barbarian? The Dress of Amazons in Athenian Art - Ruth Veness 7. Levels of Concealment: The Dress of Hetairai and Pornai in Greek Texts - Andrew Dalby 8. Visions of Gleaming Textiles and a Clay Core: Textiles, Greek Women, and Pandora - Judith Lynn Sebesta 9. Clutching at Clothes - Sue Blundell 10. A Woman's View? Dress, Eroticism, and the Ideal Female Body in Athenian Art - Lloyd Llewellyn-Jones 11. Controlling Women's Dress: Gynaikonomoi - Daniel Ogden 12. Clothes as Sign: The Case of the Large and Small Herculaneum Women - Glenys Davies 13. 'Dedicated Followers of Fashion': John Chrysostom on Female Dress - Aideen M. Hartney Index

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Book Synopsis''This book is genius. It pinpoints all the things I have ever felt about my wardrobe... It''s funny, charming and brilliantly explained. You''ll feel better just reading it!'' Emma Forbes''Rebecca''s book considers clothes and our attitudes to them from a wildly original and truly kaleidoscopic range of angles.'' Alexandra Shulman''A fascinating deep dive that will make you think differently about the clothes you wear and why you bought them.'' Lisa Armstrong, The TelegraphNothing to wear? Here''s the book that explains why...We''ve all been there: we stand in front of a wardrobe brimming with clothes, and find that nothing feels quite right, nothing makes us feel OK about ourselves. Although something new might fix it...Rebecca Willis unpicks our love-hate relationship with clothes, exploring the factors from neuroscience to the patriarchy that make us such easy prey for the fashion i

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Book SynopsisThe Late Middle Ages (c.1350 - 1500) provides us with many of our stock, childhood images of the 'Middle Ages': the knight in shining armour, the joust, lords and ladies dressed in rich, voluminous robes and elegant dresses. Yet it is a paradox, for at the start of the period, Europe had endured the worst pandemic of recorded history: the Black Death, the climate was rapidly cooling, causing massive crop failures and France and England were locked in the brutal, dynastic struggle of the Hundred Years War. Meanwhile, in the second half of the period, intrepid merchants became the new knighthood of Europe, seeking new wealth in Asia and Africa, and launching what has been called the 'Age of Discovery' while a new interest in Classical culture would give birth to the Renaissance. All of these elements have long intrigued and inspired writers, researchers and reenactors to take a trip through the looking glass to this lost world. In the Book of Historic Fashion: A Newcomer's Guide to Medieval Clothing (1300 - 1450), authors Allen and Mele provide a visual snap shot of the courtly elegance and common wear of the period. Filled with hundreds of sketches taken from original sources, mechanical drawings and detailed 'layer drawings' demonstrating how the clothing was worn, this entrée both introduces the period and helps newcomers find their way forward in the study of primary and secondary sources. Whether you are a teacher or professor who wants your students to understand what the clothing of the day really looked like, a costume designers working in theater, TV and film looking for visual reference or just new to medieval reenacting who wants guidance on what to wear in order to be appropriately dressed at events, this volume is for you. Trade Review Table of ContentsIntroduction Part One: A World in Chaos - the Tumultuous Fourteenth Century Period Overview Men's Fashions The Pen of History: Gaston Phebus and the Book of the Hunt Women's Fashions The Pen of History: Jean, Duc de Berry Headgear, Footwear and Accessories Part Two: Old Glories Re-Imagined - the Fifteenth Century and the Waning of the Gothic Era Period Overview Men's Fashions The Pen of History: King Rene d'Anjou Women's Fashions Headgear, Footwear and Accessories Part Three: Arming Clothes and Military Fashion Period Overview Arming Clothes The Pen of History: How a Man Shall be Armed Appendix: Fabrics, Furs and Fashions 1300-1450 Bibliography

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Book SynopsisEver wonder why so many stars and featured players, male or female, in movies of Hollywood’s “Golden Age” look like they just stepped out of a beauty parlor even if the story places them in a jungle, a hospital bed, or the ancient past? All for Beauty examines how and why makeup and hairdressing evolved as crafts designed partly to maintain the white flawlessness of men and women as a value in the studio era. The book pays particular attention to the labor force, exploring the power and influence of cosmetics inventor and manufacturer Max Factor and the Westmore dynasty of makeup artists but also the contributions of others, many of them women, whose names are far less known. At the end of the complex, exciting, and at times dismaying chronicle, it is likely that readers will never again watch Hollywood films without thinking about the roles of makeup and hairdressing in creating both fictional characters and stars as emblems of an idealized and undeniably mesmerizing visual perfection.Trade Review"Adrienne McLean’s engaging All for Beauty gives us a peek under the powder, lipstick, beard, and toupee, to examine the craft and labor politics of makeup and hairdressing in the studio era. This impeccably researched and argued book is a must read for anyone interested in the Hollywood studio system, film acting, stardom, or beauty culture!" -- Mary Desjardins * author of Recycled Stars: Female Film Stardom in the Age of Television and Video *“McLean combines extensive research, keen insight, detailed analysis of stars and films, and an enjoyable way with words to give readers an important overview of the history, politics, and aesthetics of 'beauty makeup' during the glory days of Hollywood cinema. I devoured it, and so will you.” -- Sean Griffin * editor of What Dreams Were Made Of: Movie Stars of the 1940s *"All for Beauty reveals a treasure trove of research in this absorbing history of how beauty makeup and hairdressing became essential to Hollywood filmmaking and its construction of stardom. Adrienne McLean's tangible passion for her project makes this a gift to Hollywood historians." -- Karen McNally * author of The Stardom Film: Creating the Hollywood Fairy Tale *"Adrienne McLean’s engaging All for Beauty gives us a peek under the powder, lipstick, beard, and toupee, to examine the craft and labor politics of makeup and hairdressing in the studio era. This impeccably researched and argued book is a must read for anyone interested in the Hollywood studio system, film acting, stardom, or beauty culture!" -- Mary Desjardins * author of Recycled Stars: Female Film Stardom in the Age of Television and Video *“McLean combines extensive research, keen insight, detailed analysis of stars and films, and an enjoyable way with words to give readers an important overview of the history, politics, and aesthetics of 'beauty makeup' during the glory days of Hollywood cinema. I devoured it, and so will you.” -- Sean Griffin * editor of What Dreams Were Made Of: Movie Stars of the 1940s *"All for Beauty reveals a treasure trove of research in this absorbing history of how beauty makeup and hairdressing became essential to Hollywood filmmaking and its construction of stardom. Adrienne McLean's tangible passion for her project makes this a gift to Hollywood historians." -- Karen McNally * author of The Stardom Film: Creating the Hollywood Fairy Tale *Table of ContentsIntroduction: Art and Science in the Service of Loveliness 1. Makeup and Hairdressing as Studio Crafts: The Silent Period 2. The Classical Period: Craft Identity and the Labor Force 3. The Classical Period: Department Practices and the Commerce of Expertise 4. Cosmetics, Coiffures, and Characterization Epilogue: Trophy Faces Appendix Acknowledgments Notes Index

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Book SynopsisSimon Baker, Director of the Maison Européenne de la Photographie. Laurence Benaïm, journalist and writer, fashion specialist. Vince Aletti, curator, writer and art photography critic, notably for The New Yorker.

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