Fashion and textile design Books

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Trade ReviewThis timely book explores the recent popularity of fashion in museums and its wider impact on the field. It is organized into three subjects: museums entering into fashion, controversy surrounding the nature of the fashion exhibition where essentially the human body is on display and lastly the practice of fashion in museums. Each chapter is written as a case study by authors with great experience in museum scholarship and curation including: Harold Koda & Jessica Glasscock of the Costume Institute, Julia Petrov of Alberta College of Art and Design and Rosemary Harden of The Fashion Museum in Bath, UK. * Costume Society of America *…Effective and will be valuable for those studying the topic. It tackles intriguing themes and issues, offers unexpected perspectives, and mixes theory with concrete examples. Summing Up: Recommended. Lower-level undergraduates through professionals/practitioners. -- C. E. Berg, Museum of History and Industry * CHOICE *There is enough food for thought for both the academic (university, academies, independent scholars) and the museum communities. -- Bianca M. Du Mortier, Rijksmuseum, Amsterdam * Costume *The edited collection of essays, Fashion and Museums: Theory and Practice includes accessible yet provocative discussions of historic, contemporary, and potential intersections between fashion and museums … As such, this publication will appeal to those looking to develop collection strengths in the history of fashion, dress, and exhibition design as well as the critical study of fashion and its cultural and economic role in contemporary culture. -- Kathryn Stine, Senior Digital Curator, Visual Resources Center, UC Berkeley History of Art * Art Libraries Society of North America *Table of ContentsIntroduction Understanding Fashion and Dress Museology, Marie Riegels Melchior, Designmuseum Danmark, Denmark Section I: The Power of Fashion. When Museums Enter New Territory The Costume Institute at the Metropolitan Museum of Art: An Evolving History, Harold Koda & Jesscica Glasscock, The Costume Institute, The Metropolitan Museum of Art, New York Understanding Fashion through the Museum, José Teunissen, Arnhem Design School, The Netherlands. Contemporary Fashion History in Museums, Marco Pecorari, Centre for Fashion Studies, University of Stockholm, Sweden Appraised, displayed and concealed: Fashion Photography on the Swedish Museum Stage, Anna Dahlgren, Department of Art History, University of Stockholm, Sweden Section II: Fashion Controversies. When Bodies Become Public Gender considerations in fashion history exhibitions, Julia Petrov, School of Creative and Critical Studies, Alberta College of Art and Design, Canada. Class and Gender in a Museum Collection: Female Skiwear, Marianne Larsson, Nordiska museet, Sweden Exhibiting the Body, Dress and Time in Museums: A Historical Perspective, Anne-Sophie Hjemdahl, University of Oslo, Norway Section III: In Practice From Museum of Costume to Fashion Museum: In the case of the Fashion Museum in Bath, Rosemary Harden, The Fashion Museum in Bath, United Kingdom Collecting Practice: Designmuseum Danmark, Kirsten Toftegaard, Designmuseum Danmark, Denmark Engaging the public in issues of Dress and Identity: A Case Study of Amagermuseet in Denmark, Ingeborg Phillipsen, Museum Amager, Denmark Learning through Fashion: The Norwegian Museum of Science, Technology and Medicine, Tone Rasch & Ingebjørg Eidhammer, The Norwegian Museum of Science, Technology and Medicine, Norway Autobiography as a proposed approach to a fashion exhibition, Jeffrey Horsley, London Collage of Fashion, United Kingdom In Conclusion: Museums dressed in fashion, Birgitta Svensson, Nordiska museet, Sweden Bibliography Index

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Book SynopsisThe development of digital textile printing at the end of the twentieth century has had a profound effect on the design, creation, use and understanding of textiles. This new technology - combined with advances in fabric and dye chemistry - has made it possible to produce complex images on fabric comprising millions of colours, quickly, inexpensively and in flexible quantities; a revolution that has led to a rapid increase in demand, which is predicted to rise still further.This book is the first to describe the historical and cultural context from which digital textile printing emerged, and to engage critically with the many issues that it raises: the changing role of the designer in the creation of printed textiles; the ways in which the design process is being transformed by new technology; the relationships between producers, clients and the textile industry; and the impact of digital printing on the wider creative industries. At the core of this study are two key questions: what cTrade ReviewAn in-depth exploration ... For anyone interested in the intellectual and historical associations that can be made between DTP and art practices throughout the ages, it introduces many interesting ideas. * Workshop on the Web *This book provides a welcome overview of digital textile printing, encompassing an insightful investigation of the history and theory of the subject, along with the practice and research it has engendered. A wide-ranging and engaging text that will be of interest to anyone with an interest in this area. * Hilary Carlisle, Dean of Arts and Design at Norwich University of the Arts, UK *Part philosophical inquiry, part case study, Susan Carden's Digital Textile Printing is an attempt to place this artistic process within a research framework while still providing practical instruction and history of technique… Carden describes the artists' and researchers' interests, research questions, and artistic explorations while also detailing their projects and processes… The thirteen page bibliography, listing technical works alongside books by authors ranging from Aristotle to Heidegger, McLuhan to Plato, is a snapshot of the variety of concepts. -- Amy Ballmer * Art Libraries Society of North America Reviews *Table of ContentsList of Illustrations Acknowledgements Foreword 1. Introduction 2. History of printed textiles 3. Technologies, substrates and dyes 4. The process of digital textile printing 5. Art and design practice 6. Essence of digital textile printing 7. Investigating digital textile printing 8. Crossing disciplines 9. Conclusions Glossary BibliographyIndex

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Book SynopsisHeike Jenss is Associate Professor of Fashion Studies, Parsons School of Design, The New School, New York, USA. Foreword by Christopher Breward, Principal of Edinburgh College of Art, UK and Vice Principal for the Creative and Performing Arts at the University of Edinburgh, UK.Trade ReviewWith an emphasis on material culture and ethnographic approaches in fashion studies, this groundbreaking volume offers fascinating insights into the complex dynamics of research and fashion. * ADDRESS: Journal for Fashion Criticism *For anyone teaching fashion from practice and theory perspectives, as well as those actively engaged in research and reflecting on their own research journeys and projects, this book is an invaluable addition to their library shelves. * Costume *Never before has the diverse panorama of research methods in fashion studies been brought together in one volume. From object to image and from design to consumer, our field’s leading scholars thoughtfully share the unique ways in which they collect and theorize data in fashion. This is the essential text for all fashion studies research methods courses and the latest addition to all of our personal reference libraries. * Ben Barry, Associate Professor of Equity, Diversity and Inclusion, School of Fashion, Ryerson University, Canada *Heike Jenss has done an outstanding job in compiling an insightful and inspiring book that covers a range of important research on fashion as a material object and a practice. This book demonstrates the depth and the richness of the discipline and its creative methodological strategies. It is an invaluable contribution to the field and a must-read for all fashion scholars, practitioners, and students. * Yuniya Kawamura, Professor of Sociology at the Fashion Institute of Technology, New York, USA *Focusing on research methods and practices in fashion studies, and demonstrating how both fashion and research are in fact situated practices, this much welcome collection will prove a necessity for anyone teaching fashion studies and/or doing fashion research. The rich array of case studies all elegantly manage to bridge theory and practice, and while outlining and exemplifying a variety of methodologies, they also ultimately prove the interdisciplinarity of fashion studies as a field. * Louise Wallenberg, Associate Professor and Establishing Director of the Centre for Fashion Studies at Stockholm University, Sweden *Table of ContentsForeword, Christopher Breward, Edinburgh College of Art, UK Introduction - Locating Fashion/Studies: Research Methods, Sites and Practices, Heike Jenss, Parsons School of Design, The New School, USA SECTION ONE: APPROACHING FASHION AND DRESS AS MATERIAL CULTURE Introduction, Heike Jenss, Parsons School of Design, The New School, USA 1. In Search of the Everyday: Museums, Collections and Representations of Fashion in London and New York, Cheryl Buckley, University of Brighton, UK, and Hazel Clark, Parsons School of Design, The New School, USA 2. ‘Humble’ Blue Jeans: Material Culture Approaches to Understanding the Ordinary, Global, and the Personal, Sophie Woodward, University of Manchester, UK SECTION TWO: EXPLORING FASHION PRACTICES THROUGH ETHNOGRAPHY Introduction, Heike Jenss, Parsons School of Design, The New School, USA 3. Ethnographic Entanglements: Memory and Narrative in the Global Fashion Industry, Christina Moon, Parsons School of Design, The New School, USA 4. Urban Fieldnotes: An Auto-Ethnography of Street Style Blogging, Brent Luvaas, Drexel University, USA 5. Recasting Fashion Image Production: An Ethnographic and Practice-Based Approach to Investigating Bodies as Media, Stephanie Sadre-Orafai, University of Cincinnati, USA 6. Exploring Creativity: An Ethnographic Approach to Studying Fashion Design Pedagogy, Todd Nicewonger, University of Gothenburg, Sweden SECTION THREE: MIXED METHODS Introduction, Heike Jenss, Parsons School of Design, The New School, USA 7. Fitting Sources – Tailoring Methods: A Case-Study of Martin Margiela and the Temporalities of Fashion, Francesca Granata, Parsons School of Design, The New School, USA 8. Mixing Qualitative and Quantitative Methods in Fashion Studies: Philosophical Underpinnings and Multiple Masculinities, Susan B. Kaiser, University of California, Davis, USA, and Denise N. Green, Cornell University, USA 9. Action! Or, Exploring Diffractive Methods for Fashion Research, Otto von Busch, Konstfack University College of Arts, Crafts and Design, Sweden 10. Editing Fashion Studies: Reflections on Methodology and Interdisciplinarity in The Encyclopedia of World Dress and Fashion, Joanne B. Eicher, University of Minnesota, USA Index

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Trade ReviewThe book is a smoothly written, highly accessible and, above all, richly informative text that addresses a crucial gap in scholarly knowledge and offers some unexpected food for thought. * Studies in Costume and Performance *This is a very interesting book ... It provides a chain of interesting ideas that invite reflection on the relationship between the fact and fiction of superhero costumes, and give some useful hints of what to consider when designing costumes for superhero characters. * The Comics Grid *A rigorous and wide-ranging exploration of this important topic. * Mike Carey, comic book writer *Smart and accessible, Brownie and Graydon’s exploration of the superhero costume is a welcome addition to the fields of media, sociology, cultural studies and politics. Meticulous analysis of well-selected case studies is situated within a lively discussion of contemporary identity politics, reminding readers of popular culture’s important role in organizing our understanding of the world, and our place within it. * Helen Warner, University of East Anglia, UK *Accessible and academic — this research explores the familiar images of superhero appearances, diving into layers of meaning in the logos, tights, and vivid colors. What is revealed is the powerful relationship between the costume, the wearer, and the popular image. * Monica Sklar, University of Minnesota, USA *Table of ContentsList of Illustrations Introduction Part 1: Origins and Evolution Chapter 1: Superman: Codifying the Superhero Wardrobe Physical Labour and the Construction of Masculinity Performance in Combat The Costume as Biography Superman the Brand The Archetype and his Imitators Chapter 2: Identity, Role and The Mask The Mask and Issues of Identity The Identity of the Mask Power, Authority and the Privileged Few Face-ism How Dress Defines Role The Deceit of the Masquerade Chapter 3: Evolution and Adaptation: Form v. Function ‘Sucked Into Silliness’ Real-life References: The historical and the sporting. Technology and Utility The Pursuit of Credibility: Hyperrealism and assemblage The Decline of the Costume Part 2: Identities and Ideals Chapter 4: Wearing The Flag: Patriotism and globalization Stars and Stripes… and Spandex Conflicted Identities: Nation v. Race Exoticism and Primitivism in Batman Incorporated Chapter 5: Dressing Up, Dressing Down: A Spectacle of Otherness, and the Ordinariness of the Civilian Alter-ego Performing Ordinariness Playing to the Reader Unmasking Clark Kent Self-Objectification Method in the Masquerade Chapter 6: Channelling The Beast Physiognomy and Anthrozoomorphism The Bird Men Ritual and the Animal Spirit Part 3: Harsh Realities Chapter 7: Superheroes and the Fashion of Being Unfashionable Fashion Outsiders The Gender Divide The Cycle of Superhero Fashion Evolution into Eternity Chapter 8: Superhero Cosplay Participatory Fandom / Imaginative Reconstruction ‘I’m your biggest fan’: Competition and Authenticity Spectatorship and the Cosplay Spectacle Sewing and Making: Masculinity and Manufacture Chapter 9: Real-life Superheroes Masked Vigilantes and The Reality of Costumes Masks and Manifestos Parent Power Part 4: Case Studies Introduction to Case Studies Chapter 10: Watchmen Deconstructing the Costume Men without Humanity Masks without Men Chapter 11: Iron Man Who is Iron Man? Automated Dressing The Hyper-abled Hero Chapter 12: X-Men Uniforms and Unity The Yellow ‘X’: Marking the Mutant ‘Other’ Notes Bibliography

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Book SynopsisPaul Jobling is Researcher in Arts and Architecture, University of Brighton, UK. He is the author of Man Appeal (Berg, 2005).Trade ReviewFascinating as a study of changing attitudes and technologies over the second half of the 20th century ... The attempts of menswear advertisers to anticipate, respond to, and initiate changes from a postwar setting of mainly static images and relatively static mores to the unimaginably transformed, contemporary technologies and standards is chronicled in a straightforward and entertaining way ... The book deserves a broad audience. * CHOICE *Rooted in archival research and through rich illustrations and extensive appendices, Jobling has given us yet another piece of quality scholarship. This text will appeal to researchers interested in the representation of clothing and fashion, masculinities and ‘Britishness’, and to scholars of dress and fashion history, media culture, modern British history and transatlantic culture more generally. -- Mario J. Roman, London College of Fashion * Costume *Based on a detailed study of rich archival material, this pioneering study examines the production, circulation and consumption of print, television and cinema publicity for men's clothing in Britain during the second half of the twentieth century. * Costume Society of America *This book provides a well-structured analysis of advertising menswear in Britain, gauging the dynamics of war, class, race, gender, age and textile science that transformed the communication medium. A compilation of striking imagery, visual analysis, compelling discourse and chronology establishes this scholarship as a decisive resource informing the methodology of past and contemporary global menswear brands. -- Alphonso McClendon, Drexel University, USAPaul Jobling’s Advertising Menswear is that rare study that is able to combine distinctive close reading of individual cultural texts with expansive and thickly documented historical reconstruction. Truly remarkable in its reach and sensitivity, this book should stand as a model for measured inquiry at the intersection of masculinity and material culture. -- James Hall, Rochester Institute of Technology, USATable of ContentsINTRODUCTION PART ONE Going for a Burton: menswear advertising from austerity to affluence, 1945-1957 Introduction 1.0: The post-war market for men’s clothing 2.0: Menswear advertising: agents, accounts and audiences: ‘Will it be seen? Will it be remembered?’ Will it be “accepted”?’ 3.0: The economics of press advertising 4.0: The design and rhetoric of menswear press advertisements 5.0: The art versus commerce debate 6.0: Poster publicity and menswear 7.0: Early commercial television and menswear, 1955-1960 8.0: The impact of consumer psychology and motivation research 9.0: ‘Feeling with’ and ‘feeling into’: appealing to men and women 10.0: The turn to new consumers and youth culture PART TWO Thinking young: menswear advertising and the generation games, 1958-1978 Introduction 1.0: Sedimenting the youth market 2.0: Cinema and television advertising 3.0: Menswear advertising in newspapers and magazines 4.0: Poster publicity and menswear 5.0: ‘You bring the body, we’ve got the clothes’: publicity for tailors 6.0: From dummies to dandies 7.0: Ironing out the creases: artificial fibres and menswear advertising 8.0: Synthesising sex: the utopian and ludic valorization of artificial and natural fibres 9.0: ‘Cloth for Men’: wool and he whisper of darker things 10.0: Looking good, feeling good 11.0: The changing of the guard PART THREE Leader of the pack: jeans advertising since the 1960s Introduction 1.0: The Jeans market and advertising between 1950-1985 2.0: Levi’s 501: back to the future 3.0: Here comes the new man – again 4.0: A soundtrack for consumerism: music, image and myth 5.0: More than just a number 6.0: Racial sameness and racial difference 7.0: From ‘Mothers’ to ‘Flat Eric’ EPILOGUE Getting the Right Fit – Objects/Images/Readers Bibliography Index

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Book SynopsisThis is a comprehensive view of the history of twentieth-century dress in the United States, as it has developed in the context of tumultuous change. By placing dress in its proper context, the authors show how social, economic, and artistic conditions and trends influenced dress and how dress, including its production and marketing, played a role in each era.Table of Contents*1898-1907: New Century, New Fashions *1908-1918: The 20th Century Takes Holds *1919-1928: Thoroughly Modern Americans *1929-1938: Fashion on the Dole *1939-1946: Fashion on Duty *1947-1958: New Wealth, New Looks *1959-1968: Tripping Out on Fashion *1969-1978: Retrenchment & Reaction *1979-1988: Glitz to the Max *1989-1999: Party like It's the '90s 2000-2003: Stocks Down, Dressing Up

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Book SynopsisComputerized Patternmaking for Apparel Production contains twenty lessons in Gerber's AccuMark technology, focused on computerized patternmaking, digitizing, grading, and marker-making. Students will learn how to use the software to make first patterns from basic slopers and make modifications and alterations on existing production patterns. For each lesson, the student will learn how to create a model, enter specs on a technical design sheet, and create a production-ready garment. Features-- Each lesson is accompanied by a photo of the sample that the student is expected to make-- Step-by-step instructions with illustrations generated by the computer program-- Instructor's Guide provides suggestions for planning the course and using the text-- PowerPoint(r) Presentation provides outlines and ideas for lectures; compatible with PC and Mac platformsTable of ContentsContents -- Starting Gerber AccuMark -- Pockets & Tabs -- Handkerchief Skirt -- Jean Skirt -- Pleat Skirt -- All About Darts -- Camisole -- Revere Jacket -- Man-tailored Shirt -- Alterations -- Essentials -- Cargo Pant -- Eight Gore Skirt -- Ruffle Dress -- Alterations -- Creating a Grade Rule Table -- Applying Grade Rules -- Digitizing -- Model, Order, Order Processing -- Marker Making

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Book SynopsisWith step-by-step written instructions, Draping Basics provides the fundamentals of designing foundation garments by draping fabric on a dress form. Photographs clearly demonstrate the details of the process, and CAD drawings show how the draping is transferred to paper patterns. The text covers the foundation skirt, bodice, and set-in sleeve, as well as foundation bodice variations; dart equivalent bodice styles; bodice designs; and skirt, dress, and collar styles. Features: -- General and specific chapter objectives and lists of key terms support the sequential written instructions -- Front, back, and side views in the photographs show the three-dimensionality of the draped design -- Gingham fabric is used to show grainlines clearly and ensure accuracy -- The text concludes with a glossary of key terms and an appendix listing suppliers to the tradeTable of ContentsTools of the Trade Preparing the Drape Foundation Skirt Foundation Bodice Foundation Set-In Sleeve Foundation Bodice Variations Dart-Equivalent Bodice Styles Bodice Designs Skirt Styles Dress Styles Collar Styles

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Book Synopsis

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Book Synopsis

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Book Synopsis

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Book Synopsis

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Book SynopsisMen in khaki and grey squatting in the trenches, women at work, gender bending in goggles and overalls over their trousers, a girl at the Paris theatre in pleated, beaded silk, a bangle on her forearm made from copper fuse wire from the Somme. What people wear matters. Copiously illustrated, this book is the story of what people on both sides wore on the front line and on the home front through the seismic years of World War I. Nina Edwards, reveals fresh aspects of the war through the prism of the smallest details of personal dress, of clothes, hair and accessories, both in uniform and civilian wear. She explores how, during a period of extraordinary upheaval and rapid change, a particular preference for a type of razor blade or perfume, say, or the just-so adjustment to the tilt of a hat, offer insights into the individual experience of men, women and children during the course of World War I.Trade ReviewClothes have a language that illuminates the social and cultural significance of the circumstances in which they are worn. This is particularly true in wartime. Dressed for War is a fascinating and immensely readable account of in what and how both the military and civilians dressed, during the First World War. An apparently trivial subject turns out to have a profundity that adds a rich dimension to our understanding of the Great War in this its centenary year.' Juliet GardinerTable of ContentsIntroduction The Prelude Uniform, Chivalry and Doing One’s Bit Men in Civvies, Women in Uniform Vanity, Luxury and the Fabric of War Attitudes to the Body Variety and Haute Couture Manufacture and the Home Mourning and Wedding 10. O Brave New World Acknowledgments Bibliography Index Websites

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Book SynopsisThe story of Coco Chanel in her own words, as told by her to Paul Morand - in a Deluxe special edition, illustrated by Karl Lagerfeld and authorised by Chanel Told in her own words, Coco Chanel's memories offer a rare glimpse into the mind of one of the most influential women in fashion history. During a visit to St. Moritz at the end of World War II, Chanel shared intimate details of her life, loves and fashion philosophy with her life-long friend, Paul Morand. Only coming to light after Chanel's death, her intimate recollections reveal the secrets behind her success and the captivating charm that made her a true icon The Allure of Chanel attracted the attention of Karl Lagerfeld, who embellished it with seventy-three drawings, sketched for this special illustrated edition.Trade Review'This enchanting, tiny book is the closest anyone can get to a face-to-face with Coco. It's written in her voice and in her words, and though it's full of lies, omissions and contradictions, there's enough raw truth in it to reflect the extraordinary woman who was Chanel, even though glimpsed shard by shard in a broken mirror' - Spectator'Morand was the all-round aesthete' - Nicholas Lezard'Morand was a citizen of the world, with a sharp eye and a neat turn of phrase' - The Tablet

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Book SynopsisClothes take the ordinary human body and fashion it into something remarkable. Born to the same anatomical legacy, each generation has used garments to shape itself in the image of its own particular desires. Taking different body parts in turn, The Anatomy of Fashion invites us to view ourselves as we have been in the past. Arguing that analysis needs to aspire to the proliferation and playfulness of fashion itself, the chapters both explore a different aesthetic and examine its wider, and often surprising, implications. In countless different ways, fashion is caught up in the larger picture of its chronological moment. Whether in the mechanisms of production, the politics of consumption, the construction of sexuality or gender, or the formation and reformation of manners and morals, fashion is there. In its provocative conclusion The Anatomy of Fashion turns its attention to dress practices today. Reassembling the anatomical parts, the text places the contemporary body in the historical view and reveals the strangeness that lies at the heart of our own normality.Trade ReviewIt is always a delight to discover a non-fiction writer who can write about history with both intelligence and levity. Although this book is well suited as a textbook, it is an engaging and thoughtful read for even seasoned fashion veterans. Ingrid Mida, Fashion is my MuseTable of ContentsAbbreviations Prologue: Approaching the past 1. Head and neck 2. Breasts and waist 3. Hips and bottom 4. Genitals and legs 5. Skin Epilogue: Fashioning the body today

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Book SynopsisJapanese Fashion examines the entire sweep of Japanese clothing history, from the sophisticated fashion systems of late-Edo period kimonos to the present day, providing possible theories of how Japan made this fashion journey and linking current theories of fashion to the Japanese example. The book is unique in that it provides the first full history of the last 200 years of Japanese clothing. It is also the first book to include Asian fashion as part of global fashion as well as fashion theory. It adds a hitherto absent continuity to the understanding of historical and current fashion in Japan, and is pioneering in offering possible theories to account for that entire history. By providing an analysis of how that entire history changes our understanding of the way fashion works, this book will be an essential text for all students of fashion and design.Trade ReviewSlade sets himself very ambitious targets in Japanese Fashion: A Cultural History, an analytical survey of a whole clothing culture, which he successfully meets. Dr. Slade is an imaginative historian who has the ability to synthesize a wide range of sources, ranging from the offical record to the ephemeral and teh vernacular. Peter McNeil, Fashion Theory: Volume 14, Issue 4 This book is much more than just about fashion - it includes discussions of comparatives, political thought, mass-consumerism, the cloth industry and industrialization, roles of department stores, fashion magazines, wood-block prints, -art, education, schooling, sport,importance of The Rokumeikan (new large westernized building for the elite), and what Slade calls samuraization of all classes. Long, dense read, but really intriguing. Ann WrightTable of Contents1. Introduction: Modernity, Fashion and Japan Modernity and Modernity in Clothing Global Fashion and National Cultures Japan 2. Japanese Clothes 1800-2000 Clothing in the Edo Period Nakedness and Covering It Decency Foundation Choices: Yoga and Nihonga Materials and Materialism 'Westernisation' and Japanese Fashion Textile Industrialisation The Democratisation of Consumption World War II The Rise of Designers Today's Subcultures 3. Japanese Menswear: Masculinity and Sartorial Statecraft Uniforms and the State: The Emperor's New Clothes Suits: Modern and Classic Masculinity The Suit in Europe and America The Growing Civilised Centre The Japanese Suit The Rokumeikan Modern Boys Possible Masculinities post 2000 4. Japanese Womenswear: Femininity and Modernity Traditional Notions of Sartorial Womanhood Meiji Girl Students and School Uniforms Taisho Decadence and the Moga Sportswear, Swimwear & Movement Cosmetics and Substance Hairstyles: The First Experiments Kimono Reform and Traditional Identity Feminine Formality and Time 1960s Counter Culture in Japan Japanese Femininity Today 5. Conclusions: Theories of Japanese Fashion The Economics of Aesthetics A Set of Reoccurring Questions Functional Explanations Fashion as the Search for Meaning and/or Identity Fashion and the Struggle for Status The Economics of Fashion Fashion as Communication Dynamic Explanations of Fashion Fashion as Diffusion Cycles of Fashion Fashion as Erotic Fashion and the Zeitgeist Fashion as Aesthetics Acknowledgements Bibliography

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Book SynopsisWhen, how and why do clothes become fashion? Fashion is more than mere clothing. It is a moment of invention, a distillation of desire, a reflection of a zeitgeist. It is also a business relying on an intricate network of manufacture, marketing and retail. Fashion is both medium and message but it does not explain itself. It requires language and images for its global mediation. It develops from the prescience of the designer and is dependent on acceptance by observers and wearers alike. When Clothes Become Fashion explores the structures and strategies which underlie fashion innovation, how fashion is perceived and the point at which clothing is accepted or rejected as fashion. The book provides a clear theoretical framework for understanding the world of fashion - its aesthetic premises, plurality of styles, performative impulses, social qualities and economic conditions.Trade Review"When Clothes Become Fashion systematically analyzes the phenomenon of fashion and reveals part of the secret on which fashion depends. Ideal for students, the book also offers fascinating insights for the general reader." Barbara Vinken, University of Munich This is a book that I probably will read more than once because it is so dense with analysis. Although the book is dense with fashion theory and rigourous analysis, it is accessible to a general reader. But for artists whose work references clothing, the body, or fashion, this book is well worth the investment in time because it offers a thoughtful analysis of contemporary fashion designers and artists whose work exists on the boundary between fashion and art. Ingrid Mida, Fashion is My Muse blogTable of ContentsIntroduction Part I: FASHION THEORY 1. Does Fashion Need a Theory? 2. Textiles as Material 3. Clothes as Form 4. Fashion as System Part II: INVENTION AND INNOVATION 5. When is Invention? 6. When is Creativity? Part III: WHEN CLOTHES BECOME FASHION 7. When is Fashion? 8. When is Fashion Art? 9. When is Fashion Design? Notes Bibliography Index

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Book SynopsisThe ability to analyze and interpret visual information is essential in fashion. However, students tend to struggle with the concept of visual research, as well as with the application of that research. Visual Research Methods in Fashion provides students with techniques, tools and inspiration to master their visual research skills and make the research that they undertake more effective. Illustrated with real-life examples from practitioners in the industry, academics and students, it focuses on the global nature of the industry and the need to develop ideas relevant to the market.Table of ContentsIntroduction Purpose of the book Who is this book for? How to use this book Overview of chapters Chapter 1 Strategies for Information Seeking Chapter 2 Sources of Inspiration Chapter 3 Colour theory and practice Chapter 4 Textiles and Trimmings Chapter 5 Trends and Forecasting Chapter 6 Concept Development Chapter 7 Traditional Research Tools and Techniques Chapter 8 Web and Technology Based Research Tools Chapter 9 Visual Research for Presentation Glossary Contacts

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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 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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