By today's standards, men wore formal dress every day in the 1890s. The color lithographs and line drawings of men dressed for work that are shown here bear striking contrast to men in the streets now. That very fact makes these clothes more than interesting today, they are actually time capsules for the lifestyle of a century ago. Heavy woolen cloth that has lasted a hundred years, and practical styles that were always comfortable and smart-looking bear witness to the time before automobiles and electricity. Now they have become antiques themselves. The hundreds of cloth swatches that appear have subtle patterns and plenty of texture to withstand much use. Vintage clothing collectors and designers will marvel at their variety.

What does men's fashion say about contemporary masculinity? How do these notions operate in an increasingly digitized world? To answer these questions, author Joshua M. Bluteau combines theoretical analysis with vibrant narrative, exploring men's fashion in the online world of social media as well as the offline worlds of retail, production, and the catwalk. Is it time to reassess notions of masculinity? How do we construct ourselves in the online world, and what are the dangers of doing so? From the ateliers of London to the digital landscape of Instagram, Dressing Up re-examines the ways men dress, and the ways men post.

Instruments of Embodiment draws on fashion theory and the philosophy of embodiment to investigate costuming in contemporary dance. It weaves together philosophical theory and artistic practice by closely analyzing acclaimed works by contemporary choreographers, considering interviews with costume designers, and engaging in practice-as-research. Topics discussed include the historical evolution of contemporary dance costuming, Merce Cunningham's innovative collaborations with Robert Rauschenberg, and costumes used in Ohad Naharin's Virus (2001) and in a ground-breaking Butoh solo by Tatsumi Hijikata. The relationship between dance costuming and high fashion, wearable computing, and the role costume plays in dance reconstruction are also discussed and, along the way, an anarchist materialism is articulated which takes an egalitarian view of artistic collaboration and holds that experimental costume designs facilitate new forms of embodied experience and ways of seeing the body. This book will be of great interest to students and scholars working in performance philosophy, philosophy of embodiment, dance and performance studies, and fashion theory.

"A true collector's item..." - Tim Chan, Rolling Stone "Filled to the brim with everything from Harry's colour palettes to his inspiration, this pick combines high-fashion with all the quirkiness we love about HS and it's just perfect." - Glamour UK "Have the best-dressed coffee table by adorning it with this book filled with photos of THE best-dressed man." - Seventeen Magazine "I'm incredibly lucky to have an environment where I feel comfortable being myself" - Harry Styles. Stepping bravely into the cyclone of 21st-century fashions, Harry Styles is more than weathering the storm. Whether he's breaking the internet with his $7.99 frog-eyed yellow bucket hat or a pair of black fishnets, or fronting cult magazine The Beauty Papers, as he did in March 2021, Hazza's sparkle knows no boundaries. Gucci met Styles in 2014, and there was instant chemistry. According to designer Alessandro Michele, Harry is 'a young Greek God with the attitude of James Dean and a little bit of Mick Jagger' - and that effortless superstardom certainly radiates from the photos in this collection, which document the heart of Harry's wardrobe, both on-stage and off. Part fashion history lesson, pulling references from the rock and roll greats of the past, and part innovation, Harry's style pays homage to Kurt Cobain and Marc Bolan, Prince and Little Richard, while developing into something authentic and entirely his own. This chic book fizzles with facts about Harry's styling choices, presenting the star's most revered looks alongside pictures that trace the roots of each design. With quotes from key designers, this is the perfect gift for any fan.

In the context of gun proliferation and persistent gun violence in the United States, a controversial security strategy has gained public attention: bulletproof fashion. This book examines concerns about security focusing on armored clothing and accessories for civilians. Available for children and adults, such ballistic products include colorful backpacks, elegant suits, sports jackets, feminine dresses, trendy vests, and medical lab coats. These products are paradigmatic of a "fashion of fear"-the practice of outfitting the body with apparel aimed at maximizing personal security. This fashion encourages the emergence of both a fortress body and an armored society. Sutton also explores the wider social factors influencing the bulletproof fashion phenomenon, including the inequalities associated with neoliberalism and the militarization of civilian life. The book sheds light on the role of emotions in relation to discourses and perceptions of security, and encourages feminist and sociological studies to pay attention to the linkages between security, bodies, and dress. It is ideal for students and scholars interested in security and gun violence, culture and politics, neoliberalism and consumption, and bodies and emotions.

Exploring the debate over the benefits of legal protection for fashion design, this book focuses on how a combination of minimal legal protections for design, evolving social norms, digital technology, and market forces can promote innovation and creativity in a business known for its fast-paced remixing and borrowing. Focusing on the advantages and disadvantages of the main US and EU IP laws that protect fashion design in the world's biggest fashion markets, it describes how recent US case law in copyright and trademark cases has led to misaligned incentives for the industry and a lack of clear protection, while in the EU, the CJEU's interpretation of the pan-European design rights system has created significant overlap with copyright law and risks leading to the overprotection of design. The book proposes that creativity and innovation in fashion derive some benefit from a limited unregistered design right protection and that cumulation with copyright protection is unhelpful. It also proposes that there is a larger role for developing social norms relating to sustainability, the ethics of cultural appropriation, and the online shaming of counterfeiters, that can also help create a fair equilibrium between protection and borrowing in fashion design.

Exploring the debate over the benefits of legal protection for fashion design, this book focuses on how a combination of minimal legal protections for design, evolving social norms, digital technology, and market forces can promote innovation and creativity in a business known for its fast-paced remixing and borrowing. Focusing on the advantages and disadvantages of the main US and EU IP laws that protect fashion design in the world's biggest fashion markets, it describes how recent US case law in copyright and trademark cases has led to misaligned incentives for the industry and a lack of clear protection, while in the EU, the CJEU's interpretation of the pan-European design rights system has created significant overlap with copyright law and risks leading to the overprotection of design. The book proposes that creativity and innovation in fashion derive some benefit from a limited unregistered design right protection and that cumulation with copyright protection is unhelpful. It also proposes that there is a larger role for developing social norms relating to sustainability, the ethics of cultural appropriation, and the online shaming of counterfeiters, that can also help create a fair equilibrium between protection and borrowing in fashion design.

In "western" cultures, some people have chosen a dreadlock hairstyle, despite many in mainstream society looking at it in a negative light. This book deals with contradictions surrounding the hairstyle such as often representing a protest against the prevailing right-wing political systems, yet also emphasizing the white person's power to appropriate any style. Based on interviews and close observations in social media, the book offers insights into the culture(s) surrounding dreadlocks and ultimately interprets the phenomenon as a postmodern form of individuality.

This edited volume comprises ideas, visions, strategies, and dreams of entrepreneurs, managers, scientists and political experts who share their best practice experience relating to the joint goal of a more sustainable, humanistic, and responsible fashion industry. Readers will find a variety of approaches and strategies that in sum represent a rich pool of insights and cases for anyone interested in the study of new management perspectives and in the systematic advancement of sustainable fashion.In 14 chapters, international authors discuss topics such as Sustainable Business Models, Cradle-to-Cradle, Circular Economy, Human Rights, Ethical Supply Chain Management, Sustainable Fashion Consumption, Certification and Auditing, Traceability, Impact Measurement, and Industry Transformation. Business case studies include H&M, Filippa K, Melawear, Otto, Tauko, and Tchibo. Further brands that are discussed in the book are Prada, Burberry, Hermes, Hugo Boss, and many more. The book demonstrates that sustainable fashion can hardly be realized by just one actor or by using just one business tool or governance instrument. The sustainable transformation of the textile sector requires concerted action of businesses, governments, NGOs, and consumers to clearly demonstrate a coalition for change and a willingness and power to end inhumane and unsustainable business practices in the 21st century. The sum of innovative approaches and solutions presented in this book shows that the momentum for change is strong and that mutual learning, respect and collaboration can lead to interesting and effective new paths of co-creation and shared responsibility in the fashion industry.

An inspiration to countless designers and the stomping ground of fashion's in-crowd, London is the capital of subculture. From Mary Quant to Alexander McQueen, from punks to goths, and from Twiggy to Naomi Campbell, Little Book of London Style is the beautifully illustrated guide to the essential brands, trends and people that make up the style DNA of this unique city.

'I loved her then, I love her now. Annie's back and she's better than ever! Fun, feel good and feisty - Annie Valentine is the woman you want to share a cocktail with!' Portia MacIntoshHer passion is fashion... but she's on a budget! Personal shopper Annie Valentine is about to hit the big time: presenting a glamorous TV makeover series! This is it for Annie and her little family. No more scrimping and saving, finally all her hard work has paid off. But life in the spotlight isn't all it's cracked up to be. Soon, Annie discovers this is TV on a shoestring and her budget is zip. But more than this, Annie feels as though the women she should be helping to look fabulous, go away feeling all the more like fashion failures! Can Annie make it in the spotlight? Or will making it big mean losing who she really is? Fans of Sophie Kinsella, Lindsey Kelk and Paige Toon will love this laugh-out-loud romantic comedy from bestselling author Carmen Reid. What readers are saying! "If you love shopping as much as you love a great read, try this. Wonderful." Bestselling author, Katie Fforde "Annie Valentine is a wonderful character - I want her to burst into my life and sort out my wardrobe for me!" Bestselling author, Jill Mansell "You will enjoy getting to know Annie Valentine; laughing with her and crying with her. You may even fall in love with her . . . I have! A fantastic read!" Reader review "Fantastic read, couldn't put it down" Reader review "Can't wait to read the next one!" Reader review

A fascinating look into the world of men's neckwear, chronicling the style, fabric, and design changes that evolved in the second half of the 20th century. The book features nearly 400 color photographs along with a current price guide. From the slim ties of the late 1950s and early 1960s to the wide and wild Kipper ties of the mid-60s was a dramatic shift. By the late 1970s men's fashion returned to a normal state and designer labels entered the fashion scene in full force. By the late 1980s and early 1990s, retro styles became apparent as manufacturers reproduced abstract and geometric styles of the 1940s and 1950s. As the 1990s progressed, new collectible ties began flooding the market . Collecting men's ties can be extremely entertaining and a real treasure hunt. Whether it be a contemporary example or one worn decades ago, a tie is wearable art!

Megan Hess: The Bag is an illustrated love story about the most timeless and useful of accessories, from internationally renowned fashion illustrator Megan Hess. A piece of fashion is so much more than an object. To the designer who creates it, the muse who inspires it or the fashion lover who lusts after it, that piece is part of a story. A beautiful bag is the ultimate fashion investment. From the Hermes Birkin to the Chanel Classic, the Lady Dior to the Louis Vuitton Trunk, the Valentino Rockstud to the Fendi Baguette, these iconic bags are not just the perfect way to carry your lipstick and book - and complete your outfit. They are works of art and craftsmanship. Megan Hess: The Bag is the latest in the Ultimate Fashion Wardrobe series, filled with fascinating information and stunning illustrations and packaged up in a beautiful hardback: the ideal accessory for any creative life.

This interdisciplinary project draws on a wealth of sources (visual, material, literary and theatrical) to examine Austen's depiction of female performance, display and desire through her deployment of a culturally and symbolically charged accessory: the muff.

For 500 years, the world's greatest makers of costume jewelry have hidden, anonymous, in the heart of Europe: Gablonz, Bohemia. This groundbreaking, beautiful book exposes the jewels, craftsmanship, technological development, and history of Bohemia. Almost 400 gorgeous color photographs illustrate the area's artistry, its most significant designers and manufacturers and their contributions to the art of jewelry, button, and bead making. Bohemian glass dynasties lasted for centuries, until the middle of the 20th century, when the entire community of German-stock craftsmen was expelled from the area in the turbulence of World War II. Though Gablonz will forever feel the loss of these great craftsmen, their artistry has been meticulously researched and documented by Sibylle Jargstorf for this book.

In 2016, social media users in Thailand called out the Paris-based luxury fashion house Balenciaga for copying the popular Thai "rainbow bag," using Balenciaga's hashtags to circulate memes revealing the source of the bags' design. In Why We Can't Have Nice Things Minh-Ha T. Pham examines the way social media users monitor the fashion market for the appearance of knockoff fashion, design theft, and plagiarism. Tracing the history of fashion antipiracy efforts back to the 1930s, she foregrounds the work of policing that has been tacitly outsourced to social media. Despite the social media concern for ethical fashion and consumption and the good intentions behind design policing, Pham shows that it has ironically deepened forms of social and market inequality, as it relies on and reinforces racist and colonial norms and ideas about what constitutes copying and what counts as creativity. These struggles over ethical fashion and intellectual property, Pham demonstrates, constitute deeper struggles over the colonial legacies of cultural property in digital and global economies.

Luxury, Fashion and the Early Modern Idea of Credit addresses how social and cultural ideas about credit and trust, in the context of fashion and trade, were affected by the growth and development of the bankruptcy institution. Luxury, fashion and social standing are intimately connected to consumption on credit. Drawing on data from the fashion trade, this fascinating edited volume shows how the concepts of credit, trust and bankruptcy changed towards the end of the early modern period (1500 1800) and in the beginning of the modern period. Focusing on Sweden, with comparative material from France and other European countries, this volume draws together emerging and established scholars from across the fields of economic history and fashion. This book is an essential read for scholars in economic history, financial history, social history and European history.

Fashion is widely recognised as a site for social acceptance and rejection, and as a signifier of personal identity. What happens when people stray from 'appropriate' dress codes or associate garments with 'respectability' or deviance? How does fashion relate to criminality? In this interdisciplinary volume, leading scholars propose new ways of seeing everyday dress and the body in public space. Garments and individual or group wearers are used as case studies to explore the codification of clothing as criminal - hoodies, trench-coats, Norwegian Lustkoffe sweaters, low-slung trousers and Hip Hop styling are all untangled as garments with criminal significance. The book questions the point at which morality as a form of social control meets criminality, and suggests ways to renegotiate established dress codes and terms such as 'suitability' and 'glamour' through the study of what people wear in response to notions of criminality.

This work is a comparative study of the three "great" American wars of the twentieth century: World War I, World War II and Vietnam. The book explores several aspects of American popular culture, like fashion, film and the societal mores of each era. While a number of books have covered fashion during individual wars, this is the first study to compare several major conflicts, drawing some conclusions regarding the lasting influences of wardrobe over an entire century. This book provides short background information for each war, briefly covering earlier conflicts that shaped the hostilities of the twentieth century. Although the emphasis is on women's clothing, participation and service, men are not ignored. Their fashions not only speak to the times, but the enormity of their sacrifices.

This book examines the ways in which luxury fashion brands use their heritage in their digital storytelling and marketing. With chapters from authors in China and Macau (PRC), India, Romania, Turkey, the United Kingdom, and the United States, covering British, Chinese, French, Japanese, Indian, Italian, and Turkish brands, this truly global collection is the first book of its kind devoted solely to the emerging study of digital heritage storytelling. This method of reaching potential consumers and perpetuating brand identity is a hugely important factor in the marketing of luxury brands and has yet to be studied comprehensively. The book will be of interest to scholars working in fashion studies, fashion history, design history, design studies, digital humanities, and fashion marketing.

Provides the reader with a historical context by giving a broad overview of the history and emergence of fashion journalism before moving on to tackle contemporary questions and debates in the field. Illuminates the structural dynamics within fashion journalism by examining how it has proliferated across multiple platforms, tackling emerging questions concerning amateurism versus professionalism and creative versus commercial. Includes interviews and first-person essays from such media professionals as blogger Syed Abbas, podcasters Marc Raco and Rob Sanchez, and editor and co-publisher of Mode and Mode Laura Gardner.

From the Preface When I first went to Africa in the 1960s, I was bowled over by African art. What really got under my skin were the bangles, principally the bronze bangles from West and Central Africa. They were tactile, weighty and full of design and form. Later, when I lived in Ghana and Togo, I built up my own collection of bangles. In recent years this collection was seen by past and present curators of the British Museum and I was encouraged to work up the expertise to comment on and possibly help classify the Museum's collection of African bangles. They recognised that they have thousands of these bangles lying mostly untouched and unloved because they could not be given a story, a context, a meaning. They were so enthusiastic and helpful that I secured introductions to many major museums around the world, to study their substantial and interesting collections. Museums in Europe and on the East and West Coasts of the United States gave me access to the rich material they had accumulated. I had the rare privilege of spending days in their storerooms in the course of which I could see and compare many thousands of bangles. The curators who accompanied me in the inspection of their bangles were aware that these beautiful artefacts had lain undisturbed because they could not be explained or set in a wider context. The bangles were attractive but seldom came with a meaningful provenance. To their great credit, these highly-qualified specialists would listen enthusiastically as my wife and I noted bangles which we had encountered elsewhere. Seeing all these bangles and thus, over time, gradually building up a picture of their types, uses and probable areas of origin, I began to realise that I was looking at a decorative culture which was self-generated, wholly unlike the decorative cultures of the rest of the world. It was unique. Astonishingly, it was to be found in almost every inhabited part of the vast semi-continental area of sub-Saharan Africa. Gold and silver were of little consequence. Copper was their "precious metal". The style - instantly recognisable - was chunky, solid, weighty. Rarity was not a concern; the Eurasians' "precious stones" were unknown. Rings had no great meaning. It was bangles that were the standard means of conveying status, attraction and readiness for marriage. Most importantly, as I read the stories of explorers and the later accounts of African life in the 19th and 20th centuries while I worked through the museums' storerooms, it became clear to me, that for centuries, the bangle had been the one and only defining material culture shared by all Africans south of the Sahara. At last, an overall picture was emerging and there was now a chance of describing it before it was too late. The bangle culture that had unified Africans, through which and in which they had lived much of their lives, was fading fast. In their heartland of West and Central Africa the tactile bronze bangles that everyone wore in the 19th century - and which I saw occasionally in northern Ghana in the 1980s - were now encountered more in museums than on the bodies of inhabitants of those regions. This book will follow the art-historical practice of using "bronze" to describe all forms of copper alloys, including brass, when the composition is not directly relevant and retain "copper" for occasions when the pure metal is being discussed. "Bangle" will be used as the generic term for all forms of jewellery applied to the human body. This bangle culture is still an unselfconscious part of daily life in a few isolated African tribes and used quite naturally to send messages. But, in a few decades, this bangle culture will survive only in less traditional forms and only in limited areas in East and Southern Africa. At its height, it was an admirable system of great importance to social intercourse, replete with significance, great beauty and craftsmanship. It deserves to be recorded and I will try to do this in this book. I will set out why this bangle culture was so different from anything else in the world; the skill with which the bangles were made; and how the bangle culture spread throughout all Africa south of the Sahara; I will have to admit that the industrial world and its products have led to the Eurasian hierarchy of gold and silver overtaking bronze in Africa and, indeed, eliminating it as a "precious metal". But I will end on a note of hope, that there are indications that the sense of solidity of form and the respect for copper that was evident in classical African bangles may still live on among African Americans.

Beautiful styles from the Parisian high fashion houses of the 1950s are shown in Couture Fabrics of the 50s, a collection of French fabrics of the era. Exotic and exquisite designs in silk, rayon, and cotton used to create elegant women's high fashion wear are identified in hundreds of splendid full-color photographs. Of special interest are fabric swatches reflecting seasonal styles, "special effects" photo-engraving and lavish imitation weaves. Designers and 50s enthusiasts will find this artistic collection of fabric designs inspiring and exciting.

Fashion | Sense is designed to explode "fashion," and with it, the stigma in philosophy against fashion's superficiality. Fashion appears to be altogether differently occupied, disingenuous and insubstantial, even sophistic in its pretense to peddle surfaces as if they were something deep. But is fashion's apparent beguilement more philosophical than it seems? And is philosophy's longing for exposed depth concealing fashion in its anti-fashion stance? Using primarily ancient Greek texts, peppered with allusions to their echoes across the history of philosophy and contemporary fashion and pop culture, Gwenda-lin Grewal not only examines the rift between fashion and philosophy, but also challenges the claim that fashion is modern. Indeed, fashion's quarrel with philosophy may be at least as ancient as that infamous quarrel between philosophy and poetry alluded to in Plato's Republic. And the quest for fashion's origins, as if a quest for a neutrally-outfitted self, stripped of the self-awareness that comes with thinking, prompts questions about human agency and our immersion in time. The touch of reality's fabric bristles in our relationship to our looks, not simply through the structure of clothes but in the plot of our wearing them. Meanwhile, the fashion of our words sharpens our meaning like a cutting silhouette. Grewal's own writing is playfully and daringly self-conscious, aware of its style and the entrapment it arouses from the very first line. The reactions provoked by fashion's flair, not only among the philosophical set but also among those who would never deck themselves out in the title, "philosopher," show it forth as perhaps philosophy's most important and underestimated doppelganger.