Clear-cut and accurate in its guidance, this volume depicts medieval clothes and accessories not as inanimate museum exhibits but as items of vital interest and well worth recreating. Unlike conventional costume histories, which tend to classify their contents by era, this volume portrays the clothing of the twelfth through fifteenth centuries according to the wearer's social class. Here are the garments of royalty, clerics, doctors, merchants, musicians, knights, artisans, farmers, and laborers--all magnificently illustrated with images from tapestries and illuminated manuscripts as well as in drawings and diagrams. Helpful advice covers choosing fabrics; placement of seams; draping and folding garments; how to walk, dance, and climb stairs in the cumbersome unfamiliarity of flowing attire; and even the best methods of storage. Unabridged republication of"

During the late 18th and early 19th centuries, there was a tubercular 'moment' in which perceptions of the consumptive disease became inextricably tied to contemporary concepts of beauty, playing out in the clothing fashions of the day. With the ravages of the illness widely regarded as conferring beauty on the sufferer, it became commonplace to regard tuberculosis as a positive affliction, one to be emulated in both beauty practices and dress. While medical writers of the time believed that the fashionable way of life of many women actually rendered them susceptible to the disease, Carolyn A. Day investigates the deliberate and widespread flouting of admonitions against these fashion practices in the pursuit of beauty. Through an exploration of contemporary social trends and medical advice revealed in medical writing, literature and personal papers, Consumptive Chic uncovers the intimate relationship between fashionable women's clothing, and medical understandings of the illness. Illustrated with over 40 full color fashion plates, caricatures, medical images, and photographs of original garments, this is a compelling story of the intimate relationship between the body, beauty, and disease - and the rise of 'tubercular chic'.

In Exquisite Slaves, Tamara J. Walker examines how slaves used elegant clothing as a language for expressing attitudes about gender and status in the wealthy urban center of eighteenth- and nineteenth-century Lima, Peru. Drawing on traditional historical research methods, visual studies, feminist theory, and material culture scholarship, Walker argues that clothing was an emblem of not only the reach but also the limits of slaveholders' power and racial domination. Even as it acknowledges the significant limits imposed on slaves' access to elegant clothing, Exquisite Slaves also showcases the insistence and ingenuity with which slaves dressed to convey their own sense of humanity and dignity. Building on other scholars' work on slaves' agency and subjectivity in examining how they made use of myriad legal discourses and forums, Exquisite Slaves argues for the importance of understanding the body itself as a site of claims-making.

'Riello and McNeil's new collection of essays represents an immense and impressive project' Choice

'Now, the key contributions from nearly every expert in the field are assembled in one fascinating book. This kaleidoscopic and informative volume ranges impressively across conventional boundaries of chronology, geography, and discipline.' Glenn Adamson, Victoria and Albert Museum, London, UK

'This book is indispensable for anyone interested in fashion. History has never been more alive than in the pages of this Reader.' Patrizia Calefato, University of Bari, Italy

The Fashion History Reader is an innovative work that provides a broad introduction to the complex literature in the fields of fashion studies, and dress and fashion history. Twenty-three chapters and over forty shorter Snapshot texts cover a wide range of topics and approaches within the history of fashion, ranging from object-based studies to theory-driven analyses. The book is divided into six parts, surveying some of the key themes in the history of fashion. Themes also move in and across time, providing a chronology to enable student learning:

• parts one to three cover the fifteenth to the eighteenth-century
• parts four and five cover the nineteenth-century to the contemporary (with particular attention given to non-European countries)
• part six provides a survey of the global setting and current globalized nature of fashion.

A comprehensive introduction by the editors contextualizes debates for students, synthesising past history and bringing them up-to-date through a discussion of globalization. Each section also includes a short, accessible introduction by the editors, placing each chapter within the wider, thematic treatment of fashion and its history, and an 'Annotated Guide to Further Reading' encourages students to enhance their learning independently.

The Fashion History Reader was awarded a prize for 'Best Edited Book' at the Art Association of Australia and New Zealand: Art Historians of Australasia, Annual General Meeting, December 2011.

A bumper edition of John Peacock's renowned costume drawings, charting the development of women's and men's clothing from the 1920s onwards. This beautifully illustrated, easy-reference volume features over 2,100 meticulous illustrations that record in fascinating detail the ways in which fashion has changed year by year, decade by decade, from the boyish silhouette of the 1920s right through to the structured `power dressing' of the 1980s. Day wear, evening dress, sports and leisure wear, accessories, underwear and wedding wear are all portrayed, accompanied by complete descriptions of colour, cut, necklines, lapels, sleeves, pockets, fastening, buttons and belts. The reference section includes a chart that summarizes the evolution of fashion and garment-shapes through the decades, as well as biographies of the outstanding designers of each era. The Complete Fashion Sourcebook will be indispensable to all fashion enthusiasts, historians and collectors, and will be an invaluable sourcebook for any designer or student working in the performing arts.

Carefully researched, meticulously detailed account of the style and construction of period costumes. Includes descriptions and illustrations of royal apparel, elaborate ecclesiastical dress and vestments, academic and legal garments and civilian dress of all classes. Also discusses jewelry, armor, textiles, embroidery and hairdressing.

Contemporary fashion in the Netherlands shows a unique mix of playful individualism, conceptual strength, and organisational innovation. Delft Blue to Denim Blue maps the landscape of Dutch fashion in all its rich variety and complexity.Luxuriously illustrated in colour, the book uncovers the cultural roots of Dutch fashion in a globalized context. The authors debunk myths surrounding Dutch fashion, dig up new facts and stories, and explore the creative relation of fashion design to cultural heritage. Written by experts in the field, Delft Blue to Denim Blue gives a rich overview of designers, ranging from G-Star jeans, and affordable retailer C&A, to a savvy brand like Vanilia, and from the famous designer duo Viktor&Rolf to a futuristic designer like Iris van Herpen. The book assesses the diversity of Dutch fashion designers, firms and brands in their historical and cultural contexts.

Rich with illustrations, this revised and updated second edition of " Dress Codes" systematically analyzes the meaning and relevance of clothing in American culture. Presented here is an up-to-date analysis of images of power and authority, gender, seduction (the sexy look, the alluring look, the glamorous look, the vulnerable look), wealth and beauty, youth and health, and leisure and political hierarchy. Taken together, the chapters offer to the student and the general reader a complete "semiotics of clothing" in a form that is highly readable, very entertaining, and thoroughly informative. The illustrations provide fascinating glimpses into the history of American fashion and clothing-along with their antecedents in Europe-as well as a fine collection of images from the more familiar world of contemporary America.Rubinstein has identified six distinct categories of dress in American society, upon which "Dress Codes" is based. "Clothing signs" were instituted by those in authority, have one meaning, indicate behavior, and are required attire (police uniforms, or the clothing of ministers and priests); "clothing symbols," on the other hand, reflect the achievement of cultural values--wealth, beauty, you and health. The wearing of clothing symbols--designer clothing or jewelry--may have several meanings; 'clothing tie-signs," which are specific types of clothing that indicate membership in a community outside mainstream culture (Hasidic, Amish, or Hare Krishna attire). They were instituted by those in authority, have one meaning, they indicate expected behavior, and are required attire; "clothing tie symbols" emanate from hopes, fears, and dreams of particular groups. They include trendy styles such as hip-hop, hippie, and gothic. Another category, "contemporary fashion," reflects consumer sentiments and the political and economic forces of the period. "Personal dress," refers to the "I" component we bring in when dressing the public self (bowtie, dramatic, or artistic attire). Many of these images have their roots in the "collective memory" of western society. Written in a lively and entertaining style, "Dress Codes "will fascinate both general readers and students interested in the history of fashion and costume, fashion design, human development, and gender studies.

In The Fashion Reader, Linda Welters and Abby Lillethun have selected 76 influential articles to offer insight into the critical theories and conversations that surround this huge international industry. Many of the essays are drawn from books, journals, magazines, and exhibition catalogues, bringing together new and established concepts to offer a solid grounding in the history, business and culture of fashion. Fourteen of the chapters were written expressly for this edition. For added context, each of the fifteen parts has an introduction from the editors, guiding you through the interdisciplinary world of fashion studies, and each part concludes with suggestions for further reading. This third edition has been substantially revised to highlight issues of sustainability, identity, the body, as well as global perspectives from "The Commodification of Ethnicity" to "The Cultural Heritage of Tattooing."

Popular culture in the latter half of the twentieth century precipitated a decisive change in style and body image. Postwar film, television, radio shows, pulp fiction and comics placed heroic types firmly within public consciousness. This book concentrates on these heroic male types as they have evolved from the postwar era and their relationship to fashion to the present day. As well as demonstrating the role of male icons in contemporary society, this book's originality also lies in showing the many gender slippages that these icons help to effect or expose. It is by exploring the somewhat inviolate types accorded to contemporary masculinity that we see the very fragility of a stable or rounded male identity.

Is it ever acceptable to "borrow" culturally inspired ideas? Who has ownership over intangible culture? What role does power inequality play? These questions are often at the center of heated public debates around cultural appropriation, with new controversies breaking seemingly every day. Cultural Appropriation in Fashion and Entertainment offers a sociological perspective on the appropriation of race, ethnicity, class, sexuality, and religion embedded in clothing, textiles, jewelry, accessories, hairstyles and tattoos, as well as in entertainment, such as K-pop, Bhangra, and hip-hop. By providing a range of global perspectives on the adoption, adaptation, and application of both tangible and intangible cultural objects, Kawamura and de Jong help move the conversation beyond simply criticizing designers and creators to encourage nuanced discussion and raise awareness of diverse cultures in the creative industries.

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.

This is a beautifully illustrated and well-researched Pitkin Guide. Taking costume though the ages from 1500 to the present day, it shows how we can relate our own experience of fashion to that of our ancestors. Look out for more Pitkin Guides on the very best of British history, heritage and travel.

"A thick, tangled and deliciously idiosyncratic history of hair." Times Literary Supplement The Enlightenment (1650-1800) was the Golden Age of hair. Hair dominated fashion as never before or since, with more men and women than ever donning elaborate wigs and hairdos. Such unprecedentedly extravagant styling naturally increased the demand for the services of professional hairdressers, whose numbers grew apace throughout the period. They, in turn, created a new range of hair-care products and a new literature of hair-care advice, ranging from hairstyles to hygiene, thus enlarging the market and further stimulating consumption. A Cultural History of Hair in the Enlightenment offers a record of their marketing success, mindful that the ultimate product of this culture of consumption was the consumer. Literary and visual arts celebrated the ambitious tetes and coifs of the period, but they also lampooned and caricatured the most fashionable in society. By exploring paintings, prints, plays, poems, novels, treatises, and advice manuals, the contributors to this volume show how hair in this period expanded beyond the fashionable and the superstitious, and became newly understood as material, inspiring empirical research and powering applications such as in the woolen goods industry. The essays in this volume-covering Religion and Ritualized Belief, Self and Society, Fashion and Adornment, Production and Practice, Health and Hygiene, Gender and Sexuality, Race and Ethnicity, Class and Social Status, and Cultural Representations-explore hair's many meanings and its importance during the Enlightenment period.

The much-anticipated first book by photographer Kevin Amato, a leading influencer in fashion today Kevin Amato, a fashion insider whose influence is felt around the world, defines who and what is beautiful and fashionable today. Through his photography - evocative of the work of the generation of photographers before him, including Nan Goldin, Larry Clark, and Ryan McGinley - Amato celebrates the faces of the Bronx, where he discovers the majority of his subjects. He takes their pictures. He casts them in fashion shows and advertising campaigns. He calls them 'The Importants', the young people thriving against all odds and who together exemplify diversity and inclusivity. Amato documents a new world order that is as provocative as it is tender, and as disturbing as it is joyful.

"A thick, tangled and deliciously idiosyncratic history of hair." Times Literary Supplement The Middle Ages were a time of great innovation, artistic vigor, and cultural richness. Appearances mattered a great deal during this vibrant era and hair was a key marker of the dynamism and sophistication of the period. Hair became ever more central to religious iconography, from Mary Magdalen to the Virgin Mary, while vernacular poets embellished their verses with descriptions of hairstyles both humble and elaborate, and merchants imported the finest hair products from great distances. Drawing on a wealth of visual, textual and object sources, the volume examines how hairstyles and their representations developed-often to a degree of dazzling complexity-between the years AD 800 and AD 1450. From wimpled matrons and tonsured monks to adorned noblewomen, hair is revealed as a potent cultural symbol of gender, age, sexuality, health, class, and race. Illustrated with approximately 80 images, A Cultural History of Hair in the Middle Ages brings together leading scholars to present an overview of the period with essays on politics, science, religion, fashion, beauty, the visual arts, and popular culture.

Fashion History: A Global View proposes a new perspective on fashion history. Arguing that fashion has occurred in cultures beyond the West throughout history, this groundbreaking book explores the geographic places and historical spaces that have been largely neglected by contemporary fashion studies, bringing them together for the first time. Reversing the dominant narrative that privileges Western Europe in the history of dress, Welters and Lillethun adopt a cross-cultural approach to explore a vast array of cultures around the globe. They explore key issues affecting fashion systems, ranging from innovation, production and consumption to identity formation and the effects of colonization. Case studies include the cross-cultural trade of silk textiles in Central Asia, the indigenous dress of the Americas and of Hawai'i, the cosmetics of the Tang Dynasty in China, and stylistic innovation in sub-Saharan Africa. Examining the new lessons that can be deciphered from archaeological findings and theoretical advancements, the book shows that fashion history should be understood as a global phenomenon, originating well before and beyond the fourteenth century European court, which is continually, and erroneously, cited as fashion's birthplace. Providing a fresh framework for fashion history scholarship, Fashion History: A Global View will inspire inclusive dress narratives for students and scholars of fashion, anthropology, and cultural studies.

Twelfth- and thirteenth-century medieval French texts reveal the presence of a developed fashion system long before the previously accepted birth of Western fashion in the mid-fourteenth century. How are we to distinguish between a culture organized around fashion, and one where the desire for novel adornment is latent, intermittent, or prohibited? How do fashion systems organize social hierarchies, individual psychology,creativity, and production? Medieval French culture offers a case study of "systematic fashion", demonstrating desire for novelty, rejection of the old in favor of the new, and criticism of outrageous display. Texts from the twelfth and thirteenth centuries describe how cleverly-cut garments or unique possessions make a character distinctive, and even offer advice on how to look attractive on a budget or gain enough spending money to shop for oneself. Suchdescriptions suggest fashion's presence, yet accepted notions date the birth of Western fashion to the mid-fourteenth-century revolution in men's clothing styles. A fashion system must have been present prior to this 'revolution'in styles to facilitate such changes, and abundant evidence for the existence of such a system is cogently set out in this study. Ultimately, fashion is a conceptual system expressed by words evaluating a style's ephemeral worth,and changes in visual details are symptomatic, rather than determinative. SARAH-GRACE HELLER is an associate professor in Medieval French at Ohio State University.

This book is the first to explore style and spectacle in glam popular music performance from the 1970s to the present day, and from an international perspective. Focus is given to a number of representative artists, bands, and movements, as well as national, regional, and cultural contexts from around the globe. Approaching glam music performance and style broadly, and using the glam/glitter rock genre of the early 1970s as a foundation for case studies and comparisons, the volume engages with subjects that help in defining the glam phenomenon in its many manifestations and contexts. Glam rock, in its original, term-defining inception, had its birth in the UK in 1970/71, and featured at its forefront acts such as David Bowie, T. Rex, Slade, and Roxy Music. Termed "glitter rock" in the US, stateside artists included Alice Cooper, Suzi Quatro, The New York Dolls, and Kiss. In a global context, glam is represented in many other cultures, where the influences of early glam rock can be seen clearly. In this book, glam exists at the intersections of glam rock and other styles (e.g., punk, metal, disco, goth). Its performers are characterized by their flamboyant and theatrical appearance (clothes, costumes, makeup, hairstyles), they often challenge gender stereotypes and sexuality (androgyny), and they create spectacle in popular music performance, fandom, and fashion. The essays in this collection comprise theoretically-informed contributions that address the diversity of the world's popular music via artists, bands, and movements, with special attention given to the ways glam has been influential not only as a music genre, but also in fashion, design, and other visual culture.

Dress became a testing ground for masculine ideals in Renaissance Italy. With the establishment of the ducal regime in Florence in 1530, there was increasing debate about how to be a nobleman. Was fashionable clothing a sign of magnificence or a source of mockery? Was the graceful courtier virile or effeminate? How could a man dress for court without bankrupting himself? This book explores the whole story of clothing, from the tailor's workshop to spectacular court festivities, to show how the male nobility in one of Italy's main textile production centers used their appearances to project social, sexual, and professional identities. Sixteenth-century male fashion is often associated with swagger and ostentation but this book shows that Florentine clothing reflected manhood at a much deeper level, communicating a very Italian spectrum of male virtues and vices, from honor, courage, and restraint to luxury and excess. Situating dress at the heart of identity formation, Currie traces these codes through an array of sources, including unpublished archival records, surviving garments, portraiture, poetry, and personal correspondence between the Medici and their courtiers. Addressing important themes such as gender, politics, and consumption, Fashion and Masculinity in Renaissance Florence sheds fresh light on the sartorial culture of the Florentine court and Italy as a whole.

2020 Second Place, Best Nonfiction Multi Author, International Latino Book Awards Collecting the perspectives of scholars who reflect on their own relationships to particular garments, analyze the politics of dress, and examine the role of consumerism and entrepreneurialism in the production of creating and selling a style, meXicana Fashions examines and searches for meaning in these visible, performative aspects of identity. Focusing primarily on Chicanas but also considering trends connected to other Latin American communities, the authors highlight specific constituencies that are defined by region ("Tejana style," "L.A. style"), age group ("homie," "chola"), and social class (marked by haute couture labels such as Carolina Herrera and Oscar de la Renta). The essays acknowledge the complex layers of these styles, which are not mutually exclusive but instead reflect a range of intersections in occupation, origin, personality, sexuality, and fads. Other elements include urban indigenous fashion shows, the shifting quinceanera market, "walking altars" on the Days of the Dead, plus-size clothing, huipiles in the workplace, and dressing in drag. Together, these chapters illuminate the full array of messages woven into a vibrant social fabric.

The ebook edition of this title is Open Access and freely available to read online. In an era of hyper visuality, service-based labour markets, consumer culture, and times of uncertainty, physical appearance plays an increasingly important role in producing and reinforcing social inequalities. Taking a sociological approach, the authors of Appearance as Capital examine physical appearance as a normatively regulated form of capital and explore how it is possible to accumulate and convert capital based on physical appearance. The chapters examine how norms of accumulating and converting aesthetic capital intertwine with gender, age and other forms of capital and play a role in shaping inequalities. Demonstrating how different cultural, institutional, group-specific and situational norms regulate the possibilities of accumulating and converting aesthetic capital, the authors take a critical stance towards an economics-inspired analysis of physical appearance as universally defined 'beauty' or 'attractiveness' that has standard value for all individuals. By presenting empirical work based in the context of Finnish society, often considered an egalitarian Nordic welfare state, this book provides a fresh perspective on appearance-based inequalities.

Who says you can't be pious and fashionable? Throughout the Muslim world, women have found creative ways of expressing their personality through the way they dress. Headscarves can be modest or bold, while brand-name clothing and accessories are part of a multimillion-dollar ready-to-wear industry that caters to pious fashion from head to toe. In this lively snapshot, Liz Bucar takes us to Iran, Turkey, and Indonesia and finds a dynamic world of fashion, faith, and style. "Brings out both the sensuality and pleasure of sartorial experimentation." -Times Literary Supplement "I defy anyone not to be beguiled by [Bucar's] generous-hearted yet penetrating observation of pious fashion in Indonesia, Turkey and Iran... Bucar uses interviews with consumers, designers, retailers and journalists...to examine the presumptions that modest dressing can't be fashionable, and fashion can't be faithful." -Times Higher Education "Bucar disabuses readers of any preconceived ideas that women who adhere to an aesthetic of modesty are unfashionable or frumpy." -Robin Givhan, Washington Post "A smart, eye-opening guide to the creative sartorial practices of young Muslim women... Bucar's lively narrative illuminates fashion choices, moral aspirations, and social struggles that will unsettle those who prefer to stereotype than inform themselves about women's everyday lives in the fast-changing, diverse societies that constitute the Muslim world." -Lila Abu-Lughod, author of Do Muslim Women Need Saving?

For centuries, the fashion industry has struggled to reconcile style with sustainability. In Historical Perspectives on Sustainable Fashion, you will be transported back in time to discover the historical dimensions of today's sustainable fashion movement. An array of success stories and cautionary tales provide both inspiration and warnings for the eco-conscious designer, encouraging an innovative approach that builds on predecessors' discoveries to move the practice of fashion forward. The 1st edition, Sustainable Fashion: Past, Present and Future, emerged from the Museum at FIT's groundbreaking exhibition 'Eco-Fashion: Going Green'. This revised edition broadens perspectives even further, incorporating eye-opening examples of designers, brands and activists working for change across the world today. Likewise, a new chapter examines the globalized mainstream fashion system and historical alternatives that provide compelling inspiration for reimagining the status quo. Fascinating and timely, Historical Perspectives on Sustainable Fashion examines progressive fashion through a historical lens, encouraging readers to question the state of the industry and demonstrating the value of historical insights in enabling and inspiring change.

Drawing on the collections of the V&A, Glam Rock narrates the story of glam and explores its impact on fashion, theatre and film. In the early 1970s, glam rock changed the face of popular culture in Britain and, against a backdrop of a nation racked by economical and social crises, its flamboyancy and theatricality provided an excuse for a party and an escapist dream for musicians and fans alike. British acts like David Bowie, Roxy Music, T. Rex and Mott the Hoople - together with American fellow-travellers including Lou Reed, Alice Cooper and Sparks - drew on the original blueprint of rock and roll, as well as a host of other traditions, from Hollywood to the music hall, Berlin cabaret and Broadway musicals to science fiction and pop art. The resulting music was a wild blend of camp artifice and avant-garde decadence. By 1975 the era had come to an end, but glam never truly went away. Indeed, its attitudes and aesthetics have shaped much that has followed since, from disco to punk, the new romantics to Britpop, Prince to Lady Gaga.