"Meticulously researched and beautifully produced." Times Literary Supplement "A big and beautiful book." Journal of British Studies "A definitive history of the sports shoe." Amber Butchart, fashion historian "A necessary book [and] a great read." Samuel Smallidge, Archivist, Converse "Both educational and entertaining." Scene Point Blank The story of the sneaker's rise from the first Victorian tennis shoes to the Nike Air Max and beyond. Moving from the athletic field to the shopping mall, Thomas Turner tells a fresh story of the evolution of the sports shoe against the changing landscape of society, sport, fashion, industry, and technology. The Sports Shoe takes us on a journey from the first Victorian tennis shoes to the sneaker of today, to the adidas Superstar and the innovative technologies of Nike Air Max. Featuring newly uncovered archival material and historic images showcasing key personalities, vintage marketing and common perceptions of this hugely desirable product, this book is a must-have for any sneaker collector, historian of popular culture, or anyone interested in the place of athletic footwear in our lives today.

In this innovative collaborative ethnography of Italian-Chinese ventures in the fashion industry, Lisa Rofel and Sylvia J. Yanagisako offer a new methodology for studying transnational capitalism. Drawing on their respective linguistic and regional areas of expertise, Rofel and Yanagisako show how different historical legacies of capital, labor, nation, and kinship are crucial in the formation of global capitalism. Focusing on how Italian fashion is manufactured, distributed, and marketed by Italian-Chinese ventures and how their relationships have been complicated by China's emergence as a market for luxury goods, the authors illuminate the often-overlooked processes that produce transnational capitalism-including privatization, negotiation of labor value, rearrangement of accumulation, reconfiguration of kinship, and outsourcing of inequality. In so doing, Fabricating Transnational Capitalism reveals the crucial role of the state and the shifting power relations between nations in shaping the ideas and practices of the Italian and Chinese partners.

Clothing appears in all forms of figurative painting, often taking up two thirds of a frame; yet it can often go unnoticed. Far more than a simple means of identifying the status or occupation of a figure, clothes and cloth are used creatively by artists to hint at ambiguities in character, adjust the emotional temperature, direct the eye or make subtle allusions. Drawing on works by artists over a period of six centuries, from Giotto to El Greco, Matisse to Cindy Sherman, the author reveals through paintings, fashion plates, photographs and film stills how drapery in art evolved from Renaissance extravagance to Neoclassical simplicity at the end of the 18th century, and has extended to infinite uses in all genres of Modern art. First published in 2002 to accompany an exhibition of the same name at the National Gallery, London, this beautifully illustrated - and beautifully written - book by pioneering art historian and critic Anne Hollander, is reissued with a new Foreword by Valerie Steele. As penetrating and insightful as when it was first published, it remains a must-read for today's generation of students and anyone with an interest in art and fashion.

"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.

Shoes are an integral part of Jewish material culture. Although they appear in some of the most foundational biblical stories, they are generally regarded as no more than lowly, albeit essential, accessories.

"Jews and Shoes" takes a fresh look at the makings and meanings of shoes, cobblers, and barefootedness in Jewish experience. The book shows how shoes convey theological, social, and economic concepts, and as such are intriguing subjects for inquiry within a wide range of cultural, artistic, and historic contexts.The book's multidisciplinary approach encompasses a wide range of contributions from disciplines as diverse as fashion, visual culture, history, anthropology, Bible and Talmud, and performance studies. "Jews and Shoes" will appeal to students, scholars and general readers alike who are interested to find out more about the practical and symbolic significance of shoes in Jewish culture since antiquity.

This is the first global history of dress regulation and its place in broader debates around how human life and societies should be visualised and materialised. Sumptuary laws were a tool on the part of states to regulate not only manufacturing systems and moral economies via the medium of expenditure and consumption of clothing but also banquets, festivities and funerals. Leading scholars on Asian, Latin American, Ottoman and European history shed new light on how and why items of dress became key aspirational goods across society, how they were lobbied for and marketed, and whether or not sumptuary laws were implemented by cities, states and empires to restrict or channel trade and consumption. Their findings reveal the significance of sumptuary laws in medieval and early modern societies as a site of contestation between individuals and states and how dress as an expression of identity developed as a modern 'human right'.

Riffling through the wardrobes of years gone by, costume historian Lucy Adlington reveals the rich stories underlying the clothes we wear in this stylish tour of the most important developments in the history of fashion, from ancient times to the present day. Starting with underwear - did you know Elizabeth I owned just one pair of drawers, worn only after her death? - she moves garment by garment through Western attire, exploring both the items we still wear every day and those that have gone the way of the dodo (sugared petticoats, farthingales and spatterdashers to name but a few). Beautifully illustrated throughout, and crammed with fascinating and eminently quotable facts, Stitches in Time shows how the way we dress is inextricably bound up with considerations of aesthetics, sex, gender, class and lifestyle - and offers us the chance to truly appreciate the extraordinary qualities of these, our most ordinary possessions.

A cultural and historical philosophy of fashion in economic and social life from the 1830s to the present dayUlrich Lehmann brings together methods and ideas from social sciences and material production to offer a new political reading of fashion in today's post-democracy. Accessing rare source material across a wide range of European languages and cultures, he offers insight into new working structures in the manufacture of garments and textiles. Reinvigorates materialism as a critical approach to analysing economics, society and media through the thematic focus on fashion as the economically and culturally dominant sector within post-industrial societiesCase studies include the male suit in Alfred Hitchcock's film 'North by Northwest' (1959), the revolutionary production methods in the work of Carol Christian Poell and the innovative textile manufacture of Bonotto in Molvena, north-east ItalyRedirects fashion theory toward materiality and materialism from previous art-historical and social-anthropological approachesExposes the need critically to engage with fashion production, away from the exclusive reading of fashion through its media representationExtends the discussion of fashion production from aspects of labour conditions and sustainability to the materialist critique of the fashion system

The Late Middle Ages (c.1350 - 1500) provides us with many of our stock, childhood images of the 'Middle Ages': the knight in shining armour, the joust, lords and ladies dressed in rich, voluminous robes and elegant dresses. Yet it is a paradox, for at the start of the period, Europe had endured the worst pandemic of recorded history: the Black Death, the climate was rapidly cooling, causing massive crop failures and France and England were locked in the brutal, dynastic struggle of the Hundred Years War. Meanwhile, in the second half of the period, intrepid merchants became the new knighthood of Europe, seeking new wealth in Asia and Africa, and launching what has been called the 'Age of Discovery' while a new interest in Classical culture would give birth to the Renaissance. All of these elements have long intrigued and inspired writers, researchers and reenactors to take a trip through the looking glass to this lost world. In the Book of Historic Fashion: A Newcomer's Guide to Medieval Clothing (1300 - 1450), authors Allen and Mele provide a visual snap shot of the courtly elegance and common wear of the period. Filled with hundreds of sketches taken from original sources, mechanical drawings and detailed 'layer drawings' demonstrating how the clothing was worn, this entree both introduces the period and helps newcomers find their way forward in the study of primary and secondary sources. Whether you are a teacher or professor who wants your students to understand what the clothing of the day really looked like, a costume designers working in theater, TV and film looking for visual reference or just new to medieval reenacting who wants guidance on what to wear in order to be appropriately dressed at events, this volume is for you.

Survey of Historic Costume Coloring Book highlights Western dress from the ancient world to today through fashion silhouettes. By coloring line drawings that parallel chapters from the Survey of Historic Costume, Seventh Edition textbook, students will learn to identify and retain specific details that make each historical period's fashion unique. Each chapter also includes activities and prompts to promote further thinking and creativity, including features like Draw-It Boxes and Modern Connections Boxes. Through these dynamic, hands-on exercises, students will develop an understanding of historic costume, increase awareness of world culture, and have fun through this interactive learning medium. Features: -92 pieces of line art to color, adapted from images in Survey of Historic Costume -Modern Connections Boxes, Draw-It Boxes, Activity Boxes, and Global Connections Boxes provide additional exercises to apply knowledge of costume history and design -Image Captions and Cross References give additional historical context and allow images to be looked up in the companion textbook for further study

Fashion is a dynamic global industry that plays an important role in the economic, political, cultural, and social lives of an international audience. It spans high art and popular culture, and plays a significant role in material and visual culture. This book introduces fashion's myriad influences and manifestations. Fashion is explored as a creative force, a business, and a means of communication. From Karl Lagerfeld's creative reinventions of Chanel's iconic style to the multicultural reference points of Indian designer Manish Arora, from the spectacular fashion shows held in nineteenth century department stores to the mix-and-match styles of Japanese youth, the book examines the ways that fashion both reflects and shapes contemporary culture. Using historical and contemporary examples, it gives a clear understanding of how fashion has developed since the renaissance, while raising questions about its status, ethical credibility, and influence on consumers. The book provides insight into the structure of the fashion industry and how fashions are designed, promoted and consumed, in relation to relevant historical, social and cultural contexts. It is structured thematically, to look at the role and development of designers, the growth of shopping and the different businesses involved in making and selling fashionable clothes. Fashion's relationship to the wider culture is also explored, by considering its representation in art and collaborations between designers and artists, the moral controversies surrounding fashion, and attempts to produce ethical clothing, and the effects of globalisation on the fashion trade. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

In the shops of London's Oxford Street, girls wear patterned scarves over their hair as they cluster around makeup counters. Alongside them, hip twenty-somethings style their head-wraps in high black topknots to match their black boot-cut trousers. Participating in the world of popular mainstream fashion-often thought to be the domain of the West-these young Muslim women are part of an emergent cross-faith transnational youth subculture of modest fashion. In treating hijab and other forms of modest clothing as fashion, Reina Lewis counters the overuse of images of veiled women as "evidence" in the prevalent suggestion that Muslims and Islam are incompatible with Western modernity. Muslim Fashion contextualizes modest wardrobe styling within Islamic and global consumer cultures, interviewing key players including designers, bloggers, shoppers, store clerks, and shop owners. Focusing on Britain, North America, and Turkey, Lewis provides insights into the ways young Muslim women use multiple fashion systems to negotiate religion, identity, and ethnicity.

Caricatured for extravagance, vanity, glamorous celebrity and, all too often, embroiled in scandal and gossip, 18th-century London's fashionable society had a well-deserved reputation for frivolity. But to be fashionable in 1700s London meant more than simply being well dressed. Fashion denoted membership of a new type of society - the beau monde, a world where status was no longer determined by coronets and countryseats alone but by the more nebulous qualification of metropolitan 'fashion'. Conspicuous consumption and display were crucial; the right address, the right dinner guests, the right possessions, the right jewels, the right seat at the opera. The Beau Monde leads us on a tour of this exciting new world, from court and parliament to London's parks, pleasure grounds, and private homes. From brash displays of diamond jewellery to the subtle complexities of political intrigue, we see how membership of the new elite was won, maintained - and sometimes lost. On the way, we meet a rich and colourful cast of characters, from the newly ennobled peer learning the ropes and the imposter trying to gain entry by means of clever fakery, to the exile banned for sexual indiscretion. Above all, as the story unfolds, we learn that being a Fashionable was about far more than simply being 'modish'. By the end of the century, it had become nothing less than the key to power and exclusivity in a changed world.

In this surprising new look at how clothing, style, and commerce came together to change American culture, Jennifer Le Zotte examines how secondhand goods sold at thrift stores, flea markets, and garage sales came to be both profitable and culturally influential. Initially, selling used goods in the United States was seen as a questionable enterprise focused largely on the poor. But as the twentieth century progressed, multimillion-dollar businesses like Goodwill Industries developed, catering not only to the needy but increasingly to well-off customers looking to make a statement. Le Zotte traces the origins and meanings of ""secondhand style"" and explores how buying pre-owned goods went from a signifier of poverty to a declaration of rebellion. Considering buyers and sellers from across the political and economic spectrum, Le Zotte shows how conservative and progressive social activists--from religious and business leaders to anti-Vietnam protesters and drag queens--shrewdly used the exchange of secondhand goods for economic and political ends. At the same time, artists and performers, from Marcel Duchamp and Fanny Brice to Janis Joplin and Kurt Cobain, all helped make secondhand style a visual marker for youth in revolt.

Color speaks a powerful cultural language, conveying political, sexual, and economic messages that, throughout history, have revealed how we relate to ourselves and our world. This ground-breaking compilation is the first to investigate how color in fashionable and ceremonial dress has played a significant social role, indicating acceptance and exclusion, convention and subversion. From the use of white in pioneering feminism to the penchant for black in post-war France, and from mystical scarlet broadcloth to the horrors of arsenic-laden green fashion, this publication demonstrates that color in dress is never straightforward. Divided into four parts - solidarity, power, innovation, and desire - each section highlights the often violent, emotional histories of color in dress across geographical, temporal and cultural boundaries. Underlying today's relaxed attitude to color lies a chromatic complexity that speaks of wars, migrations and economics. Bringing together cutting-edge chapters from leading scholars, it is essential reading for students of fashion, textiles, design, cultural studies and art history.

When department stores like Le Bon Marche first opened their doors in mid-nineteenth-century Paris, shoppers were offered more than racks of ready-made frock coats and crinolines. They were given the chance to acquire a lifestyle as well--that of the bourgeoisie. Wearing proper clothing encouraged proper behavior, went the prevailing belief.

Available now for the first time in English, "Fashioning the Bourgeoisie" was one of the first extensive studies to explain a culture's sociology through the seemingly simple issue of the choice of clothing. Philippe Perrot shows, through a delightful tour of the rise of the ready-made fashion industry in France, how clothing can not only reflect but also inculcate beliefs, values, and aspirations. By the middle of the century, men were prompted to disdain the decadent and gaudy colors of the pre-Revolutionary period and wear unrelievedly black frock coats suitable to the manly and serious world of commerce. Their wives and daughters, on the other hand, adorned themselves in bright colors and often uncomfortable and impractical laces and petticoats, to signal the status of their family. The consumer pastime of shopping was born, as women spent their spare hours keeping up their middle-class appearance, or creating one by judicious purchases.

As Paris became the fashion capital and bourgeois modes of dress and their inherent attitudes became the ruling lifestyle of Western Europe and America, clothing and its "civilizing" tendencies were imported to non-Western colonies as well. In the face of what Perrot calls this "leveling process," the upper classes tried to maintain their stature and right to elegance by supporting what became the high fashion industry. Richly detailed, entertaining, and provocative, "Fashioning the Bourgeoisie" reveals to us the sources of many of our contemporary rules of fashion and etiquette."

"The entire town is disguised," declared a French tourist of eighteenth-century Venice. And, indeed, maskers of all ranks--nobles, clergy, imposters, seducers, con men--could be found mixing at every level of Venetian society. Even a pious nun donned a mask and male attire for her liaison with the libertine Casanova. In Venice Incognito, James H. Johnson offers a spirited analysis of masking in this carnival-loving city. He draws on a wealth of material to explore the world view of maskers, both during and outside of carnival, and reconstructs their logic: covering the face in public was a uniquely Venetian response to one of the most rigid class hierarchies in European history. This vivid account goes beyond common views that masking was about forgetting the past and minding the muse of pleasure to offer fresh insight into the historical construction of identity.

A year after""R. Turner Wilcox received rave reviews for her ultimate fashion reference, "The Mode in Costume, "she decided to zero in on one chic category to give it the close-up it deserved. The result is this extraordinary handbook that covers the worldwide evolution of almost five thousand years of hats, hairstyles, and headdress for both sexes. Since ancient times, men and women have used hats and headgear for everything from adornment and protection to establishing their rank in society. With hundreds of illustrations and fascinating text, this comprehensive survey extends from 3000 B.C. to mid-twentieth century.
The showcase depicts an astonishing range of women's styles -- Egyptian headdresses, Spanish mantillas, French straw sailor hats, buckle-trimmed tam-o-shanters, wedding veils, bonnets, snoods, and jeweled crowns. Men's headwear includes feather-trimmed turbans, soldiers' helmets, cowboy hats and top hats, derbies and boaters, berets, sombreros, and Homburgs. Hairstyles run the gamut as well: ringlets, topknots, and spit curls, ponytails, pageboys, and poodle cuts, as well as pompadours, mutton chops, and crew cuts. With delightful details on jewelry, cosmetics, and beauty treatments, this is a unique reference that fashion designers, stylists, and historians will treasure.

Learn how to make ethical decisions on a daily basis. This second edition of Ethics in the Fashion Industry continues to document the relationships between functions in the fashion industry and the people who make these functions happen. Covering topics such as corporate social responsibility, social media, social compliance audits, diversity, and human rights, this book empowers students who will soon become fashion professionals to make good decisions. Whether debating issues like factory conditions, fair wages, fast fashions, or designer knock-offs, shoplifting, and controversial advertising, Ethics in the Fashion Industry gives you the tools to do the right thing. New to this Edition: Box Features: In each chapter you will find three key boxes that call your attention to current ethical practices. Ethics in the Industry highlights relevant industry practices relating to ethics; Ethics in the News analyzes recent reporting on ethics; and Ethics in Practice profiles present industry professionals' and fashion scholars' work in the context of the chapter's topic. Case Studies: Each chapter ends with two Case Studies that facilitate exploration of current and relevant industry activities into the knowledge-building process, allowing students to think critically on scenarios that may present themselves in the course of their careers. New Insights: The responsibility that millennials, Gen Xers, and Gen Nexters have in positioning not only the fashion industry, but the planet itself, for a healthy future cannot go unobserved. This second edition includes new insights about generational behaviors and perspectives in making ethical decisions, in addition to the role that consumers play in shaping fashion industry decisions. Ethics in the Fashion Industry STUDIO Study smarter with self-quizzes featuring scored results and personalized study tips Review concepts with flashcards of essential vocabulary

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."

Entertaining pictorial record displays elegant dresses for special occasions, everyday wear, and two-piece suits for women; charming hats trimmed with ribbon and feathers, attractive sailor suits for little boys and more. Invaluable to collectors, designers and fashion historians. Descriptive captions.

New view of the crucial role of fashion discourse and practice in Weimar Germany and its significance for women. In the Weimar Republic, fashion was not only manipulated by the various mass media -- film, magazines, advertising, photography, and popular literature -- but also emerged as a powerful medium for women's self-expression. Female writers and journalists, including Helen Grund, Irmgard Keun, Vicki Baum, Elsa Maria Bug, and numerous others engaged in a challenging, self-reflective commentary on current styles. By regularly publishing on these topics in the illustrated press and popular literature, they transformed traditional genres and carved out significant public space for themselves. This book re-evaluates paradigmatic concepts of German modernism such as the flaneur, the Feuilleton, and Neue Sachlichkeit in the light of primary material unearthed in archival research: fashion vignettes, essays, short stories, travelogues, novels, films, documentaries, newsreels, and photographs. Unlike other studies of Weimar culture that have ignored the crucial role of fashion, the book proposes a new genealogy of women's modernity by focusing on the discourse and practice of Weimar fashion, in which the women were transformed from objects of male voyeurism into subjects with complex, ambivalent, and constantly shifting experiences of metropolitan modernity. Mila Ganeva is Associate Professor of German at Miami University, Oxford, Ohio.

Dress is everywhere imbued with symbols that reflect different meanings in different contexts. This compelling book convincingly demonstrates how clothing is analogous to a working language and is similarly underpinned by deeper meanings and philosophies.From tattoos and mini-skirts, to skin decoration, makeup and hair, Calefato unpicks the multiple functions of modern dress. Exploring intriguing commonalities - for example, between tattooed Egyptian mummies of 2000 BC and modern subcultural styles - Calefato considers the psychological, cultural, spiritual and symbolic significances at play in what she aptly labels 'body cartography'. What we wear is a vehicle for the (often contentious) expression of politics, gender and identity, placing clothing at the root of a complex set of messages, many of which are paradoxical. Clothing may, for example, liberate through the pleasures of masquerade and at the same time 'cage' or control the body. The Clothed Body shows how semiotics can provide a convincing template for understanding dress in a wide range of contexts and will be essential reading for anyone interested in the meaning of what we wear.