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Books > Social sciences > Sociology, social studies > Social institutions > Customs & folklore > Costume, clothes & fashion
Volume 3 of 4. Jacob Grimm was perhaps the first man who commanded a wide enough view of the whole field of Teutonic languages and literature to be able to bring into focus the scattered facts which show the prevalence of one system of thought among all the Teutonic nations from Iceland to the Danube. In this he was materially aided by his mastery of the true principles of philology, which he was the first to establish on a firm scientific basis, and which enabled him to trace a word with certitude through the strangest disguises. As a storehouse of facts within the special province of Teutonic mythology, and as a clue to the derivation and significance of the names of persons and things in the various versions of myth, this work has never been superseded and perhaps it never can be. Contents: poetry; specters; translation; devil; magic; superstition; sicknesses; herbs and stones; spells and charms.
Volume 4 of 4. Jacob Grimm was perhaps the first man who commanded a wide enough view of the whole field of Teutonic languages and literature to be able to bring into focus the scattered facts which show the prevalence of one system of thought among all the Teutonic nations from Iceland to the Danube. In this he was materially aided by his mastery of the true principles of philology, which he was the first to establish on a firm scientific basis, and which enabled him to trace a word with certitude through the strangest disguises. As a storehouse of facts within the special province of Teutonic mythology, and as a clue to the derivation and significance of the names of persons and things in the various versions of myth, this work has never been superseded and perhaps it never can be. Contents: supplement collected from the author's posthumous notes; Anglo-Saxon genealogies; superstitions; spells; index.
When we think of Italian fashion, Gucci, Max Mara and the meteoric rise of Prada immediately spring to mind. But Italian fashion has a dark history that has not previously been explored. The Fascism of 1930s Italy dominated more than just politics - it spilled over into modes of dress. Fashion under Fascism is the first book to consider this link in detail.Fashion often functions as a tacit means of making a social statement, but under Mussolini it vividly reflected political tyranny. Ones allegiance to the regime was choreographed by the dictatorship with the intent of creating a new national consciousness. Women in particular were manipulated through fashion ideals to create an authentic Italian femininity. Paulicelli explores the subtle yet sinister changes to the seemingly innocuous practices of everyday dress and shows why they were such a concern for the state. Importantly, she also demonstrates how these developments impacted on the global dominance of Italian fashion today.This fascinating book includes interviews with major designers, such as Fernanda Gattinoni and Micol Fontana, and sheds new light on the complicated relationship between style and politics.
Enlivened with extracts from novels, correspondence from columns in ladies' magazines, and fashion descriptions, the volume traces changes in feminine dress throughout the 1800s. A carefully researched work on a fascinating subject, this book appeals to a wide audience: from feminists to costume designers. Collection of period advertisements. 8 black-and-white illustrations.
Relating to clothes is a fundamental experience in the lives of
most Western women. Even when choice is fraught with ambivalence,
clothing matters. From considerations about dressing for success,
to worries about weight, through to investing particular articles
of clothing with meaning bordering on the sacred, what we wear
speaks volumes about personal identity - what is revealed, what is
concealed, what is created.
Provincial or local words are of three kinds, the first, either Saxon or Danish, in general grown obsolete from disuse, and the introduction of more fashionable terms; and, consequently, only retained in countries remote from the capital, where modern refinements do not easily find their way and are not readily adopted. The second sort are words derived from some foreign languages, as Latin, French or German; but so corrupted, by passing through the mouths of illiterate clowns as to render their origin scarcely discoverable. The third are mere arbitrary words, not deducible from any primary source or language. The Local Proverbs section of this book all allude to the particular history of the places mentioned or some ancient customs respecting them, and Popular Superstitions tend to illustrate our ancient poems and romances.
Moralists have raged throughout history against various fashions for being too short, too long, too tight, too loose or too costly. Highlighting the times when choice of dress was a moral minefield, this enlightening and entertaining book looks at fashion extremes over the centuries, from the sexual display of the codpiece through to corsets, crinolines and decolletage. Providing a sharp and humorous look at the outright risque as well as the grotesquely exaggerated and even the repulsive, Ribeiro shows how dress has functioned variously as a vehicle of righteousness or turpitude and as an expression of sexuality, class or social status. In 747 St Boniface deemed wide stripes and scarlet borders to incite lust and ruination of the soul. Well over a millennium later immodest dress ranked high in Jesuit Father Bernard Vaughan's book on the sins of society. Medical practitioners once labelled the v-necked top, now a standard style, 'the pneumonia neckline'. Was it the force of society or sheer vanity of fashion that drove women to wear sleeves the size of balloons? Are sexual boundaries between dress worn by men and women diminishing? What morals still bind us to our Judeo-Christian heritage and lead us to express ourselves through appearances?Lavishly illustrated and packed with countless thought-provoking quotes, Dress and Morality is an in-depth exploration of the comical vanities and social etiquettes associated with dress in the past. At last here is the much-anticipated updated edition of this classic book.
Corsets, and the corseted body, have been fetishized, mythologized,
romanticized. This Victorian icon has inspired more passionate
debate than any other article of clothing. As a means of body
modification, perhaps only foot binding and female genital
mutilation have aroused more controversy.
In the following pages the reader will find a narrative of a few of the romantic stories the Lake district affords. The district, it is true, is not particularly rich in historical incidents; nor has it been the scene of many great events; yet, it has been justly said by a popular writer, what it wants in history it more than makes up in poetry. The interest of a country abounding in spots the most attractive in themselves, is greatly enhanced by the local associations attaching to it, its connection with bygone days, be they of the historical or legendary kind.
Although the Victorian white wedding dominates western bridal dress and large portions of former colonial empires, marriage rituals vary significantly throughout the world. The Japanese, for instance, combine both traditional ceremonies with receptions utilizing western approaches to dress. In the Andes the bride will personally create a multi-layered dress to showcase her weaving skills. Berber brides in Morocco wear binding clothing that covers their faces, a notable contrast to Canadian prairie-province brides whose stylized gowns individualize and enhance body shape. This engaging book examines the evolution and ritual functions of wedding attire within the context of particular cultures. It raises questions as to the relationship between contemporary wedding attire and traditional values. It discusses the changes international migrations have had upon the wedding dress of several ethnic groups. It provides insights into numerous societal relationships to weddings, such as the ban on bridal-produced embroidery in dowries in India, the challenges individual values have to larger societal ones in themed weddings, and the relationship between the return to pre-western attire and identity politics. Exploring these issues, the authors provide unusual insights into the centrality of dress in shaping individual identity as well as its importance in reflecting cultural values and ideals.
Although the Victorian white wedding dominates western bridal dress and large portions of former colonial empires, marriage rituals vary significantly throughout the world. The Japanese, for instance, combine both traditional ceremonies with receptions utilizing western approaches to dress. In the Andes the bride will personally create a multi-layered dress to showcase her weaving skills. Berber brides in Morocco wear binding clothing that covers their faces, a notable contrast to Canadian prairie-province brides whose stylized gowns individualize and enhance body shape. This engaging book examines the evolution and ritual functions of wedding attire within the context of particular cultures. It raises questions as to the relationship between contemporary wedding attire and traditional values. It discusses the changes international migrations have had upon the wedding dress of several ethnic groups. It provides insights into numerous societal relationships to weddings, such as the ban on bridal-produced embroidery in dowries in India, the challenges individual values have to larger societal ones in themed weddings, and the relationship between the return to pre-western attire and identity politics. Exploring these issues, the authors provide unusual insights into the centrality of dress in shaping individual identity as well as its importance in reflecting cultural values and ideals.
Shortlisted for the Katharine Briggs Folklore Award 2000.
The fairy tale makes universal appeal because it deals with the elemental in our natures that is the same in every age and in every race. In the Canadian tales which are gathered from Indian sources, we find the same types of characters and scenes of adventure that we do in the tales of the German forests, of Scandinavia, England or France.
Being a collection of legends; traditions; folk tales, myths, etc. centered around the bells of all lands. Illustrated throughout.
Clothing occupies a complex and important position in relation to human experience. Not just utilitarian, dress gives form to a society's ideas about the sacred and secular, about exclusion and inclusion, about age, beauty, sexuality and status. In Dressing the Elite, the author explores the multiple meanings that garments held in early modern England. Clothing was used to promote health and physical well-being, and to manage and structure, life transitions. It helped individuals create social identities and also to disguise them. Indeed, so culturally powerful was the manipulation of appearances that authorities sought its control. Laws regulated access to the dress styles of the elite, and through less formal strategies, techniques of disguise were kept as the perquisites of the powerful. Focusing on the elite, the author argues that clothing was not just a form of cultural expression but in turn contributed to societal formation. Clothes shaped the configurations of the body, affected spaces and interactions between people and altered the perceptions of the wearers and viewers. People put on and manipulated their garments, but in turn dress also exercised a reverse influence. Clothes made not just the man and the woman, but also the categories of gender itself. Topics covered include cross-dressing, sumptuary laws, mourning apparel and individual styles.
Although it can be difficult to think of fashion in anything other than a contemporary context, as a concept it is hardly new. Costume historians trace the birth of fashion back to the thirteenth century and writings on fashion date back as early as the sixteenth century when Michel de Montaigne pondered its origins, thereby setting in motion a chain of inquiry that has continued to intrigue writers for centuries. This key text reprints classic fashion writings, all of which have had a profound if perhaps untrumpeted impact on our understanding and approach to modern day dress - from the psychology of clothes through to collective fashion trends. Why do we wear clothes? What do they say about our self-awareness and body image? How can we 'fashion' new identities through what we wear? Seminal fashion statements by Montaigne, William Hazlitt, Herbert Spencer, Thorstein B. Veblen, Adam Smith, Herbert Blumer, and Georg Simmel answer these questions and many more. Full of vital fashion treasures that have often been ignored, this book fills a major gap in the history of the discipline and will serve as an essential teaching text for years to come.
During the colonial period, Pacific Islanders’ acceptance of
clothing was seen by Europeans as a civilizing sign. In reality,
Islanders’ use of foreign cloth and clothing generally involved
translating indigenous preoccupations into new forms of dress.
Today, both imported and indigenous cloth feature prominently in
Pacific Island exchange, religious practice, clothing, domestic
space, public political activity, festivals, and the art and
tourist markets. This book sets out to examine the multiple
histories of cloth and clothing in the Pacific and to investigate
its role in social innovation and resistance from the period of
contact to the present day.
During the colonial period, Pacific Islanders' acceptance of clothing was seen by Europeans as a civilizing sign. In reality, Islanders' use of foreign cloth and clothing generally involved translating indigenous preoccupations into new forms of dress. Today, both imported and indigenous cloth feature prominently in Pacific Island exchange, religious practice, clothing, domestic space, public political activity, festivals, and the art and tourist markets. This book sets out to examine the multiple histories of cloth and clothing in the Pacific and to investigate its role in social innovation and resistance from the period of contact to the present day.The past three decades have witnessed the emergence of Pacific fashion stylists as well as cloth producers who, like anthropologists, are acutely aware of how globalization impacts on identity. Typically, their work integrates both Pacific and introduced forms. This book compares these synthetic forms with others that developed in the region during the colonial period, when foreign cloth was typically adapted and incorporated within indigenous textile systems, and shows how cloth is central to the transmission of identity as well as a vehicle for associative thinking.From an analysis of the place of cloth in traditional Tahitian religion, to fashion activism within the diaspora population in New Zealand, Clothing the Pacific provides fascinating insights into the shifting relationship between cloth and social imagination. By tracing the diverse responses to the imposition of dress upon Pacific Islanders, this book profoundly challenges Western assumptions about the place of cloth in culture.
The purpose of this essay is to indicate the chief tendencies of ancient Egyptian speculation in regard to the god Thoth. Taking as the basis of his work a fairly complete examination of the chief references to the god in Egyptian literature and ritual, the author has tried to distinguish the more important phases of Thoth's character as they were conceived by the Egyptians, and to show how these aspects, or phases, of his being help to explain the various activities which are assigned to him in the Egyptian legends of the gods and in the ritual of tombs and temples.
Transnational movements of people, cultural objects, images and
identities have played a vital role in creating an informal global
network for African fashion - from clothing designers and tailors
to dyers and jewellery makers. This book traces the changing
meanings, aesthetics and histories of the thriving informal African
fashion network through its multicultural cross-roads of Los
Angeles, Kenya and Senegal.
In the turbulent political and social landscape of Revolutionary
France, dress played a major role in defining and displaying new
identities. What people wore was, in fact, a vital symbol of their
allegiances and beliefs. Drawing on a wide range of documentary and
visual sources, this book offers a vivid picture of the highly
charged politics of Revolutionary appearances. The author explores
the dynamic complexity of the new socio-political world, where the
identification of who stood for what was such an urgent, if vexed,
issue: where identical items of dress could stand for opposing
political ideologies, where a variety of institutions - from local
societies to the national assembly - tried to define the meanings
associated with clothing, and where the clothes a person wore could
seal their fate. Tracing the stories surrounding the liberty cap,
the different manifestations of official dress, the tricolore
cockade and the sans-culotte provides a new and exciting insight
into the complexities and uncertainties that made up life in
Revolutionary France and the political culture that it
created.
Before the outbreak of WWII, French fashion represented the very pinnacle of style, and French women the epitome of chic. At home and abroad, couturiers' wealthy clients eagerly awaited the latest collections, and design houses throughout the world looked to Paris for inspiration. Unparalleled for glamour and elegance, all things French were noted and emulated - and especially French fashion.One morning in September 1939, into this idyllic world of haute couture and Cafe society came the shattering experience of war, followed by the German Occupation. French women, determined not to give way to the inevitable austerities, sought innovation: hats made from blotting paper or newspapers - the latter signalling political allegiances - and blouses made out of parachute silk, often obtained through dubious means. Not only did life go on, but creativity flourished - culottes, which enabled stylish bicycle journeys, became the vogue, and couturiers capitalized on deprivation with wit - dubbing designs 'Coal' and 'Black Coffee', or naming an entire collection after Metro stops.Fashion under the Occupation provides the only in-depth history of these blackest years in French history, long overlooked by fashion history because of the impoverished industry and deprivations that affected design. Widely acknowledged as the authoritative work on fashion during this period, it is available in English for the first time and will be essential reading for anyone interested in fashion, French cultural history, and particularly the German Occupation of France.
Before the outbreak of WWII, French fashion represented the very
pinnacle of style, and French women the epitome of chic. At home
and abroad, couturiers' wealthy clients eagerly awaited the latest
collections, and design houses throughout the world looked to Paris
for inspiration. Unparalleled for glamour and elegance, all things
French were noted and emulated - and especially French fashion.
With an afterword by Roger Griffin. Fashion is often thought of as
a matter of personal taste, completely unconnected with the public
domain of political life and citizenship. Overturning this
perspective, this absorbing book reveals that, from the French
Revolution to post-revolutionary China, fashion has played a
significant role in political participation and protest. Fashioning
the Body Politic challenges the perception of helpless fashion
victims, subject to manipulation by consumerism and the fashion
industry, and shows how, in a range of historical and national
contexts, certain styles of dress and display were significant for
both men and women's political participation and the formation of
their identities as citizens. How did 'dressing up' in a variety of
ways allow suffragette women to perform unconventional forms of
political protest? In what ways did the uniforms of scouts and
guides function to erect gender, racial and religious boundaries?
Following the ban on traditional clothing in Imperial Russia, how
did Russians appropriate European fashions and ethnic costumes to
fashion new identities for themselves? Using these and a wealth of
other case studies, Fashioning the Body Politic offers a fresh
perspective on the relationship between men, women and fashion and
shows that the political domain has always been permeated with the
cultural practices of dress, display and bodily performance. |
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