Drawing examples from a wide range of African cultures, this ground-breaking book expands the continuing discourse on the aesthetic and cultural significance of cloth, body and dress in Africa and moves beyond contextual analysis to consider the broader application of cloth and dress to art forms in other media. In blending the concerns of Art History and Anthropology, the authors focus on the art patronage systems that stimulate production, consumption, commodification and cultural meaning, and emphasize the overriding importance of cloth to aesthetic and cultural expression in African societies. Through this approach they reveal complex processes that involve a series of actors, including textile artists, commissioning-patrons and consumer-patrons, all of whom shape cloth and dress traditions. These individuals not only influence production, but are a key to understanding the cultural meaning of cloth and dress and, by extension, the body in Africa.

The body has been the focus of much recent critical attention, but the clothed body less so. In answering the need to theorize dress, this book provides an overview of recent scholarship and presents an original theory of what dress means in relation to the body. Identity relies on boundaries to individuate the self. Dress challenges boundaries: it frames the body and serves both to distinguish and connect self and 'Other'. The authors argue that clothing is, then, both a boundary and not a boundary, that it is ambiguous and produces a complex relation between self and 'not self'. In examining the role of dress in social structures, the authors argue that clothing can be seen as both restricting and liberating individual and collective identity. In proposing that dress represents 'a deep surface, ' a manifestation of the unconscious at work through apparently superficial phenomena, the book also questions the relationship between surface and depth and counters the notion of dress as disguise or concealment. The concept of the gaze and the role of gender are approached through a discussion of masks and veils. The authors argue that masks and veils paradoxically combine concealment and revelation, 'truth' and 'deception'. Here the body and dress are both seen as forms of absence, with dress concealing not the body, but the absence of the physical body.This provocative book is certain to become a landmark text for anyone interested in the intersection of dress, the body and critical theory.

The body has been the focus of much recent critical attention, but the clothed body less so. In answering the need to theorize dress, this book provides an overview of recent scholarship and presents an original theory of what dress means in relation to the body. Identity relies on boundaries to individuate the self. Dress challenges boundaries: it frames the body and serves both to distinguish and connect self and 'Other'. The authors argue that clothing is, then, both a boundary and not a boundary, that it is ambiguous and produces a complex relation between self and 'not self'. In examining the role of dress in social structures, the authors argue that clothing can be seen as both restricting and liberating individual and collective identity. In proposing that dress represents 'a deep surface, ' a manifestation of the unconscious at work through apparently superficial phenomena, the book also questions the relationship between surface and depth and counters the notion of dress as disguise or concealment. The concept of the gaze and the role of gender are approached through a discussion of masks and veils. The authors argue that masks and veils paradoxically combine concealment and revelation, 'truth' and 'deception'. Here the body and dress are both seen as forms of absence, with dress concealing not the body, but the absence of the physical body.This provocative book is certain to become a landmark text for anyone interested in the intersection of dress, the body and critical theory.

Clothing the body is one of the most complicated acts of daily existence. When a nun ponders red shoes, an architect knots his bowtie, a lesbian laces her Doc Marten's, or a nude model disrobes, each is engaging in a process of identity-making that is both intensely personal and deeply social. In an increasingly material world, negotiating dress codes is a nuanced art, informed by shifting patterns of power and authority, play and performance, as well as gender, sexuality, class, ethnicity and race.
Drawing on ethnographic knowledge to connect theory and practice, authors reveal links between material culture, social and economic forces and personal performance -- from trade beads to Barbie, and from Taiwanese producer to Nike consumer -- to explain clothing choices through time and across cultures. Conventional understandings of the self, subject and society are shown to be inadequate when examining the interconnections of cultural and transnational economic systems of production and consumption that have a profound effect on human choice. Social climates in which dress accrues meaning are increasingly global climates, where women's bodies are commodified, gender categories are rigidly bound, and sweatshop labourers are slaves to boundless consumer appetite.
This interdisciplinary book represents an important contribution to a fascinating and contested realm of human experience, and will be indispensable for anyone interested in the sociology, anthropology and psychology of fashion, cultural studies or the fashion industry.

Clothing the body is one of the most complicated acts of daily existence. When a nun ponders red shoes, an architect knots his bowtie, a lesbian laces her Doc Marten's, or a nude model disrobes, each is engaging in a process of identity-making that is both intensely personal and deeply social. In an increasingly material world, negotiating dress codes is a nuanced art, informed by shifting patterns of power and authority, play and performance, as well as gender, sexuality, class, ethnicity and race.
Drawing on ethnographic knowledge to connect theory and practice, authors reveal links between material culture, social and economic forces and personal performance -- from trade beads to Barbie, and from Taiwanese producer to Nike consumer -- to explain clothing choices through time and across cultures. Conventional understandings of the self, subject and society are shown to be inadequate when examining the interconnections of cultural and transnational economic systems of production and consumption that have a profound effect on human choice. Social climates in which dress accrues meaning are increasingly global climates, where women's bodies are commodified, gender categories are rigidly bound, and sweatshop labourers are slaves to boundless consumer appetite.
This interdisciplinary book represents an important contribution to a fascinating and contested realm of human experience, and will be indispensable for anyone interested in the sociology, anthropology and psychology of fashion, cultural studies or the fashion industry.

For ninety years, young society women in San Antonio, Texas have donned custom-designed dresses and trains to take part in the Coronation of a queen and her court. These royal robes, which weigh fifty pounds and more and cost an average of $18,000, are highly embellished with rhinestones and beads. The Coronation is part of the ten-day, century-old festival celebrating the final battle of the 1836 Texas revolt against Mexico.
This book provides a significant contribution to the study of social elites in Western society through a material culture analysis of the Coronation costumes worn by the Euro-American debutantes. Set against the backdrop of a city undergoing many demographic, socioeconomic, and political changes, the themes of Coronation pageants represent the mythologized ethnic and class history which reinforces the hierarchical positioning of its participants. The royal robes serve as the canvas upon which this theme is carried out. The Coronation, held in a city with a Hispanic majority, has come under attack for its elitism, but participation in it is still important for the old Euro-American aristocracy and for a very few extremely wealthy Hispanic families. Integral to the continuation of this increasingly contested tradition is the emotional appeal that wearing these intricately decorated gowns holds for participants.

Beads have been used since antiquity, not only to dress the body, but as measures of value in economic and ritual exchanges. Their popularity has never waned, and in recent years their trade has enjoyed a world-wide revival. Beads have deep and multiple meanings: in many cultures, together with garments, they reflect age, gender and social status, and are a vehicle through which people store, exchange and transmit wealth.
This absorbing book analyzes techniques and gendered aspects of the making of beads, as well as their role in trade and body adornment, in a wide range of societies, from the ancient Mediterranean to Renaissance Venice and present-day Southern Africa and West Africa, where they have become a symbol of cultural survival and identity. Anyone interested in material culture, anthropology, art history, and gender studies will find that this book provides fascinating insights into attitudes toward the body and its dress as well as systems of social classification.

Through an examination of the experience of transsexuals, this book enhances understanding of how gender can and does function in powerful, complex and subtle ways. The author, who has herself been surgically reassigned, has conducted extensive interviews with transsexuals from many walks of life. Her personal experiences, which inform this book, have given her an access to her subjects that others would likely be denied. While highlighting how the gender identity of transsexuals relates to hormonal and surgical changes in the body as well as to changes in dress, the book investigates the pressures and motivations to conform to expected gender roles, and the ways in which these are affected by social, educational, and professional status. Differences in the experiences of those who change from male to female and those who change from female to male are also examined.
Sex reassignment has been the focus of considerable media attention recently, as increasing numbers of people feel able to talk frankly about their personal experiences with gender dysphoria. Strides with medical technology have given transsexuals new opportunities in their lives. This book provides unique insights into how these changes are seen by those people most affected them.

"A fascinating account of the powerful roles fur has played in various cultures and of the historical and political forces at work in the play of its meanings." Jonathan Culler, Cornell University"In this well-written treatise, Emberley . . . views fur through widely disparate lenses. . . . Emberley is able to make us understand all the viewpoints she presents. . . . A valuable book on a little-explored subject." Library Journal"This is a strong and intelligent work on a controversial topic. Emberley's book is much more intellectually sophisticated than anything else I've seen on this subject." Valerie Steele, Editor, Fashion Theory"Julia Emberley's book is a complex, wide-ranging, and fascinating feminist critique of the history and meaning of fur and fashion. Particularly unique is her integration of indigenous voices into the debates." Lucy Lippard, author of The Pink Glass Swan: Selected Feminist Essays on ArtFur has been sparking controversies ever since sumptuary laws marked it as a luxury item and as a sign of medieval class privilege. Drawing on wide-ranging historical and contemporary sources, Julia V. Emberley explains how a material good has become both a symbol of wealth and sexuality, and a symptom of class, gender, and imperial antagonisms."

Fur has been sparking controversies ever since sumptuary laws marked it as a luxury item and as a sign of medieval class privilege. Drawing on wide-ranging historical and contemporary sources, Julia V. Emberley explains how a material good has become both a symbol of wealth and sexuality, and a symptom of class, gender, and imperial antagonisms.

Emberley documents the 1980s confrontations between animal rights activists and native peoples that pitted Lynx, the organization responsible for the high-profile anti-fur ads in Great Britain, against Inuit and Dene societies' claims for a livelihood based on the selling and trading, consumption and production of animal fur.

The fetishization of fur, Emberley shows, extends from early modern paintings and etchings to late nineteenth-century literary and psychoanalytical narratives of sexual fantasy, such as von Sacher-Masoch's novel Venus in Furs. Contemporary advertising and fashion photography, as well as films such as Paris is Burning reveal the ongoing fetishistic practices of the fashion world. From colonial fur trading to twentieth-century globalization of the fur industry, Emberley analyzes the cultural, political, material, and libidinal values ascribed to fur.

This book examines the clothing worn by African Americans in the southern United States during the thirty years before the American Civil War. Drawing on a wide range of sources, most notably oral narratives recorded in the 1930s, this rich account shows that African Americans demonstrated a thorough knowledge of the role clothing played in demarcating age, sex, status, work, recreation, as well as special secular and sacred events. Testimonies offer proof of African Americans' vast technical skills in producing cloth and clothing, which served both as a fundamental reflection of the peoples' Afrocentric craftsmanship and aesthetic sensibilities, and as a reaction to their particular place in American society. Previous work on clothing in this period has tended to focus on white viewpoints, and as a consequence the dress worn by the enslaved has generally been seen as a static standard imposed by white overlords. This excellent study departs from conventional interpretations to show that the clothing of the enslaved changed over time, served multiple functions and represented customs and attitudes which evolved distinctly from within African American communities. In short, it represents a vital contribution to African American studies, as well as to dress and textile history, and cultural and folklore studies.

This book examines the clothing worn by African Americans in the southern United States during the thirty years before the American Civil War. Drawing on a wide range of sources, most notably oral narratives recorded in the 1930s, this rich account shows that African Americans demonstrated a thorough knowledge of the role clothing played in demarcating age, sex, status, work, recreation, as well as special secular and sacred events. Testimonies offer proof of African Americans' vast technical skills in producing cloth and clothing, which served both as a fundamental reflection of the peoples' Afrocentric craftsmanship and aesthetic sensibilities, and as a reaction to their particular place in American society. Previous work on clothing in this period has tended to focus on white viewpoints, and as a consequence the dress worn by the enslaved has generally been seen as a static standard imposed by white overlords. This excellent study departs from conventional interpretations to show that the clothing of the enslaved changed over time, served multiple functions and represented customs and attitudes which evolved distinctly from within African American communities. In short, it represents a vital contribution to African American studies, as well as to dress and textile history, and cultural and folklore studies.

Winner of the Association of Dress Historians Book of the Year Award, 2021 In 1939, fashion became an economic and symbolic sphere of great importance in France. Invasive textile legislation, rationing and threats from German and American couturiers were pushing the design and trade of Parisian style to its limits. It is widely accepted that French fashion was severely curtailed as a result, isolated from former foreign clients and deposed of its crown as global queen of fashion. This pioneering book offers a different story. Arguing that Paris retained its hold on the international haute couture industry right throughout WWII, eminent dress historians and curators come together to show that, amid political, economic and cultural traumas, Paris fashion remained very much alive under the Nazi occupation - and on an international level. Bringing exciting perspectives to challenge a familiar story and introducing new overseas trade links out of occupied France, this book takes us from the salons of renowned couturiers such as Edward Molyneux and Robert Piguet, French Vogue and Le Jardin des Modes and luxury Lyon silk factories, to Rio de Janeiro, Denmark and Switzerland, and the great American department stores of New York. Also comparing extravagant Paris occupation styles to austerity fashions of the UK and USA, parallel industrial and design developments highlight the unresolvable tension between luxury fashion and the everyday realities of wartime life. Showing that Paris strove to maintain world dominance as leader of couture through fashion journalism, photography and exported fashion forecasting, Paris Fashion and World War Two makes a significant contribution to the cultural history of fashion.

Between 1886 and 1924 thousands of Japanese journeyed to Hawaii to work the sugarcane plantations. First the men came, followed by brides, known only from their pictures, for marriages arranged by brokers. This book tells the story of two generations of plantation workers as revealed by the clothing they brought with them and the adaptations they made to it to accommodate the harsh conditions of plantation labor. Barbara Kawakami has created a vivid picture highlighted by little-known facts gleaned from extensive interviews, from study of preserved pieces of clothing and how they were constructed, and from the literature. She shows that as the cloth preferred by the immigrants shifted from kasuri (tie-dyed fabric from Japan) to palaka (heavy cotton cloth woven in a white plaid pattern on a dark blue background) so too their outlooks shifted from those of foreigners to those of Japanese Americans. Chapters on wedding and funeral attire present a cultural history of the life events at which they were worn, and the examination of work, casual, and children's clothing shows us the social fabric of the issei (first-generation Japanese). Changes that occurred in nisei (second-generation) tradition and clothing are also addressed. The book is illustrated with rare photographs of the period from family collections.

In 2005, British supermodel Kate Moss went to Glastonbury with her then-boyfriend, indie rocker Pete Doherty. Their unwashed appearance captured widespread attention, propelling the British indie music scene and its signature look-slender bodies clad in skinny jeans-to the center of popular fashion. Using this fashionable watershed as a launching point, Fashioning Indie narrates indie's evolution: from a 1980s British music subculture into a 21st-century international fashion phenomenon. It explores the lucrative transformation of indie style, first into high concept menswear and later into "festival fashion"-a womenswear phenomenon that remade what indie looked like and provided a launching point to reimagine who the ideal subject of indie could be. Fashioning Indie is essential reading for academic and popular audiences, offering an original account of what happens when a subculture is incorporated into the commercial fashion system. As the music and fashions of festivals face increasing scrutiny in debates about diversity and inclusion, and the transformations of indie style coincide with the global expansion of the second-hand retail sector, the book offers also essential insights into the broader culture of popular fashion in the 21st century and the values that inform it.

The childlike character of ideal femininity has long been critiqued by feminists, from Mary Wollstonecraft to Simone de Beauvoir. Yet, women continue to be represented as childlike in the western fashion media, despite the historical connotations of inferiority. This book questions why such images still hold appeal to contemporary women, after three, or even four, waves of feminism. Focusing on the period of 1990-2015, Picturing the Woman-Child traces the evolution of childlike femininity in British fashion magazines, including Vogue, i-D and Lula, Girl of my Dreams. These images draw upon a network of references, from Kinderwhore and Lolita to Alice in Wonderland and the femme-enfant of Surrealism. Alongside analysis of fashion photography, the book presents the findings of original research into audience reception. Inviting contemporary women to comment on images of the 'woman-child' provides an insight into the meaning of this figure as well as an evaluation of theory on the 'female gaze'. Both scholarly and accessible, the book paves the way for future studies on how readers make sense of fashion imagery.

This encyclopaedic reference covers all aspects of modern and traditional perfumery. Each entry includes information on botanical identity, origin, use, history, folklore and examples of the perfumes in which it is a constituent. There are similar entries for modern synthetic ingredients. Detailed descriptions of 200 top commercial fragrances of the present day include their main ingredients, their creators and biographies of those who designed their bottles. The differents types and families of perfumes are listed, together with information on how to choose, use and keep a perfume. There is also a section on home perfume making, which includes an appendix of ancient and modern perfume recipes and formulas.

Dress is one of the most significant markers of gender identity, yet is only rarely explored in depth. This volume addresses the relationship between gender and dress, opening up fascinating aspects by covering a great variety of ethnographic areas reaching from Asia, Europe and Africa to North and South America. The time span is equally wide-ranging and offers present-day material as well as studies based on historical data.

War Paint is the story of two extraordinary women, Miss Elizabeth Arden and Madame Helena Rubinstein, and the legacy they left: a story of feminine vanity and marketing genius. Behind the gloss and glamour lay obsession with business and rivalry with each other. Despite working for over six decades in the same business, these two geniuses never met face to face - until now. 'The definitive biography of women and their relationships to their faces in the twentieth century' Linda Grant, Guardian 'I have seldom enjoyed a book so much . . . the research is staggering . . . a wonderful read' Lulu Guinness

Featuring detailed analyses of clothing culture in 17th-century provincial Sussex, this original study draws on previously unexploited sources to create an intimate and nuanced portrait of people and their clothes. An introductory chapter uses 17th-century literature to identify and explore contemporary ideas about clothing, the individual and society, as well as the relationship between London and the provinces and the causes and consequences of conspicuous clothing consumption. Subsequent chapters look at the production, distribution and acquisition of clothing in Sussex and the participation of consumers in these processes; the role of London as a centre of fashionable clothing consumption and the experience of wealthier consumers in shopping there; the clothing worn by individual men, women and older children of the 'middle' and 'better' sort and the extent to which they participated in contemporary, London-driven, fashion culture. A final chapter examines the clothing worn by the poor, including vagrants, parish paupers and the 'labouring' poor. With over 40 images Clothing in 17th-Century Provincial England offers a new window onto early modern experiences of clothing.

Combining transnationalism and exoticism, transorientalism is the new orientalism of the age of globalization. With its roots in earlier times, it is a term that emphasizes alteration, mutation, and exchange between cultures. While the familiar orientalisms persist, transorientalism is a term that covers notions like the adoption of a hat from a different country for Turkish nationalist dress, the fact that an Italian could be one of the most influential directors in recent Chinese cinema, that Muslim women artists explore Islamic womanhood in non-Islamic countries, that artists can embrace both indigenous and non-indigenous identity at the same time. This is more than nostalgia or bland nationalism. It is a reflection of the effect that communication and representation in recent decades have brought to the way in which national identity is crafted and constructed-yet this does not make it any less authentic. The diversity of race and culture, the manner in which they are expressed and transacted, are most evident in art, fashion, and film. This much-needed book offers a refreshing, informed, and incisive account of a paradigm shift in the ways in which identity and otherness is moulded, perceived, and portrayed.

'Fascinating and eye-opening' OWEN JONES DO YOU KNOW WHERE YOUR SHOES COME FROM? DO YOU KNOW WHERE THEY GO WHEN YOU'RE DONE WITH THEM? In 2019, 66.6 million pairs of shoes were manufactured across the world every single day. They have never been cheaper to buy, and we have never been more convinced that we need to buy them. Yet their cost to the planet has never been greater. In this urgent, passionately argued book, Tansy E. Hoskins opens our eyes to the dark origins of the shoes on our feet. Taking us deep into the heart of an industry that is exploiting workers and deceiving consumers, we begin to understand that if we don't act fast, this humble household object will take us to the point of no return.

Style inspiration for everyone, no matter your size. Be inspired by 100 of the very best plus-size street style images from around the world. Plus-size fashion is daring, experimental and deeply personal. There's no longer any shame in not fitting the traditional ideals of beauty, as proven by Gabi Gregg, Tess Holliday, Beth Ditto and thousands of bloggers and models acround the world. The online plus-size fashion community is loud, international and confident. Millions of #ootd photos are shared everyday, showing off amazing style and beautiful people. Plus+ gathers together the very best, and celebrates all shapes, sizes and aesthetics - a beautiful, sharply designed, glossy collection to inspire everyone, plus-size or otherwise.