Features work by an impressive list of international female designers. Besides the internationally famous names, it also considers the women behind the scenes of many fashion houses, whose far-reaching influence is something that has been completely overlooked in fashion history. Published to accompany an exhibition at Gemeentemuseum Den Haag, The Hague. 'The little seamstress' is how the renowned Coco Chanel was once disdainfully described by her contemporary Paul Poiret. He targeted her because she was a woman, but in fact he saw her as a major competitor. Times have changed. More fashion houses are now run by women than ever before. A perfect moment, therefore, for an overview that focuses on strong women in fashion. Femmes Fatales tells fashion history from the perspective of femail designers. Do they design differently for women than their male counterparts? What influence have they had? What does being a woman mean in terms of their creations? And what is their vision for fashion? This book includes work by Coco Chanel, Jeanne Lanvin, Elsa Schiaparelli, Mary Quant, Vivienne Westwood, Sonia Rykiel, Zandra Rhodes, Miuccia Prada, Maria Grazia Chiuri (Dior), Fong Leng, Sheila de Vries and Iris van Herpen, and many others. Text in Dutch and English.

Attitudes to fashion have changed radically in the twenty-first century. Dress is increasingly approached as a means of self-expression, rather than as a signifier of status or profession, and designers are increasingly treated as 'artists', as fashion moves towards art and enters the gallery, museum, and retail space. This book is the first to fully explore the causes and implications of this shift, examining the impact of technological innovation, globalization, and the growth of the internet. The End of Fashion focuses on the ways in which our understanding of fashion and the fashion system have transformed as mass mediation and digitization continue to broaden the way that contemporary fashion is perceived and consumed. Exploring everything from the rise of online shopping to the emergence of bloggers as power elites who have revolutionized the terrain of traditional fashion reportage, this volume anatomizes a world in which runway shows now compete with live-streaming, digital fashion films, Instagram, and Pinterest. Bringing together original, cutting-edge contributions from leading international scholars, this book is essential reading for students and scholars of fashion and cultural studies, as well as anyone interested in exploring the dramatic shifts that have shaken the fashion world this century - and what they might say about larger changes within an increasingly global and digital society.

For South Asia, fashion and consumption have come to play an increasingly important role in the lives of young people and in the formation of youth cultures. Afghanistan, Bangladesh, Bhutan, India, Maldives, Nepal, Pakistan and Sri Lanka have all, in related and distinctive ways, been producing confident young fashion consumers, who are proving to be an important market for fashion.This book explores South Asian youth cultures and fashion across the countries of this region and their diasporas from a transnational perspective. Through visual and textual analysis of film, photography and digital cultures, as well as ethnographic fieldwork, the expert contributors look at how gender, sexuality, class, the media and faith intersect with and style youth cultures. By establishing the heterogeneous nature of South Asia and its youth cultures, they also dismantle grand western narratives that tend to understand the region's diverse cultural modernity through the lens of homogeneity.

A well-illustrated cultural history of the apparel worn by American Catholics, Sally Dwyer-McNulty's Common Threads reveals the transnational origins and homegrown significance of clothing in developing identity, unity, and a sense of respectability for a major religious group that had long struggled for its footing in a Protestant-dominated society often openly hostile to Catholics. Focusing on those who wore the most visually distinct clothes-priests, women religious, and school children-the story begins in the 1830s, when most American priests were foreign born and wore a variety of clerical styles. Dwyer-McNulty tracks and analyzes changes in Catholic clothing all the way through the twentieth century and into the present, which finds the new Pope Francis choosing to wear plain black shoes rather than ornate red ones. Drawing on insights from the study of material culture and of lived religion, Dwyer-McNulty demonstrates how the visual lexicon of clothing in Catholicism can indicate gender ideology, age, and class. Indeed, clothing itself has become a kind of Catholic language, whether expressing shared devotional experiences or entwined with debates about education, authority, and the place of religion in American society.

Modern Fashion Traditions questions the dynamics of fashion systems and spaces of consumption outside the West. Too often, these fashion systems are studied as a mere and recent result of globalization and Western fashion influences, but this book draws on a wide range of non-Western case studies and analyses their similarities and differences as legitimate fashion systems, contesting Eurocentric notions of tradition and modernity, continuity versus change, and 'the West versus the Rest'. Preconceptions about non-Western fashion are challenged through diverse case studies from international scholars, including street-style identity in Bhutan, the influence of Ottoman cultural heritage on contemporary Turkish fashion design, and an investigation into the origins of the word 'fashion' in Chinese. Negotiating tradition, foreign influences and the contemporary global dominance of Western fashion cities, Modern Fashion Traditions will give readers a clearer understanding of non-Western fashion identities in the present. Accessibly written, this ground-breaking text makes an essential contribution to the study of non-Western fashion and will be an important resource for students of fashion history and theory, anthropology, and cultural studies.

This unique ethnographic investigation examines the role that fashion plays in the production of the contemporary Indian luxury aesthetic. Tracking luxury Indian fashion from its production in village craft workshops via upmarket design studios to fashion soirees, Kuldova investigates the Indian luxury fashion market's dependence on the production of thousands of artisans all over India, revealing a complex system of hierarchies and exploitation. In recent years, contemporary Indian design has dismissed the influence of the West and has focused on the opulent heritage luxury of the maharajas, Gulf monarchies and the Mughal Empire. Luxury Indian Fashion argues that the desire for a luxury aesthetic has become a significant force in the attempt to define contemporary Indian society. From the cultivation of erotic capital in businesswomen's dress to a discussion of masculinity and muscular neo-royals to staged designer funerals, Luxury Indian Fashion analyzes the production, consumption and aesthetics of luxury and power in India. Luxury Indian Fashion is essential reading for students of fashion history and theory, anthropology and visual culture.

At first sight, tattoos, nudity, and veils do not seem to have much in common except for the fact that all three have become more frequent, more visible, and more dominant in connection with aesthetic presentations of women over the past thirty years. No longer restricted to biker and sailor culture, tattoos have been sanctioned by the mainstream of liberal societies. Nudity has become more visible than ever on European beaches or on the internet. The increased use of the veil by women in Muslim and non-Muslim countries has developed in parallel with the aforementioned phenomena and is just as striking. Through the means of conceptual analysis, Veils, Nudity, and Tattoos: The New Feminine Aesthetics reveals that these three phenomena can be both private and public, humiliating and empowering, and backward and progressive. This unorthodox approach is traced by the three's similar social and psychological patterns, and by doing so, Veils, Nudity, and Tattoos hopes to sketch the image of a woman who is not only sexually emancipated and confident, but also more and more aware of her cultural heritage.

Niche fashion magazines speak to a highly fashion literate readership and mix the codes of style magazines, glossy women's magazines and art catalogues. They are often produced and read by people engaged in the business of creating fashion taste. Through this business-to-business practice, the niche magazine genre is powerful in shaping the face of fashion. Based on unique analysis of niche fashion magazines and unprecedented access to the making of the respected Danish niche fashion magazine, DANSK, including interviews with its makers and its readers, this book unveils the behind-the-scenes of niche fashion magazines. It pays special attention to the symbolic and material cultures, as well as the values and meanings that are shared across magazine producers and their readers. It is a valuable contribution to the study and practice of fashion journalism, with appeal to students and readers of the increasingly popular high-end glossy magazines.

As Deirdre Clemente shows in this lively history of fashion on American college campuses, whether it's jeans and sneakers or khakis with a polo shirt, chances are college kids made it cool. The modern casual American wardrobe, Clemente argues, was born in the classrooms, dormitories, fraternity and sorority houses, and gyms of universities and colleges across the country. As young people gained increasing social and cultural clout during the early twentieth century, their tastes transformed mainstream fashion from collared and corseted to comfortable. From east coast to west and from the Ivy League to historically black colleges and universities, changing styles reflected new ways of defining the value of personal appearance, and, by extension, new possibilities for creating one's identity. The pace of change in fashion options, however, was hardly equal. Race, class, and gender shaped the adoption of casual style, and young women faced particular backlash both from older generations and from their male peers. Nevertheless, as coeds fought dress codes and stereotypes, they joined men in pushing new styles beyond the campus, into dance halls, theaters, homes, and workplaces. Thanks to these shifts, today's casual style provides a middle ground for people of all backgrounds, redefining the meaning of appearance in American culture.

Numerous tastemakers exist in and between fashion production and consumption, from designers and stylists to trend forecasters, buyers, and journalists. How and why are each of these players bound up in the creation and dispersion of trends? In what ways are consumers' relations to trends constructed by these individuals and organizations? This book explores the social significance of trends in the global fashion industry through interviews with these 'fashion intermediaries', offering new insights into their influential roles in the setting and shaping of trends. The Trendmakers contains exclusive interviews with financial analysts, creative directors from high street stores like H&M to designer brands such as Erdem, trend forecasters at WGSN, buyers from Harvey Nichols, and major fashion names like The Telegraph fashion critic Hilary Alexander. In contrast to existing research, Lantz offers an international understanding of the trend landscape, engaging with industry professionals from fashion capitals like London, Paris, and New York, as well as BRIC countries and the new, emerging fashion nations. The fashion media may have declared that 'trends are dead' in the light of digital dissemination, but Lantz argues that trends still not only serve as a significant organizing principle for the fashion industry as a whole but also as a source for legitimacy. Engaging with classic fashion thinkers like Veblen, Simmel, and Bourdieu, as well as contemporary scholars like Entwistle and Steele, this book considers trends from an economic and cultural perspective to add to our knowledge of the complexities of the business of fashion.

Spanning decades of research, this compelling social history tells the stories of ordinary people in modern Japan. Tatsuichi Horikiri spent a lifetime searching out old items of clothing-ranging from everyday kimono, work clothes, uniforms, and futons to actor's costumes, diapers, hats, aprons, and bags. Simultaneously he collected oral history accounts to shed light on those who used these items. Horikiri reveals not only the difficult and sometimes desperate lives of these people, most from the lower strata in early twentieth-century Japan, he illuminates their hopes, aspirations, and human values. He also explores such topics as textile techniques, the history of fashion, and the ethnography of clothing and related cultural phenomena. Having been wrongly accused and tortured by the Japanese military police in China during World War II, Horikiri takes a deeply empathetic view of all those who struggle-from peasants and coal miners to traveling salesmen and itinerant performers. This personal connection sets his account apart, giving his writing great power and immediacy. Students and scholars of Japanese history, as well those interested in material culture, labor history, and feminist history, will find this book deeply illuminating.

Drawing on the remembrances of elders who were born in the early 1900s and saw the last masked Yup'ik dances before missionary efforts forced their decline, Agayuliyararput is a collection of first-person accounts of the rich culture surrounding Yup'ik masks. Stories by thirty-three elders from all over southwestern Alaska, presented in parallel Yup'ik and English texts, include a wealth of information about the creation and function of masks and the environment in which they flourished. The full-length, unannotated stories are complete with features of oral storytelling such as repetition and digression; the language of the English translation follows the Yup'ik idiom as closely as possible. Reminiscences about the cultural setting of masked dancing are grouped into chapters on the traditional Yup'ik ceremonial cycle, the use of masks, life in the qasgiq (communal men's house), the supression and revival of masked dancing, maskmaking, and dance and song. Stories are grouped geographically, representing the Yukon, Kuskokwim, and coastal areas. The subjects of the stories and the masks made to accompany them are the Arctic animals, beings, and natural forces on which humans depended. This book will be treasured by the Yup'ik residents of southwestern Alaska and an international audience of linguists, folklorists, anthropologists, and art historians.

The importance of fashion in the construction and representation of gender and the formation of modern society in nineteenth-century Spanish narrative is the focus of Dorota Heneghan's Striking Their Modern Pose. The study moves beyond traditional interpretations that equate female passion for finery with symptoms of social ambition and the decline of the Spanish nation, and brings to light the manners in which nineteenth-century Spanish novelists drew attention to the connection between the complexities of fashionable female protagonists and the shifting limits of conventional womanhood to address the need to reformulate customary ideals of gender as a necessary condition for Spain to advance in the process of modernization. The project also sheds light on an area largely unexplored by previous studies: men's pursuit of fashion. Through the analysis of the richness of sartorial subtleties in Benito Perez Galdos's and Emilia Pardo Bazan's portraits of their male characters, this book brings forward these writers' exposure of the much-denied bourgeois men's love for self-adornment and the incoherencies and contradictions in the allegedly monolithic, stable concept of nineteenth-century Spanish masculinity. While highlighting the ways in which the art of dressing smartly provided nineteenth-century Spanish novelists with effective means to voice their critique of conventional gender order, the book also lends insight into these authors' methods of manipulating sartorial signs to explore and to envision (as in the case of Pardo Bazan and Jacinto Octavio Picon) alternative models of masculinity and femininity. Threading through all chapters of the study is the idea propagated by all three of these writers that Spain's full integration into modernity required not only the redefinition of the feminine role, but the reconfiguration of the masculine one as well.

You look otherworldly. Like all my girls. This will make you a queen. Like years ago and people wore clothes like weapons, like weapons against poor people, because even is you were hungry how could you raise your fist against what looked like a god? But I can make things that are weapons against day to day stuff. A girl has watched McQueen's Mayfair house for eleven consecutive days. Tonight, she climbs down from her watching tree and breaks into his house, to steal a dress, to become someone special. He catches her, but, instead of calling the police, they embark together on a journey through London and into his heart. The play captures the fairy-story landscape of McQueen's mind - the landscape seen in his immortal shows - where, with a dress, an urchin can become an Amazon and where beauty might just help us survive the night. McQueen is a journey into the visionary imagination and dark dream world of Alexander McQueen, fashion's greatest contemporary artist. James Phillips's play received its world premiere at St James Theatre, London, on 12 May 2015.

From rococo to Edwardian fashions, Japanese street style has reinvented many western dress styles, reinterpreting and altering their meanings and messages in a different cultural and historical context. This wide ranging and original study reveals the complex exchange of styles and what they represent in Japan and beyond, contesting common perceptions of gender in Japanese dress and the notion that non-western fashions simply imitate western styles. Through case studies focussing on fashion image consumption in style tribes such as Kamikaze Girls, Lolita, Edwardian, Ivy Style, Victorian, Romantic and Kawaii, this ground-breaking book investigates the complexities of dress and gender and demonstrates the flexible nature of contemporary fashion and style exchange in a global context. Japanese Fashion Cultures will appeal to students and scholars of fashion, cultural studies, gender studies, media studies and related fields.

In nineteenth-century Europe and the United States, fashion--once the province of the well-to-do--began to make its way across class lines. At once a democratizing influence and a means of maintaining distinctions, gaps in time remained between what the upper classes wore and what the lower classes later copied. And toward the end of the century, style also moved from the streets to the parlor. The third in a four-part series charting the social, cultural, and political expression of clothing, dress, and accessories, " Fashioning the Nineteenth Century "focuses on this transformative period in an effort to show how certain items of apparel acquired the status of fashion and how fashion shifted from the realm of the elites into the emerging middle and working classes--and back.

The contributors to this volume are leading scholars from France, Italy, and the United States, as well as a practicing psychoanalyst and artists working in fashion and with textiles. Whether considering girls' school uniforms in provincial Italy, widows' mourning caps in Victorian novels, Charlie's varying dress in Kate Chopin's eponymous story, or the language of clothing in Henry James, the essays reveal how changes in ideals of the body and its adornment, in classes and nations, created what we now understand to be the imperatives of fashion.

Contributors: Dagni Bredesen, Eastern Illinois U; Carmela Covato, U of Rome Three; Agnes Derail-Imbert, ecole Normale Superieure/VALE U of Paris, Sorbonne; Clair Hughes, International Christian University of Tokyo; Bianca Iaccarino Idelson; Beryl Korot; Anna Masotti; Bruno Monfort, Universite of Paris, Ouest Nanterre La Defense; Giuseppe Nori, U of Macerata, Italy; Marta Savini, U of Rome Three; Anna Scacchi, U of Padua; Carroll Smith-Rosenberg, U of Michigan.

This book is a compilation of helmets collected over the past thirty years, and is intended as an illustrated reference source on the elaborate head dress of the Imperial German Army from 1880-1916. Displaying many rare helmets in full color, large format photographs, the book covers most branches within the army and is organized in alphabetic order beginning with the artillery units, moving through the various cavalry (hussars, dragoons, currasiers) and infantry units, and ending with uhlans - a superb cross section of all the different head dress types. Head dress of the large states like Prussia, Bavaria, WArttemburg, and Saxony are well represented, and in addition, smaller states like Hesse, Lubeck, Hamburg and the Saxon duchies can also be found. Other sections are devoted to the helmets of the generals and their staffs, with another showing six examples of the different ranks and models of the rare Garde du Korps helmets. This book is a beautiful, highly detailed source for collectors.

Form-fitting dresses, silk veils, earrings, furs, high-heeled shoes, make up, and dyed, flowing hair. It is difficult for a contemporary person to reconcile these elegant clothes and accessories with the image of cloistered nuns. For many of the some thousand nuns in early modern Venice, however, these fashions were the norm.
Often locked in convents without any religious calling--simply to save their parents the expense of their dowry--these involuntary nuns relied on the symbolic meaning of secular clothes, fabrics, and colors to rebel against the rules and prescriptions of conventual life and to define roles and social status inside monastic society.
Calling upon mountains of archival documents, most of which have never been seen in print, "Forbidden Fashions" is the first book to focus specifically upon the dress of nuns in Venetian convents and offers new perspective on the intersection of dress and the city's social and economic history.

Unique and exciting, this ethnographic study is the first to address a little-known subculture, which holds a fascination for many. The first decade of the twenty-first century has displayed an ever increasing fixation with vampires, from the recent spate of phenomenally successful books, films, and television programmes, to the return of vampire-like style on the catwalk. Amidst this hype, there exists a small, dedicated community that has been celebrating their interest in the vampire since the early 1990s. The London vampire subculture is an alternative lifestyle community of people from all walks of life and all ages, from train drivers to university lecturers, who organise events such as fang fittings, gothic belly dancing, late night graveyard walks, and 'carve your own tombstone'. Mellins presents an extraordinary account of this fascinating subculture, which is largely unknown to most people. Through case study analysis of the female participants, Vampire Culture investigates women's longstanding love affair with the undead, and asks how this fascination impacts on their lives, from fiction to fashion. Vampire Culture includes photography from community member and professional photographer SoulStealer, and is an essential read for students and scholars of gender, film, television, media, fashion, culture, sociology and research methods, as well as anyone with an interest in vampires, style subcultures, and the gothic.

Increasing numbers of women are engaging in the development and discussion of modest dressing; a movement matched by a growing media and popular demand for intelligent commentary about the topic. Modest Fashion sets out to meet that need.As a trend, modest dressing is spreading across the world, yet it is rarely viewed as 'fashion'. Studying consumers and producers, retailers and bloggers, Modest Fashion provides an up to the minute account of the art of dressing modestly - and fashionably.Leading scholars in the area, along with journalists, fashion designers, entrepreneurs and bloggers discuss the emergence of a niche market for modest fashion among and between Jewish, Christian and Muslim faith groups as well as secular dressers. Crossing creeds and cultures, analysing commentary alongside commerce, the book probes the personal and the political as well as religious, aesthetic and economic implications of contemporary dress practices and the debates that surround them.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Il Costume Antico E Moderno, Ovvero Storia Del Governo, Della Milizia, Della Religione, Delle Arti, Scienze Ed Usanze Di Tutti I Popoli Antichi E Moderni, Provata Coi Monumenti Dell'antichita E Rappresentata Cogli Analoghi Disegni Dal Dottor Giulio Ferrario: Asia, Volume 22; Il Costume Antico E Moderno, Ovvero Storia Del Governo, Della Milizia, Della Religione, Delle Arti, Scienze Ed Usanze Di Tutti I Popoli Antichi E Moderni, Provata Coi Monumenti Dell'antichita E Rappresentata Cogli Analoghi Disegni Dal Dottor Giulio Ferrario: Asia; Giulio Ferrario 3 Giulio Ferrario, Robustiano Gironi, Ambrogio Levati A. Fontana, 1831 History; Asia; General; Asia; History / Asia / General; Travel / Asia / General

Fetish Style traces the history, forms and tendencies of sub-cultural fashions that are popular in both mainstream and alternative fashion cultures. Presenting the world of subcultural fetish clothing design in all of its richness and beauty, this book explores the idea of fetish as subversive and repressive as reflected in clothing choices in people of all ages and cultures. Linking the fetishistic aspects of contemporary culture with everyday clothing as dictated by fashion and merchandising, Fetish Style presents a fascinating study of historical as well as 21st century subcultures. Case studies include the Japanese-influenced 'tribes' of the various Lolita formations, the Shotaru (male Lolita), the club scene, the Goths, the hip-hop fashions and other locally-formed fetishized practices. Fetish Style will be key reading for anyone interested in fetish fashion both past and present.

Dress and fashion practices in Africa and the diaspora are dynamic and diverse, whether on the street or on the fashion runway. Focusing on the dressed body as a performance site, African Dress explores how ideas and practices of dress contest or legitimize existing power structures through expressions of individual identity and the cultural and political order. Drawing on innovative, interdisciplinary research by established and up and coming scholars, the book examines real life projects and social transformations that are deeply political, revolving around individual and public goals of dignity, respect, status, and morality. With its remarkable scope, this book will attract students and scholars of fashion and dress, material culture and consumption, performance studies, and art history in relation to Africa and on a global scale.

The fashion model's hold on popular consciousness is undeniable. How did models emerge as such powerful icons in modern consumer culture? This volume brings together cutting-edge articles on fashion models, examining modelling through race, class and gender, as well as its structure as an aesthetic marketplace within the global fashion economy. Essays include treatments of the history of fashion modelling, exploring how concerns about racial purity and the idealization of light skinned black women shaped the practice of modelling in its early years. Other essays examine how models have come to define femininity through consumer culture. While modelling's global nature is addressed throughout, chapters deal specifically with model markets in Australia and Tokyo, where nationalist concerns colour what is considered a pretty face. It also considers how models glamorize consumption through everyday activities, and neoliberal labour forms via reality TV. With commentaries from industry professionals who experienced the cultural juggernaut of the supermodels, the final essay situates their impact within the rise of brand culture and the globalization of fashion markets since 1990. Accessible and highly engaging, Fashioning Models is essential reading for students and scholars of fashion and related disciplines.