Teaching Fashion Studies is the definitive resource for instructors of fashion studies at the undergraduate level and beyond. The first of its kind, it offers extensive, practical support for both seasoned instructors and those at the start of an academic career, in addition to interdisciplinary educators looking to integrate fashion into their classes. Informed by the latest research in the field and written by an international team of experts, Teaching Fashion Studies equips educators with a diverse collection of exercises, assignments, and pedagogical reflections on teaching fashion across disciplines. Each chapter offers an assignment, with guidance on how to effectively implement it in the classroom, as well as reflections on pedagogical strategies and student learning outcomes. Facilitating the integration of practice and theory in the classroom, topics include: the business of fashion; the media and popular culture; ethics and sustainability; globalization; history; identity; trend forecasting; and fashion design.

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.

Fashion Africa is a visual overview of contemporary African fashion, compiled with an ethical perspective. This guide is the first of its kind to bring together designers, design companies, ethical manufacturers and more, all with an African connection. In the book, the author works tirelessly to promote Africa as a place not just for sourcing materials, but with the potential to be a vital epicenter of trade within the global marketplace. Fashion Africa is a comprehensive guide to the designers, materials, and sustainable practices available on continental Africa and provides an excellent resource in conjunction for the very vibrant growing industry already in existence.

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.

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.

Concentrating on the general shift away from colour in men's clothing that began around 1800, John Harvey traces the transition to black from the 15th century, to 16th century Venice, 17th century Spain, and eventually to the Netherlands. The text seeks to show how black evolved from being smart and elegant fashion to serving as a cultural marker. The volume points to the fact that in current times the colour black retains its associations with strength and cruelty as well as its authority.

Contrary to popular myth, the Vikings had a reputation for neatness and their fashions were copied far beyond the realms of Scandinavia. Those who could afford to displayed a love of fine clothes made from silks, from lightweight worsteds in subtly woven twills, and from the finest of linens. This accessible new book is the first to tackle the question of what the Vikings wore, drawing on evidence from art and archaeology, literature, and linguistics to arrive at a fresh understanding of the nature of Viking clothing, covering rich and poor, men and women across Scandinavia. It includes an overview of Viking textiles and dyeing, and an exploration of cloth production and clothing in the context of Viking society as a whole, as well as a detailed consideration of both male and female outfits and a new interpretation of the suspended dress.

Remarkably thorough illustrated overview based on rare period photographs, periodicals, other contemporary sources. Description and information about hundreds of fashions: morning dresses, riding outfits, carriage costumes, evening dresses, bridal gowns, more. Also millinery, footwear, underclothing, other apparel. 891 black-and-white line illustrations. 226 halftones. Bibliography. 3 glossaries.

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.

In the last half of the 19th century, the women of America were beginning to develop their own sense of style. Although influenced by European fashions and the social and economic changes of the time, they made clothing choices based upon their personal aspirations and their practical everyday needs. Providing an overview of fashion influences for each decade from the 1860s to the end of the century, Everyday Fashion in Found Photographs presents iconic garments, using sources from the period, to provide commentary and detailed description of the styles of the time. Previously unpublished vintage photographs show women across the social spectrum wearing items such as the Garibaldi shirt, the cuirass bodice, the Mother Hubbard, bicycle bloomers, and much more. Names, dates and functions of garments are examined in detail, and ties are established between social and historical contexts and the evolution of clothing styles. This illustrated book is for readers who want to identify and understand specific clothing items as well as gain insight into the mind-set of fashionable women from Victorian-era America. Dress history scholars, costume designers, curators of costume collections, social and cultural historians and those who appreciate vintage photographs can learn about elements of late 19th century women's dress and thereby develop an understanding of what was fashionable, and why.

"A thick, tangled and deliciously idiosyncratic history of hair." Times Literary Supplement How have our attitudes to hair changed over time? In what ways have new technologies influenced hair-related practices and beliefs? Is hair just about fashion or does it express social, spiritual, and cultural meanings? In a work that spans nearly 3,000 years these ambitious questions are addressed by 60 experts, each contributing their overview of a theme applied to a period in history. With the help of a broad range of case material they illustrate trends and nuances of the culture of hair in Western societies from ancient times to the present. Volume editors ensure the cohesion of the whole, and to make the set as easy as possible to use, chapter titles are identical across each of the volumes. This gives the reader the choice to gain an overview of a period by reading one volume, or to follow a theme through history by reading the relevant chapter in each volume. The six volumes cover: 1 - Antiquity (600 BCE to 800 CE); 2 - Middle Ages (800 to 1450); 3 -Renaissance (1450 to 1650); 4 - Age of Enlightenment (1650 to 1800); 5 - Age of Empire (1800 to 1920); 6 - Modern Age (1920 to 2000+). Themes (and chapter titles) are: 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. The page extent for the pack is approximately 1,800pp. Each volume opens with Notes on Contributors and an Introduction and concludes with Notes, Bibliography, and an Index. The Cultural Histories Series A Cultural History of Hair is part of The Cultural Histories Series. Titles are available both as printed hardcover sets for libraries needing just one subject or preferring a one-off purchase and tangible reference for their shelves, or as part of a fully-searchable digital library available to institutions by annual subscription or on perpetual access (see www.bloomsburyculturalhistory.com).

Fashion | Sense is designed to explode "fashion," and with it, the stigma in philosophy against fashion's superficiality. Fashion appears to be altogether differently occupied, disingenuous and insubstantial, even sophistic in its pretense to peddle surfaces as if they were something deep. But is fashion's apparent beguilement more philosophical than it seems? And is philosophy's longing for exposed depth concealing fashion in its anti-fashion stance? Using primarily ancient Greek texts, peppered with allusions to their echoes across the history of philosophy and contemporary fashion and pop culture, Gwenda-lin Grewal not only examines the rift between fashion and philosophy, but also challenges the claim that fashion is modern. Indeed, fashion's quarrel with philosophy may be at least as ancient as that infamous quarrel between philosophy and poetry alluded to in Plato's Republic. And the quest for fashion's origins, as if a quest for a neutrally-outfitted self, stripped of the self-awareness that comes with thinking, prompts questions about human agency and our immersion in time. The touch of reality's fabric bristles in our relationship to our looks, not simply through the structure of clothes but in the plot of our wearing them. Meanwhile, the fashion of our words sharpens our meaning like a cutting silhouette. Grewal's own writing is playfully and daringly self-conscious, aware of its style and the entrapment it arouses from the very first line. The reactions provoked by fashion's flair, not only among the philosophical set but also among those who would never deck themselves out in the title, "philosopher," show it forth as perhaps philosophy's most important and underestimated doppelganger.

'The most entertaining book of the year' Sunday Times 'The autobiography of magazine kingpin Nicholas Coleridge is a Waugh-like whirlwind of eccentric characters, lavish parties and even a spell in a Sri Lankan jail. It was funny enough to excuse all the name-dropping' Evening Standard, Books of the Year 'A ludicrously well-connected magazine impresario. Whimsical tales of Bob Geldof, William Hague, Princess Diana and George Osborne jostle with recollections of glitzy parties at castles and producing the Eton magazine with Craig Brown. It's gossipy good fun' Sunday Times 'A deliciously moreish memoir of the author's glittering career in magazine publishing. Like having a really good gossip over a glass of fizz with Evelyn Waugh' Sunday Telegraph 'Sparkling. Witty, nimble and engaging, it is wonderfully entertaining and a marvellous slice of social history' Jane Ridley, Spectator 'Brilliant. I laughed almost continuously' Charles Moore, Spectator 'An irresistible read, hilarious, honest and insightful. I adored it' Tina Brown 'Forthright, witty and gossipy. A passion for glossy magazines shines through this effervescent memoir' Sunday Express

"No other book compares...This is the book students reference during their four years at university." - Tara Konya, Southern New Hampshire University, USA Learn how fashion lines are designed, manufactured, marketed, and distributed. The book covers the full supply chain - from textiles to fashion brand production - as well as supply chain management, and competitive strategies, so that you can be successful in your future career. Topics covered include sustainable design for a circular economy, 3-D printing, fashion entrepreneurship, disruptions in fashion calendars, supply chain transparency, impact of social media, growth and evolution of online retailing, expanded omnichannel strategies, and changes in international trade, among others. Case studies, a Career Glossary, and key terms help you connect concepts to practice. New to this Edition * Content addresses knowledge and skill guidelines in the Association to Advance Collegiate Schools of Business (AACSB) and Textile and Apparel Program Accreditation Commission (TAPAC) accreditation standards * Expanded discussions of sustainability, corporate social responsibility, and technology across the supply chains for fashion products * Updated and expanded industry examples and case studies, emphasizing fashion brand companies from around the world * A new Careers Glossary listing job titles and descriptions found throughout the fashion industry The Business of Fashion STUDIO Study smarter with self-quizzes featuring scored results and personalized study tips Review concepts with flashcards of essential vocabulary

What if fashion was a state? What kind of state would it be? Probably not a democracy. Otto von Busch sees fashion as a totalitarian state, with a population all too eager to enact the decrees of its aesthetic superiority. Peers police each other and deploy acts of judgment, peer-regulation, and micro-violence to uphold the aesthetic order of fashion supremacy. Using four design projects as tools for inquiry, Von Busch explores the seductive desires of envy and violence within fashion drawing on political theories. He proposes that the violent conflicts of fashion happen not only in arid cotton fields or collapsing factories, but in the everyday practice of getting dressed, in the judgments, sneers, and rejections of others. Indeed, he suggests that feelings of inclusion and adoration are what make us feel the pleasure of being fashionable-of being seductive, popular, and powerful. Exploring the conflicting emotions associated with fashion, Von Busch argues that while the current state of fashion is bred out of fear, The Psychopolitics of Fashion can offer constructive modes of mitigation and resistance. Through projects that actively work towards disarming the violent practices of dress, Von Busch suggests paths towards a more engaging and meaningful experience of fashion he calls "deep fashion."

'An inspirational and motivational must-read, packed with practical tips to push for positive change' Zanna van Dijk The climate is changing, so why aren't we? After all, we are the generation of change. The severity of climate change leaves no one indifferent. The Climate is Changing, Why Aren't We? will not try to convince you that climate change exists - we know that. It offers easy to understand insights into the structures that suffocate our future, while upholding a sense of optimism and humanising the climate story. From the clothes you buy, plastics you use and food you eat, to knowing how to harness the power of social media and technology to get our voices heard and demand climate action, Daisy Kendrick, founder of Ocean Generation, weaves together inspirational stories, shocking statistics and easy green switches to make in your everyday life to tackle climate change on an individual level. The Climate is Changing, Why Aren't We? will help to grant future generations the rights they deserve.

Indonesian fashion has undergone a period of rapid growth over the last three decades. This book explores how through years of social, political, and cultural upheaval, the country's fashion has moved away from "colonial fashion" and "national dress" to claim its own distinct identity as contemporary fashion in a global world. With specific reference to women's wear, Contemporary Indonesian Fashion explores the diversity and complexity of the country's sartorial offerings, which weave together local textile traditions like batik and ikat-making with contemporary narratives. The book questions concepts of "tradition" and "modernity" in the developing world, taking stock of the elite consumption of luxury brands and the large-scale manufacturing of fast fashion, and introduces us to the rise of new trends such as busana muslim (or "modest wear"), creating a portrait of a vibrant and growing national and, increasingly, international, industry. Exploring clothing in shopping malls, on the catwalk, in magazines, and online, the book examines how Indonesian fashion is made, presented, and consumed, combining research in Indonesia with analysis and personal reflection. Contemporary Indonesian Fashion ultimately questions the deeply entrenched eurocentrism of "global fashion", simultaneously interrogating current homogenizing beauty and body image discourses posited as universal, by pointing to absences, silences, and erasures as reflected by contemporary Indonesian fashion- hence the "looking glass" of the title. Aptly illustrated, the book offers a new perspective on a rapidly developing new fashion capital, Jakarta.

The fashion show and its spaces are sites of otherness, representing everything from rebellion and excess through to political and social activism. This conceptual and stylistic variety is reflected in the spaces they occupy, whether they are staged in an industrial warehouse, on a city street, or out in the open landscape. Staging Fashion is the first collection of essays about the presentation and staging of fashion in runway shows in the period from the 1960s to the 2010s. It offers a fresh perspective on the many collaborations between artists, architects and interior designers to reinforce their interdisciplinary links. Fashion, architecture and interiors share many elements, including design, history, material culture, aesthetics and trends. The research and ideas underpinning Staging Fashion address how fashion and the spatial fields have collaborated in the creation of the space of the fashion show. The 15 essays are written by fashion, interior, architecture and design scholars focusing on the presentation of fashion within the runway space, from avant-garde practices and collaboration with artists, to the most spectacular and commercial shows of recent years, from Prada to Chanel.

The unforgettable story of the sisters who changed fashion forever. For readers who fell in love with THE PARIS WIFE and THE AGE OF LIGHT.

Gabrielle and Antoinette know they're destined for something better. Abandoned to a convent orphanage, they are raised for simple lives. But at night they dream of a glittering future, and the Chanel sisters are determined to prove themselves worthy.

Their journey propels Coco and Ninette out of poverty to performing in bohemian cafés and stylish music halls, and soon on to Paris and a small hat shop on the rue Cambon, where a boutique business takes hold and expands to the glamorous French resort towns.

But when war breaks out, everything changes, and the Chanel sisters must navigate great loves, devastating losses and fight harder than ever to make their mark on the world.

THE CHANEL SISTERS draws readers through all different walks of Parisian life in the early twentieth century to the extraordinary legacy that lives on today - the most iconic fashion house in haute couture.

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.

Eric Mindling has been travelling the back roads of Oaxaca, Mexico, for over two decades. Oaxaca Stories in Cloth shows not only his love, but his respect for that dramatic geography and the people who have made it their home. More than 100 sensitive, intimate, full-colour portraits of traditional people offer rare glimpses of Oaxacan village life. The companion vignettes are a beautiful blend of villagers' personal stories and Mindling's praise song to the vanishing cultural traditions of Mexico. You will hear the voices of El Mago, the Magician, whose tales conjure an ancient world where women, cloth, and land were one, and La Coronela, once a high-ranking colonel in the army, who now explains the evolution of Zapotec fashion. You will meet Viviana the candle maker, Juana the young embroiderer, Marina the palm weaver, and dozens more who all come to life in remarkable photographs. Mindling's images capture the details of specific moments in everyday Oaxaca life today while conveying the history and enduring story of generations. The book is arranged in two sections: Living Threads records those villages where the community fashion of generations will die with the remaining elders. Each section is a beautiful and significant account. 'A wonderful story documenting the textile traditions of the people of Oaxaca. Fantastic photos.' www.yarnsandfabrics.co.uk

Fashion has always been strongly linked with the politics of gender and equality. In this global and interdisciplinary collection, leading authors explore the relationships between the dressed body, fashion, sex, and power, with an emphasis on the role of dress in both reinforcing and challenging social norms. Covering a range of geographic and social contexts, the book explores the role of fashion in empowering both individuals and groups to create transformation and change. Taking us from the performance of black dandyism through stylized hats, to the use of challenging dance forms and male-inspired dress by female South African dancers to express independence and equality, to ways in which recent Bond Girls have challenged traditional gender binaries, the book provides a crucial entry point into discussions of fashion as an empowerment strategy. Fashion, Agency, and Empowerment encourages the reader to critically examine the cultural and social impact of sexual objectification, as well as to consider personal and shared narratives of self-objectification and repression. With chapters ranging from the iconic self-fashioning of Princess Diana to a discussion of sex, power, and cultural constructions of masculinity, Fashion, Agency, and Empowerment provides crucial insights into global fashion, political structures, and social life.

From the author of STITCHED UP: 'Makes a strong case for nothing less than a revolution' Emma Watson 'A superb primer on everything that is wrong with our world - and how we can start to change it' NEW INTERNATIONALIST DO YOU KNOW WHERE YOUR SHOES COME FROM? DO YOU KNOW WHERE THEY GO WHEN YOU'RE DONE WITH THEM? In 2018, 66.3 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.