This is a vivid record, in words, illustrations and working diagrams, of a section of women's clothing design from 1600 to 1930. The author was in charge of costume at the Theatre Studio run by Michel Saint-Denis in the 1930s.

Designing a final degree collection is a fashion students first chance to approach the reality of the industry. This handbook provides a step-by-step guide to creating this collection, with each chapter exploring a different step of the project: from understanding the brief and identifying the market to research, development and sampling, through to garment design, range planning, and styling and presentation. Richly illustrated with 350 colour photographs, the book builds on the skills learnt by students during their degree course and throughout the creation of their capsule collection. The accompanying case studies, featuring inspirational work by fashion students from 18 top fashion schools around the world, illustrate every stage of the process and showcase new talent. The book will be accompanied by a CD containing 15 additional student case studies (90 pages, 4,500 words).

Contributions by Grace Elizabeth Hale, Katie Knowles, Ted Ownby, Jonathan Prude, William Sturkey, Susannah Walker, Becca Walton, and Sarah Jones WeickselFashion studies have long centered on the art and preservation of finely rendered garments of the upper class, and archival resources used in the study of southern history have gaps and silences. Yet, little study has been given to the approach of clothing as something made, worn, and intimately experienced by enslaved people, incarcerated people, and the poor and working class, and by subcultures perceived as transgressive. The essays in the volume, using clothing as a point of departure, encourage readers to imagine the South's centuries-long engagement with a global economy through garments, with cotton harvested by enslaved or poorly paid workers, milled in distant factories, designed with influence from cosmopolitan tastemakers, and sold back in the South, often by immigrant merchants. Contributors explore such topics as how free and enslaved women with few or no legal rights claimed to own clothing in the mid-1800s, how white women in the Confederacy claimed the making of clothing as a form of patriotism, how imprisoned men and women made and imagined their clothing, and clothing cooperatives in civil rights-era Mississippi. An introduction by editors Ted Ownby and Becca Walton asks how best to begin studying clothing and fashion in southern history, and an afterword by Jonathan Prude asks how best to conclude.

Christian Dior was born in Granville, a seaside town on the coast of Normandy, France: while his family had hoped that he would become a diplomat, Dior preferred art. His preternatural talent resulted in him being hired by Robert Piquet in 1937, and subsequently worked alongside Pierre Balmain and Lucien Lelong. Dior was an instant sensation after the Second World War. His designs, which asserted femininity, were a strong rebuke to the utilitarian, unisex clothing of wartime and came to symbolise the 'New Look'. Dior had an extremely close relationship with his sister, Catherine - honouring her work during the war in the French Resistance with the popular perfume Miss Dior. She was his muse. The book features around 60 haute couture designs from the collections of the Musee des Arts Decoratifs along with an equivalent number of iconic pieces belonging to Dior Heritage (the house's own archives of original runway prototypes or garments ordered by clients), supplemented by fragrances and accessories. The items on display thus offer a panorama of Christian Dior's haute couture creations since 1947, always the epitome of modern elegance, with the selection taking as its unifying thread the fabric of dreams and the passing on of an aesthetic vision. Text in English and Arabic.

From Elizabeth Keckly's designs as a freewoman for Abraham Lincoln's wife to flamboyant clothing showcased by Patrick Kelly in Paris, Black designers have made major contributions to American fashion. However, many of their achievements have gone unrecognized. This book, inspired by the award-winning exhibition at the Museum at FIT, uncovers hidden histories of Black designers at a time when conversations about representation and racialized experiences in the fashion industry have reached all-time highs. In chapters from leading and up-and-coming authors and curators, Black Designers in American Fashion uses previously unexplored sources to show how Black designers helped build America's global fashion reputation. From enslaved 18th-century dressmakers to 20th-century "star" designers, via independent modistes and Seventh Avenue workers, the book traces the changing experiences of Black designers under conditions such as slavery, segregation, and the Civil Rights Movement. Black Designers in American Fashion shows that within these contexts Black designers maintained multifaceted practices which continue to influence American and global style today. Interweaving fashion design and American cultural history, this book fills critical gaps in the history of fashion and offers insights and context to students of fashion, design, and American and African American history and culture.

In the first comprehensive study of the interactions between fashion, performance and performativity, a group of international experts explore fashion as the ideal 'complex space' - or, in other words, the ideal space where performance and performativity come together, according to the works of seminal theorists Eve Kosofsky Sedgwick and Andrew Parker. Bringing together western and non-western, historical and contemporary case studies and theories, the book explores the magazines, photography, exhibitions, global colonial divides, digital media, and more, which have become key markers of the fashion industry as we know it today. Using existing literature as a springboard and incorporating perspectives from fashion studies, art history, media studies and gender studies, as well as from artists and practitioners, Fashion, Performance, and Performativity is an innovative and essential work for students, scholars and practitioners across multiple disciplines.

One of the most important shoe designers of the mid- to late twentieth century, Arsho Baghsarian spent more than four decades working behind the scenes for prestigious companies with men's names on the label, including Christian Dior, Andrew Geller, I. Miller, and Stuart Weitzman, as well as Shoe Biz. Her creative genius is illustrated in this photographic collection of full-page sketches, prototypes, and production pairs that she donated to the Fashion Institute of Technology. Known for her sculptural heels and the use of exotic materials such as snakeskin, crystal, and Lucite, Baghsarian's extraordinary journey spans from a childhood in Turkey to prolific partnerships with major American shoe labels and the international factories that produced her designs. Connoisseurs of high-fashion footwear will be fascinated by the story of Baghsarian's pioneering career and inspirations, which ranged from Mexican art and the Philippine jungle to the passing of time.

What American men, women and children wore in the 1940s, shown in 122 fully illustrated and captioned pages selected from rare copies of Sears catalogs, reproduced in large format on high-quality glossy stock. Hundreds of detailed drawings depict hats, overcoats and shoes, suits and dresses, sportswear, undergarments, corsetry, neckties, rainwear and personal accessories. JoAnne Olian is a curator of the costume collection at the Museum of the City of New York.

In The Fashion Reader, Linda Welters and Abby Lillethun have selected 76 influential articles to offer insight into the critical theories and conversations that surround this huge international industry. Many of the essays are drawn from books, journals, magazines, and exhibition catalogues, bringing together new and established concepts to offer a solid grounding in the history, business and culture of fashion. Fourteen of the chapters were written expressly for this edition. For added context, each of the fifteen parts has an introduction from the editors, guiding you through the interdisciplinary world of fashion studies, and each part concludes with suggestions for further reading. This third edition has been substantially revised to highlight issues of sustainability, identity, the body, as well as global perspectives from "The Commodification of Ethnicity" to "The Cultural Heritage of Tattooing."

Examining how dress evolved over the long nineteenth century, between the French Revolution and the First World War, Pam Inder explores the history behind how women's clothing was manufactured and worn. Focusing on specific examples and particular details such as the fabric, cut, trimming and stitching, Dresses and Dressmakingshows how techniques and styles in women's clothing developed. Including full-colour photography of various outfits, including accessories and undergarments, Inder puts the costumes into historical context, featuring information on those who created or wore them - a dress worn by a devout Quaker, a nursing dress worn by a farmer's wife, a badly made dress worn (and hated) by the daughter of a social reformer, a mourning outfit cobbled together from two separate dresses and an outfit worn by a teenage suffragette. Exploring fashion and how it reflects changes in trade, technological developments, social attitudes and lifestyle, as well as how fashion was portrayed by writers and cartoonists of the era, this is a fascinating, lavishly illustrated guide to changes and developments in women's fashion.

Bobs, beards, blondes and beyond, Hair takes us on a lavishly illustrated journey into the world of this remarkable substance and our complicated and fascinating relationship with it. Taking the key things we do to it in turn, this book captures its importance in the past and into the present: to individuals and society, for health and hygiene, in social and political challenge, in creating ideals of masculinity and womanliness, in being a vehicle for gossip, secrets and sex. Using art, film, personal diaries, newspapers, texts and images, Susan J. Vincent unearths the stories we have told about hair and why they are important. From ginger jibes in the seventeenth century to bobbed-hair suicides in the 1920s, from hippies to Roundheads, from bearded women to smooth metrosexuals, Hair shows the significance of the stuff we nurture, remove, style and tend. You will never take it for granted again.

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.

Chinese clothing has undergone continuous transformations throughout history, providing a reflection of the culture in place at any given time. A wealth of archaeological findings coupled with ancient mythology, poetry and songs enable us to see the development of distinctive Chinese fashions through the ages. This illustrated introductory survey takes the reader through traditional Chinese clothing, ornamentation and ceremonial wear, discusses the importance of silk and the diverse costumes of China's ethnic groups before considering modern trends and China's place in the fashion world today.

In this unique intervention in the study of queer culture, Dominic Janes highlights that, under the gaze of social conservatism, 'gay' life was hiding in plain sight. Indeed, he argues that the worlds of glamour, fashion, art and countercultural style provided rich opportunities for the construction of queer spectacle in London. Inspired by the legacies of Oscar Wilde, interwar and later 20th-century men such as Cecil Beaton expressed transgressive desires in forms inspired by those labelled 'freaks' and, thereby, made major contributions to the histories of art, design, fashion, sexuality, and celebrity. Janes reinterprets the origins of gay and queer cultures by charting the interactions between marginalized freaks and chic fashionistas. He establishes a new framework for future analyses of other cities and media, and of the roles of women and diverse identities.

How are aesthetics and ethics related to the practical realities of the global fashion industry? Both have played an important role in academic fashion studies to this point, but they are most often discussed in the context of abstract phenomena such as modernity and capitalism, or identity issues such as sexuality, class and gender. The essays in this volume strive instead to show how the realities of the global fashion industry have important and pertinent aesthetic and ethical consequences. This collection provides critical and philosophical analysis of the interplay of aesthetics and ethics within the global fashion industry. Characterized by an increasingly fast spinning production, the industry is highly exploitative in terms of environment and labor force: underpaid textile workers, retailers working under brutal competition from the mass-merchandise discounters, young designers, seamstresses and curators often working for free, and a vast body of aspiring models. In addition, fashion-related aesthetic ideals are becoming more influential than ever in directing consumers in their social and personal identification processes and bodily practices with sometimes fatal consequences. Covering a wide range of subjects such as fashion's highly problematic production and consumption practices, the possibility of producing and consuming fashion ethically, fashion's intimate connection with nature and technology, Fashion Aesthetics and Ethics highlights the powerful aesthetical presence of fashion in relation to its ethical premises and often problematic outcomes.

Australian Fashion Unstitched provides a compelling and authoritative survey of the myriad influences and attributes of Australian fashion over the last sixty years. This post-war period saw Australia's fashion industry come of age. The word couturier became part of the Australian lexicon and glamorous Paris catwalk shows graced our shores, showcasing overseas styling to large audiences in our major cities. Displaying pride in our nationhood and paying tribute to our heritage, our young and emerging designers, in turn, embarked upon a long, sometimes arduous journey to offer Australian fashion to the world. Unique indigenous textile design, cutting-edge swimwear, and fresh interpretations of global trends infiltrated the international marketplace, sustaining and bolstering the trademark of Australian design. Australian Fashion Unstitched narrates this fascinating story through the eyes of the designers themselves, as well as the journalists, academics, fashion photographers and museum curators who represent this vibrant industry.

Glamour is one of the most tantalizing and bewitching aspects of contemporary culture - but also one of the most elusive. The aura of celebrity, the style of the fashion world, the vanity of the rich and beautiful, and the publicity-driven rites of cafe society are all imbued with its irresistible magnetism. But what exactly is glamour? Where does it come from? How old is it? And can anyone quite capture its magic? Stephen Gundle answers all these questions and more in this first ever history of the phenomenon, from Paris in the tumultuous final decades of the eighteenth century through to Hollywood, New York, and Monte Carlo in the twentieth and twenty-first centuries, from Napoleon to Marlene Dietrich and Marilyn Monroe, from Beau Brummell to Gianni Versace. Throughout, the book captures the excitement and sex appeal of glamour while exposing its mechanisms and exploring its sleazy and sometimes tragic underside. As Gundle shows, while glamour is exciting and magnetic, its promise is ultimately an illusion that can only ever be partially fulfilled.

Pays homage to 'the Chelsea Set', a bohemian, progressive clique that would change the course of sixties contemporary design, with a focus on Mary Quant and Terence Conran. Narrates the history of an era through a meld of biography, fashion photography and vintage ads. Informative, attractive, stylish - the perfect gift for someone with an eye for fashion. Transporting you back to London at the height of the Swinging Sixties, this book provides vital context for two of the biggest and boldest names in 'Pop' fashion: Mary Quant, alleged mother of the miniskirt, and Terence Conran, the entrepreneur behind the new wave of 'lifestyle' stores. Friends, associates and allies in design, Quant and Conran stood at the head of an informal but influential bohemian group who steered the rudder of style during the Pop era. 'The Chelsea Set' resist definition; there was no comprehensive members list. Conran/Quant: Swinging London - A Lifestyle Revolution explores the contributions of designers and artists from Laura and Bernard Ashley to Eduardo Paolozzi, Nigen Henderson and Alexander Plunket Greene, all of whom were essential generators of Sixties Style.

Shortlisted for the Association of Dress Historians Book of the Year Award, 2021 Libertine practices have long been associated with transgression and social deviance. This innovative book is the first to focus fully on the relationship between libertinism as a social phenomenon and as a form of fashion. Taking the reader from early modernity to the present day, Adam Geczy and Vicki Karaminas reveal how the connection between clothing and the taboo, the erotic, and the forbidden is at the heart of "libertine fashion". Moving from the decadent courts of Charles II and Louis XV to the catwalks of the 21st century, Libertine Fashion examines literary and sartorial figures ranging from the Marquis de Sade and Lord Byron to Oscar Wilde, Josephine Baker, Colette, and Madonna. Focusing on libertinism as a sartorial practice and identity, this book traces the genealogy of the concept through the proto feminists of the English Reformation, the hedonistic decadents of the fin de siecle, and the Flappers of the Roaring 20s. The historical arc traverses the 1970s era of punk and glam, the shapeshifting personae of David Bowie, and the "disciplinary regimes" of Jean-Paul Gaultier. Looking at libertine practices and appearances with fresh eyes, this bracing and original book affords many new insights into transgressive style, and of the relationship between sexuality and clothing. Accessible and thoroughly researched, Libertine Fashion uses a multidisciplinary approach that draws on historical literature, film, fashion, philosophy, and popular culture. Offering a historical and philosophical grounding in contemporary forms of identity and dress, it is essential reading for students and scholars of fashion, gender, sexuality, and cultural studies.

At the end of the 1950s the 100-year-old clothing firm Burberry was a troubled company with an uncertain future, whose new owners did not know what to do with it once they had secured it. Brian Kitson joined Burberry in 1958 expecting a temporary summer job and stayed for over twenty years. His research into the company's distinguished past, encouraged by the last Mr Burberry, began to suggest a possible direction for regeneration...Written with great verve and wit, Burberry Days tells of the author's unexpected adventures as an international travelling Burberry salesman throughout the 1960s and '70s, as well as exploring the origins of the company's emblematic trench coat and the familiar house check. The book also offers some controversial reasons why Britain, with so much to offer - from the Savile Row suit, the Jermyn Street shirt and Scottish cashmere to workforce skills and great design talent - can still only count Burberry in the premier league of international fashion houses.

The moving image has become a key marketing tool for luxury fashion, central in enabling brands to shape their visual codes and extend their brand awareness. Fashion Film is the first detailed study of the shifting shape of fashion imagery in the digital age, investigating the role of the moving image in the promotion, communication and spectacle of contemporary fashion. Combining interdisciplinary analysis of cinema and digital culture, this ground-breaking book traces the emergence of fashion film in the 21st century through its historical roots in pre-digital forms of photography, experimental cinema, mass-media advertising and documentary film-making, right up to today's visual spread of contemporary fashion on video blogs, online magazines and live-streamed catwalk shows. Examining collaborations between fashion designers and pioneering image-makers such as Guy Bourdin, Jean-Paul Goode, William Klein and Nick Knight, the book highlights the critical tension between the fashion film conceived as a creative endeavour and as commercial enterprise. Fashion Film also includes a parallel focus on factual representations of fashion through the recent rise of documentary fashion film that goes behind the scenes to follow the processes and personalities involved in making fashion. Accessible and well-illustrated, Fashion Film will appeal to students and scholars of fashion, film, media, photography, celebrity, sociology and cultural studies.

**THE INSTANT NEW YORK TIMES BESTSELLER** Veteran style journalist Elizabeth Holmes expands her popular Instagram series, So Many Thoughts, into a nuanced look at the fashion and branding of the four most influential members of the British Royal Family: Queen Elizabeth II; Diana, Princess of Wales; Catherine, The Duchess of Cambridge; and Meghan, The Duchess of Sussex. Kate Middleton and Meghan Markle are global style icons, their every fashion choice chronicled and celebrated. With all eyes on them, the duchesses select clothes that send a message about their values, interests, and priorities. Their thoughtful sartorial strategies follow in the footsteps of Queen Elizabeth II and Diana, Princess of Wales, two towering figures known for using their personal style to great acclaim. With one section devoted to each woman, HRH is a celebration of their stories and their style, pairing hundreds of gorgeous photographs with extensive research. A picture emerges of the British monarchy's evolution and the power of royal fashion, showing there's always more than what meets the eye.