This title was first published in 2002. To date, studies explaining decorative practice in the early modernist period have largely overlooked the work of women artists. For the most part, studies have focused on the denigration of decorative work by leading male artists, frequently dismissed as fashionably feminine. With few exceptions, women have been cast as consumers rather than producers. The first book to examine the decorative strategies of late nineteenth- and early twentieth-century women artists, Women Artists and the Decorative Arts concentrates in particular on women artists who turned to fashion, interior design and artisanal production as ways of critically engaging various aspects of modernity. Women artists and designers played a vital role in developing a broad spectrum of modernist forms. In these essays new light is shed on the practice of such well-known women artists as May Morris, Clarice Cliff, Natacha Rambova, Eileen Gray and Florine Stettheimer, whose decorative practices are linked with a number of fascinating but lesser known figures such as Phoebe Traquair, Mary Watts, Gluck and Laura Nagy.

This book presents high-quality original contributions on the fashion supply chain. A wide spectrum of application domains are covered, processing of big data coming from digital and social media channels, fashion new product development, fashion design, fashion marketing and communication strategy, business models and entrepreneurship, e-commerce and omni-channel management, corporate social responsibility, new materials for fashion product, wearable technologies. The contents are based on presentations delivered at IT4Fashion 2016, the 6th International Conference in Business Models and ICT Technologies for the Fashion Supply Chain, which was held in Florence, Italy, in April 2016. This conference series represents a targeted response to the growing need for research that reports and debates supply chain business models and technologies applied to the fashion industry, with the aim of increasing knowledge in the area of product lifecycle management and supply chain management in that industry.

The Fashion Annual 2018/19 is created by one of the country's leading fashion editors and textiles experts, Lynne Coleman. The annual paints fashion portraits portraying the events that have hit the headlines this year. From political turmoil to #metoo, plastic pollution to social media anxiety, The Algorithm Edition depicts our year through the medium of fashion and art in ten breathtaking editorials.

Creating a capsule collection - a fashion collection based on one single design concept - is a process that requires much thought and organization, with different steps to be considered. Firstly, it is necessary to find a concept: one single theme that structures the designs of that collection and from which the creations are developed. The next step is to design a moodboard, an inspirational collage formed by images, text and samples of materials prior to the design of the collection, which then leads to the initial sketches using the illustration technique of one's choosing. Through these 16 tutorials the reader will learn the necessary elements that any process should have when designing a collection and how it should be presented in a portfolio. The techniques used in the book range from watercolour to collage, as well as digital tools. This is a book from which aspiring fashion designers will be able to draw the inspiration and skills needed to launch their own collection.

Discover the rich creative possibilities of fragmentation and repair in textile art.Fragmentation and repair are two of the biggest buzzwords in textile and mixed-media art. In this fascinating book, renowned artist Shelley Rhodes explores both concepts, with a wealth of fresh ideas and practical advice.Drawing on her own practice, Shelley explains how she reconstructs and reassembles cloth, paper and other materials to create new pieces, often incorporating found objects and items she has collected over the years to add depth and emotional resonance. From piercing and devore to patching and darning, techniques include: *Fragmentation of materials, text and image. *Repair using darning and patching along with pins, tape, adhesive and plaster. *The Japanese concepts of wabi-sabi (finding beauty in imperfection) and mottainai (using every last scrap). *Using salvaged and recycled materials, and repurposing household items. *Methods of distressing and manipulating surfaces including weathering, abrasion, burning, piercing, staining and burying. *Collage, working in a series and collecting fragments.Beautifully illustrated with Shelley's own pieces alongside those of other leading artists, this fascinating book is the ideal companion for any textile artist wanting to bring notions of fragility, fragmentation and repair into their own work.

Embodying Pasolini documents the extraordinary performance curated by Olivier Saillard and poetically brought to life by Tilda Swinton. Serving as part fashion object and part catalogue, this publication is the sole record of Swinton's critically acclaimed sold-out performance-that was by its very nature an ephemeral artwork-but also serves as a survey of the impressive costumes designed by Danilo Donati for Pier Paolo Pasolini's films. From movies including The Gospel According to Matthew, The Hawks and the Sparrows, Oedipus Rex, Porcile, The Decameron, The Canterbury Tales, and Arabian Nights to Salo, or the 120 Days of Sodom, their costumes-garments, coats, and hats-retrace Pasolini's entire cinematography, which continues to fascinate audiences almost half a century after the director's passing. The camera of German photographer Ruediger Glatz takes readers both on stage and behind the scenes of the performance, and directs their gaze to details and close-ups, intensifying the beauty and mystery of the moment. Written by Swinton and Saillard, the texts offer an exclusive perspective into the creation and realization of the performance. A passionate ode to cinematic costume design and fashion, Embodying Pasolini elevates couture to a veritable art form.

Before he became the father of cinematic special effects, George Melies (1861-1938) was a maker of deluxe French footwear, an illusionist, and a caricaturist. Proceeding from these beginnings, Melies Boots traces how the full trajectory of Georges Melies' career during the late-nineteenth and early-twentieth centuries, along with the larger cultural and historical contexts in which Melies operated, shaped his cinematic oeuvre. Solomon examines Melies' unpublished drawings and published caricatures, the role of laughter in his magic theater productions, and the constituent elements of what Melies called "the new profession of the cineaste." The book also reveals Melies' connections to the Incoherents, a group of ephemeral artists from the 1880s, demonstrating the group's relevance for Melies, early cinema, and modernity. By positioning Melies in relation to the material culture of his time, Solomon demonstrates that Melies' work was expressive of a distinctly modern, and modernist, sensibility that appeared in France during the 1880s in the wake of the Second Industrial Revolution.

Men's Tailoring: Bespoke, Theatrical and Historical Tailoring 1830-1950 introduces the reader to English tailoring and covers the drafting of patterns, cutting out in cloth, and the complete traditional construction techniques in sequence for the tailoring of a waistcoat, trousers and jacket. The book contains: step-by-step instructions, complete with illustrations, for students and costumiers who are new to the making of male tailored garments from the nineteenth and twentieth centuries; drafting blocks and construction techniques for the main three styles of nineteenth century male garments: frock coat, morning coat and dress coat; patterns, photographs and detailed measurements taken from a variety of male coats, jackets, waistcoats and trousers from c1830 - c1950 from museums and collections. From choosing the right cloth to preparing for the fitting process, this how-to guide will help readers create beautiful, historically accurate three-piece suits for events and performances.

British Fashion Design explores the tensions between fashion as art form, and the demands of a ruthlessly commercial industry. Based on interviews and research conducted over a number of years, Angela McRobbie charts the flow of art school fashion graduates into the industry; their attempts to reconcile training with practice, and their precarious position between the twin supports of the education system and the commercial sector. Stressing the social context of cultural production, McRobbie focuses on British fashion and its graduate designers as products of youth street culture, and analyses how designers from diverse backgrounds have created a labour market for themselves, remodelling `enterprise culture` to suit their own careers.

From Audrey Hepburn in Givenchy, to sharp-suited gangsters in Tarantino movies, clothing is central to film. In Undressing Cinema, Stella Bruzzi explores how far from being mere accessories, clothes are key elements in the construction of cinematic identities, and she proposes new and dynamic links between cinema, fashion and costume history, gender, queer theory and psychoanalysis.
Bruzzi uses case studies drawn from contemporary popular cinema to reassess established ideas about costume and fashion in cinema, and to challenge conventional interpretations of how masculinity and femininity are constructed through clothing. Her wide-ranging study encompasses:
* haute couture in film and the rise of the movie fashion designer, from Givenchy to Gaultier
* the eroticism of period costume in films such as The Piano and The Age of Innocence
* clothing the modern femme fatale in Single White Female, Disclosure and The Last Seduction
* generic male chic in Goodfellas, Reservoir Dogs, and Leon
* pride, costume and masculinity in `Blaxploitation' films, Boyz `N The Hood and New Jack City
* drag and gender confusion in cinema, from the unerotic cross-dressing of Mrs Doubtfire to the eroticised ambiguity of Orlando.

eBook available with sample pages: HB:0415139562

From Audrey Hepburn in Givenchy, to sharp-suited gangsters in Tarantino movies, clothing is central to film. In Undressing Cinema, Stella Bruzzi explores how far from being mere accessories, clothes are key elements in the construction of cinematic identities, and she proposes new and dynamic links between cinema, fashion and costume history, gender, queer theory and psychoanalysis.
Bruzzi uses case studies drawn from contemporary popular cinema to reassess established ideas about costume and fashion in cinema, and to challenge conventional interpretations of how masculinity and femininity are constructed through clothing. Her wide-ranging study encompasses:
* haute couture in film and the rise of the movie fashion designer, from Givenchy to Gaultier
* the eroticism of period costume in films such as The Piano and The Age of Innocence
* clothing the modern femme fatale in Single White Female, Disclosure and The Last Seduction
* generic male chic in Goodfellas, Reservoir Dogs, and Leon
* pride, costume and masculinity in Blaxploitation' films, Boyz N The Hood and New Jack City
* drag and gender confusion in cinema, from the unerotic cross-dressing of Mrs Doubtfire to the eroticised ambiguity of Orlando.

Fashion Reimagined features 50 outstanding examples of fashionable dress drawn entirely from the outstanding collection of the Mint Museum, Charlotte, NC, including men's and women's fashions from 1760 to 2022. The book is divided into three sections that reflect three aspects of historicism: Minimalism, Pattern and Decoration, and The Body Reimagined. Each catalogue entry addresses a theme and provides information and insights about the individual designers, fabric and construction details, and globalization that is embedded in both the textiles and fashions 1760 to the present. Ranging from court suits to street wear, highlights include an English 18th-century sack back dress, two English men's court suits, early 19th-century printed cotton dresses, wedding dresses from the mid and last quarter of the 19th century, as well as a rare 1920s wedding ensemble by Roman fashion artist Maria Monaci Gallenga, a very rare early 20th-century Ispahan mantle by Paul Poiret, an unusual mid twentieth century Black Narcissus dress by American designer James Galanos, several examples of 1960s and 70s mod and hippie chic style, and innovative contemporary fashions by Giorgio Armani, Romeo Gigli, Zandra Rhodes, Anna Sui, Yoji Yamamoto, Wale Oyejide for Ikire Jones, Anamika Khanna, and Iris van Herpen, among others.

Through intertwined narratives and evocative illustrations, this graphic biography reveals the life and influence of Karl Lagerfeld, the legendary designer who revolutionized fashion.

The book’s innovative structure alternates between Lagerfeld’s public achievements and personal moments, offering an in-depth and multifaceted look at his story. One narrative chronicles his rapid ascent in the fashion world, charting his journey from his beginnings in 1940s Germany to his rise as a global creative force. Set against the vibrant worlds of 1950s Paris and 1970s Italy, it highlights his transformative work at Chanel, Fendi, and his eponymous label, celebrating his groundbreaking designs and larger-than-life persona that captivated audiences worldwide.

The parallel narrative provides a rare glimpse into Lagerfeld’s private life, showcasing a reflective and deeply creative individual. In the quietude of his home in the countryside south of Paris, he immersed himself in literature, art, and his love for his famous cat, Choupette.

These intimate scenes illuminate a man whose relentless drive was paired with a profound appreciation for beauty and simplicity.

With meticulous storytelling and engaging visuals, this biography captures the many facets of Karl Lagerfeld—a figure defined by ambition, artistry, and an ability to seamlessly navigate grandeur and introspection. Essential for fashion aficionados and readers fascinated by influential lives, this book is a unique celebration of a legacy that continues to shape the cultural and creative landscapes of today.

The London-based Ready, Steady, Go! began broadcasting in August of 1963 and, within a matter of weeks, became an essential television ritual for the newly confident British teenager. It set trends and became the barometer for popular culture by attracting and presenting anyone who was anyone in popular music: The Beatles, The Rolling Stones, The Who, The Kinks, The Animals, Marvin Gaye, The Supremes, Otis Redding, and many more. RSG! also provided the first small screen exposure for then-unknowns such as Rod Stewart, Marc Bolan, David Bowie, Donovan, and Jimi Hendrix. Ready, Steady, Go! ran for three and a half years, setting a blueprint for music presentation and production on television that resonated over the following decades and can still be felt today. Featured in this lavishly illustrated and definitive history of the show are hundreds of color and black and white images-the bulk of them previously unpublished-as well as exclusive essays by Mick Jagger, Pete Townshend, Ray Davies, Eric Burdon, Donovan, Andrew Oldham, Lulu, and others. Also included is a detailed guide to all 173 episodes-with complete artist appearances and the songs they performed-as well as forewords from the show's original editor Vicki Wickham and acclaimed director Michael Lindsay-Hogg. This is the first full documentation of the show that went from quintessential Swinging London accessory to its current status as the most legendary popular music program of all time.

This textbook describes the structure of the industry in the UK and globally, and explains the current problems and strategic responses to global shifts in production. The new edition has been updated throughout to include the lastest available data, and takes account of the acceleration of the decline of manufacturing in the UK since 2002, the rapid expansion of production in China, and the final demise of the system of quota control.
Essential subject for students at undergraduate and postgraduate levels.
An expert guide to a bewilderingly complex industry.
No competition.
Addresses global issues, the opportunities and threats, with strategies for survival.
Author is Editor of "International Journal of Fashion Marketing and Management."

Classic workwear, sports and military clothing in a new mini format. Curated by connoisseurs of vintage clothing, the Vintage Showroom is a vast collection of rare 20th-century pieces that fashion designers and stylists pay to view, using the cut and detailing of individual garments as inspiration for their own work. Offering one-of-a kind access, Vintage Menswear now makes this unique resource available in book form. Featuring 130 of the most influential examples of 20th-century and earlier European, American and Asian utilitarian tailoring and design, the book is divided into three sections of sportswear, militaria and workwear, covering everything from 1940s flying jackets and polar exploration suits to vintage French denims. Stunning full-page bleeds and front and back views showcase ground-breaking designs in concept, shape and cut. Providing over 300 lavishly illustrated pages of rare, must-see designs, Vintage Menswear is the essential choice of 20th-century vintage tailoring and detailing and an inspirational resource for students and menswear fashion designers and stylists.

A richly illustrated glimpse into the magnificent collection of seventeenth-century men's dress from the Danish kings' wardrobes Ten Kings' Clothes: Royal Danish Dress, 1596-1863 presents the unparalleled collection of seventeenth-century male dress, belonging to the Danish kings from Christian IV to Frederik VII. The incomparable research showcases the collection of each monarch, put into context against the backdrop of pivotal moments in Danish history, the networks of supply, and the production and circulation of luxury goods. Richly illustrated with portraits, prints, and the stunning garments, extended entries and hand-drafted patterns allow a detailed and technical appreciation of each item. The historical garments tell the story not only of the kings' coronations and weddings but also of everyday life at court, including the contributions of tailors, embroiderers, valets, portrait artists, castle stewards, and laundresses. The book also includes a foreword written by Her Majesty Queen Margrethe II of Denmark. Published in association with Aarhus University Press

The 1910s and 1920s witnessed an outpouring of luxury publications that used a hand-stencilling technique known as pochoir (French for 'stencil'). The highly refined and painterly technique, which consists of applying layers of gouache paint or watercolour to achieve bold blocks of saturated colour, produced works of visual artistry formerly unrivalled in the history of illustration, and it became the medium of choice for avant-garde couturiers seeking to stand apart and cultivate an elite readership. Organized chronologically by publication and showcasing a carefully curated selection of the most exceptional illustrations from couture albums and high-end magazines, Fashion and the Art of Pochoir is the definitive tribute to the artists and couturiers who first united to redefine luxury, inaugurating the enduring alliance between fashion and art, from Schiaparelli and Dali to Vuitton and Murakami today. Closing with biographical notices of illustrators and fashion designers, it offers a unique chance for illustrators, artists, designers and fashion enthusiasts to discover the rarely seen images that defined a short but magnificent golden age.

Coco Chanel was founder and queen of a fashion empire, and her name is forever linked to an unmistakable style. Before all this, Mademoiselle Coco was Gabrielle, a poor orphan who rejected convention and put her independence above all else. With her grit and tenacity, she made her fortune and restored freedom to women. This volume celebrates a true icon 50 years after her passing, coinciding with the 100th anniversary of the timeless Chanel N Degrees5. She revolutionized the concept of feminine elegance with straight dresses and inventions that would later become icons: these were the little black dress, Chanel N Degrees 5, costume jewellery, the suit with gold buttons, the quilted bag. Her myth lives again in a biography illustrated by images portraying her as the perfect embodiment of the timeless elegance. Because, as Coco said, "fashion passes; style remains."

From choosing the right pair of eyeglasses to properly coordinating a shirt, tie, and pocket square, getting dressed is an art to be mastered. Yet, how many of us just throw on, well, whatever each morning? How many understand the subtleties of selecting the right pair of socks or the most compatible patterns of our various garments,much less the history, imperatives, and importance of our choices?In True Style , acclaimed fashion expert G. Bruce Boyer provides a crisp, indispensable primer for this daily ritual, catalogueuing the essential elements of the male wardrobe and showing how best to employ them. In witty, stylish prose, Boyer breezes through classic items and traditions in menswear, detailing the evolution and best uses of fabrics like denim and linen, accoutrements like neckties and eyeglasses, and principles for combining patterns, colours, and textures. He enlightens readers about acceptable circumstances for donning a turtleneck, declaims the evils of wearing dress shoes without socks, and trumpets the virtues of sprezzatura, the artistry of concealing effort beneath a cloak of nonchalance.With a gentle yet firm approach to the rules of dressing and an incredible working knowledge of the different items, styles, and principles of menswear, Boyer provides essential wardrobe guidance for the discriminating gentleman, explaining what true style looks like,and why.

This title was first published in 2002. To date, studies explaining decorative practice in the early modernist period have largely overlooked the work of women artists. For the most part, studies have focused on the denigration of decorative work by leading male artists, frequently dismissed as fashionably feminine. With few exceptions, women have been cast as consumers rather than producers. The first book to examine the decorative strategies of late nineteenth- and early twentieth-century women artists, Women Artists and the Decorative Arts concentrates in particular on women artists who turned to fashion, interior design and artisanal production as ways of critically engaging various aspects of modernity. Women artists and designers played a vital role in developing a broad spectrum of modernist forms. In these essays new light is shed on the practice of such well-known women artists as May Morris, Clarice Cliff, Natacha Rambova, Eileen Gray and Florine Stettheimer, whose decorative practices are linked with a number of fascinating but lesser known figures such as Phoebe Traquair, Mary Watts, Gluck and Laura Nagy.