Over 300 beautiful print shirts, dresses, and bathing suits-acquired on vacation in the tropics-brought home to preserve the memory, cherished, and shown here to recall and enjoy. Lovely florals, maps, famous scenes, something of the lush vacation lifestyle. The book is organized by tropical locations: the South Pacific, Hawaii, California, Florida, Bermuda, the Bahamas, the Virgin Islands, the West Indies...and the designs are inspired by the heat, light, and relaxation of these popular destinations. Today's graphic designers will find this a source of great ideas; collectors will want them all. Shown also are 163 different clothing labels to help identify the retail and design origins.

Fashions from elephant bells to tube tops, Joe Poltorak takes readers on a visually unforgettable cross-country tour of fashions that faded, and colors that will never dull. Enjoy the visual punch of printed polyester shirts, the sock of psychedelic paisleys, and a parade of pop T-shirt icons. An invaluable reference for collectors, the author presents brand new clothes, salvaged from dusty warehouses and storerooms. Nearly 450 photos show these treasures in all their glory, as well as being modeled in modern-day context. The book includes a foreword by nationally syndicated style writer Patricia McLaughlin.

What kinds of things do fashion and clothing say about us? What does it mean to wear Gap or Gaultier, Milletts or Moschino? Are there any real differences between Hip-Hop style and Punk anti-styles? In this fully revised and updated edition, Malcolm Barnard introduces fashion and clothing as ways of communicating and challenging class, gender, sexual and social identities.
Drawing on a range of theoretical approaches from Barthes and Baudrillard to Marxist, psychoanalytic and feminist theory, Barnard addresses the ambivalent status of fashion in contemporary culture. He looks at the producers, consumers and critics of fashion, exploring the tensions between haute couture and high culture, and asking how meanings are generated, and by whom.
Examining concepts such as culture, meaning, class, gender, reproduction and resistance, Barnard demonstrates that fashion is not an innocent form of communication, and uncovers the ways in which clothing can be used both to create and contest identities. The new edition features new illustrations, a glossary of key terms and suggestions for further reading and research.

The decoration of church vestments, which are the ceremonial garments worn by the clergy at the celebration of the Mass, has always been a matter of high fashion. In the first place the crafts of silk weaving and embroidery, which provide the technical means for the decoration of these garments, have held a prominent place in the changing fashions in the arts since the early Middle Ages, and since that time have been used in the service of the church as well as for secular purposes. Secondly in a narrower sense of the term, both these crafts have been at the heart of fashionable dress through the centuries. Many silks intended for this market have also been used by the vestment makers, with the result that the vestments have remained in the forefront of each successive trend. This therefore is a book about the changing aspects of art history: its aim is to show something of the origins and use of the vestments themselves, but principally to trace the development of their decoration in the context of the arts of any one period. High Fashion in the Church is richly-illustrated as its subject matter rightly demands. It also contains an index, glossary and bibliography.

In this visually stunning book, Lauren speaks candidly about himself and his art. In part one, we get to know the designer through never-before-seen pictures of him in private life and with his family, living the lives he designs for. In the second part, Lauren displays and writes about his most iconic and most beloved work, handpicked from hundreds of collections and his signature cinematic advertising campaigns. Lauren s aesthetic influence and unique design sensibility are captured here by fashion s finest photographers, including Bruce Weber, Deborah Turbeville, and Patrick Demarchelier.

This beautifully illustrated book reveals the sharp pleats, high collars, gleaming pastes, colourful beads, elaborate buttons and intricate lacework that make up some of the garments in the Victoria and Albert Museum's extensive fashion collection. With an expertly written text by one of the museum's fashion curators and exquisite colour photography of garment details, complemented by line drawings and photographs, the reader has the unique opportunity to examine up close historical clothing that is often too fragile to be on display. It is an inspirational resource for students, collectors, designers and anyone who is fascinated by fashion and costume. This new edition features an updated design, fresh content and new research, and an introduction that focuses on the makers and processes involved in producing 18th-century fashion.

From its founding in 1837 Hathaway Shirts has been the bellweather for quality and style. Ironically for their 120 years or so they did little or no advertising to the general public, promoting their product mainly to the trade or through small newspaper ads or signage at the stores. Then on September 22, 1951, in the New Yorker magazine, an advertisement ran that changed all that. The eloquent Baron George Wrangell appeared handsomely dressed in a Hathaway shirt wearing an eyepatch, with the slogan "The man in the Hathaway shirt." Rarely has a symbol become so identified with a product. This new book traces the history of the Hathaway Shirt, beginning with the early years and concentrating on the styles portrayed in nearly 50 years of advertising. Drawing upon company archives, it is a nearly complete chronology of the evolution of men's shirt fashions in the last half of the twentieth century. For designers this will be a valuable reference. For collectors of vintage clothing, there is the added aid of a guide to current prices. This colorful book is a wonderful addition to the library of fashion history.

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.

Peek into the most personal clothing in a woman's boudoir-the undergarments designed to shape, conceal, enhance, and reveal the body to create a silhouette for outerwear fashions from 1770 to 1970. From corsets to negligees to reverse thongs, hundreds of fascinating garments are shown in over 500 color photographs that reflect ever-changing social factors, which influenced day and nighttime occasions. The lively, well researched text explores evolving clothing styles where unmentionables came into play.\nThe full glossary, value guide, and index assist archivists, researchers, clothing dealers, designers, and collectors who will refer to this study frequently for documented examples.

A beautifully illustrated journey through the history of travel-and traveling in style-from one of the world's preeminent fashion brands The mid-19th and early 20th centuries heralded new means of transport and equipment and, with them, new and original ways of exploring the world. Transatlantic liners, automobiles, long-haul airplanes, zeppelins, and express trains unfurled new horizons and changed travel itself into an adventure. Distant lands were no longer solely accessible to aristocrats, explorers, and adventurers. Instead, the world opened up to new groups of people eager to circumvent the globe. And for many of these new globetrotters, traveling was synonymous with Louis Vuitton, the French label whose iconic and functional luggage trunks could be found on nearly every boat, plane, car, and train around the world. In this beautiful book, author Francisca Matteoli recounts 50 tales of thrilling travel undertaken in every possible mode of transit, from the hot air balloon to the space shuttle, each lavishly illustrated with more than 300 historical photographs and ephemera from Louis Vuitton's official archives. Louis Vuitton: Extraordinary Voyages is a journey all its own-an evocative and transporting account of the most surprising and transformative trips taken since the 19th century.

This book is a marvelous, lavishly illustrated jaunt through one hundred years of handbag history. Decade by decade, examples of the main trends are illustrated, along with samples of the eras' most remarkable and unusual high-quality pieces. Information and a price guide are provided to help modern collectors in their searches for wonderful examples. Significant manufacturers and designers are discussed, and interesting historical information is provided. The handbag is an essential accessory for the 20th century woman. Since 1900, the outside of handbags has become just as important as the inside. They are no longer just utilitarian accessories but have become fashion statements! Designers have been inspired to create beautiful bags to match or express every fashion movement through the century. Many of these handbags are works of art.

From the momentus invention of the needle some 40,000 years ago to the development of blue denim, from Neolithic weavers to the biggest names in the fashion industry today - this classic guide covers the landmarks of costume history, the forms and materials used through the ages, the underlying motives of fashion and the ways in which clothes have been used to protect, to express identity, and to attract or to influence others. This sixth edition features a new foreword and concluding chapter by Amy de la Haye. The book is brought right up to date with a discussion about the major political shifts within the fashion industry, highlighting how it has responded to issues surrounding racism and sexism; LGBTQI rights; mental health awareness; body and age diversity and global sustainability.

From the award-winning costume designer of Amazon Prime Video's The Marvelous Mrs. Maisel, a collection of the show's costumes, with never-before-seen photography, sketches, production stills, and more Amazon Prime Video's Emmy- and Golden Globe-winning series The Marvelous Mrs. Maisel centers on Miriam "Midge" Maisel, a 1950s New York City woman whose seemingly perfect life suddenly takes an unexpected turn, taking her from a comfortable life on Riverside Drive through the basket houses and nightclubs of Greenwich Village as she embarks on a groundbreaking standup comedy career. Created by Amy Sherman-Palladino (creator and showrunner of Gilmore Girls), and starring Rachel Brosnahan, Alex Borstein, and Tony Shalhoub, The Marvelous Mrs. Maisel has garnered fan and critical praise alike, with much of the attention focused on the exquisitely designed period costumes. Madly Marvelous: The Costumes of The Marvelous Mrs. Maisel explores the inner workings of award-winning costume designer Donna Zakowska's process, as well as the many inspirations for the show's wardrobe, including period photography, American and European fashion trends, and the various cultures and countercultures of late-1950s New York. The clothes of Mrs. Maisel are gorgeous, authentically detailed, and carefully crafted. Illustrated with sketches, photographs from Zakowska's workspace, behind-the-scenes shots, and production stills, the book follows the series from season to season, showing how the vocabulary of fashion-context, style, color, cut, accessories, and more-is integral to defining and developing the characters in the show. Madly Marvelous is a must-have for fans of the show and fashionistas alike, providing readers with a curated and well-informed look at an integral period in fashion history.

To have a colour named after you is one of the highest accolades in fashion. Valentino Garavani is one such icon. Since the founding of the House of Valentino in 1950s Rome, Garavani has been celebrated for the desirability of his designs. His stunning gowns in his signature Valentino Red have been sought after by the jet set for over half a century, and still signify the very epitome of red carpet glamour. Little Book of Valentino tells the story of this most elegant of brands. Beginning with Garavani's initiation into the world of haute couture in 1950s Paris, progressing through the glittering social scene of 1970s New York and Valentino's domination of Hollywood from the 1980s to the present day, images of every dazzling era are beautifully reproduced alongside text exploring the significance of each stunning piece.

Take a close-up look at far-out fabric designs from the 1960s in full, cool colors. All the orange, hot pink, and sky blue the era's most fertile imaginations could conjure. Featured are more than 300 striking swatches from top couture houses in Paris and Milan, bold flower prints on silk, cotton, and the acetates and polyesters that helped shape fashion's most eye-popping era.

From 1976 to 1978, the young photographer Simon Barker was a member of the "Bromley Contingent"--a group of avid Sex Pistols fans who comprised the group's inner circle at the height of the punk movement. Many of them, such as Jordan and Siouxsie Sioux, were notorious for their daredevil dress sense, and several--such as Sioux, Steven Severin, Adam Ant, Poly Styrene, Billy Idol, Viv Albertine and Ari Up--went on to form some of the most important bands of the era. This compilation of previously unseen photographs by Barker shows these founders of punk in their earliest incarnations--in bedrooms and kitchens, at public gigs and private parties--before media and commerce sunk their claws into punk's iconoclastic look and class politics. Taken with the simplest and cheapest pocket cameras, the photographs in this collection constitute Barker's "family album for the years 1976 to 1978." In the spirit of the Pistols' "God Save the Queen," the volume closes with a photographic sequence taken by Barker during the 1976 Jubilee celebrations, which shows Romanian tyrant Nicolae Ceausescu hobnobbing with the Queen of England in the royal procession.

"Women are into fashion, men are into style, style is forever" Domenico Dolce Womenswear progresses in leaps and bounds, fuelled by the readiness of women to wear what may at the time be perceived as the radical or outrageous. Not so menswear -menswear evolves, slowly. But from what? Behind nearly every item in the modern male wardrobe is a 'first of its kind' - the definitive item, often designed by a single company or brand for specialist use, on which all subsequent versions have been based (and originals of which are now collector items in the booming vintage market). The T-shirt, for example, may now be an innocuous, everyday item, but was created by American company Hanes for US Navy personnel at the turn of the 20th century and was subsequently adopted by sportsmen and bikers. Other items have been designed for sport, farm work, protection and made their way into everyday usage. Icons of Men's Style examines, garment by garment, the most important and famous of these products - their provenance and history, the stories of their design, the brand/company that started it all and how the item shaped the way men dress today.

An examination of the fabrics, garments and cloth of the Iberian Middle Ages, bringing out in particular the international context. The Medieval Iberian Peninsula, encompassing various territories which make up present-day Spain and Portugal, was an ethnic and religious melting pot, comprising Christian, Jewish and Muslim communities, each contributing to a vibrant textile economy. They were also defined and distinguished by the material culture of clothing and dress, partly dictated by religious and cultural tradition, partly imposed by rulers anxious to avoid cross-ethnic relationships considered undesirable. Nevertheless, textiles, especially magnificent Islamic silks, crossed these barriers. The essays in this volume offer the first full analysis of Iberian textiles from the period, drawing on both material remains and historical documents, supported by evidence from contemporary artwork. Chapters cover surviving textiles, many of them magnificent silks; textile industries and trade; court dress and its use as a language of power and patronage; the vast market in utilitarian textiles for lower-status clothing and furnishings; and Muslim and Jewish dress. It also considers Arabic and Jewish texts as sources of information on textiles and the Arabic garment-names which crossed into Spanish. Particular emphasis is given to the the different ethnicities of Iberia and their influences on the use and trade of garments (both precious and common-place) and textiles.

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.

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.

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.

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.