The colour and shade of dyed textiles were once as much an indicator of social class or position as the fabric itself and for centuries the recipes used by dyers were closely guarded secrets. The arrival of synthetic dyestuffs in the middle of the nineteenth century opened up a whole rainbow of options and within 50 years modern dyes had completely overturned the dyeing industry. From pre-history to the current day, the story of dyed textiles in Western Europe brings together the worlds of politics, money, the church, law, taxation, international trade and exploration, fashion, serendipity and science. This book is an introduction to a broad, diverse and fascinating subject of how and why people coloured textiles. A fresh review of this topic, this book brings previous scholars' work to light, alongside new discoveries and research.

When Hong Kong entrepreneur David Tang opened his Shanghai Tang boutique on New York's Madison Avenue, it was not an isolated example of the globalization of Asian fashion. Further evidence is written on the labels in our closets, and paraded in the form of salwaar-kameez and silk sarongs by the rich and famous of London. The phenomenon merits scrutiny. This vanguard attempt points to the colonial era as the origin of fashion globalization, and describes its development as paralleling the gradual take-over of Asian daily wear by Western dress. From indigenous Batak weavers to Hong Kong designers, and from Indonesian businesswomen's power suits to Korean feminists' national costume, this book explores the sartorial interface of East and West.The globalization of Asian dress needs to be understood as part of an ongoing Orientalism that construes Asia as a feminine Other to the masculine West. The conventional Orientalist definition of fashion as an exclusively Western phenomenon has proved self-fulfilling in both East and West so that the conceptual boundary between the two is continually reasserted by design. Paying close attention to Asians' decisions about what clothing to make, sell, buy, and wear, the case studies in this book challenge Orientalist stereotypes of Asian style as passive and traditional and highlight how these actions are often made invisible by global cultural, rhetorical, and material practices that feminize Asia and the fashion world. This timely book will be of interest to dress and fashion theorists, anthropologists, sociologists, historians, art historians and all those interested in globalization, Orientalism and their effects.

On January 21, 1971, couturier Yves Saint Laurent presented his Spring-Summer haute couture collection. Inspired by the garments of the war years, the collection included short dresses, platform shoes, square shoulders, and exaggerated makeup. The show caused an outrage among the public, the critics, and the press alike, earning it the title of "Paris's ugliest collection." Nevertheless, the haute couture designs of the runway made their way to the boulevards, giving full sway to the "retro" trend that quickly conquered the streets. Yves Saint Laurent: The Scandal Collection, 1971 offers a behind-the-scenes look at the influential collection that "drew fire in the fashion world" from the collection's inspiration to the press coverage that followed. Beautifully illustrated and documented with well-researched essays, this book is enriched with personal interviews and archival photographs of the show, the models, the designs, and the textile and print samples, as well as sketches and international press clippings.

WINNER OF THE 2021 PEN ACKERLEY PRIZE 'A strange and mesmerising piece of work' Sunday Times 'An absolute masterpiece' Laura Cumming 'An uncommon delight' Observer Claire Wilcox has been a curator of fashion at the Victoria and Albert Museum for most of her working life. In Patch Work, she turns her curator's eye to the fabric of life itself, tugging at the threads of memory: a cardigan worn by a child, a tin button box, the draping of a curtain, a pair of cycling shorts, a roll of lace, a pin hidden in a seam. Through these intimate and compelling close-ups, we see how the stories and the secrets of clothes measure out the passage of time, our gains and losses, and the way we use them to unravel and write our histories. 'Effervescent, poetic, puzzle-like ... Wilcox picks at the heartstrings' Financial Times

This book explores the 'craft of use', the cultivated, ordinary and ingenious ideas and practices that promote satisfying and resourceful use of garments, presenting them as an alternative, dynamic, experiential frame with which to articulate and foster sustainability in the fashion sector. Here Kate Fletcher provides a broad imagining of sustainability in fashion that gives attention to tending and wearing garments, and favours their use as much as their creation. She offers a diversified view of fashion beyond the market and the market's purpose and reveals fashion provision and expression in a world not dependent on continuous consumption. Framing design and use as a single whole, the book uncovers a more contingent and time-dependent role for design in sustainability, recognising that garments, while sold as a product, are lived as a process. Drawing from stories and portrait photography that document the ways in which members of the public from across three continents use their clothes, and the work of seven international design teams seeking to amplify these use practices, Craft of Use presents a changed social narrative for fashion, borne out of ideas of satisfaction and interdependence, of action, knowledge and human agency, that glimpses fashion post-growth.

This book explores the 'craft of use', the cultivated, ordinary and ingenious ideas and practices that promote satisfying and resourceful use of garments, presenting them as an alternative, dynamic, experiential frame with which to articulate and foster sustainability in the fashion sector. Here Kate Fletcher provides a broad imagining of sustainability in fashion that gives attention to tending and wearing garments, and favours their use as much as their creation. She offers a diversified view of fashion beyond the market and the market's purpose and reveals fashion provision and expression in a world not dependent on continuous consumption. Framing design and use as a single whole, the book uncovers a more contingent and time-dependent role for design in sustainability, recognising that garments, while sold as a product, are lived as a process. Drawing from stories and portrait photography that document the ways in which members of the public from across three continents use their clothes, and the work of seven international design teams seeking to amplify these use practices, Craft of Use presents a changed social narrative for fashion, borne out of ideas of satisfaction and interdependence, of action, knowledge and human agency, that glimpses fashion post-growth.

Benjamin on Fashion reconstructs and redefines Walter Benjamin's complex, fragmentary and yet influential fashion theory that he developed in the Arcades Project (1927-1940) and beyond, while situating it within the environment from which it emerged - 1930s Parisian couture. In this insightful new book, Philipp Ekardt brings Benjamin into discussion with a number of important, but frequently overlooked sources. Amongst many others, these include the German fashion critic Helen Grund, who introduced him to the contemporary fashion scene; Georg Simmel's fashion sociology; Henri Focillon's morphological art history; designs by Elsa Schiaparelli and Madeleine Vionnet; films by L'Herbier and others starring Mae West; and the photography of George Hoyningen-Huene and Man Ray. In doing so, Ekardt demonstrates how fashion and silhouettes became grounded in sex; how an ideal of the elegant animation of matter was pitted against the concept of an obdurate fashion form; and how Benjamin's idea of 'fashion's tiger's leap into the past' paralleled the return of 1930s couture to the depths of (fashion) history. The use of such relevant sources makes this crucial for understanding Benjamin both as a thinker and a cultural theorist.

Perfect for students of costume design and history, A Handbook of Costume Drawing illustrates and describes the dominant male and female costume silhouettes for major historical periods ranging from Egyptian dynasties through the 1960s. Important details, including head and footwear, hair styles, fashion accessories, shoulders, waist, hem, and neckline are provided to maximize the historical accuracy of each design and to help you fully recreate the look and feel of each period.

This book provides an overview for identifying and dating vintage eyewear for the growing numbers of collectors. Explore ways in which eyeglass design has developed to reflect both popular fashion and scientific investigation.The designs of frames and lenses were changed as more comfortable and practical styles were invented. In the mid-twentieth century, eyeglass makers carefully sought high profile entertainers to wear their designs in order to promote their companies. Advertising worked its magic and the general public came to prefer the advertised designs. Examples of eyewear from the sevententh century to the present are shown in over 600 color photos and explained in an engaging text. Bifocals, monocles, pince-nez, fanciful and safety styles of eyeglasses and sunglasses are shown along with some price estimates.

Fashion drawing is the most important way to visualize ideas and concepts in costume and fashion design. This new and expanded two-volume edition of the already classic title Figure Drawing for Fashion Design--revised, updated and expanded--is a precise, topic-by-topic manual that will help readers acquire and perfect their skills drawing fashion designs on the female form. Mastering the rules of figure drawing as well as stylistic techniques that add individuality and flair to the design is an essential skill for all designers and illustrators to master in order to bring one's vision to the page, and eventually mannequin. In its approach, this book is ideal both for those designers and students who want to apply themselves professionally to fashion design, and for all enthusiasts of drawing the female body in a fashion context.

Special Make-Up Effects concentrates on the genre of horror characters and other special creations (fantasy, sci-fi, etc), giving tips about the materials, techniques, and 'tricks of the trade' necessary to create unique make-up effects. This focused volume is a scaled-down version of Vincent Kehoe's encyclopedic reference for professional make-up artists. It contains new segments and photographs. This book shows how many of cinema's most famous characters and effects were developed. It gives students and make-up artists the techniques they need to perform their own magic.

Praise for the previous edition: "[A] fascinating book." John Thackara, Doors of Perception "Provides the foundations for a radical new perspective." Ethical Pulse "At last a book that dispels the idea that fashion is only interested in trend-driven fluff: not only does it have a brain, but it could be a sustainable one." Lucy Siegle, Crafts Magazine Fully revised and updated, the second edition of Sustainable Fashion and Textiles: Design Journeys continues to define the field of design in fashion and textiles. Arranged in two sections, the first four chapters represent key stages of the lifecycle: material cultivation/extraction, production, use and disposal. The remaining four chapters explore design approaches for altering the scale and nature of consumption, including service design, localism, speed and user involvement. While each chapter is complete in and of itself, their real value comes from what they represent together: innovative ways of thinking about textiles and garments based on sustainability values and an interconnected approach to design. Including a new preface, updated content and a new conclusion reflecting and critiquing developments in the field, as well as discussing future developments, the second edition promises to provide further impetus for future change, sealing Sustainable Fashion and Textiles: Design Journeys as the must-buy book for fashion and textiles professionals and students interested in sustainability.

Bestselling author Claire Shaeffer teaches you everything you need to know to plan and sew the perfect jacket. Based on couture techniques learnt from master tailors, this book begins with the equipment, materials, design elements, and sewing and construction techniques used in all types of tailoring. Part Two provides an illustrated step-by-step guide to making a couture jacket, explaining all the design options and alternative methods for making every element including collars, sleeves and pockets. Couture Tailoring includes over 800 step-by-step illustrations throughout, over 200 photographs of couture jackets by Chanel, Dior, Yves Saint Laurent and more than 100 couture tips. Any aspiring tailor must have this book in their fashion library.

Featuring detailed analyses of clothing culture in 17th-century provincial Sussex, this original study draws on previously unexploited sources to create an intimate and nuanced portrait of people and their clothes. An introductory chapter uses 17th-century literature to identify and explore contemporary ideas about clothing, the individual and society, as well as the relationship between London and the provinces and the causes and consequences of conspicuous clothing consumption. Subsequent chapters look at the production, distribution and acquisition of clothing in Sussex and the participation of consumers in these processes; the role of London as a centre of fashionable clothing consumption and the experience of wealthier consumers in shopping there; the clothing worn by individual men, women and older children of the 'middle' and 'better' sort and the extent to which they participated in contemporary, London-driven, fashion culture. A final chapter examines the clothing worn by the poor, including vagrants, parish paupers and the 'labouring' poor. With over 40 images Clothing in 17th-Century Provincial England offers a new window onto early modern experiences of clothing.

Images are everywhere. They are displayed in streets. They are leafed through in magazines. They jump out of our screens. And what we most remember about them is the emotion they rouse. The work of photo stylists is still not widely known. Yet this work is vital to conveying the right fashion message. This publication takes you into the anteroom of professions in fashion to discover the work behind the scenes of photo creation: preliminary style drafts, photo studios and casting. It is also a chance to dive into the basics of framing and photography. Theories, focus points, tutorials and interviews with professionals will help you better contemplate the job of photo stylist.

Beautiful and wild print shirts evolved from the special culture of Hawaii, a paradise of mild climate, clean water, and abundant flowers. With their beautiful Island landscapes, colorful tropical flowers, Asian images, surfer boys, and hula girls, Aloha shirts are great fun to wear and own. In this expansive book, over 425 different shirts are displayed in clear color photographs along with an historical text, women's clothing, 20 different button styles, and - for the first time - 229 researched manufacturer's and retail labels which help to date and identify the shirts. Graphic designers will revel in the diversity of "Hawaiian" designs and the remarkably beautiful colors of the prints.

Brilliant colors, eye-popping designs, luxurious fabrics--all these and more characterize the unforgettable fashion trends of the late 1960s and early 1970s. This was a turbulent, exciting era in our history, and clothing styles clearly reflected the fast-moving, youth-oriented culture we remember now with a sense of awe. Sophisticated or casual, clothing became an expression of personal feelings, ideas, and attitudes. Consumers hungered for bold new looks, and designers--led by Emilio Pucci of Italy--were only too happy to oblige. Using more than 400 color photos and illustrations, this book showcases the wonderful assortment of dresses, blouses, jackets, pants, shoes, and accessories worn by the most stylish of psychedelic era men and women. Pucci's fabulous works take center stage, joined by a kaleidoscopic array of fashions illustrating the influence of Op Art, "flower power," the Eastern world, native-inspired prints, and much more. Author Roseann Ettinger uses her expertise in the vintage clothing field to provide an absorbing look at the history behind these '60s and '70s fashions--looks that are enjoying renewed popularity today. Current values, a bibliography, and an index are all provided.

This book provides a sweeping study of the clothing of the 1930s. Garments of all kinds, from the intimate to the most formal, the flamboyant to the practical, for women, men and children, are displayed and discussed in detail. Accessories including jewelry, hats, and handbags are also explored. Even uniforms used for work, band, and cheerleading are found in this inclusive work. More than 600 color photographs spread the 1930s fashion world out before you. An historical overview explains the turbulent 1930s and the economic depression that so affected every aspect of daily life. Values for the garments and accessories are found in the captions. Finally, a glossary, bibliography, and index round out this fascinating presentation. Designers, historians, and fashion-conscious consumers will find this an indespensible reference.

Edinburgh Weavers was one of the most important textile companies of the twentieth century. Alastair Morton, visionary art director of the company, commissioned a remarkable series of textiles from leading British artists, including Ben Nicholson, Barbara Hepworth and Elisabeth Frink, as well artist-designers, such as Marion Dorn, Ashley Havinden and Lucienne Day. Morton was also a gifted artist, textile designer and weaver in his own right. This long overdue study traces his wide-ranging career and records the history of Edinburgh Weavers and the glorious textiles it produced. Drawing on the V&A's extensive archive this impressive book features over 300 images of artists' textiles unparalleled in quality and scope and is an invaluable resource.

The best new research on medieval clothing and textiles, drawing from a range of disciplines. This sixth volume of Medieval Clothing and Textiles ranges widely, as ever, across England and Europe. It presents two groundbreaking articles in novel areas of textile and dress scholarship: an introduction to a previouslyunexamined class of embroidery (decorative manuscript repair), and an English-language overview of scholarly research on historical dress in Latvia. Among the other topics considered in the volume are two very different listingsof clothing items from medieval Germany: an invented lexicon by the mystic Hildegard of Bingen, and an accounting of specific real garments worn by ordinary people and donated to finance the building of Strasbourg Cathedral. Papers also consider the mercantile world of clothing in medieval London: one gathers insight on dealers of secondhand clothing from the evidence of historical documents, while the other examines the social rise of the mercers in the light of their representation in literature, and their connections to the literary world. Further articles consider luxurious dress accessories with both worldly and spiritual significance, and analyse a French manual for Englishhousewives, illuminating the often-overlooked topic of home linen production. Contributors: Hilary Davidson, Ieva Pigozne, Valerie L. Garver, Christine Sciacca, Sarah L. Higley, William Sayers, Roger A. Ladd, Kate KelseyStaples, Charlotte A. Stanford

Despite the growing demand for design strategies to reduce our petroleum use, no one has yet brought together the lessons of the world's leading post-petroleum designers into a single resource. Post-Petroleum Design brings them together for the first time. Readers will be introduced to the most current, innovative, plastic-and petroleum-free products and projects in industrial design, architecture, transportation, electronics, apparel and more. Post-Petroleum Design explores firsthand the client and consumer motivations behind the demand, and shares the case studies, principles, best practices, risks and opportunities of the world's leading post-petroleum design experts who are already meeting that demand. It introduces 40 inspiring individuals from across the globe; people like Eben Bayer, the American innovator whose company, Ecovative, is growing houses from mushrooms; Mohammed Bah Abba, whose Zeer Pot is helping families keep produce fresh in the sweltering Nigerian summer without electricity; and the engineers at Mercedes-Benz Advanced Design Studios whose Biome car evolves from genetically engineered DNA. Post-Petroleum Design gives design professionals the information they need to research, evaluate, and select materials, technologies and design strategies that meet the growing demand for sustainable design, plastic-free materials and process energy conservation. Designer profiles, studies, statistics and many colour illustrations all highlight the work-some of the best design work to be found anywhere, and showcased here for the first time.

? For three decades, Vivienne Westwood has been Britain?s most consistently original, outrageous, eccentric and controversial designer. In that time she has evolved from an iconoclastic outsider to an internationally revered figure, with two British Designer of the Year awards, an OBE, her own successful fashion label and an unrivalled reputation for leading where other designers follow.
? Her lifestyle could scarcely be in greater contrast to the opulence which surrounds other leading designers: until recently she lived in a modest council flat in South London, and she still travels around the capital by bicycle, dressed in her own flamboyant creations, with a plastic bag protecting her hair from the elements. How did an awkward girl from a conventional and provincial background become one of world fashion?s most influential and respected designers? How has she managed to remain true to her own idiosyncratic vision, refusing to conform to the fashion industry?s, and society?s, expectations?
? Speaking to Westwood herself, her friends, lovers, colleagues, rivals, admirers and detractors, Jane Mulvagh has created a portrait as rich, distinctive and constantly surprising as her subject?s character and work.