Profiles Jean Shrimpton, Suzy Parker, Capucine, and other leading models of a period when the fashion ideal was a sophisticated adult woman, rather than the more childlike figure that became popular in the late 1960s.

This lavish publication celebrates the gentleman's search for the perfect sartorial detail, the ideal accessory, or beautiful gift for a loved one. Presented through the eyes of a connoisseur looking for quality and bepoke goods in London's key stylistic historic periods, it tells the stories of the personalities, shop-keepers and mastercraftsmen who have animated the business of luxury goods for centuries. The book is arranged chronologically in six chapters, each followed by three or four profiles of British luxury marques. A reference section presents the London gentleman's social world, from the shopping arcades to classic hotels and the member's clubs and antiquarians in between. This is the perfect book for the man who has everything.

* An essential reference for students, curators and scholars of fashion, cultural studies, and the expanding range of disciplines that see fashion as imbued with meaning far beyond the material. * Over 300 in-depth entries covering designers, articles of clothing, key concepts and styles. * Edited and introduced by Valerie Steele, a scholar who has revolutionized the study of fashion, and who has been described by The Washington Post as one of "fashion's brainiest women." Derided by some as frivolous, even dangerous, and celebrated by others as art, fashion is anything but a neutral topic. Behind the hype and the glamour is an industry that affects all cultures of the world. A potent force in the global economy, fashion is also highly influential in everyday lives, even amongst those who may feel impervious. This handy volume is a one-stop reference for anyone interested in fashion - its meaning, history and theory. From Avedon to Codpiece, Dandyism to the G-String, Japanese Fashion to Subcultures, Trickle down to Zoot Suit, The Berg Companion to Fashion provides a comprehensive overview of this most fascinating of topics and will serve as the benchmark guide to the subject for many years to come.

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.

This book demonstrates how fashion brands communicate, why the practice is significant within wider society and how it can be perceived as culturally meaningful. Enabling readers to connect the tools and techniques of communication with their theoretical underpinnings and historical antecedents, the book shows how these methods can be applied in practice. The authors utilise social, consumer and cultural theory, and frameworks rooted in psychology, sociology and economics, as mechanisms to analyse and deconstruct current communication strategies used by fashion brands. The book presents insights and strategies for communicating authentic values, conveying a clearly defined aesthetic and visual language and generating shareable content that resonates with audiences. With insights into strategies used by brands including Burberry, Gucci, Dior, COS, Rapha, Warby Parker and Maryam Nassir Zadeh, each chapter outlines ways of maintaining relevant and consistent brand narratives in the 21st century. From how to sustain a dialogue with a brand's community, to the use of brand collaboration, co-creative storytelling and fashion spaces, the book aims to develop reflective communication practitioners who have a deep understanding of the cultural landscape, brand strategy and industry innovation. Written for scholars and practitioners, this book is a valuable blend of theory and practice across the fields of fashion, communication and branding.

A fascinating journey into the world of textiles and color through the eyes of Kvadrat expert Giulio Ridolfo Denmark's Kvadrat, one of the world's leading textile companies, provides high-end fabrics to major design companies, collaborating with some of the most interesting creative talents working today. Kvadrat is renowned for its beautiful, sophisticated color palette - and this luxuriously produced book tells the story of Giulio Ridolfo, the man who helps Kvadrat find the right color for each collection. It provides an insight into his intuitive yet rigorously grounded approach, taking inspiration from nature, pop culture, fashion, and traditional craft.

Men in khaki and grey squatting in the trenches, women at work, gender bending in goggles and overalls over their trousers, a girl at the Paris theatre in pleated, beaded silk, a bangle on her forearm made from copper fuse wire from the Somme. What people wear matters. Copiously illustrated, this book is the story of what people on both sides wore on the front line and on the home front through the seismic years of World War I. Nina Edwards, reveals fresh aspects of the war through the prism of the smallest details of personal dress, of clothes, hair and accessories, both in uniform and civilian wear. She explores how, during a period of extraordinary upheaval and rapid change, a particular preference for a type of razor blade or perfume, say, or the just-so adjustment to the tilt of a hat, offer insights into the individual experience of men, women and children during the course of World War I.

Enter an ultra-patriotic era of "military mood" fashions, replete in red, white, and blue. One in a series of books from Schiffer Publishing documenting fashion trends in America, this is an invaluable resource for fashion designers looking to revive and rework retro styles, for costume designers working to recreate an era, and for collectors and historians wanting to document vintage clothing. A visual treasure chest, this book offers more than 400 full-color photographs, with thousands of items of clothing, shoes, and accessories pictured, along with detailed descriptions. A guide to retail values for these items on today's market is featured as well.

What do you use every day that is small and large, worthless and beyond price? It's easily found in the gutter, yet you may never be able to replace it. You are always losing it but it faithfully protects you; sexy and uptight, it is knitted in to your affections or it may give you nightmares. It has led to conflict, fostered and repressed political and religious change and epitomizes the great aesthetic movements. It's Eurocentric, and is found all over the world. On the Button is an inventive and unusual exploration of the cultural history of the button, illustrated with a multiplicity of buttons in black and white and colour. It tells tales of a huge variety of the button's forms and functions, its sometimes uncompromising glamour, its stronghold in fashion and literature, its place in the visual arts, its association with crime and death, its tender call to nostalgia and the sentimental. There have been works addressed to the button collector and general cultural histories. On the Button links the two, revealing why we are so attracted to buttons, and how they punch way above their weight.

D_Tex is proposed as a hub around which it is possible to look at textiles in their different forms, in order to better understand, study, adapt and project them for the future. It is intended to build a flow of ideas and concepts so that participants can arrive at new ideas and concepts and work them in their own way, adapting them to their objectives and research. D_Tex is intended as a space for sharing and building knowledge around textile material in order to propose new understandings and explorations. Present in all areas of knowledge, the textile material bets on renewed social readings and its evolutions to constantly reinvent itself and enable innovative cultural and aesthetic dimensions and unexpected applications to solve questions and promote new knowledge. D_Tex proposes to promote discussion and knowledge in the different areas where textiles, with all their characteristics, can ensure an important contribution, combining material and immaterial knowledge, innovative and traditional techniques, technological and innovative materials and methods, but also new organization and service models, different concepts and views on teaching. With the renewed idea of the intrinsic interdisciplinarity of design and sharing with different areas that support each other, the research and practice of textiles was proposed by the D_TEX Textile Design Conference 2019, held June 19-21, 2019 at the Lisbon School of Architecture of the University of Lisbon, Portugal under the theme "In Touch" where, as broadly understood as possible, different areas of textiles were regarded as needing to keep in touch with each other and end users in order to promote and share the best they can offer for the welfare of their users and consumers.

Veiling in Fashion enters the worlds of women who wear the hijab, both as an aspect of their religious observance and community belonging, and as a fashion statement, drawing upon global Islamic fashion history. The book uses rich ethnographic investigation of everyday veiling practices among Muslim women in the city of Helsinki as a lens through which to reflect on and advance understanding of matters concerning Muslim dress in international Muslim minority contexts. The book provides an innovative approach to studying veiling by connecting varied realms of practice, demonstrating how domains as apparently separate as fashion, materiality, city spaces, private life, religious beliefs, and cosmopolitan social conditions are all tightly bound up together in ways that only a sensitive multi-disciplinary approach can reveal. It will appeal to scholars and students in fashion, gender, religion, material cultures, and the construction of space.

Who has not, well arranged in a cupboard, well folded, or under cover, a garment emblematic of its history: the one that we do not want to get rid of! Often abondoned with regret, we dream of postponing it. But its usury or its size disuades us. Souvenir of trave, timeless but worn, imprinted by the memory of a loved one, to classical but percisely our size, too strict also, chine in a frippe, we keep it intact and it moves with us! The seven workshops in this book explain how to redo the patterns of these garments without undoing them in order to preserve them. You will find pullover, pants, shirt and corsage but also dress and jackets. Using a variety of very simple techniques, you will be able to extract a pattern that you can transform to your taste to give your new garment a look that will only belong to you! Passionate about clothes, fabrics and cutting techniques in that it reveals the history of the wearer, Claire Wargnier has been dreaming of this work for a long time in order to allow everyone to redo a garment full of emotion and of experience. It was based on the technicality of Nathalie Coppin, professor of model CAD at ESMOD Paris, able to respond to the technique of patronage explained step by step in this book.

A sumptuous, slipcased publication dedicated to the 1950s as captured in the pages of American Vogue

One of only seven editors-in-chief in American Vogue’s history, Jessica Daves has remained one of fashion’s most enigmatic figures – until now. Diana Vreeland’s direct predecessor in the role, it is Daves who first catapulted the magazine into modernity.

A testament to a changing America on every level, Daves’s Vogue was the first to embrace a ‘high/low’ blend of fashion in its pages and also introduced world-renowned artists, literary greats, and cultural icons into every issue, offering the reader a complete vision of how fashion, interiors, art, architecture, entertaining, literature and culture were all connected and all contributed to refining and defining personal style. Profiling icons of American style from John and Jackie Kennedy to Charles and Ray Eames, Daves’s Vogue also featured the couture creations of Dior, Chanel, Givenchy and Balenciaga.

Organized in multifaceted, thematic chapters, 1950s in Vogue features carefully curated photographs, illustrations and page spreads from the Vogue archives (with both iconic and less-familiar images from photographers including William Klein, Irving Penn, Karen Radkai and Erwin Blumenfeld), as well as reproductions of fascinating archival materials and correspondence.

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.

These styles will ring a bell not only with America's baby-boomers, but also with current fashion trend watchers. Today's interest in retro fashions makes this book as current as it would have been more than thirty years ago, but the quality is much better. Using today's technology, it presents more than 400 color photographs of clothing styles for men, women, and children culled from 1964-67 Sears Catalogs. Images of mohair sweaters, cardigan sets, bloomer playsuits, madras jackets, checked gingham shifts with matching triangle scarves, ruffled rib-tickler tops and capri pants, Bermuda collars, wraparound skirts, maternity wear, and even days-of-the-week panties all combine to give us a look into what the average American was wearing, along with descriptions and original prices. Current prices are listed for some of the items for those interested in collectible vintage clothing from the era.

This volume presents a collection of the most recent knowledge on the relationship between gender and fashion in historical and contemporary contexts. Through fourteen essays divided into three segments - how dress creates, disrupts and transcends gender - the chapters investigate gender issues through the lens of fashion. Crossing Gender Boundaries first examines how clothing has been, and continues to be, used to create and maintain the binary gender division that has come to permeate Western and westernized cultures. Next, it explores how dress can be used to contest and subvert binary gender expectations, before a final section that considers the meaning of gender and how dress can transcend it, focusing on unisex and genderless clothing. The essays consider how fashion can both constrict and free gender expression, explore the ways dress and gender are products of one other and illuminate the construction of gender through social norms. Readers will find that through analysis of the relationship between gender and fashion, they gain a better understanding of the world around them.

We know that way we dress says a lot about us. It's drilled into us by our parents as children, as adults throughout our working lives, and eternally from the culture surrounding us. Our dress tells the outside world of the culture and era we come from to our social status within that culture. Our dress can be telling of our political views, religious beliefs, sexuality and countless other identifying traits that we can keep hidden or show to the world by our choice of what to wear when heading venturing out. This was absolutely true, famously so, in the Victorian Era in which men and women alike wore their status on their often lavish, embellished sleeves. In her new book, Dr. Madeleine Seyes explores Victorian culture through the lens of fashion in her new book, Double Threads: Fashion and Victorian Popular Literature, which sits at the intersection of the fields of Victorian literary studies, dress and material cultural studies, feminist literary criticism, and gender and sexuality studies.

"Material Strategies" brings together scholars from different disciplines to explore what dress and textiles can tell us about gender history.
Broad in scope - covers women, men, social groupings and nations from the sixteenth to the twentieth century.
Rich in detail - incorporates illustrations that provide visual evidence for gendered strategies of dress.
Combines perspectives from design and textile history, business history, cultural anthropology, social history, art history and cultural history.
Considers 'material strategies' in relation to production and consumption, the public and the private, the body and sexuality, and national identity.
Written in a jargon-free style, making it accessible to readers from a wide range of backgrounds.

During the late 18th and early 19th centuries, there was a tubercular 'moment' in which perceptions of the consumptive disease became inextricably tied to contemporary concepts of beauty, playing out in the clothing fashions of the day. With the ravages of the illness widely regarded as conferring beauty on the sufferer, it became commonplace to regard tuberculosis as a positive affliction, one to be emulated in both beauty practices and dress. While medical writers of the time believed that the fashionable way of life of many women actually rendered them susceptible to the disease, Carolyn A. Day investigates the deliberate and widespread flouting of admonitions against these fashion practices in the pursuit of beauty. Through an exploration of contemporary social trends and medical advice revealed in medical writing, literature and personal papers, Consumptive Chic uncovers the intimate relationship between fashionable women's clothing, and medical understandings of the illness. Illustrated with over 40 full color fashion plates, caricatures, medical images, and photographs of original garments, this is a compelling story of the intimate relationship between the body, beauty, and disease - and the rise of 'tubercular chic'.

This thoroughly revised and updated edition of Fashion Theory: A Reader brings together and presents a wide range of essays on fashion theory that will engage and inform both the general reader and the specialist student of fashion. From apparently simple and accessible theories concerning what fashion is to seemingly more difficult or challenging theories concerning globalisation and new media, this collection contextualises different theoretical approaches to identify, analyse and explain the remarkable diversity, complexity and beauty of what we understand and experience every day as fashion and clothing. This second edition contains entirely new sections on fashion and sustainability, fashion and globalisation, fashion and digital/social media and fashion and the body/prosthesis. It also contains updated and revised sections on fashion, identity and difference, and on fashion and consumption and fashion as communication. More specifically, the section on identity and difference has been updated to include contemporary theoretical debates surrounding Islam and fashion, and LGBT+ communities and fashion and the section on consumption now includes theories of 'prosumption'. Each section has a specialist and dedicated Editor's Introduction which provides essential conceptual background, theoretical contextualisation and critical summaries of the readings in each section. Bringing together the most influential and ground breaking writers on fashion and exposing the ideas and theories behind what they say, this unique collection of extracts and essays brings to light the presuppositions involved in the things we all think and say about fashion. This second edition of Fashion Theory: A Reader is a timeless and invaluable resource for both the general reader and undergraduate students across a range of disciplines including sociology, cultural studies and fashion studies.

The question of whether movies can deliver philosophical content is a leading topic in the cognitive and analytic debate on film. But instead of turning to the well-trodden terrain of narrative and emotional engagement, this is the first time fashion and costume choices are analyzed to demonstrate how movies can be said to be doing philosophy. Considering how fashion and costumes can deliver the epistemic content of a film and act as a guidance to the interpretation of the philosophical content of a film, Laura T. Di Summa examines fashion and costume choices in classical and contemporary films. She discusses a number of cinematic examples, and the costumes and fashion elements within them, illustrating the importance of issues such as the performative side of fashion, the alteration between novelty and repetition, the pivotal role of the body, and the relation between fashion, style, and individual as well as collective identity. Featuring close examinations of 1950s melodramas, Hollywood blockbusters and documentaries such as All That Heaven Allows, Mad Max Fury Road, and McQueen, Di Summa uses an innovative new lens to provide fresh philosophical analysis of films. The result is not only an advancement of our understanding of the aesthetic means through which film can do philosophy, but the first insights into a philosophy of fashion.

Foreword by Anya Hindmarch Decade by decade, the lavishly illustrated Vintage Handbags recounts over 100 years of handbag history, from Elsa Schiaparelli's mesh bags for Whiting & Davis in the 1920s through the Hermes Kelly bag in the 1950s to the Fendi Baguette of the 1990s. Accompanied by archive images, fashion photography and specially commissioned photographs of period pieces, the most collectible and beautiful handbags are showcased. An invaluable and visually stunning reference, the book explores the key designers, technical developments and cultural influences that shaped handbag design, revealing exquisite and groundbreaking work from such luminaries as Salvatore Ferragamo, Coco Chanel, Hermes, Fendi, Bonnie Cashin and Judith Leiber.