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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."
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."
Fashion History: A Global View proposes a new perspective on
fashion history. Arguing that fashion has occurred in cultures
beyond the West throughout history, this groundbreaking book
explores the geographic places and historical spaces that have been
largely neglected by contemporary fashion studies, bringing them
together for the first time. Reversing the dominant narrative that
privileges Western Europe in the history of dress, Welters and
Lillethun adopt a cross-cultural approach to explore a vast array
of cultures around the globe. They explore key issues affecting
fashion systems, ranging from innovation, production and
consumption to identity formation and the effects of colonization.
Case studies include the cross-cultural trade of silk textiles in
Central Asia, the indigenous dress of the Americas and of Hawai'i,
the cosmetics of the Tang Dynasty in China, and stylistic
innovation in sub-Saharan Africa. Examining the new lessons that
can be deciphered from archaeological findings and theoretical
advancements, the book shows that fashion history should be
understood as a global phenomenon, originating well before and
beyond the fourteenth century European court, which is continually,
and erroneously, cited as fashion's birthplace. Providing a fresh
framework for fashion history scholarship, Fashion History: A
Global View will inspire inclusive dress narratives for students
and scholars of fashion, anthropology, and cultural studies.
Americans began the twentieth century standing in Europe's
sartorial shadow, yet ended by outfitting the world in blue jeans,
T-shirts and sneakers. How did this come about? What changes in
American culture were reflected in fashion? What role did popular
culture play? This important overview of American fashion in the
twentieth century considers how Americans went from imitating
British and French fashion to developing their own sense of style.
It examines such influences on dress as class, jazz and hip hop,
war, the space race, movies, television and sports. Further, the
book shows how gender, psychology, advertising, public policy,
shifting family values, the American design movement and expertise
in mass production profoundly influenced an American style that has
been exported across the globe. From New York City's Bohemians to
Hollywood's stars, Twentieth-Century American Fashion reveals the
continuing importance of clothing to American identity and
individual experience.
Americans began the twentieth century standing in Europe's
sartorial shadow, yet ended by outfitting the world in blue jeans,
T-shirts and sneakers. How did this come about? What changes in
American culture were reflected in fashion? What role did popular
culture play?This important overview of American fashion in the
twentieth century considers how Americans went from imitating
British and French fashion to developing their own sense of style.
It examines such influences on dress as class, jazz and hip hop,
war, the space race, movies, television and sports. Further, the
book shows how gender, psychology, advertising, public policy,
shifting family values, the American design movement and expertise
in mass production profoundly influenced an American style that has
been exported across the globe. From New York City's Bohemians to
Hollywood's stars, Twentieth-Century American Fashion reveals the
continuing importance of clothing to American identity and
individual experience.
Shortlisted for the Katharine Briggs Folklore Award 2000.
Relationships between dress and the body have existed in European
and Anatolian folk cultures well into the twentieth century.
Traditional cultures have long held the belief that certain
articles of dress could protect the body from harm by warding off
the 'evil eye,' bring fertility to new brides, or assure human
control of supernatural powers. Ritual fringes, archaic motifs, and
colors such as black and red were believed to have powerful,
magical effects. This absorbing and interdisciplinary book examines
dress in a broad range of folk cultures - from Turkey, Greece, and
Slovakia to Norway, Latvia, and Lithuania, to name but a few.
Authors reveal the connection between folk dress and ancient myths,
cults and rituals, as well as the communicative aspects of folk
dress. How is an individual attired in a specific ensemble located
within a community? Is the community the gendered one of women, the
village of residence, the larger geographical region or the nation?
The intriguing connections between dress and the supernatural
beliefs of agrarian communities, as well as the reinvention of such
beliefs as part of nationalism, are also discussed. This book
represents a significant contribution to the growing body of
literature on the cultural meanings of dress, as well as to
material culture, anthropology, folklore, art history,
ethnohistory, and linguistics. Nominated for Millia Davenport award
Shortlisted for the Katharine Briggs Folklore Award
2000.Relationships between dress and the body have existed in
European and Anatolian folk cultures well into the twentieth
century. Traditional cultures have long held the belief that
certain articles of dress could protect the body from harm by
warding off the 'evil eye, ' bring fertility to new brides, or
assure human control of supernatural powers. Ritual fringes,
archaic motifs, and colors such as black and red were believed to
have powerful, magical effects.This absorbing and interdisciplinary
book examines dress in a broad range of folk cultures - from
Turkey, Greece, and Slovakia to Norway, Latvia, and Lithuania, to
name but a few. Authors reveal the connection between folk dress
and ancient myths, cults and rituals, as well as the communicative
aspects of folk dress. How is an individual attired in a specific
ensemble located within a community? Is the community the gendered
one of women, the village of residence, the larger geographical
region or the nation? The intriguing connections between dress and
the supernatural beliefs of agrarian communities, as well as the
reinvention of such beliefs as part of nationalism, are also
discussed.This book represents a significant contribution to the
growing body of literature on the cultural meanings of dress, as
well as to material culture, anthropology, folklore, art history,
ethnohistory, and linguistics.Nominated for Millia Davenport award.
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