This work is a comparative study of the three "great" American wars of the twentieth century: World War I, World War II and Vietnam. The book explores several aspects of American popular culture, like fashion, film and the societal mores of each era. While a number of books have covered fashion during individual wars, this is the first study to compare several major conflicts, drawing some conclusions regarding the lasting influences of wardrobe over an entire century. This book provides short background information for each war, briefly covering earlier conflicts that shaped the hostilities of the twentieth century. Although the emphasis is on women's clothing, participation and service, men are not ignored. Their fashions not only speak to the times, but the enormity of their sacrifices.

Clothes make the man" (or woman). This is especially true in early Hollywood silent films where a character's appearance could show an immense number of different things about them. For example, Theda Bara's role in A Fool There Was (1915) was known for her revealing clothing, seductive appearance, and being the first "Vamp." Wardrobe and costume design played a larger role in silent films than in modern movies. The character's clothes told the audience who they were and what their role was in the movie. In this in-depth analysis, the author provides examples and explanations about noteworthy characters who used their appearance to further their fame.

The heyday of Silent Film, so beloved by film buffs, was an era that became instantly quaint with the arrival of "Talkies." As early as 1929, critics and film historians were writing of the period as though of the distant past. Since then, a torrent of books has been released, many of which mention art-in the main, asking whether film could be art-others discussing the splendor of the sets, the persuasion of the ambiance, or the psychological depth of the scenario. What these authors seem to have overlooked is the work of the costume and set designers to provide the background which profoundly affects all of the above. Most especially, they failed to examine the source of the inspiration on those who created that background. To fill this apparent gap, the premise of this volume-costume and set design in the silent film-concentrates on what is arguably the most prevailing influence on both, the presumed nobility of the Middle Ages. Largely owing to the psychological upset of World War I, although beginning earlier, society was in a state of flux. Women, who had been so active during the war, refused to return exclusively to home and kitchen. Veterans, who had experienced the worst, could no longer accept the prewar class restrictions and artificial manners. It was only natural that a longing for what seemed a nobler and purer period would be created. Designers, if only partly consciously, turned to that period like flowers to the sun, creating an ambiance which they felt reflected those higher ideals. Ironically, although the influence is more than obvious in both sets and wardrobes, the period devolves into one of freedom bordering on license, and an almost complete overthrow of those old-fashioned ideals.