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.

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.

Designed in 2018 by Nina Edwards Anker, acclaimed architect and interior designer and founder of nea studio, the Cocoon House is a feat of sustainable design. Located in Long Island, New York, the completely unique, LEED-certified home, gets its name from the curved walls which form its cocoon-like shape. The building, which is half exposed and half opaque, also boosts beautiful skylights inspired by Goethe's colour theory, which provide sunlight-hued illuminations throughout. Cocoon House, a book that records every step of this ambitious project with stunning photography and insightful text, will appeal to a wide range of readers: those interested in sustainable design or the progression of solar technology in building, as well as those who are simply drawn to nature inspired statement houses, crafted with the utmost ingenuity. The carefully considered theories that served as inspiration to the house are discussed in depth, making Cocoon House a crucial reference book to anyone studying sustainable architecture as a whole.

From bridal gowns and White Parties to shrouds, an illuminating look at the power of our palest apparel. Pazazz examines the complex meanings of white clothing throughout history. Delicate and impractical, white cloth in the past was difficult to obtain, as well as to keep clean. It is a symbol of purity but also of class superiority, privilege, and the display of leisure. It represents the menace of the Ku Klux Clan, but also the transition of a bride to the married state. It can be the appropriate dress for mourning and shrouds. White lace is ethereal; straitjackets are tough stuff. White clothing has been a marker of innocence and simplicity for women, but also of calculated, high-maintenance fashion. And for men, white can be evidence of power. But for many, white is a startling absence of color, the epitome of elegance. No matter how you view this lightest of hues and its place in your wardrobe, Pazazz sheds a bright white light on the complex nature of fair fashion.

Darkness divides opinion. Some are frightened of the dark, or at least prefer to avoid it, and there are many who dislike what it appears to stand for. Others are drawn to its strange domain, delighting in its uncertainties, lured by all the associations of folklore and legend, by the call of the mysterious and of the unknown. The history of attitudes to what we cannot quite make out, in all its physical and metaphorical manifestations, challenges the notion that the world is possible to fully comprehend. Nina Edwards explores darkness as both physical feature and cultural image, through themes of sight, blindness, consciousness, dreams, fear of the dark, night blindness, and the in-between states of dusk or fog, twilight and dawn, the point or period of obscuration and clarification. Taking readers through different historical periods, she interrogates humanity's various attempts to harness and suppress the dark, from our early use of fire to the later discovery of electricity. She reveals how the idea of darkness pervades art, literature, religion and every aspect of our everyday language. Darkness: A Cultural History shows us how darkness has fed our imagination. Whether a shifting concept or real physical presence, it always conveys complex meaning.