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Fashion imagery has existed for hundreds of years and yet the
methods used by scholars to understand it have remained mostly
historical and descriptive. The belief informing these approaches
may be that fashion imagery is designed for one purpose: to depict
a garment and how to wear it. In this interdisciplinary book, Sanda
Miller suggests a radical alternative to these well-practiced
approaches, proposing that fashion imagery has stories to tell and
meanings to uncover. The methodology she has developed is an
iconography of fashion imagery, based on the same theory which has
been key to the History of Art for centuries. Applying Panofsky's
theory of iconography to illustrations from books, magazines and
fashion plates, as well as fashion photography and even live
fashion events, Miller uncovers three levels of meaning:
descriptive, secondary (or conventional) and tertiary or
'symbolic'. In doing so, she answers questions such as who is the
model; what did people wear and why; and how did people live? She
proves that fashion imagery, far from being purely descriptive, is
ripe with meaning and can be used to shed light on society, class,
culture and the history of dress.
Fashion is all around us, and so too is fashion journalism.
Discussions of fashion proliferate in an ever-increasing range of
media, from newspapers and magazines to tweets and TV programs.
Fashion Journalism: History, Theory and Practice is an accessible,
comprehensive guide to writing about fashion in any form, whether
in style blogging, magazine interviews, news reportage or art
reviews. Exploring what sets fashion journalism apart from other
forms of journalistic writing, the book features a wide range of
global fashion case studies, from Carmel Snow's reporting on Dior's
'New Look' to 1970s responses to Yves Saint Laurent, and Diana
Vreeland's role as a fashion editor. Through a series of engaging
exercises, you will learn how to find inspiration, carry out
successful research, structure your work logically, use a style
appropriate to your readership, and to make the leap from
descriptive writing to informed analysis and criticism. Engaging
and clearly written, Fashion Journalism examines how recent
technological developments are shaping and driving fashion
journalism, and delves into the theory and practice of writing
about fashion.
Fashion Writing and Criticism provides students with the tools to
critique fashion with skill and style. Explaining the history and
theory of criticism, this innovative text demonstrates how the
tradition of criticism has developed and how this knowledge can be
applied to fashion, enabling students to acquire the methods and
proper vocabulary to be active critics themselves. Integrating
history and theory, this innovative book explains the development
of fashion writing, the theoretical basis on which it sits, and how
it might be improved and applied. Through concise snapshot case
studies, top international scholars McNeil and Miller analyse
fashion excerpts in relation to philosophical ideas and situate
them within historical contexts. Case studies include classic
examples of fashion writing, such as Diana Vreeland at Harper's
Bazaar and Richard Martin on Karl Lagerfeld, as well as
contemporary examples such as Suzy Menkes and the blogger Tavi.
Accessibly written, Fashion Writing and Criticism enables readers
to understand, assess and make value judgments about the
fascinating and changeable field of fashion. It is an invaluable
text for students and researchers alike, studying fashion,
journalism, history and media studies.
Fashion Writing and Criticism provides students with the tools to
critique fashion with skill and style. Explaining the history and
theory of criticism, this innovative text demonstrates how the
tradition of criticism has developed and how this knowledge can be
applied to fashion, enabling students to acquire the methods and
proper vocabulary to be active critics themselves. Integrating
history and theory, this innovative book explains the development
of fashion writing, the theoretical basis on which it sits, and how
it might be improved and applied. Through concise snapshot case
studies, top international scholars McNeil and Miller analyse
fashion excerpts in relation to philosophical ideas and situate
them within historical contexts. Case studies include classic
examples of fashion writing, such as Diana Vreeland at Harper's
Bazaar and Richard Martin on Karl Lagerfeld, as well as
contemporary examples such as Suzy Menkes and the blogger Tavi.
Accessibly written, Fashion Writing and Criticism enables readers
to understand, assess and make value judgments about the
fascinating and changeable field of fashion. It is an invaluable
text for students and researchers alike, studying fashion,
journalism, history and media studies.
Fashion is all around us, and so too is fashion journalism.
Discussions of fashion proliferate in an ever-increasing range of
media, from newspapers and magazines to tweets and TV programs.
Fashion Journalism: History, Theory and Practice is an accessible,
comprehensive guide to writing about fashion in any form, whether
in style blogging, magazine interviews, news reportage or art
reviews. Exploring what sets fashion journalism apart from other
forms of journalistic writing, the book features a wide range of
global fashion case studies, from Carmel Snow's reporting on Dior's
'New Look' to 1970s responses to Yves Saint Laurent, and Diana
Vreeland's role as a fashion editor. Through a series of engaging
exercises, you will learn how to find inspiration, carry out
successful research, structure your work logically, use a style
appropriate to your readership, and to make the leap from
descriptive writing to informed analysis and criticism. Engaging
and clearly written, Fashion Journalism examines how recent
technological developments are shaping and driving fashion
journalism, and delves into the theory and practice of writing
about fashion.
Fashion imagery has existed for hundreds of years and yet the
methods used by scholars to understand it have remained mostly
historical and descriptive. The belief informing these approaches
may be that fashion imagery is designed for one purpose: to depict
a garment and how to wear it. In this interdisciplinary book, Sanda
Miller suggests a radical alternative to these well-practiced
approaches, proposing that fashion imagery has stories to tell and
meanings to uncover. The methodology she has developed is an
iconography of fashion imagery, based on the same theory which has
been key to the History of Art for centuries. Applying Panofsky’s
theory of iconography to illustrations from books, magazines and
fashion plates, as well as fashion photography and even live
fashion events, Miller uncovers three levels of meaning:
descriptive, secondary (or conventional) and tertiary or
‘symbolic’. In doing so, she answers questions such as who is
the model; what did people wear and why; and how did people live?
She proves that fashion imagery, far from being purely descriptive,
is ripe with meaning and can be used to shed light on society,
class, culture and the history of dress.
Acknowledged as one of the major sculptors and avant-garde artists
of the twentieth century, Constantin Brancusi (1876-1957) also
remained one of the most elusive. His mysterious nature was not
only due to his upbringing in Romania - which, at the time, was
still regarded by much of Europe as a backward country haunted by
vampires and werewolves - but also because Brancusi was aware that
myth and an 'aura of otherness' appealed to the public. This
self-mythology is embodied in his white atelier in Montparnasse,
Paris. In "Constantin Brancusi", Sanda Miller looks beyond the
mythology of the artist to show us Constantin the Romanian student,
as well as Brancusi the celebrated artist. Using new material,
including private correspondence from Brancusi's archive in Paris,
works from Romania, and Brancusi's own photos of his studio, the
author weaves together and interprets a wealth of information,
bringing to life his early years in Romania, his move to Paris and
his years at his studio. She relates how his art scandalized the
Paris salon, yet also explores how his work connects with the folk
art of his homeland. She also provides colourful evocations of
Brancusi's relationships with colleagues, dealers, friends and
lovers. An innovative reassessment of Brancusi's life and work,
Sanda Miller's perceptive book allows Brancusi to take his rightful
place among the most important of the intellectual personalities
who shaped twentieth-century modernism.
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