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Pop art has traditionally been the most visible visual art within
popular culture because its main transgression is easy to
understand: the infiltration of the "low" into the "high". The same
cannot be said of contemporary art of the 21st century, where the
term "Gaga Aesthetics" characterizes the condition of popular
culture being extensively imbricated in high culture, and
vice-versa. Taking Adorno and Horkheimer's "The Culture Industry"
and Adorno's Aesthetic Theory as key touchstones, this book
explores the dialectic of high and low that forms the foundation of
Adornian aesthetics and the extent to which it still applied, and
the extent to which it has radically shifted, thereby 'upending
tradition'. In the tradition of philosophical aesthetics that
Adorno began with Lukacs, this explores the ever-urgent notion that
high culture has become deeply enmeshed with popular culture. This
is "Gaga Aesthetics": aesthetics that no longer follows clear
fields of activity, where "fine art" is but one area of critical
activity. Indeed, Adorno's concepts of alienation and the tragic,
which inform his reading of the modernist experiment, are now no
longer confined to art. Rather, stirring examples can be found in
phenomena such as fashion and music video. In addition to dealing
with Lady Gaga herself, this book traverses examples ranging from
Madonna's Madam X to Moschino and Vetements, to deliberate on the
strategies of subversion in the culture industry.
The Men's Fashion Reader brings together key writings in the
history, culture and identity of men's fashion. The readings
provide a balanced range of important methodological approaches,
primary research and significant case studies. The book is
organized into thematic sections covering topics such as history,
theory, subculture, iconic items of clothing, consumption and the
media. Each section is introduced and concludes with an annotated
guide to further reading. With exciting illustrations of men's
dress from a range of historical periods, and including readings
from key scholars and new writers across a wide range of fields,
The Men's Fashion Reader is the essential introduction to the
subject. Introduction: The Field of Men's Fashion Part 1. A History
of Men's Fashion Part 2. Masculinity and Sexuality Part 3. Icons:
The Evolution of Men's Wear Part 4. Subculture Part 5. Consuming
and Creating Style Conclusion
There is a new form of design practice within the contemporary
fashion industry which is active in complex forms of social
commentary and critique. While fashion in the modernist era has
shown signs of criticism and subversion, these were either in the
form of subcultures or perversions, such as punk or BDSM styling.
Today, however, these genres have been absorbed into the fashion
industry itself, meaning that "critical fashion" is now far from
limited to the subcultures from which it came. This book explores
this new space for criticism within the popular fashion sphere to
demonstrate how designers are disrupting conventions, challenging
beliefs and stirring change from within the system itself. Critical
Fashion Practice considers a range of contemporary designers across
the globe, from the US to Japan, whose conceptual designs embody
this critical language, including case studies such as Rei
Kawakubo's deconstructive silhouettes for Comme des Garcons and
Walter Van Beirendonck's sadomasochistic menswear collections,
amongst other key players such as Miuccia Prada, Vivienne Westwood
and Viktor & Rolf. Arguing that the rise of critical fashion
coincides with a noticeable decline in the criticality of art,
Geczy and Karaminas go beyond slotting fashion into previously
established art theories. Conceiving a new cultural role for
fashion that affords insight into identity, class, race, sexuality
and gender, this book shows how fashion can not only reflect and
comment on, but can also be a part of social change.
Fashion in Fiction examines the ways in which dress 'performs' in a
wide range of contemporary and historical literary texts. Essays by
North American, European and Australian scholars explore the
function of clothing within fictional narratives, including those
of film, television and advertising. The book provides a
groundbreaking examination of the interconnected worlds of fashion
and words, providing perspectives from socio-cultural, historical
and theoretical readings of fashion and text-based communication.
Covering a variety of genres and periods, Fashion in Fiction
analyses fashion's role within a range of creative media, exploring
the many ways that dress communicates, disrupts and modulates
meaning across different cultures and contexts.
Mere clothing is transformed into desirable fashion by the way it
is represented in imagery. Fashion's Double examines how meanings
are projected onto garments through their representation, whether
in painting, photography, cinema or online fashion film, conveying
identity and status, eliciting fascination and desire. With
in-depth case studies including the work of Nick Knight and Helmut
Newton, film examples such as The Hunger Games, music video Girl
Panic by Duran Duran, and much more, this book analyses the
interrelationship between clothing, identity, embodiment,
representation and self-representation. Written for students and
scholars alike, Fashion's Double will appeal to anyone studying
fashion, cultural studies, art theory and history, photography,
sociology, and film.
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Queer Style (2nd ed.)
Adam Geczy, Vicki Karaminas
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R2,404
Discovery Miles 24 040
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Ships in 12 - 17 working days
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Popular culture in the latter half of the twentieth century
precipitated a decisive change in style and body image. Postwar
film, television, radio shows, pulp fiction and comics placed
heroic types firmly within public consciousness. This book
concentrates on these heroic male types as they have evolved from
the postwar era and their relationship to fashion to the present
day. As well as demonstrating the role of male icons in
contemporary society, this book's originality also lies in showing
the many gender slippages that these icons help to effect or
expose. It is by exploring the somewhat inviolate types accorded to
contemporary masculinity that we see the very fragility of a stable
or rounded male identity.
Shortlisted for the Association of Dress Historians Book of the
Year Award, 2021 Libertine practices have long been associated with
transgression and social deviance. This innovative book is the
first to focus fully on the relationship between libertinism as a
social phenomenon and as a form of fashion. Taking the reader from
early modernity to the present day, Adam Geczy and Vicki Karaminas
reveal how the connection between clothing and the taboo, the
erotic, and the forbidden is at the heart of "libertine fashion".
Moving from the decadent courts of Charles II and Louis XV to the
catwalks of the 21st century, Libertine Fashion examines literary
and sartorial figures ranging from the Marquis de Sade and Lord
Byron to Oscar Wilde, Josephine Baker, Colette, and Madonna.
Focusing on libertinism as a sartorial practice and identity, this
book traces the genealogy of the concept through the proto
feminists of the English Reformation, the hedonistic decadents of
the fin de siecle, and the Flappers of the Roaring 20s. The
historical arc traverses the 1970s era of punk and glam, the
shapeshifting personae of David Bowie, and the "disciplinary
regimes" of Jean-Paul Gaultier. Looking at libertine practices and
appearances with fresh eyes, this bracing and original book affords
many new insights into transgressive style, and of the relationship
between sexuality and clothing. Accessible and thoroughly
researched, Libertine Fashion uses a multidisciplinary approach
that draws on historical literature, film, fashion, philosophy, and
popular culture. Offering a historical and philosophical grounding
in contemporary forms of identity and dress, it is essential
reading for students and scholars of fashion, gender, sexuality,
and cultural studies.
Popular culture in the latter half of the twentieth century
precipitated a decisive change in style and body image. Postwar
film, television, radio shows, pulp fiction and comics placed
heroic types firmly within public consciousness. This book
concentrates on these heroic male types as they have evolved from
the postwar era and their relationship to fashion to the present
day. As well as demonstrating the role of male icons in
contemporary society, this book's originality also lies in showing
the many gender slippages that these icons help to effect or
expose. It is by exploring the somewhat inviolate types accorded to
contemporary masculinity that we see the very fragility of a stable
or rounded male identity.
For hundreds of years consumers and scholars have acknowledged that
food is affected by the same rapid shifts in taste and consumption
as clothing. Trends in fashion and in food are increasingly being
marketed in tandem and sold as fashionable commodities to reinforce
capitalist power. Yet despite this, the reciprocal relationship
between fashion and food has not been fully explored - until now.
Gastrofashion from Haute Cuisine to Haute Couture examines the
relationship between food and fashion in clothing, style, and dress
in all its manifestations, from the restaurant to the catwalk, to
cookbooks, diet fads, slow food, fast fashion, celebrity chefs,
artists, and musical performers. It traces the relationship between
food and fashion back to the Middle Ages, to the rise of social
refinements in manners, speech, clothing, and taste, when
behaviours and appearances reflected social status and propriety
and where the social display of wealth and privilege were
inseparable from food and clothing. Nowadays, designer eateries
such as Pasticceria Prada and Armani Ristorante and the display of
food on fashion catwalks are the precursors of the restaurants of
pre-Revolutionary France and the spectacles of world fairs and
exhibitions. This much-needed book offers a substantive and
incisive discussion for all those interested in the complex
interrelationship between food and fashion - scholars, students,
and general readers alike.
First published in 2013, Queer Style was ahead of its time. It was
the first book to address the cultural, political, and material
histories of clothes as signs and markers of gender and sexual
identity, and remains key reading for scholars and students across
fashion studies and the humanities more broadly. Now, 10 years
later, the authors have revisited their classic work and updated it
to examine the function of subcultural dress within queer
communities and the mannerisms and messages that are used as
signifiers of identity.
Style is predominantly an individual matter--the way people put
themselves together creates a sense of individual identity--but
collectively it creates a sense of common culture in a community, a
city, or a country.
Geographically isolated from the fashion hubs of Paris and New
York, Australia may not yet be synonymous with style. But as it
moves away from the beach look that it is usually associated with
and adopts haute couture, Australia is emerging as a shining star
in the southern hemisphere.
Though not the political capital of the country, Sydney is
nevertheless Australia's cultural capital, and the style hub and
epicenter of the country's fashion evolution. "Sydney Street Style"
depicts the style of this less-explored fashion capital.
Beautifully assembled and packed with full color photos of the
stylish and eclectic residents of Sydney, this book will be a
welcome addition to the library of any fashionista or armchair
traveler.
Gone are the days when fashion relied on a runway launch with
coinciding press promotions to show a couturier's new range. Today,
design houses are thinking beyond traditional methods of display to
stimulate interest in their collections, such as to the internet,
fashion film and, more recently, fashion installations. This book
offers a critical evaluation of the changing ways in which fashion
has been exhibited, focusing specifically on the recent turn toward
installation, whether in the form of static presentations,
interactive performances or the more conventional curated designer
exhibition. Connecting viewers - and consumers - on an immersive
level, the fashion world has begun to appropriate installation
methods traditionally associated with displays of experimental art,
transcending the runway system and its constraints. This book turns
to the designers who have pioneered fashion installations, such as
Aitor Throup, Muccia Prada, Walter Van Beirendonck and Hussein
Chalayan among others, and also looks back to the early influential
fashion displays by designers such as Worth and Poiret to provide
historical context. Divided into three parts, and covering a
variety of installations from Vivienne Westwood's fashioned
'concept' stores to Gareth Pugh's immersive films, this
ground-breaking book positions the designer as the curator and
exhibition-maker and offers the first focused study of the
pertinent concept of fashion installation.
Mere clothing is transformed into desirable fashion by the way it
is represented in imagery. Fashion's Double examines how meanings
are projected onto garments through their representation, whether
in painting, photography, cinema or online fashion film, conveying
identity and status, eliciting fascination and desire. With
in-depth case studies including the work of Nick Knight and Helmut
Newton, film examples such as The Hunger Games, music video Girl
Panic by Duran Duran, and much more, this book analyses the
interrelationship between clothing, identity, embodiment,
representation and self-representation. Written for students and
scholars alike, Fashion's Double will appeal to anyone studying
fashion, cultural studies, art theory and history, photography,
sociology, and film.
When we open our closet doors each morning, we seldom consider what
our sartorial choices say, whether we tend toward jeans and a
well-worn concert t-shirt or wingtips and a three-piece suit. Yet,
how we dress divulges more than whether we crave comfort or
couture; our clothing communicates who we are and how we relate to
our culture. But how does a Balenciaga bag or a tough leather
jacket topped by liberty spikes signify these things?
Fashion in Popular Culture considers this question. Combining
fashion theory with approaches from literature, art, advertising,
music, media studies, material studies, and sociology, contributors
from across Europe, Australia, and the United States consider the
function of fashion within popular culture. Fashion, they show, has
the capacity to both influence and be influenced by popular
culture, and its meaning is also contingent upon context. Chapters
in the book cover both historical and contemporary concerns,
addressing a variety of other questions, including the role fashion
plays in subcultures.
For students and scholars of fashion and popular culture--or anyone
fascinated by what clothing can convey--"Fashion in Popular
Culture" offers an engaging, interdisciplinary analysis.
Although fashion fixtures and A-list celebrities pack the front
rows at the biggest, most glamorous shows at fashion week, the most
creative attire is often found not on the catwalks or inside the
auditoriums but on the streets. Nowhere is this more evident than
in the cosmopolitan city of Shanghai, where a vintage Vivienne
Westwood frock pairs perfectly with a chic puffer, and neon brights
elevate distressed denim to veritable haute couture.
"Shanghai Street Style "marksthe inaugural volume in an exciting
new street style series from Intellect. With an array of
up-and-coming young designers like Coko Wan, Nio, and Helen Lee,
Shanghai is swiftly cementing its status as a global fashion
destination--its first fashion week was in 2011--and this book
brings together more than one hundred full-color photographs
showcasing the remarkable diversity of styles seen on its streets.
Alongside the photographs are short pieces of critical commentary
by Vicki Karaminas and Toni Johnson-Woods, shedding light on the
city's changing culture and how this is expressed through the
clothing choices of ordinary city-dwellers going about their daily
routines. The result is a stunning street-level look at the trends
shaping Shanghai's fascinating fashion scene, with interesting
echoes of East meets West and old meets new. Eye-catching,
entertaining, and informative, "Shanghai Street Style" gets at the
roots of Shanghai trendsetters' distinct personal styles,
identifying the ideas and important cultural forces behind the
trends.
Attitudes to fashion have changed radically in the twenty-first
century. Dress is increasingly approached as a means of
self-expression, rather than as a signifier of status or
profession, and designers are increasingly treated as 'artists', as
fashion moves towards art and enters the gallery, museum, and
retail space. This book is the first to fully explore the causes
and implications of this shift, examining the impact of
technological innovation, globalization, and the growth of the
internet. The End of Fashion focuses on the ways in which our
understanding of fashion and the fashion system have transformed as
mass mediation and digitization continue to broaden the way that
contemporary fashion is perceived and consumed. Exploring
everything from the rise of online shopping to the emergence of
bloggers as power elites who have revolutionized the terrain of
traditional fashion reportage, this volume anatomizes a world in
which runway shows now compete with live-streaming, digital fashion
films, Instagram, and Pinterest. Bringing together original,
cutting-edge contributions from leading international scholars,
this book is essential reading for students and scholars of fashion
and cultural studies, as well as anyone interested in exploring the
dramatic shifts that have shaken the fashion world this century -
and what they might say about larger changes within an increasingly
global and digital society.
There is a new form of design practice within the contemporary
fashion industry which is active in complex forms of social
commentary and critique. While fashion in the modernist era has
shown signs of criticism and subversion, these were either in the
form of subcultures or perversions, such as punk or BDSM styling.
Today, however, these genres have been absorbed into the fashion
industry itself, meaning that "critical fashion" is now far from
limited to the subcultures from which it came. This book explores
this new space for criticism within the popular fashion sphere to
demonstrate how designers are disrupting conventions, challenging
beliefs and stirring change from within the system itself. Critical
Fashion Practice considers a range of contemporary designers across
the globe, from the US to Japan, whose conceptual designs embody
this critical language, including case studies such as Rei
Kawakubo's deconstructive silhouettes for Comme des Garcons and
Walter Van Beirendonck's sadomasochistic menswear collections,
amongst other key players such as Miuccia Prada, Vivienne Westwood
and Viktor & Rolf. Arguing that the rise of critical fashion
coincides with a noticeable decline in the criticality of art,
Geczy and Karaminas go beyond slotting fashion into previously
established art theories. Conceiving a new cultural role for
fashion that affords insight into identity, class, race, sexuality
and gender, this book shows how fashion can not only reflect and
comment on, but can also be a part of social change.
Pop art has traditionally been the most visible visual art within
popular culture because its main transgression is easy to
understand: the infiltration of the “low” into the “high”.
The same cannot be said of contemporary art of the 21st century,
where the term “Gaga Aesthetics” characterizes the condition of
popular culture being extensively imbricated in high culture, and
vice-versa. Taking Adorno and Horkheimer’s "The Culture Industry"
and Adorno’s Aesthetic Theory as key touchstones, this book
explores the dialectic of high and low that forms the foundation of
Adornian aesthetics and the extent to which it still applied, and
the extent to which it has radically shifted, thereby ‘upending
tradition’. In the tradition of philosophical aesthetics that
Adorno began with Lukács, this explores the ever-urgent notion
that high culture has become deeply enmeshed with popular culture.
This is “Gaga Aesthetics”: aesthetics that no longer follows
clear fields of activity, where “fine art” is but one area of
critical activity. Indeed, Adorno’s concepts of alienation and
the tragic, which inform his reading of the modernist experiment,
are now no longer confined to art. Rather, stirring examples can be
found in phenomena such as fashion and music video. In addition to
dealing with Lady Gaga herself, this book traverses examples
ranging from Madonna’s Madam X to Moschino and Vetements, to
deliberate on the strategies of subversion in the culture industry.
For at least two centuries, fashion and art have maintained a
competitive love-hate relationship. Both fashion and art construct
imaginary worlds, and use a language of style to invigorate
beliefs, perceptions and ideas. Until now the crossovers of fashion
and art have received only scattered treatment and suffered from a
dearth of theorization. As an attempt to theorize the area, this
collection of new and updated essays is the most well-rounded and
authoritative to date. Some of the world's foremost scholars in the
field are assembled here to explore the art-fashion nexus in
numerous ways: from aesthetics and performance to masquerade and
media.Original and inspiring, this book will not only secure
'art-fashion' as a discrete area of study, but also suggest new
critical pathways for exploring their continuing cross-pollination.
"Fashion and Art" is essential reading for students and scholars of
fashion, art history and theory, cultural studies and related
fields.
Fashion in Fiction examines the ways in which dress 'performs' in a
wide range of contemporary and historical literary texts. Essays by
North American, European and Australian scholars explore the
function of clothing within fictional narratives, including those
of film, television and advertising. The book provides a
groundbreaking examination of the interconnected worlds of fashion
and words, providing perspectives from socio-cultural, historical
and theoretical readings of fashion and text-based
communication.Covering a variety of genres and periods, Fashion in
Fiction analyses fashion's role within a range of creative media,
exploring the many ways that dress communicates, disrupts and
modulates meaning across different cultures and contexts.
Attitudes to fashion have changed radically in the twenty-first
century. Dress is increasingly approached as a means of
self-expression, rather than as a signifier of status or
profession, and designers are increasingly treated as 'artists', as
fashion moves towards art and enters the gallery, museum, and
retail space. This book is the first to fully explore the causes
and implications of this shift, examining the impact of
technological innovation, globalization, and the growth of the
internet. The End of Fashion focuses on the ways in which our
understanding of fashion and the fashion system have transformed as
mass mediation and digitization continue to broaden the way that
contemporary fashion is perceived and consumed. Exploring
everything from the rise of online shopping to the emergence of
bloggers as power elites who have revolutionized the terrain of
traditional fashion reportage, this volume anatomizes a world in
which runway shows now compete with live-streaming, digital fashion
films, Instagram, and Pinterest. Bringing together original,
cutting-edge contributions from leading international scholars,
this book is essential reading for students and scholars of fashion
and cultural studies, as well as anyone interested in exploring the
dramatic shifts that have shaken the fashion world this century -
and what they might say about larger changes within an increasingly
global and digital society.
|
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R318
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