Our dress is our identity. In dress, we live, move and have our social being. This book shows how the dressed body is central to the construction of a recognizable identity and provides accessible accounts of the particular dress ‘ ways’ associated with a considerable variety of lifestyles. Churchgoers, ballerinas, Muslim schoolgirls, glamour models, ‘ vampires’ , monks and country gents all fashion a social self through dress. These cultures all have characteristic forms of displaying the dressed body for social visibility - whether in religion, sex, performance, or on the street. In contrast to much of the literature on dress, which often assumes a lack of agency on the part of the wearer, contributors to this book focus on the conscious manipulation of dress to reflect an identity that is designed to look ‘ different’ .
Why do people choose to mark themselves off socially from others? What are the costs and benefits? For every dress ‘ identity’ , there is a corresponding set of entitlements and expectations as to behaviour and belief. ‘ Priestly’ bodies inhabit a different universe of response from strippers, just as ‘ Gothic’ bodies experience the public gaze differently from ‘ Methodist’ ones. Where one look commands respect in one setting, in another it can incite antipathy and rejection. Contributors tackle head-on this ‘ paradox of dress’ - its potent power to unite and divide. Evidence of the dressed body’ s social ambiguity as a medium of consensus, on the one hand, and conflict, on the other, provides a glimpse through dress into an elementary condition of social and cultural lifethat has all too rarely been part of historical and sociological discourse.

This volume of 23 essays on diverse aspects of the complex and challenging concept of "decent work" has its inception in the "Impulses of Salzburg 2009." Questions of decent work and decent unemployment have become especially salient in times of an economic and financial crisis. The establishment of decent working conditions and decent unemployment provisions - a complex matter of securing the right ethical mix of security and incentives - are perceived as major challenges not only for developing and undeveloped countries, which still don't have stable economies and where the rate of poverty and corruption is still high, but also for "developed" societies themselves.

Our dress is our identity. In dress, we live, move and have our social being. This book shows how the dressed body is central to the construction of a recognizable identity and provides accessible accounts of the particular dress 'ways' associated with a considerable variety of lifestyles. Churchgoers, ballerinas, Muslim schoolgirls, glamour models, 'vampires', monks and country gents all fashion a social self through dress. These cultures all have characteristic forms of displaying the dressed body for social visibility - whether in religion, sex, performance, or on the street. In contrast to much of the literature on dress, which often assumes a lack of agency on the part of the wearer, contributors to this book focus on the conscious manipulation of dress to reflect an identity that is designed to look 'different'.
Why do people choose to mark themselves off socially from others? What are the costs and benefits? For every dress 'identity', there is a corresponding set of entitlements and expectations as to behaviour and belief. 'Priestly' bodies inhabit a different universe of response from strippers, just as 'Gothic' bodies experience the public gaze differently from 'Methodist' ones. Where one look commands respect in one setting, in another it can incite antipathy and rejection. Contributors tackle head-on this 'paradox of dress' - its potent power to unite and divide. Evidence of the dressed body's social ambiguity as a medium of consensus, on the one hand, and conflict, on the other, provides a glimpse through dress into an elementary condition of social and cultural life that has all too rarely been part of historical and sociological discourse.