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"Fashion History: A Global View proposes a new perspective on fashion history. Arguing that fashion has occurred in cultures beyond the West throughout history, this groundbreaking book explores the geographic places and historical spaces that have been largely neglected by contemporary fashion studies, bringing them together for the first time. Reversing the dominant narrative that privileges Western Europe in the history of dress, Welters and Lillethun adopt a cross-cultural approach to explore a vast array of cultures around the globe. They explore key issues affecting fashion systems, ranging from innovation, production and consumption to identity formation and the effects of colonization. Case studies include the cross-cultural trade of silk textiles in Central Asia, the indigenous dress of the Americas and of Hawai'i, the cosmetics of the Tang Dynasty in China, and stylistic innovation in sub-Saharan Africa. Examining the new lessons that can be deciphered from archaeological findings and theoretical advancements, the book shows that fashion history should be understood as a global phenomenon, originating well before and beyond the fourteenth century European court, which is continually, and erroneously, cited as fashion's birthplace. Providing a fresh framework for fashion history scholarship, Fashion History: A Global View will inspire inclusive dress narratives for students and scholars of fashion, anthropology, and cultural studies"--

Beauty and Fashion. --- DESIGN --- Fashion --- Fashion. --- Mode. --- SOCIAL SCIENCE --- History & Criticism. --- History. --- Anthropology --- Cultural. --- Ethnic Studies --- Asian American Studies.

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Art Nouveau movement overlapped with late Arts and Crafts in the 1890s and early modernism in the 1910s, combining the exquisite workmanship and natural forms of the former with the innovative materials, forms and practices associated with the latter. This book provides a fascinating introduction to the style, defining it, and placing it in design history by focusing on a number of important designers - Worth, Lucile, Paquin, Poiret - and key topics, such as clients and artists, jewelery and accessories, and advertising. Art Nouveau fashion questioned conventional gender norms with daring flamboyance, presenting women in suits, influenced by tailored menswear, for the street and overtly seductive lingerie for the boudoir. Fashionable corsets manipulated female bodies into increasingly artificial forms, while advertising seduced consumers with images of scantily clad women. The movement's radicalism and openness to diverse design influences directly influenced the counter-culture of the late 1960s, inspiring boutiques in London's fashionable Carnaby Street and San Francisco's Haight-Ashbury.

Art nouveau. --- Fashion design --- Costume --- Fashion --- Fashion and art. --- Women's clothing. --- Beauty and Fashion. --- Costume. --- Fashion. --- Fashion design. --- Jugendstil. --- Mode. --- Design. --- Modedesign. --- Mode --- Kläder --- Jugend. --- ABBIGLIAMENTO FEMMINILE --- History --- Historia. --- Sec. 19. --- Victoria and Albert Museum. --- 1900-1999. --- 1900-talet.

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In the early 20th century, the desire to see clothing in motion flourished on both sides of the Atlantic: models tangoed, slithered, swaggered, and undulated before customers in couture houses and department stores. The Mechanical Smile traces the history of the earliest fashion shows in France and the United States from their origins in the 1880s to 1929, situating them in the context of modernism and the rationalization of the body. Fashion shows came into being concurrently with film, and this book explores the connections between fashion and early cinema, which arguably functioned as what Walter Benjamin called "new velocities"--Forces that altered the rhythms of modern life. Using significant new archival evidence, The Mechanical Smile shows how so-called "mannequin parades" employed the visual language of modernism to translate business and management methods into visual seduction. Caroline Evans, a leading fashion historian, argues for an expanded definition of modernism as both gestural and performative, drawing on literary and performance theory rather than relying on art and design history. The fashion show, Evans posits, is a singular nodal point where the disparate histories of commerce, modernism, gender, and the body converge.

Beauty and Fashion. --- Fashion shows --- Fashion shows. --- Mannequin. --- Mode, Frankrike. --- Mode, USA. --- Mode. --- Modernism (Aesthetics) --- Modernism (Aesthetics). --- Modernism --- Modeschau. --- Modevisningar --- Präsentation. --- History --- Estetiska aspekter. --- Historia. --- 1900-1929. --- France. --- Frankreich. --- Frankrike. --- Förenta staterna. --- USA. --- United States.

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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 Garçons 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.

Methods in social research (general) --- Sociology of culture --- fashion [concept] --- fashion designers --- Fashion --- Fashion design --- Clothing and dress --- Clothing design --- Dress design --- Design --- Social aspects. --- ART --- Beauty and Fashion. --- Bekleidungsindustrie. --- DESIGN --- Mode --- Mode. --- Modedesign --- Modeschöpfer. --- Soziale Rolle. --- Performance. --- Fashion. --- History & Criticism. --- Textile & Costume. --- Sociala aspekter. --- fashion [culture-related concept] --- anno 1960-1969 --- anno 1970-1979 --- anno 1980-1989 --- anno 1990-1999 --- anno 2000-2099

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Yuniya Kawamura provides a concise and much-needed introduction to the sociology of fashion. She argues that clothing is a tangible material product whereas fashion is a symbolic cultural product. She also debunks the myth of 'the genius designer' explaining that fashion is not about clothes but is a belief.

Sociology of culture --- Manufacturing technologies --- Beauty and Fashion. --- Clothing and dress --- Design. --- Fashion design. --- Fashion designers. --- Fashion. --- Kleidung. --- Kulturanthropologie. --- Kultursoziologie. --- Mode. --- Modebranche. --- Modeschöpfer. --- Symbolic aspects. --- Fashion --- Fashion design --- Fashion designers --- 391.01 --- 373.67 --- Symbolic aspects of clothing and dress --- Symbolism --- Clothes designers --- Couturiers --- Custom garment designers --- Dress designers --- Designers --- Clothing design --- Dress design --- Design --- Style in dress --- Symbolic aspects --- Mode ; theorie, filosofie, esthetica --- Onderwijs ; kunst- architectuuronderwijs