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While most kids my age were sitting in English class waiting for the bell to ring, I was thrown into the deep end of the fashion and modeling pool. From sixteen to eighteen years old, I was circling the globe and doing things I had never before imagined. I broke the rules and shattered expectations of what a normal male model could do. I wanted to write this book to connect more with my friends and fans, to share experiences, and to pass on a few things I have learned along the way. I hope that it will help and inspire others to be more confident and follow their dreams. Scouted at the age of ten, signed to an international modeling agency by twelve, and now considered the most in-demand model at only eighteen, Lucky Blue Smith is #lucky. Get a front row look at the fashion and modeling world, through the eyes of Lucky Blue Smith, as he shares personal stories, never-before-seen photographs and intimate letters from his family and friends. Witty, charming, and totally honest, Lucky reveals all, connecting with his fans like never before-from rock 'n' roll Christmases at the Smith's to Levi's in Hollywood, from The Atomics to GQ, Lucky will inspire all to be confident, to follow their dreams, and to always STAY GOLDEN.
Jennifer June, a custom cowboy boot maker, takes the reader through the diverse history of the boot, from the early days prior to 1930 to the modern twists on traditional styles popular a century down the line. She looks in detail at the motifs and metaphors that ornament the cowboy boot, from the artistic traditions of Texas boot makers to the symbolism in stitchings of flora and fauna, and examines the different styles, shapes, and materials of boots through the ages. Featuring insights and testimonials from custom cowboy boot makers and obsessive buyers alike, the book also features a section on how to design your own individual boot. Cowboy boots are the most emblematic of American fashion icons, repositories of western tradition and symbols of the strength and endurance of true American style. In recent times, cowboy boots have become permanent fixtures of the fashion world and of Hollywood westerns. Beautifully illustrated with photographs of boots, boot makers, and cowboy fashionistas, this book presents the definitive perspective on the changing roles and various styles of the most enduring American footwear.
"The entire town is disguised," declared a French tourist of eighteenth-century Venice. And, indeed, maskers of all ranks--nobles, clergy, imposters, seducers, con men--could be found mixing at every level of Venetian society. Even a pious nun donned a mask and male attire for her liaison with the libertine Casanova. In Venice Incognito, James H. Johnson offers a spirited analysis of masking in this carnival-loving city. He draws on a wealth of material to explore the world view of maskers, both during and outside of carnival, and reconstructs their logic: covering the face in public was a uniquely Venetian response to one of the most rigid class hierarchies in European history. This vivid account goes beyond common views that masking was about forgetting the past and minding the muse of pleasure to offer fresh insight into the historical construction of identity.
Review: A book that hangs like a garment on a coat-hanger. A garment with many pockets. In the pockets numberless notes and remarks about clothes and history. Take it off the hanger and put it on. By which I mean - read it and walk through history. -- John Berger Tansy Hoskins interrogates today's fashion landscape with rigour, intellectualism and gut instinct. Stitched Up contains a number of splendidly-articulated seminal moments that will make you view your wardrobe through a different lens. A fine investigation of the cultural tyranny of a multi billion pound industry that] operates as if above censure. -- Lucy Siegle, writer for The Observer and author of To Die For This is a wonderful book, bursting at the seams with power, passion and politics. Tansy Hoskins lays bare the capitalist relations of production, marketing and consumption that sustain the fashion industry, and calls for a revolution to liberate us from its tyranny. Clothes will never look the same again -- John Hilary, Executive Director at War on Want and author of The Poverty of Capitalism.
From the Preface When I first went to Africa in the 1960s, I was bowled over by African art. What really got under my skin were the bangles, principally the bronze bangles from West and Central Africa. They were tactile, weighty and full of design and form. Later, when I lived in Ghana and Togo, I built up my own collection of bangles. In recent years this collection was seen by past and present curators of the British Museum and I was encouraged to work up the expertise to comment on and possibly help classify the Museum's collection of African bangles. They recognised that they have thousands of these bangles lying mostly untouched and unloved because they could not be given a story, a context, a meaning. They were so enthusiastic and helpful that I secured introductions to many major museums around the world, to study their substantial and interesting collections. Museums in Europe and on the East and West Coasts of the United States gave me access to the rich material they had accumulated. I had the rare privilege of spending days in their storerooms in the course of which I could see and compare many thousands of bangles. The curators who accompanied me in the inspection of their bangles were aware that these beautiful artefacts had lain undisturbed because they could not be explained or set in a wider context. The bangles were attractive but seldom came with a meaningful provenance. To their great credit, these highly-qualified specialists would listen enthusiastically as my wife and I noted bangles which we had encountered elsewhere. Seeing all these bangles and thus, over time, gradually building up a picture of their types, uses and probable areas of origin, I began to realise that I was looking at a decorative culture which was self-generated, wholly unlike the decorative cultures of the rest of the world. It was unique. Astonishingly, it was to be found in almost every inhabited part of the vast semi-continental area of sub-Saharan Africa. Gold and silver were of little consequence. Copper was their "precious metal". The style - instantly recognisable - was chunky, solid, weighty. Rarity was not a concern; the Eurasians' "precious stones" were unknown. Rings had no great meaning. It was bangles that were the standard means of conveying status, attraction and readiness for marriage. Most importantly, as I read the stories of explorers and the later accounts of African life in the 19th and 20th centuries while I worked through the museums' storerooms, it became clear to me, that for centuries, the bangle had been the one and only defining material culture shared by all Africans south of the Sahara. At last, an overall picture was emerging and there was now a chance of describing it before it was too late. The bangle culture that had unified Africans, through which and in which they had lived much of their lives, was fading fast. In their heartland of West and Central Africa the tactile bronze bangles that everyone wore in the 19th century - and which I saw occasionally in northern Ghana in the 1980s - were now encountered more in museums than on the bodies of inhabitants of those regions. This book will follow the art-historical practice of using "bronze" to describe all forms of copper alloys, including brass, when the composition is not directly relevant and retain "copper" for occasions when the pure metal is being discussed. "Bangle" will be used as the generic term for all forms of jewellery applied to the human body. This bangle culture is still an unselfconscious part of daily life in a few isolated African tribes and used quite naturally to send messages. But, in a few decades, this bangle culture will survive only in less traditional forms and only in limited areas in East and Southern Africa. At its height, it was an admirable system of great importance to social intercourse, replete with significance, great beauty and craftsmanship. It deserves to be recorded and I will try to do this in this book. I will set out why this bangle culture was so different from anything else in the world; the skill with which the bangles were made; and how the bangle culture spread throughout all Africa south of the Sahara; I will have to admit that the industrial world and its products have led to the Eurasian hierarchy of gold and silver overtaking bronze in Africa and, indeed, eliminating it as a "precious metal". But I will end on a note of hope, that there are indications that the sense of solidity of form and the respect for copper that was evident in classical African bangles may still live on among African Americans.
Fashion Ethics provides a comprehensive overview of the ethical issues in the fashion industry, from collection design concept to upcycling and closed loop production. This book answers an urgent need for a comprehensive understanding of the fundamental ethics of the fashion industry. Sue Thomas goes beyond the usual contentious issues of environmental impact and human rights, taking the reader deeper into the endemic issues including sizeism, ageism, animal rights, and the lack of diversity in models and in the media. The book lays out the significant ethical issues within the fashion supply chain by mapping the lifecycle of a garment and exploring key topics such as deep ecology, cultural copyright speciesism, the role of the customer, and technology in future ethics. It also features current international industry information and industry-relevant case studies from brands, media and mobile technology, and NGOs including Oxfam (UK), Redress (Hong Kong), Nimany (US), Labor Link (US), People Tree (UK), and Peppermint (Australia). Fashion Ethics provides much-needed information for fashion students, industry professionals, and customers.
From the civil rights and Black Power era of the 1960s through antiapartheid activism in the 1980s and beyond, black women have used their clothing, hair, and style not simply as a fashion statement but as a powerful tool of resistance. Whether using stiletto heels as weapons to protect against police attacks or incorporating African-themed designs into everyday wear, these fashion-forward women celebrated their identities and pushed for equality. In this thought-provoking book, Tanisha C. Ford explores how and why black women in places as far-flung as New York City, Atlanta, London, and Johannesburg incorporated style and beauty culture into their activism. Focusing on the emergence of the ""soul style"" movement - represented in clothing, jewelry, hairstyles, and more - Liberated Threads shows that black women's fashion choices became galvanizing symbols of gender and political liberation. Drawing from an eclectic archive, Ford offers a new way of studying how black style and Soul Power moved beyond national boundaries, sparking a global fashion phenomenon. Following celebrities, models, college students, and everyday women as they moved through fashion boutiques, beauty salons, and record stores, Ford narrates the fascinating intertwining histories of Black Freedom and fashion.
Marriage has been a contested term in African American studies. Contributors to this special issue address the subject of "black marriage," broadly conceived and imaginatively considered from different vantage points. Historically, some scholars have maintained that the systematic enslavement of Africans completely undermined and effectively destroyed the institutions of heteropatriarchal marriage and family, while others have insisted that slaves found creative ways to be together, love each other, and build enduring conjugal relationships and family networks in spite of forced separations, legal prohibitions against marriage, and other hardships of the plantation system. Still others have pointed out that not all African Americans were slaves and that free black men and women formed stable marriages, fashioned strong nuclear and extended families, and established thriving black communities in antebellum cities in both the North and the South. Against the backdrop of such scholarship, contributors look back to scholarly, legal, and literary treatments of the marriage question and address current concerns, from Beyonce's music and marriage to the issues of interracial coupling, marriage equality, and the much-discussed decline in African American marriage rates. Contributors: Ann duCille, Oneka LaBennett, Mignon Moore, Kevin Quashie, Renee Romano, Hortense Spillers, Kendall Thomas, Rebecca Wanzo, Patricia Williams
Enter the world of huge hair, sparkling make-up, glitter galore, fake eyelashes and...the fine art of the tuck and tape, with these drag queen playing cards. Featuring 14 of the most famous, most beautiful and most outrageous queens from across the carnival court of drag, this deck is sure to liven up your next game of canasta.
Cosplay, short for "costume play", has grown from its origins at fan conventions into a billion-dollar global dress phenomenon. Costuming Cosplay takes us from elaborately crafted DIY costumes to online fandoms, examining how the practice of portraying fictional characters from popular culture through dress and performance has become a creative means of expressing and playing with different identities. With an approach that ranges from admiration and role-play to gender performance, this is the first book to fully examine the subculture and costume of the Cosplay phenomenon. Drawing on extensive first-hand research at conventions across North America and Asia, Theresa M. Winge invites us to explore how Cosplay functions as a meritocracy of creativity, escapism, and disguise, and offers a creative realm in which fantasy and new forms of socializing carry as much importance as costume. Illustrated with color photographs of both celebrity and amateur Cosplayers, Costuming Cosplay is essential reading for students and scholars of fashion and costume, popular culture, anthropology, gender, and media studies, as well as global players and fans of Cosplay.
By today's standards, men wore formal dress every day in the 1890s. The color lithographs and line drawings of men dressed for work that are shown here bear striking contrast to men in the streets now. That very fact makes these clothes more than interesting today, they are actually time capsules for the lifestyle of a century ago. Heavy woolen cloth that has lasted a hundred years, and practical styles that were always comfortable and smart-looking bear witness to the time before automobiles and electricity. Now they have become antiques themselves. The hundreds of cloth swatches that appear have subtle patterns and plenty of texture to withstand much use. Vintage clothing collectors and designers will marvel at their variety.
From sweatshops to fur farming, from polluting chemicals to painful garments, the fashion industry is associated with activities which have had devastating effects on workers, consumers, and the natural world. This ground-breaking volume provides a framework for examining the ethical, social, and environmental dangers that arise as fashion products are designed, manufactured, distributed, and sold within retail outlets, before being consumed and disposed of. Encompassing the cultural, psychological, and physiological aspects of fashion, it offers a comprehensive exploration of the hazards of a global industry. Drawing together an international team of leading textile and apparel experts, The Dangers of Fashion presents original perspectives on a wide range of topics from piracy and counterfeiting to human trafficking; from the effects of globalization on local industry to the peer pressure that governs contemporary ideals of beauty. Rooted in research into industry and consumer practices, it discusses innovative solutions-both potential and existing-to fashion's dangers and moral dilemmas from the viewpoint of individuals, companies, societies, and the global community.
Rich assortment of clothing styles-from garments worn by the nobility of Crete (2000-1200 B.C.) to the apparel of a Roman senator and his family in the late Imperial Period (A.D. 300-487). Also includes colorable portraits of Greek peasants in traditional clothing, costumes worn by Etruscan dancers, Roman gladiators wearing metal shoulder plates and chain mail, plus Greek and Roman hairstyles, footwear, headgear and more.
'The most entertaining book of the year' Sunday Times 'The autobiography of magazine kingpin Nicholas Coleridge is a Waugh-like whirlwind of eccentric characters, lavish parties and even a spell in a Sri Lankan jail. It was funny enough to excuse all the name-dropping' Evening Standard, Books of the Year 'A ludicrously well-connected magazine impresario. Whimsical tales of Bob Geldof, William Hague, Princess Diana and George Osborne jostle with recollections of glitzy parties at castles and producing the Eton magazine with Craig Brown. It's gossipy good fun' Sunday Times 'A deliciously moreish memoir of the author's glittering career in magazine publishing. Like having a really good gossip over a glass of fizz with Evelyn Waugh' Sunday Telegraph 'Sparkling. Witty, nimble and engaging, it is wonderfully entertaining and a marvellous slice of social history' Jane Ridley, Spectator 'Brilliant. I laughed almost continuously' Charles Moore, Spectator 'An irresistible read, hilarious, honest and insightful. I adored it' Tina Brown 'Forthright, witty and gossipy. A passion for glossy magazines shines through this effervescent memoir' Sunday Express
Michael's newfound career started with an impulsive move to Barcelona, a vanished job assignment, no work visa, and an Hermes scarf sold on eBay to generate some quick cash. But soon the resourceful Michael discovered the truth about the waiting list and figured out the secret to getting Hermes to part with one of these precious bags. With down-to-earth wit, Michael chronicles the unusual ventures that took him to nearly every continent, from eBay to Paris auction house and into the lives of celebrities and poseurs. Flirting with danger, Michael recounts the heady rush of hand delivering his first big score to famed songwriter Carole Bayer Sager in Paris; how he had to hire thugs to rescue a bag that one of his 'shoppers' held for ransom; and, the story of the Oscar-worthy performances that allowed him to snag 'reserved' bags from other, less dogged Birkin seekers. Whether he's relating his wining and dining, buying and selling, dodging and weaving, laughing and crying, or schmoozing and stammering, Michael is a master raconteur who weaves together tales of hunting Birkins in the world's most posh locales, memories of meals that would make any gastronome salivate, anecdotes of obsessed collectors with insatiable desires, and sweetly intimate stories about his family, friends, and finding true love. The result is a memoir that is distinctive, fun, page-turning, and as addictive as its namesake.
Fashion is ever-changing, and while some styles mark a dramatic departure from the past, many exhibit subtle differences from year to year that are not always easily identifiable. With overviews of each key period and detailed illustrations for each new style, How to Read a Dress is an authoritative visual guide to women's fashion across five centuries. Each entry includes annotated color images of historical garments, outlining important features and highlighting how styles have developed over time, whether in shape, fabric choice, trimming, or undergarments. Readers will learn how garments were constructed and where their inspiration stemmed from at key points in history - as well as how dresses have varied in type, cut, detailing and popularity according to the occasion and the class, age and social status of the wearer. This lavishly illustrated book is the ideal tool for anyone who has ever wanted to know their cartridge pleats from their Recamier ruffles. Equipping the reader with all the information they need to 'read' a dress, this is the ultimate guide for students, researchers, and anyone interested in historical fashion.
Across the eighteenth century in Britain, readers, writers, and theater-goers were fascinated by women who dressed in men's clothing from actresses on stage who showed their shapely legs to advantage in men's breeches to stories of valiant female soldiers and ruthless female pirates. Spanning genres from plays, novels, and poetry to pamphlets and broadsides, the cross-dressing woman came to signal more than female independence or unconventional behaviors; she also came to signal an investment in female same-sex intimacies and sapphic desires. Sapphic Crossings reveals how various British texts from the period associate female cross-dressing with the exciting possibility of intimate, embodied same-sex relationships. Ula Lukszo Klein reconsiders the role of lesbian desires and their structuring through cross-gender embodiments as crucial not only to the history of sexuality but to the rise of modern concepts of gender, sexuality, and desire. She prompts readers to rethink the roots of lesbianism and transgender identities today and introduces new ways of thinking about embodied sexuality in the past.
Bowlers, Bergeres, berets and beyond, this is the ultimate guide to hats through history. From the lavish fashion hats of Marie Antoinette's court to the experimental millinery of Stephen Jones and Philip Treacy, Hats takes us on a beautifully illustrated journey through class conflict, gendered etiquette and national allegiances to reveal the complex cultures from which each style emerged. Unlike any other element of dress, hats are able to confer a certain presence on the wearer, whilst working to a seemingly arcane system of codes that govern our behaviour. At which occasion is it appropriate to wear a hat? When is it respectful to take hats off? Why did hats fall out of favour? Structured thematically with issues such as power and disguise, Clair Hughes explores both historical and contemporary styles, as well as their depictions in art, literature and film, with sharp historical insights and playful narratives. Including head-turning designs at world-famous horse races, the hat habits of royal family members, literary mad hatters and French high-fashion millinery by the likes of Poiret, Vionnet and Chanel, this is the authoritative guide to one of the most culturally rich accessories in fashion. Hats is the first title in the Elements of Dress Series, edited by Susan Vincent.
The Great Han is an ethnographic study of the Han Clothing movement (Hanfu yundong), a neo-traditionalist and majority racial nationalist movement that has emerged in China since 2001. Participants come together both online and in person in cities across China to revitalize their utopian vision of the authentic "Great Han" and corresponding "real China" through pseudo-traditional ethnic dress, reinvented Confucian ritual, and anti-foreign sentiment. Employing close analysis of movement ideas and practices, this book finds that the movement's "real China," envisioning a pure, perfectly ordered, ethnically homogeneous, and secure society, is in fact an imaginary vision constructed in response to the challenging realities of the present. Yet this national imaginary is reproduced precisely through its own perpetual elusiveness. The Great Han is a pioneering analysis of Han identity, nationalism, and social movements in a rapidly changing China.
The Cinema of Sofia Coppola provides the first comprehensive analysis of Coppola's oeuvre that situates her work broadly in relation to contemporary artistic, social and cultural currents. Suzanne Ferriss considers the central role of fashion - in its various manifestations - to Coppola's films, exploring fashion's primacy in every cinematic dimension: in film narrative; production, costume and sound design; cinematography; marketing, distribution and auteur branding. She also explores the theme of celebrity, including Coppola's own director-star persona, and argues that Coppola's auteur status rests on an original and distinct visual style, derived from the filmmaker's complex engagement with photography and painting. Ferriss analyzes each of Coppola's six films, categorizing them in two groups: films where fashion commands attention (Marie Antoinette, The Beguiled and The Bling Ring) and those where clothing and material goods do not stand out ostentatiously, but are essential in establishing characters' identities and relationships (The Virgin Suicides, Lost in Translation and Somewhere). Throughout, Ferriss draws on approaches from scholarship on fashion, film, visual culture, art history, celebrity and material culture to capture the complexities of Coppola's engagement with fashion, culture and celebrity. The Cinema of Sofia Coppola is beautifully illustrated with color images from her films, as well as artworks and advertising artefacts.
Enter an ultra-patriotic era of "military mood" fashions, replete in red, white, and blue. One in a series of books from Schiffer Publishing documenting fashion trends in America, this is an invaluable resource for fashion designers looking to revive and rework retro styles, for costume designers working to recreate an era, and for collectors and historians wanting to document vintage clothing. A visual treasure chest, this book offers more than 400 full-color photographs, with thousands of items of clothing, shoes, and accessories pictured, along with detailed descriptions. A guide to retail values for these items on today's market is featured as well.
This book contains everything you need to know about suits, from the traditional designs of the early 1900s, to innovative contemporary variations. It was awarded Financial Times' Fashion Book of the Year. Clothes maketh the man. For millions of men across the world the common denominator that identifies them is the suit. Just three and a half metres of fabric, some internal shaping elements, lining, buttons and several metres of thread are all it takes to produce the jacket-and-trouser combination that can be seen from boardrooms to bars, wherever men gather. In Sharp Suits we examine the fascinating history and evolution of the modern suit from the late seventeenth century to date. From eighteenth-century bespoke to the mass industrialization of the twentieth century, we see how the uniform of the ruling classes became the utilitarian outfit of the worker. A series of thematic chapters also illustrate how the universal staple of a man's wardrobe can play many different roles and, chameleon-like, can mean different things in different situations. From the Duke of Windsor to The Thin White Duke, David Bowie; from James Brown to The Jamel from Guys and Dolls to The Godfather, movie stars, rock stars, heroes and villains, philanthropists, presidents and gangsters - all these men and many more have dressed to impress in a matching jacket and trousers and have found that a suit will suit them very well. `Clothes can `do a job'. A well-cut suit can make you slimmer, taller, sexier, more elegant or business-like.' Sir Paul Smith Chapters include: Convention or Fashion? The single-breasted suit A Question of Balance the Double-breasted suit Princes Among Men The striped suit The Italian Job The checked suit US Male The white suit Passion from Paris The Dormeuil suits Lost in Music The Bowie suits The Magic of the Movies
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