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It is commonly known that fashion is big business, yet given its global significance, little has been written on the phenomenon of the fashion system. Instead, books have tended to focus on dress history, although recently the discipline has taken a more theoretical turn, with a spate of books ...

It is commonly known that fashion is big business, yet given its global significance, little has been written on the phenomenon of the fashion system. Instead, books have tended to focus on dress history, although recently the discipline has taken a more theoretical turn, with a spate of books appearing that analyze the underlying forces motivating fashion. This pioneering book unites theory and practice to provide an integrated series of snapshots taken from different perspectives of the fashion business in the second half of the twentieth century.Featuring contributions by leading experts in three main areas of important debate within the industry - the theory and culture of fashion; design and industry; and image and marketing - the book will be an essential reference for students, practitioners and theoreticians. It addresses such key issues as: the relationship between culture and clothing; the intersection of fashion and modernity; the origins of glamour; the role of creativity and the power of design; the chain store challenge; the age of the thinking designer; retail concepts; and minimalism in fashion. It is certain to be required reading on fashion courses and in related disciplines, including media, cultural and consumption studies.

Glamorous and intriguing, packed with hundreds of incomparable pictures and marvelous anecdotes about some of the flamboyant personalities of the first half of the 20th century, this stylish volume illuminates as never before the pivotal Russian influence on 20th-century European and American ...

Glamorous and intriguing, packed with hundreds of incomparable pictures and marvelous anecdotes about some of the flamboyant personalities of the first half of the 20th century, this stylish volume illuminates as never before the pivotal Russian influence on 20th-century European and American culture and fashion.

Alexandre Vassiliev, a well-known Russian-born costume and set designer, gives an insider's account of the artists and aristocrats who fled Russia after the 1917 Revolution and went on to play key roles in the European fashion scene. Wonderful stories abound about such noted emigres as Serge Diaghilev and Anna Pavlova, fashion illustrator Erte, photographer George Hoyningen-Huene, and couturier Prince Felix Yusupov, better known as Rasputin's assassin. With its wealth of documentary source material and photographs of stars from Greta Garbo to Marlene Dietrich wearing couture designed by Russian emigres, this exotic fashion book will have broad appeal.

In the later months of 1874, the great French poet, Stphane Mallarm, undertook a highly idiosyncratic project - the publication of a fashion magazine (La Dernire Mode) that he almost single-handedly wrote and edited. Using a variety of feminine and masculine pseudonyms to theorize about the concept ...

In the later months of 1874, the great French poet, Stphane Mallarm, undertook a highly idiosyncratic project - the publication of a fashion magazine (La Dernire Mode) that he almost single-handedly wrote and edited. Using a variety of feminine and masculine pseudonyms to theorize about the concept of fashion and to report and advise on womens clothing, popular vacation destinations, home furnishings and entertainment, Mallarm created a spectacularly original work that lies somewhere between Baudelaires seminal treatment of fashion in his essay on modernity, The Painter of Modern Life, and The Fashion System, Barthes brilliant semiology of clothing in the latter twentieth century.But the distinguishing feature of Mallarms magazine, and what differentiates it from the writing of Baudelaire and Barthes, is that it explores the nature of fashion from the inside. It is a genuine fashion magazine aspiring to lead fashion, though at the same time, by ingenious and appealing ironies, subtly satirizing this whole genre of writing. Various theories have been entertained about the work in the past, such as its being a prose poem, or alternatively a hoax or a mere money-making venture, but the present translators, in their commentary, argue that such guesses are hopelessly off the mark.Complete with the original artwork and a contextualizing introduction and commentary, Furbank and Cains definitive translation of one of French literatures greatest puzzles and surprises represents a major contribution to students, critics, theoreticians, and intellectual historians alike.

When Hong Kong entrepreneur David Tang opened his Shanghai Tang boutique on New York's Madison Avenue, it was not an isolated example of the globalization of Asian fashion. Further evidence is written on the labels in our closets, and paraded in the form of salwaar-kameez and silk sarongs by the ...

When Hong Kong entrepreneur David Tang opened his Shanghai Tang boutique on New York's Madison Avenue, it was not an isolated example of the globalization of Asian fashion. Further evidence is written on the labels in our closets, and paraded in the form of salwaar-kameez and silk sarongs by the rich and famous of London. The phenomenon merits scrutiny. This vanguard attempt points to the colonial era as the origin of fashion globalization, and describes its development as paralleling the gradual take-over of Asian daily wear by Western dress. From indigenous Batak weavers to Hong Kong designers, and from Indonesian businesswomen's power suits to Korean feminists' national costume, this book explores the sartorial interface of East and West.The globalization of Asian dress needs to be understood as part of an ongoing Orientalism that construes Asia as a feminine Other to the masculine West. The conventional Orientalist definition of fashion as an exclusively Western phenomenon has proved self-fulfilling in both East and West so that the conceptual boundary between the two is continually reasserted by design. Paying close attention to Asians' decisions about what clothing to make, sell, buy, and wear, the case studies in this book challenge Orientalist stereotypes of Asian style as passive and traditional and highlight how these actions are often made invisible by global cultural, rhetorical, and material practices that feminize Asia and the fashion world.This timely book will be of interest to dress and fashion theorists,anthropologists, sociologists, historians, art historians and all those interested in globalization, Orientalism and their effects.