A cultural history of fashion in the 20th and 21st centuries by Bonnie English

By Bonnie English

This new version of a bestselling textbook is designed for college kids, students, and someone drawn to twentieth century type historical past. Accessibly written and good illustrated, the publication outlines the social and cultural background of favor thematically, and incorporates a wide selection of worldwide case stories on key designers, types, events and occasions. the recent version has been revised and extended: there are new sections on Read more...

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attractive, concise and hugely obtainable, this new version of a bestselling textual content has been revised all through and contains fresh sections reflecting fresh advancements and two times as many images. Read more...

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Collection: Powerhouse Museum, Sydney. Photographer: Andrew Frolows. This evening gown is made of white satin, selfstriped in cut velvet fabric, embossed with large floral motifs; the sleeves of lace are caught with bands of rhinestones; the bodice trimmed with tulle and lace and an artificial carnation. Not only did Worth design clothes for many members of European royalty, including the Princess de Metternich, Princess Maria of Austria and the wife of Franz Joseph I, the Empress Elizabeth of Austria; he was also adept in marketing his work to a much broader clientele.

1 Arguably, haute couture in fashion was also determined by this heightened taste for luxury; however, more importantly, in economic terms, haute couture became an interface between the silk and brocade manufacturers of Lyons and the world of the aristocracy. Fine fabric, sumptuously embellished with a layering of either lace or tulle, with rich hand embroidery and beading, enticed women of high society. Certainly, couture relied on expert craftsmanship in sewing and great attention to detail and fit.

Both Bouillon (1991) and Varnedoe and Goprik (1990) emphasize the significance of the growing impact of window display, and in particular fashion mannequins and goods, upon a variety of prominent artists. As Saisselin (1984: 39) observes, the contemporaneous commercial concept of the artistic display is indicative of the sophisticated THE INTERPLAY OF COMMERCE 21 changes in the presentation of merchandise display in the consumer arena, as the dramatized tableau format in shop windows became one of the moving forces behind high-consumption capitalism, along with the distribution of goods and the promotion of desire.

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