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Miss Harriet Peabody dreams of the day she can open up a shop selling refashioned gowns to independent working women like herself. Unfortunately, when an errand for her millinery shop job goes sadly awry due to a difficult customer, she finds herself out of an income. Mr. Oliver Addleshaw is on the verge of his biggest business deal yet when he learns his potential partner prefers to deal with men who are settled down and wed. When Oliver witnesses his ex not-quite-fiance cause the hapless Harriet to lose her job, he tries to make it up to her by enlisting her help in making a good impression on his business partner. Harriet quickly finds her love of fashion can't make her fashionable. She'll never truly fit into Oliver's world, but just as she's ready to call off the fake relationship, fancy dinners, and elegant balls, a threat from her past forces both Oliver and Harriet to discover that love can come in the most surprising packages.
After a Fashion covers medieval through Art Deco styles, for men and women. It guides readers through each stage of a reproduction project planning, designing, choosing materials, and constructing. It advises them on all aspects of collecting vintage clothes buying, restoring, altering, and wearing. The pattern-making and sewing instructions are useful to sewers at any experience level. Directions have been added for using the Internet to buy and sell, research styles, and contact costumers and collectors. An updated, expanded appendix lists over 600 sources (on-line and otherwise) for supplies, vintage clothes, and information.
A look at style and urbanism, offering a reconsideration of the role of fashion in city life and filling in overlooked gaps in the history of London and modern design.
These days, not even a new wardrobe can keep fashionista Rita Jewel from feeling blue. Perhaps the cure is a cooking class with a celebrity chef! But her appetite is ruined when murder becomes the main course… As a salesgirl at Dolce’s, a chic boutique outfitting San Francisco’s wealthiest women, Rita has the world’s greatest job. So why does she feel like last season’s Christian Louboutin stilettos—worn and out of style? Maybe it’s because her love life needs a makeover ASAP. From carrots to caviar, Guido Torcelli is the celebrity chef du jour. Perhaps signing up for his cooking class will serve as a much-needed distraction for Rita. But when Guido’s shot to death, Rita knows she’ll soon top the list of suspects. Guido was killed at his culinary school the same night she scrawled her phone number on a menu and handed it to him. Now she’s got to find the murderer before she’s forced to take all her meals in the prison cafeteria…
Reveals how the creative genius behind the hit style platform @WeWoreWhat became one of the most recognizable names in fashion by trusting her gut, knowing when to take risks, and fighting to get what she wants in life.
Growing up in a lace-curtain Irish suburb of Boston, secretly trying on his sister's dresses and spending his evenings after school in the city's chicest boutiques, Cunningham dreamed of a life dedicated to fashion. When he arrived in New York in 1948, he reveled in people-watching. He became a photographer for The New York Times, and after two style mavens took Cunningham under their wing he made a name for himself as a designer. Taking on the alias William J.-- because designing under his family's name would have been a disgrace to his parents--he became one of the era's most outlandish and celebrated hat designers, catering to movie stars, heiresses, and artists alike. Written with his infectious joy and one-of-a-kind voice, this memoir was polished, neatly typewritten, and safely stored away until after his death in 2016 -- adapted from jacket.
This book presents, above all, a study of the establishment and development of the Soviet organization and system of fashion industry and design as it gradually evolved in the years after the Second World War in the Soviet Union, which was, in the understanding of its leaders, reaching the mature or last stage of socialism when the country was firmly set on the straight trajectory to its final goal, Communism. What was typical of this complex and extensive system of fashion was that it was always loyally subservient to the principles of the planned socialist economy. This did not by any means indicate that everything the designers and other fashion professionals did was dictated entirely from above by the central planning agencies. Neither did it mean that their professional judgment would have been only secondary to ideological and political standards set by the Communist Party and the government of the Soviet Union. On the contrary, as our study shows, the Soviet fashion professionals had a lot of autonomy. They were eager and willing to exercise their own judgment in matters of taste and to set the agenda of beauty and style for Soviet citizens. The present book is the first comprehensive and systematic history of the development of fashion and fashion institutions in the Soviet Union after the Second World War. Our study makes use of rich empirical and historical material that has been made available for the first time for scientific analysis and discussion. The main sources for our study came from the state, party and departmental archives of the former Soviet Union. We also make extensive use of oral history and the writings published in Soviet popular and professional press.
You probably know the statistics: global clothing production has roughly doubled in just 15 years, and every year an estimated 300,000 tonnes of used clothing ends up in USA this notebook "How To Break Up With Fast Fashion notebook " will help you to change your mindset, fall back in love with your wardrobe and embrace more sustainable ways of shopping - from the clothes swap to the charity shop. Full of refreshing honesty and realistic advice . which can be used as a journal, diary, or notebook features: 120 lined pages SPACIOUS lines for plenty of room to write. QUALITY paper A book size of "12.52in x 9.25in" which means more COMFORTABLE writing. A cover design that is PERFECT for your special someone! Receive it in no time "Because fashion belongs to everyone, but no outfit should cost us the earth"
Learning how to think through fashion is both exciting and challenging, being dependent on one s ability to critically engage with an array of theories and concepts. This is the first book designed to accompany readers through the process of thinking through fashion. It aims to help them grasp both the relevance of social and cultural theory to fashion, dress, and material culture and, conversely, the relevance of those fields to social and cultural theory. It does so by offering a guide through the work of selected major thinkers, introducing their concepts and ideas. Each chapter is written by an expert contributor and is devoted to a key thinker, capturing the significance of their thought to the understanding of the field of fashion, while also assessing the importance of this field for a critical engagement with these thinkers ideas. This is a guide and reference for students and scholars in the fields of fashion, dress and material culture, the creative industries, sociology, cultural history, design and cultural studies."
This captivating book reproduces arguably the most extraordinary primary source documents in fashion history. Providing a revealing window onto the Renaissance, they chronicle how style-conscious accountant Matthäus Schwarz and his son Veit Konrad experienced life through clothes, and climbed the social ladder through fastidious management of self-image. These bourgeois dandies' agenda resonates as powerfully today as it did in the sixteenth century: one has to dress to impress, and dress to impress they did. The Schwarzes recorded their sartorial triumphs as well as failures in life in a series of portraits by illuminists over 60 years, which have been comprehensively reproduced in full color for the first time. These exquisite illustrations are accompanied by the Schwarzes' fashion-focussed yet at times deeply personal captions, which render the pair the world's first fashion bloggers and pioneers of everyday portraiture. The First Book of Fashion demonstrates how dress – seemingly both ephemeral and trivial – is a potent tool in the right hands. Beyond this, it colorfully recaptures the experience of Renaissance life and reveals the importance of clothing to the aesthetics and every day culture of the period. Historians Ulinka Rublack's and Maria Hayward's insightful commentaries create an unparalleled portrait of sixteenth-century dress that is both strikingly modern and thorough in its description of a true Renaissance fashionista's wardrobe. This first English translation also includes a bespoke pattern by TONY award-winning costume designer and dress historian Jenny Tiramani, from which readers can recreate one of Schwarz's most elaborate and politically significant outfits.