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For a generation of teenage girls, Sassy magazine was nothing short of revolutionary—so much so that its audience, which stretched from tweens to twentysomething women, remains obsessed with it to this day and back issues are sold for hefty sums on the Internet. For its brief but brilliant run from 1988 to 1994, Sassy was the arbiter of all that was hip and cool, inspiring a dogged devotion from its readers while almost single-handedly bringing the idea of girl culture to the mainstream. In the process, Sassy changed the face of teen magazines in the United States, paved the way for the unedited voice of blogs, and influenced the current crop of smart women's zines, such as Bust and Bitch, that currently hold sway. How Sassy Changed My Life will present for the first time the inside story of the magazine's rise and fall while celebrating its unique vision and lasting impact. Through interviews with the staff, columnists, and favorite personalities we are brought behind the scenes from its launch to its final issue and witness its unique fusion of feminism and femininity, its frank commentary on taboo topics like teen sex and suicide, its battles with advertisers and the religious right, and the ascension of its writers from anonymous staffers to celebrities in their own right.
Collects articles, interviews, photographic editorials, and illustrations from the first year of the online magazine.
A guide to landing a dream job in fashion and design profiles industry career opportunities, from clothing design and fashion photography to models and colorists, sharing inspiring true stories, activity suggestions, and helpful resources.
David Dyer's astonishing novel The Midnight Watchis based on the true story of the SS Californian, the ship that sawtheTitanic'sdistress rockets and yet, unfathomably, did nothing. A psychological thriller. Sometimes the smallest of human failings can lead to the greatest of disasters On a wretchedly cold night in the North Atlantic, a steamer stopped in an icefield sees the glow of another ship on the horizon. Just after midnight the first of eight distress rockets is fired. Why did theCalifornian look on while theTitanicsank? As soon as Boston Americanreporter John Steadman lays eyes on the man who stood the midnight watch on the Californian, he knows there's another story lurking behind the official one. Herbert Stone must have seen something, and yet his ship did nothing while the calamity took place. Now Stone, under his captain's orders, must carry his secret in silence, while Steadman is determined to find it out. So begins a strange dance around the truth by these three men. Haunted by the fifteen hundred who went to their deaths in those icy waters, and by the loss of his own baby son years earlier, Steadman must either find redemption in the Titanic's tragedy or lose himself. Based on true events, The Midnight Watchis at once a heart-stopping mystery and a deeply knowing novel - about the frailty of men, the strength of women, the capriciousness of fate and the price of loyalty.
Once a luxury that only the elite could afford, fashion is now accessible to all. High street brands such as Zara, Topshop and H&M have put fashion within the reach of anyone, whilst massive media attention has turned designers such as Tom Ford, Alexander McQueen and Stella McCartney into brands in their own right. Fashion Brands takes you 'behind the seams', so to speak, exposing how the use of advertising, store design and the media has altered our fashion 'sense' and how a mere piece of clothing can be transformed into something with mystical allure. Packed with first-hand interviews with fashion brand gurus and industry insiders, this fully updated 3rd edition of the international bestselling Fashion Brands has its finger on the fashion pulse more firmly than ever. It now includes more on celebrity fashion brands and the rise of the 'It' girls and their influence to further analyze every aspect of fashion from a marketing perspective.
How did you decide what to wear today? Did you base your selection on comfort or style? Did you want to blend in or stand out - or was it just the cleanest outfit available? We each make these decisions every day, reflecting how we view ourselves and impacting how others see us. Our choices matter - not just to us personally, but also to the magazine editors, brand ambassadors and trend forecasters who make a living by selling to us. Communicating Fashion introduces key concepts from the intersecting worlds of fashion and communication studies to connect how we all use clothing to express ourselves and how media systems support that process. In doing so, Myles Ethan Lascity explores social, cultural and ethical issues through the work of fashion journalism, brand promotions and the growing role of online influencers as well as the impact of film, television and art on self-image and expression. Key topics: - Advertising, Branding and Fashion Retail - Clothing, Art and Cultural Significance - Clothing as Group and Cultural Norms - Clothing, Identity and Interpersonal Communication - Fashion News and Tastemaking - Fashion, Social Media and Influencers - Meaning within the Fashion System - On-screen Clothing
This book arises from an international conference held at Sapienza University in Rome, Italy, in May 2015, and it includes papers by important Italian scholars of fashion. It is dedicated to one of the main indicators of social change, fashion, analysed within different scientific fields, historical periods, and geographical areas. This volume deals with issues of economy and fashion, copyright, industrial designs, trademarks, trade secrets, and patents, as well as new communication devices and strategies in the era of increasing globalization and market integration. Contributions analyze fashion blogs, fashion communication strategies, relations between fashion and technology, social media, grass-roots communication, social and cultural aspects of digital technologies, mobile fashion applications, and the dynamic fashion system in the virtual world. Visual identification symbols of fashion details, such as the Catalan hat or the Basque beret, the concept of “Made in Italy” and its success in the world, and new materials and technological innovations are also explored.
This unique book is divided into two sections. The first section highlights specific international youth activists, their biographies, work, and accomplishments. The second section is a collection of work by youth, who address their own activism, goals, identities, and needs. Commentaries by teachers, community workers, and facilitators compliment the entries, creating a unique, intergenerational and multi-faceted volume. The book will serve to fill a gap in teacher education, highlighting and listening to youth, themselves, who, the editor, contends, should be intimately involved in their own education and futures. A new model for teacher education, this book allows teachers to understand that youth must have, and demand, a voice in the determination of their lives and futures. Previous work with youth tends to “deal with them” as a problem to be solved, a group to be managed. This book insists that youth are viable citizens and create a voice which is heard internationally. Activists under 30 is the first book of its kind, to be addressed to youth, teachers, parents, and activists. It reminds us that youth are our most valuable resource, and insists we incorporate them, invite them, and listen to them.
Over the last four decades, the fashion modeling industry has become a lightning rod for debates about Western beauty ideals, the sexual objectification of women, and consumer desire. Yet, fashion models still captivate, embodying all that is cool, glam, hip, and desirable. They are a fixture in tabloids, magazines, fashion blogs, and television. Why exactly are models so appealing? And how do these women succeed in so soundly holding our attention? In This Year’s Model, Elizabeth Wissinger weaves together in-depth interviews and research at model castings, photo shoots, and runway shows to offer a glimpse into the life of the model throughout the 20th and 21st centuries. Once an ad hoc occupation, the “model life” now involves a great deal of physical and virtual management of the body, or what Wissinger terms “glamour labor.” Wissinger argues that glamour labor—the specialized modeling work of self-styling, crafting a ‘look,’ and building an image—has been amplified by the rise of digital media, as new technologies make tinkering with the body’s form and image easy. Models can now present self-fashioning, self-surveillance, and self-branding as essential behaviors for anyone who is truly in the know and ‘in fashion.’ Countless regular people make it their mission to achieve this ideal, not realizing that technology is key to creating the unattainable standard of beauty the model upholds—and as Wissinger argues, this has been the case for decades, before Photoshop even existed. Both a vividly illustrated historical survey and an incisive critique of fashion media, This Year’s Model demonstrates the lasting cultural influence of this unique form of embodied labor.
This book investigates how girls’ automedial selves are constituted and consumed as literary or media products in a digital landscape dominated by intimate, though quite public, modes of self-disclosure and pervaded by broader practices of self-branding. In thinking about how girlhood as a potentially vulnerable subject position circulates as a commodity, Girls, Autobiography, Media argues that by using digital technologies to write themselves into culture, girls and young women are staking a claim on public space and asserting the right to create and distribute their own representations of girlhood. Their texts—in the form of blogs, vlogs, photo-sharing platforms, online diaries and fangirl identities—show how they navigate the sometimes hostile conditions of online spaces in order to become narrators of their own lives and stories. By examining case studies across different digital forms of self-presentation by girls and young women, this book considers how mediation and autobiographical practices are deeply interlinked, and it highlights the significant contribution girls and young women have made to contemporary digital forms of life narrative.