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A witty and stylish look into the mechanics employed by men and women to sculpt their figures for fashion This unique survey offers fascinating insights into the convoluted transformations employed by both men and women to accommodate the fickle dictates of fashion. With high design, wit, and style, Fashioning the Body tracks the evolution of these sartorial devices--from panniers, crinolines, and push-up bras to chains, zippers, and clasps--concealed beneath outer layers in order to project idealized figures. Women's corsets constricted waists; exaggerated buttocks and hips counterbalanced jutting bust lines; and chic, aerodynamic silhouettes compressed breasts and flattened bellies. Yet masculine fashion has been no stranger to these tortuous practices. Men flaunted their virility by artificially broadening their shoulders, applying padding to their chests, and slipping codpieces over their groins. With more than 200 beautiful illustrations--including reproductions of superb historic advertisements--Denis Bruna reveals the industry and art of these contrivances meant to entice and beguile as well as assert status and power. Contemporary haute-couture designers Thierry Mugler, Jean Paul Gaultier, Rei Kawakubo for Comme des Garçons, Christian Lacroix, and Vivienne Westwood are featured in this indiscreet tour of intimate fashion history. Published in association with the Bard Graduate Center Exhibition Schedule: Bard Graduate Center, New York (04/03/15-07/26/15)
This book casts a critical look at the dominant position that fashion has come to occupy in contemporary society. It addresses various aspects of fashion in postmodern culture including makeup, cosmetic surgery, tattoos, ornament in dress and the blurring of gender boundaries.
This groundbreaking work addresses important questions about the Algerian War of 1954-62 and the significant French resistance to their own leaders during the bitter conflict. Through the use of extensive interviews, it provides powerful insights into the clash of values that accompanied the war.
With an afterword by Roger Griffin.Fashion is often thought of as a matter of personal taste, completely unconnected with the public domain of political life and citizenship. Overturning this perspective, this absorbing book reveals that, from the French Revolution to post-revolutionary China, fashion has played a significant role in political participation and protest. Fashioning the Body Politic challenges the perception of helpless fashion victims, subject to manipulation by consumerism and the fashion industry, and shows how, in a range of historical and national contexts, certain styles of dress and display were significant for both men and women's political participation and the formation of their identities as citizens.How did 'dressing up' in a variety of ways allow suffragette women to perform unconventional forms of political protest? In what ways did the uniforms of scouts and guides function to erect gender, racial and religious boundaries? Following the ban on traditional clothing in Imperial Russia, how did Russians appropriate European fashions and ethnic costumes to fashion new identities for themselves? Using these and a wealth of other case studies, Fashioning the Body Politic offers a fresh perspective on the relationship between men, women and fashion and shows that the political domain has always been permeated with the cultural practices of dress, display and bodily performance.
This book provides a concise and much-needed introduction to the sociology of fashion. Most studies of fashion do not make a clear distinction between clothing and fashion. Kawamura argues that clothing is a tangible material product whereas fashion is a symbolic cultural product. She debunks the myth of the genius designer and explains, provocatively, that fashion is not about clothes but is a belief. There is an institutional structure, ignored by many fashion theorists, that has shaped and produced the fashion phenomenon. Kawamura further shows how the structural nature of the fashion system works to legitimize designers creativity and can make them successful. Newer fashion cities, such as Milan and New York, are the product of the fashion system that originated in Paris. Without that systemic structure, fashion culture would not exist. Fashion-ology provides a big picture approach that focuses on the social process behind fashion and its perpetuation.
This innovative book is the first to make an explicit link between constructions of the body in Gothic literature and film and historically specific fashion discourse, from the 1790s to the 1990s.
The Fashioned Body provides a wide-ranging and original overview of fashion and dress from an historical and sociological perspective. Where once fashion was seen as marginal, it has now entered into core economic discourse focused around ideas about ‘cultural’ and ‘creative’ work as a major driver of developed economies. With a new preface and new material on the evolving fashion industry, this second edition gives a clear summary of the theories surrounding the role and function of fashion in modern society. Entwistle examines how fashion plays a crucial role in the formation of modern identity through its articulation of the body, gender and sexuality. The book offers a much needed synthesis between the literature on fashion and dress, and the sociology of the body, offering an updated critique of the issues raised in the first edition. Entwistle shows how an understanding of fashion and dress requires an understanding of the meanings acquired by the body in culture since it is the body that fashion speaks to and which is dressed in almost all social situations and encounters. She argues that while fashion refers to a specific system of dress originating in the west, all cultures ‘dress’ the body in the same way, making it a crucial feature of social order. Drawing on the work of theorists, the book offers insights into the connections that need to be made between the body, fashion and dress. The Fashioned Body will be an invaluable resource for anyone interested in the social role of fashion and dress in modern culture.
For two and a half years, Amanda Czerniawski was a sociologist turned plus-size model. Journeying into a world where, as a size 10, she was not considered an average body type, but rather, for the fashion industry, “plus-sized,” Czerniawski studied the standards of work and image production in the plus-sized model industry. Fashioning Fat takes us through a model’s day-to-day activities, first at open calls at modeling agencies and then through the fashion shows and photo shoots. Czerniawski also interviewed 35 plus-size models about their lives in the world of fashion, bringing to life the strange contradictions of being an object of non-idealized beauty. Fashioning Fat shows us that the mission of many of these models is to challenge our standards of beauty that privilege the thin body; they show us that fat can be sexy. Many plus-size models do often succeed in overcoming years of self-loathing and shame over their bodies, yet, as Czerniawski shows, these women are not the ones in charge of beauty’s construction or dissemination. At the corporate level, the fashion industry perpetuates their objectification. Plus-size models must conform to an image created by fashion’s tastemakers, as their bodies must fit within narrowly defined parameters of size and shape—an experience not too different from that of straight-sized models. Ultimately, plus-size models find that they are still molding their bodies to fit an image instead of molding an image of beauty to fit their bodies. A much-needed behind-the-scenes look at this growing industry, Fashioning Fat is a fascinating, unique, and important contribution to our understanding of beauty.
Throughout history certain forms and styles of dress have been deemed appropriate - or more significantly, inappropriate - for people as they age. Older women in particular have long been subject to social pressure to tone down, to adopt self-effacing, covered-up styles. But increasingly there are signs of change, as older women aspire to younger, more mainstream, styles, and retailers realize the potential of the 'grey market'. Fashion and Age is the first study to systematically explore the links between clothing and age, drawing on fashion theory and cultural gerontology to examine the changing ways in which age is imagined, experienced and understood in modern culture through the medium of dress. Clothes lie between the body and its social expression, and the book explores the significance of embodiment in dress and in the cultural constitution of age. Drawing on the views of older women, journalists and fashion editors, and clothing designers and retailers, it aims to widen the agenda of fashion studies to encompass the everyday dress of the majority, shifting the debate about age away from its current preoccupation with dependency, towards a fuller account of the lived experience of age. Fashion and Age will be of great interest to students of fashion, material culture, sociology, sociology of age, history of dress and to clothing designers.
"Body Style reveals the subcultural body as a site for understanding subcultural identity, resistance, agency and fashion. Analyzed, theorized, politicized, and sensationalized, the subcultural body functions as a framework where individuals build a sense of self and subcultural identity. Drawing on specific subcultural examples and interviews with subculture members, Body Style explores the subcultural body and its style within global culture. Body Style is the result of over eleven years of research examining these intersections within specific urban subcultures, including Urban Tribalists, Modern Primitives, Punks, Cybers, Industrials, Skates, and others. Divided into three main sections on subcultural body history, subcultural body identity and subcultural body styles, this book will be of particular interest to students of dress and fashion as well as those coming to subculture from sociology and cultural studies"--