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The companion volume to Crystal Bridges Museum of American Art’s first fashion exhibition, Fashioning America: Grit to Glamour celebrates the history of American attire, from the cowboy boot to the zoot suit. From dresses worn by First Ladies to art-inspired garments to iconic moments in fashion that defined a generation, Fashioning America showcases uniquely American expressions of innovation, spotlighting stories of designers and wearers that center on opportunity and self-invention, and amplifying the voices of those who are often left out of dominant fashion narratives. With nearly one hundred illustrations of garments and accessories that span two centuries of design, Fashioning America celebrates the achievements of a wide array of makers—especially immigrants, Native Americans, and Black Americans. Incorporating essays by fashion historians, curators, and journalists, this volume takes a fresh look at the country’s fashion history while exploring its close relationship with Hollywood and media in general, illuminating the role that American designers have played in shaping global visual culture and demonstrating why American fashion has long resonated around the world.
The Gift in Antiquity presents a collection of 14 original essays that apply French sociologist Marcel Mauss’s notion of gift-giving to the study of antiquity. Features a collection of original essays that cover such wide-ranging topics as vows in the Hebrew Bible; ancient Greek wedding gifts; Hellenistic civic practices; Latin literature; Roman and Jewish burial practices; and Jewish and Christian religious gifts Organizes essays around theoretical concerns rather than chronologically Generates unique insights into gift-giving and reciprocity in antiquity Takes an explicitly cross-cultural approach to the study of ancient history
What is the kimono? Everyday garment? Art object? Symbol of Japan? As this book shows, the kimono has served all of these roles, its meaning changing across time and with the perspective of the wearer or viewer. Kimono: A Modern History begins by exposing the seventeenth- and eighteenth-century foundations of the modern kimono fashion industry. It explores the crossover between ‘art’ and ‘fashion’ in this period at the hands of famous Japanese painters who worked with clothing pattern books and painted directly onto garments. With Japan’s exposure to Western fashion in the nineteenth century, and Westerners’ exposure to Japanese modes of dress and design, the kimono took on new associations and came to symbolize an exotic culture and an alluring female form. In the aftermath of the Second World War, the kimono industry was sustained through government support. The line between fashion and art became blurred as kimonos produced by famous designers were collected for their beauty and displayed in museums, rather than being worn as clothing. Today, the kimono has once again taken on new dimensions, as the Internet and social media proliferate images of the kimono as a versatile garment to be integrated into a range of individual styles. Kimono: A Modern History, the inspiration for a major exhibition at the Metropolitan Museum of Art in New York,not only tells the story of a distinctive garment’s ever-changing functions and image, but provides a novel perspective on Japan’s modernization and encounter with the West.
The East Romans of Byzantium and the Sasanian Persians competed as geopolitical rivals for over four centuries between 224 to 628 AD. Through a series of intractable conflicts these two great empires would develop a dual hierarchy that sought to divide the known world between them. Despite competing claims to universal rule, mutual spheres of interest arose as both empires sought to create rules, norms, and standard practices of diplomatic behaviour to regulate their inter-imperial rivalry. Defined by contemporaries as the 'Two Eyes' of the Earth, this suzerain order aimed to hierarchically organize those considered as 'barbarians'. This period of late antiquity is rarely considered within the discipline of International Relations (IR) but, through an English School approach, Blachford examines the diverse suzerain order of late antiquity as 'barbarous' nomadic tribes challenged the hierarchical ambitions of two rival empires who both claimed a unique role in the maintenance of world order.
This book is the first in-depth exploration of the revolutionary designers who defined American fashion in its emerging years and helped build an industry with global impact, yet have been largely forgotten. Focusing on female designers, the authors reclaim a place in history for the women who created not only for celebrities and socialites, but for millions of fashion-conscious customers across the United States. From one of America's first couturiers, Jessie Franklin Turner, to Zelda Wynn Valdes, the book captures the lost histories of the luminaries who paved the way in the world of American fashion design. This fully illustrated collection takes us from Hollywood to Broadway, from sportswear to sustainable fashion, and explores important crossovers between film, theater, and fashion. Uncovering fascinating histories of the design pioneers we should know about, the book enlarges the prevailing narrative of fashion history and will be an important reference for fashion students, historians, costume curators, and fashion enthusiasts alike.
"This unique volume illustrates and discusses in detail more than 160 extraordinary fine and decorative art works of the colonial Andes, including examples of the intricate Inca weavings and metalwork that preceded the colonial era as well as a few of the remarkably inventive forms this art took after independence from Spain. An international array of scholars and experts examines the cultural context, aesthetic preoccupations, and diverse themes of art from the viceregal period, particularly the florid patternings and the fanciful beasts and hybrid creatures that have come to characterize colonial Andean art."--Jacket.
A Choice Outstanding Academic Title The Zuni are a Southwestern people whose origins have long intrigued anthropologists. This volume presents fresh approaches to that question from both anthropological and traditional perspectives, exploring the origins of the tribe and the influences that have affected their way of life. Utilizing macro-regional approaches, it brings together many decades of research in the Zuni and Mogollon areas, incorporating archaeological evidence, environmental data, and linguistic analyses to propose new links among early Southwestern peoples. The findings reported here postulate the differentiation of the Zuni language at least 7,000 to 8,000 years ago, following the initial peopling of the hemisphere, and both formulate and test the hypothesis that many Mogollon populations were Zunian speakers. Some of the contributions situate Zuni within the developmental context of Southwestern societies from Paleoindian to Mogollon. Others test the Mogollon-Zuni hypothesis by searching for contrasts between these and neighboring peoples and tracing these contrasts through macro-regional analyses of environments, sites, pottery, basketry, and rock art. Several studies of late prehistoric and protohistoric settlement systems in the Zuni area then express more cautious views on the Mogollon connection and present insights from Zuni traditional history and cultural geography. Two internationally known scholars then critique the essays, and the editors present a new research design for pursuing the question of Zuni origins. By taking stock and synthesizing what is currently known about the origins of the Zuni language and the development of modern Zuni culture, Zuni Origins is the only volume to address this subject with such a breadth of data and interpretations. It will prove invaluable to archaeologists working throughout the North American Southwest as well as to others struggling with issues of ethnicity, migration, incipient agriculture, and linguistic origins.
"A fascinating history of…[a craft] that preceded and made possible civilization itself." —New York Times Book Review New discoveries about the textile arts reveal women's unexpectedly influential role in ancient societies. Twenty thousand years ago, women were making and wearing the first clothing created from spun fibers. In fact, right up to the Industrial Revolution the fiber arts were an enormous economic force, belonging primarily to women. Despite the great toil required in making cloth and clothing, most books on ancient history and economics have no information on them. Much of this gap results from the extreme perishability of what women produced, but it seems clear that until now descriptions of prehistoric and early historic cultures have omitted virtually half the picture. Elizabeth Wayland Barber has drawn from data gathered by the most sophisticated new archaeological methods—methods she herself helped to fashion. In a "brilliantly original book" (Katha Pollitt, Washington Post Book World), she argues that women were a powerful economic force in the ancient world, with their own industry: fabric.