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Since the dawn of western fashion in the Middle Ages, women's dress has never stopped evolving, yet menswear has seen far fewer style revolutions. At the centre of the male wardrobe is the suit: relatively unchanged since the 17th century, its cut and cloth suggest athleticism, seriousness, sexuality and strength – qualities which contrasted with the perceived superficiality and frivolity of female dress, and eventually led to the adoption of the suit into the female wardrobe where it remains to this day. In Sex and Suits brilliant essayist and art critic Anne Hollander charts the development of men's and women's fashion from their divergence in the medieval period to their convergence through to the late 20th century. Challenging the idea that the suit's success is merely down to its practicality, this trailblazing book argues that men have been fashion's true style-setters and that as women's fashion has taken on elements of men's style through tailoring, so men have reclaimed the embellishment and colour of past eras. First published in 1994 to great acclaim, this classic text is as fresh and provocative as ever and remains a must-read for students, scholars and anyone fascinated by the history of fashion and gender.
The Paraphilias: Changing Suits in the Evolution of Sexual Interest Paradigms examines current and past perspectives concerning unconventional sexual interests associated with both criminal and non-criminal activities. The book provides extensive case histories and tables summarizing over 100 paraphilias and the latest research regarding them. It also reviews diagnostic criteria for the paraphilias.
In this generously illustrated book, Anne Hollander examines the representation of the body and clothing in Western art, from Greek sculpture and vase painting through medieval and renaissance portraits, to contemporary films and fashion photography. First published ahead of its time, this book has become a classic.
A law professor and cultural critic offers an eye-opening exploration of the laws of fashion throughout history, from the middle ages to the present day, examining the canons, mores and customs of clothing rules that we often take for granted
Clothing appears in all forms of figurative painting, often taking up two thirds of a frame; yet it can often go unnoticed. Far more than a simple means of identifying the status or occupation of a figure, clothes and cloth are used creatively by artists to hint at ambiguities in character, adjust the emotional temperature, direct the eye or make subtle allusions. Drawing on works by artists over a period of six centuries, from Giotto to El Greco, Matisse to Cindy Sherman, the author reveals through paintings, fashion plates, photographs and film stills how drapery in art evolved from Renaissance extravagance to Neoclassical simplicity at the end of the 18th century, and has extended to infinite uses in all genres of Modern art. First published in 2002 to accompany an exhibition of the same name at the National Gallery, London, this beautifully illustrated - and beautifully written - book by pioneering art historian and critic Anne Hollander, is reissued with a new Foreword by Valerie Steele. As penetrating and insightful as when it was first published, it remains a must-read for today's generation of students and anyone with an interest in art and fashion.
Since the dawn of western fashion in the Middle Ages, women's dress has never stopped evolving, yet menswear has seen far fewer style revolutions. At the centre of the male wardrobe is the suit: relatively unchanged since the 17th century, its cut and cloth suggest athleticism, seriousness, sexuality and strength – qualities which contrasted with the perceived superficiality and frivolity of female dress, and eventually led to the adoption of the suit into the female wardrobe where it remains to this day. In Sex and Suits brilliant essayist and art critic Anne Hollander charts the development of men's and women's fashion from their divergence in the medieval period to their convergence through to the late 20th century. Challenging the idea that the suit's success is merely down to its practicality, this trailblazing book argues that men have been fashion's true style-setters and that as women's fashion has taken on elements of men's style through tailoring, so men have reclaimed the embellishment and colour of past eras. First published in 1994 to great acclaim, this classic text is as fresh and provocative as ever and remains a must-read for students, scholars and anyone fascinated by the history of fashion and gender.
Over the course of the eighteenth century, race came to seem as corporeal as sex. Kirsten Fischer has mined unpublished court records and travel literature from colonial North Carolina to reveal how early notions of racial difference were shaped by illicit sexual relationships and the sanctions imposed on those who conducted them. Fischer shows how the personal and yet often very public sexual lives of Native American, African American, and European American women and men contributed to the new racial order in this developing slave society. Liaisons between European men and native women, among white and black servants, and between servants and masters, as well as sexual slander among whites and acts of sexualized violence against slaves, were debated, denied, and recorded in the courtrooms of colonial North Carolina. Indentured servants, slaves, Cherokee and Catawba women, and other members of less privileged groups sometimes resisted colonial norms, making sexual choices that irritated neighbors, juries, and magistrates and resulted in legal penalties and other acts of retribution. The sexual practices of ordinary people vividly bring to light the little-known but significant ways in which notions of racial difference were alternately contested and affirmed before the American Revolution.Fischer makes an innovative contribution to the history of race, class, and gender in early America by uncovering a detailed record of illicit sexual exchanges in colonial North Carolina and showing how acts of resistance to sexual rules complicated ideas about inherent racial difference."
Soon to be a major motion picture called "The Right Kind of Wrong," starring Ryan Kwanten from True Blood! "Kelly Palamino's engagingly idiosyncratic voice falls somewhere between On the Road and Bright Lights, Big City. He's the Lone Ranger in love, riding out the rough patches on a Thorazine habit." —People At twenty-nine, Kelly Palamino's a little off-kilter but settled into his career of professional dishwasher. His big, blond, ex-hippie wife has left him for good. So it's with no particular purpose that Kelly positions himself on his porch across the street from an Episcopal church in Jackson, Wyoming, to witness a singular sight: a dark-haired bride in full regalia punting a football over the rectory before turning resolutely to walk down the aisle. It's love at first sight for Kelly, and he'll do absolutely anything and everything to get his girl... "Kelly is full-tilt Gonzo crazy. But crazy people can make good protagonists, particularly when they narrate in their own uniquely whacked-out voice." —Atlanta Journal-Constitution "Tim Sandlin's first novel is impressive...[He] may be compared to Tom Robbins...but Sandlin appears to be more subtle...a fun read." —San Diego Union-Tribune "An anarchic novel that is by turns wryly observant and outrageously slapstick...a novel that shows wit and strength and a sweet sensibility toward the loser in everyone." —Kansas City Star "A potent cocktail mixture of Jack Kerouac, Tom Robbins, and David Lynch topped off with a western twist." —Denver Post
As Senator Braddock's only daughter Shondra Braddock seemed to have it all: brains, beauty and the bank account of an heiress. But she didn't have answers. Determined to discover the connection between Stewart Industries and her father's death, Shondra accepted a job working for Connor Stewart, the company's blue-eyed, blond-haired CEO. But rugged and daring Connor was more man than Shondra could handle, and before long her undercover mission exploded into a secret, jet-setting affair that spanned the globe. Shondra might just be willing to risk her big brothers learning about her interoffice, interracial romance to uncover the truth. But when all of her secrets were revealed, would she risk losing it all?
A beautifully tailored history of this fashion staple—at once a garment of tradition, power, and subversion. The Suit unpicks the story of this most familiar garment, from its emergence in western Europe at the end of the seventeenth century to today. Suit-wearing figures such as the Savile Row gentleman and the Wall Street businessman have long embodied ideas of tradition, masculinity, power, and respectability, but the suit has also been used to disrupt concepts of gender and conformity. Adopted and subverted by women, artists, musicians, and social revolutionaries through the decades—from dandies and Sapeurs to the Zoot Suit and Le Smoking—the suit is also a device for challenging the status quo. For all those interested in the history of menswear, this beautifully illustrated book offers new perspectives on this most mundane, and poetic, product of modern culture.