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"A tribute to a time when style -- and maybe even life -- felt more straightforward, and however arbitrary, there were definitive answers." -- Sadie Stein, Paris Review As a glance down any street in America quickly reveals, American women have forgotten how to dress. We lack the fashion know-how we need to dress professionally and beautifully. In The Lost Art of Dress, historian and dressmaker Linda Przybyszewski reveals that this wasn't always true. In the first half of the twentieth century, a remarkable group of women -- the so-called Dress Doctors -- taught American women that knowledge, not money, was key to a beautiful wardrobe. They empowered women to design, make, and choose clothing for both the workplace and the home. Armed with the Dress Doctors' simple design principles -- harmony, proportion, balance, rhythm, emphasis -- modern American women from all classes learned to dress for all occasions in ways that made them confident, engaged members of society. A captivating and beautifully illustrated look at the world of the Dress Doctors, The Lost Art of Dress introduces a new audience to their timeless rules of fashion and beauty -- rules which, with a little help, we can certainly learn again.
The clothes worn by our ancestors afford an invaluable insight into lifestyles that have disappeared. Choice of dress at any point in time is determined by a number of factors, such as social and economic pressures, moral codes, technical advances, influence of designers and artisitc movements, and the vagaries of individual taste.
The clothes worn by our ancestors afford an unparalleled insight into lifestyles that have disappeared forever.
Quigley Johnson has, reluctantly, given up the rest of her last year of high school to take part in her best friend Ann's Betterment Plan, which will turn them into the best-dressed, most sought-after, most admired girls at their senior formal. Because - hey - who doesn't want the perfect prom, complete with a dream dress and a devastatingly handsome date? But the prom costs money - lots of money - and even though the girls could easily have Ann's mom design their dresses (she's only Victoria Parisi, one of the most famous designers in the world), Ann insists that they pay their own way. And that's how Quigley gets stuck making artistic topping masterpieces on frozen pizzas canvases, before becoming a live model for Ms. Parisi's fashion design class, where she meets Zander. He's cute, and cool, and funny, with a killer design sensibility (even if he can't sketch). But is he too good to be true? And what about David, the hot, talented artist at school, who's also kind of a jerk, but won't leave Quigley alone? And Ann - she started the Betterment Plan to improve Quigley and herself, but it seems like it's ripping their friendship to shreds. This road to the prom dream may just end in disaster.
This book contains over 200 designs, ideas for fashion and classic shirts, plus pattern cutting, sewing and presentation techniques.
Relatively few garments survive from before the eighteenth century, and the history of costume in the preceding centuries must therefore rely to a great extent on literary and visual evidence. This book, the first of its kind, examines Stuart England through the mirror of dress. It argues that both artistic and literary sources can be read and decoded for important information on dress and the way it was perceived in a period of immense political, social, and cultural change. Focusing on the rich visual culture of the seventeenth century, including portraits, engravings, fashion plates, and sculpture, and on literary sources--poetry, drama, essays, sermons--the distinguished historian of dress Aileen Ribeiro creates a fascinating account of Stuart dress and how it both reflected and influenced society. Supported by a wealth of illustrative images, she explores such varied themes as court costumes, the masque, the ways in which political and religious ideologies could be expressed in dress, and the importance of London as a fashion center. This beautiful book is an indispensable and authoritative account of what people wore and how it related to Stuart England’s cultural climate.
Fashion reveals not only who we are, but whom we aspire to be. From 1775 to 1925, artists in Europe were especially attuned to the gaps between appearance and reality, participating in and often critiquing the making of the self and the image. Reading their portrayals of modern life with an eye to fashion and dress reveals a world of complex calculations and subtle signals. Extensively illustrated, Fashion in European Art explores the significance of historical dress over this period of upheaval, as well as the lived experience of dress and its representation. Drawing on visual sources that extend from paintings and photographs to fashion plates, caricatures and advertisements, the expert contributors consider how artists and their sitters engaged with the fashion and culture of their times. They explore the politics of dress, its inspirations and the reactions it provoked, as well as the many meanings of fashion in European art, revealing its importance in understanding modernity itself.
Dressing the Man is the definitive guide to what men need to know in order to dress well and look stylish without becoming fashion victims. Alan Flusser's name is synonymous with taste and style. With his new book, he combines his encyclopedic knowledge of men's clothes with his signature wit and elegance to address the fundamental paradox of modern men's fashion: Why, after men today have spent more money on clothes than in any other period of history, are there fewer well-dressed men than at any time ever before? According to Flusser, dressing well is not all that difficult, the real challenge lies in being able to acquire the right personalized instruction. Dressing well pivots on two pillars -- proportion and color. Flusser believes that "Permanent Fashionability," both his promise and goal for the reader, starts by being accountable to a personal set of physical trademarks and not to any kind of random, seasonally served-up collection of fashion flashes. Unlike fashion, which is obliged to change each season, the face's shape, the neck's height, the shoulder's width, the arm's length, the torso's structure, and the foot's size remain fairly constant over time. Once a man learns how to adapt the fundamentals of permanent fashion to his physique and complexion, he's halfway home. Taking the reader through each major clothing classification step-by-step, this user-friendly guide helps you apply your own specifics to a series of dressing options, from business casual and formalwear to pattern-on-pattern coordination, or how to choose the most flattering clothing silhouette for your body type and shirt collar for your face. A man's physical traits represent his individual road map, and the quickest route toward forging an enduring style of dress is through exposure to the legendary practitioners of this rare masculine art. Flusser has assembled the largest andmost diverse collection of stylishly mantled men ever found in one book. Many never-before-seen vintage photographs from the era of Cary Grant, Tyrone Power, and Fred Astaire are employed to help illustrate the range and diversity of authentic men's fashion. Dressing the Man's sheer magnitude of options will enable the reader to expand both the grammar and verbiage of his permanent-fashion vocabulary. For those men hoping to find sartorial fulfillment somewhere down the road, tethering their journey to the mind-set of permanent fashion will deliver them earlier rather than later in life.
Queen Alexandra used clothes to fashion images of herself as a wife, a mother and a royal: a woman who both led Britain alongside her husband Edward VII and lived her life through fashion. Inside the Royal Wardrobe overturns the popular portrait of a vapid and neglected queen, examining the surviving garments of Alexandra, Princess of Wales – who later became Queen Consort – to unlock a rich tapestry of royal dress and society in the second half of the 19th century. More than 130 extraordinary garments from Alexandra's wardrobe survive, from sumptuous court dress and politicised fancy dress to mourning attire and elegant coronation gowns, and can be found in various collections around the world, from London, Oslo and Denmark to New York, Toronto and Tokyo. Curator and fashion scholar Kate Strasdin places these garments at the heart of this in-depth study, examining their relationships to issues such as body politics, power, celebrity, social identity and performance, and interpreting Alexandra's world from the objects out. Adopting an object-based methodology, the book features a range of original sources from letters, travel journals and newspaper editorials, to wardrobe accounts, memoirs, tailors' ledgers and business records. Revealing a shrewd and socially aware woman attuned to the popular power of royal dress, the work will appeal to students and scholars of costume, fashion and dress history, as well as of material culture and 19th century history.
‘From inspiration to sketch, pattern to fabric, the making of a dress has been the structure that has held me, and my passion to dress others is the momentum of my life.’ Jenny Packham is one of Britain’s leading designers and most in-demand couturiers, known for her exquisite dresses made for brides, celebrities and even royalty. In How to Make a Dress, she explores her creative journey in a brilliant meditation on life and style. Beginning with the search for creative inspiration and taking us into her studio then onto the red carpet and beyond, she asks the questions that have preoccupied us for centuries: What makes the perfect dress? What do our clothes mean to us? And why do we dress the way we do? Whether she is on the trail of Marilyn Monroe in LA, designing a bespoke piece for the red carpet or sketching for a new collection, Jenny documents her pursuit of the eternal truths of style. Decades in the making, How to Make a Dress is an unforgettable book for anyone who has ever loved a piece of clothing.