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A compilation of 14 essays discussing various aspects of individual authors and themes of eighteenth century literature.
When Sages spelling and definition of a word reveal her misunderstanding of it to her classmates, she is at first embarrassed but then uses her mistake as inspiration for the vocabulary parade. Full color.
In this deeply idiosyncratic collaboration between a psychoanalyst and a costume curator, Adam Phillips re-describes dress in terms of anxiety, wish and desire, while Judith Clark's installations raise issues of equivalence with Phillips' definitions and bring garments and other items from the Victoria and Albert Museum's archive to life in unexpected ways. Published in parallel with an Artangel commission at Blythe House, location of the V&A's vast reserve collections, and designed by Studio Frith, The Concise Dictionary of Dress examines the nature of dictionaries, archives and dress curation and adds a stunning visual essay recording two overnight tours through Blythe House by renowned photographer Norbert Schoerner. Phillips' definitions for words commonly associated with fashion and appearance - such as armoured, conformist, essential, provocative - were paired with eleven stations created by Clark on a walk through this vast building, from its rooftop to an underground coal bunker. Here in print, extending beyond the works at Blythe House, Phillips adds more words, more definitions and an overarching essay asking broader questions about what dictionaries are, how we use them and why they matter. Judith Clark herself also presents a written analysis of the Dictionary in response to questions posed anonymously by authorities in fields as varied as cultural theory, fashion history, arts curation and architecture, as well as a comprehensive illustrated catalogue of references used in creating the installations.
Stephanie Davis has combined her painting and art teaching with research into costumes as depicted through the centuries. Dozens of carefully drawn and detailed illustrations embellish the text and give a visual dimension. She includes lists of couturiers and designers, costume collections and exhibitions of ancient civilisations.--[book cover].
Open up a fresh and stylish story about growing up and keeping hold of your favorite memories. As the year passes, the narrator’s favorite dress goes through a series of creative changes, from dress to shirt to tank top to scarf and so on, until all that’s left of it is a good memory. Assisted by her patient and crafty mama, the narrator finds that when disaster strikes her favorite things, she doesn’t need to make mountains out of molehills—she “makes molehills out of mountains” instead! Structured around the days of the week, the story is also illustrated to show the passing of the seasons, a perfect complement to the themes of growing older and keeping hold (and letting go) of special mementos. Praise for I Had a Favorite Dress "A spunky story about adjusting to change with creativity and style. Tailor-made, so to speak, for the Etsy generation of DIY enthusiasts.” –Publishers Weekly “Everyone is smiling in the buoyant confections created by illustrator Julia Denos—including, it’s fair to say, young readers looking at them. Endearing picture book.” –Wall Street Journal “What could have been yet another example of kindergarten consumerism instead becomes one of resourcefulness and resilience.” –New York Times “Denos’s multimedia illustrations reinforce the narrator’s vibrant personality and the amazing transformations of the dress while capturing the action and emotion of the story. This book is sure to capture the imaginations of would-be seamstresses; children who can’t bear to part with a favorite item; and those who want to reduce, reuse, recycle.” –School Library Journal “Breezy in style, they smartly stitch each scene of alteration as the not-so-little girl sashays through the days of the week and the seasons. A charming interpretation of an old story that will speak to young fashionistas.” –Kirkus Reviews
One of 10 Best Indie Picture Books of 2014, ForeWord Reviews Runner-Up, 2014 New England Book Festival: Children's Books 2014 Distinguished List of the Association of Children's Librarians of Northern California CCBC Choices 2015 An affirming story about gender nonconformity. Jacob loves playing dress-up, when he can be anything he wants to be. Some kids at school say he can't wear "girl" clothes, but Jacob wants to wear a dress to school. Can he convince his parents to let him wear what he wants? This heartwarming story speaks to the unique challenges faced by children who don't identify with traditional gender roles.
A little girl and her favorite dress dream of an extraordinary life. They enjoy simple pleasures together on a beautiful Greek island. They watch the sunset, do chores, and pick wildflowers on the way home. One day, the dress and the girl must leave the island and immigrate to the United States. Upon arrival, the girl is separated from the trunk carrying her favorite dress, and she fears her dress is lost forever. Many years later, the girl—now all grown up—spots the dress in a thrift store window. As the two are finally reunited, the memories of their times together come flooding back. While the girl can no longer wear the dress, it’s now perfect for her own daughter—and the new journey of a girl and her dress begins. Featuring lush illustrations, The Dress and the Girl is a stunning picture book about memory and the power of the items we hold most dear.
"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.
In times of great uncertainty, the urgency of the artist's task is only surpassed by its difficulty. Ours is such a time, and rising to the challenge, novelist and poet Fanny Howe suggests new and fruitful ways of thinking about both the artist's role and the condition of doubt. In these original meditations on bewilderment, motherhood, imagination, and art-making, Howe takes on conventional systems of belief and argues for another, brave way of proceeding. In the essays "Immanence" and "Work and Love" and those on writers such as Carmelite nun Edith Stein, French mystic Simone Weil, Thomas Hardy, and Ilona Karmel—who were particularly affected by political, philosophical, and existential events in the twentieth century--she directly engages questions of race, gender, religion, faith, language, and political thought and, in doing so, expands the field of the literary essay. A richly evocative memoir, "Seeing Is Believing," situates Howe's own domestic and political life in Boston in the late '60s and early '70s within the broader movement for survival and social justice in the face of that city's racism. Whether discussing Weil, Stein, Meister Eckhart, Saint Teresa, Samuel Beckett, or Lady Wilde, Howe writes with consummate authority and grace, turning bewilderment into a lens and a light for finding our way.