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The Voice of Fashion contains a comprehensive selection of women's styles from rare originals of 14 magazines published from 1900 through 1906. The 79 patterns in this book include afternoon, evening, ball, and wedding gowns; home and maternity wear; suits and blouses for day and business; lingerie; outer coats; and outfits for riding, golf, and other sports. Each pattern has a fashion plate, plus instructions for drafting and assembly. Additional fashion columns and plates supplement the information on fabrics, trims, and construction. A substantial glossary explains period fabric names and dressmaking terms. The patterns can be enlarged either by projection, or by drafting with the Diamond Cutting System used with the original magazines.
What if fashion was a state? What kind of state would it be? Probably not a democracy. Otto von Busch sees fashion as a totalitarian state, with a population all too eager to enact the decrees of its aesthetic superiority. Peers police each other and deploy acts of judgment, peer-regulation, and micro-violence to uphold the aesthetic order of fashion supremacy. Using four design projects as tools for inquiry, Von Busch explores the seductive desires of envy and violence within fashion drawing on political theories. He proposes that the violent conflicts of fashion happen not only in arid cotton fields or collapsing factories, but in the everyday practice of getting dressed, in the judgments, sneers, and rejections of others. Indeed, he suggests that feelings of inclusion and adoration are what make us feel the pleasure of being fashionable-of being seductive, popular, and powerful. Exploring the conflicting emotions associated with fashion, Von Busch argues that while the current state of fashion is bred out of fear, The Psychopolitics of Fashion can offer constructive modes of mitigation and resistance. Through projects that actively work towards disarming the violent practices of dress, Von Busch suggests paths towards a more engaging and meaningful experience of fashion he calls “deep fashion.”
Rich selection of dressmakers' patterns from popular, late-19th-century magazine The Voice of Fashion includes 50 garments for women, from day and evening dresses to tennis outfits and undergarments. 498 illustrations.
Over 575 illustrations detailing 59 different garments, mainly for women. Introduction and brief instructions.
The first book to showcase and critically explore the groundbreaking photography of fashion magazines over the last century For nearly a century, fashion magazines have provided sophisticated platforms for cutting-edge photography – work that challenges conventions and often reaches far beyond fashion itself. In this book, acclaimed photography critic Vince Aletti has selected 100 significant magazine issues from his expansive personal archive, revealing images by photographers rarely seen outside their original context. With his characteristic élan and featuring stunning images, Aletti has created a fresh, idiosyncratic, and previously unexplored angle on the history of photography.
Directoire Revival Fashions 1888-1889 contains an in-depth selection of high-quality women's clothing patterns from the end of the bustle era. During these years, picturesque styles evoking the late 18th and early 19th centuries were popular. The silhouette progressively deflated from one with considerable back fullness and puffy draperies to the comparatively narrow one of the early 1890s. This book contains practical patterns for undergarments and morning wear; wrappers and tea gowns; skirts and overskirts; ensembles consisting of a bodice, skirt, and draperies; ensembles consisting of a polonaise and a skirt; house, street, and evening dresses; outfits for lawn tennis and riding; and outer jackets, coats, and wraps. The patterns are drawn from rare original issues of The Voice of Fashion magazine. They were used by both amateur and professional dressmakers to make up the mainstream styles of the day, and are very similar to patterns published by Butterick. These patterns are enlarged with apportioning scales, which are provided in this book, along with step-by-step instructions. Apportioning scales are special rulers that enable you to draft custom sizes, from queen size to doll size, without doing arithmetic. Many patterns in this book are accompanied by supplementary illustrations with detailed descriptions, drawn from Butterick's Delineator magazine. Each supplement shows optional style variations that can be produced by using flat pattern alteration techniques, or by substituting a garment section from a different pattern in this book. The descriptions include information on construction and fabrics. Selections from fashion columns in The Delineator and Harper's Bazar, and from a circa 1890 dressmaking manual, add information on construction and on style trends. Also drawn from The Delineator are instructions and illustrations for 34 trimmings and 85 accessories. The book's glossary explains period fabric names and dressmaking terms. Directoire Revival Fashions 1888-1889 is a rich pattern source for readers who recreate period clothing for theater and film; living history; Old West and single-action shooting events; steampunk and goth outfits; bridal parties; or dolls. It's a valuable identification and dating tool for costume historians and vintage clothing collectors. And it will spark ideas for fashion designers.
In this dazzling new vision of the ever-fascinating queen, a dynamic young historian reveals how Marie Antoinette's bold attempts to reshape royal fashion changed the future of France Marie Antoinette has always stood as an icon of supreme style, but surprisingly none of her biographers have paid sustained attention to her clothes. In Queen of Fashion, Caroline Weber shows how Marie Antoinette developed her reputation for fashionable excess, and explains through lively, illuminating new research the political controversies that her clothing provoked. Weber surveys Marie Antoinette's "Revolution in Dress," covering each phase of the queen's tumultuous life, beginning with the young girl, struggling to survive Versailles's rigid traditions of royal glamour (twelve-foot-wide hoopskirts, whalebone corsets that crushed her organs). As queen, Marie Antoinette used stunning, often extreme costumes to project an image of power and wage war against her enemies. Gradually, however, she began to lose her hold on the French when she started to adopt "unqueenly" outfits (the provocative chemise) that, surprisingly, would be adopted by the revolutionaries who executed her. Weber's queen is sublime, human, and surprising: a sometimes courageous monarch unwilling to allow others to determine her destiny. The paradox of her tragic story, according to Weber, is that fashion—the vehicle she used to secure her triumphs—was also the means of her undoing. Weber's book is not only a stylish and original addition to Marie Antoinette scholarship, but also a moving, revelatory reinterpretation of one of history's most controversial figures.