fashions have changed in the last 200 years, as increasing industrialization has brought a greater range of garments and new fabrics, and traces the development of both ""haute couture"" and street style. Stunning detailed artwork on every page recreates clothes from Victorian crinolines and frock coats to miniskirts and sportswear."  (less)

development of a consumer society and the beginnings of couture, Ingres charted in his portraits how clothes were worn and what part they played in definitions of identity and status. This book explores for the first time the ways in which clothing, accessories, and fabrics define and display women in Ingres's portraits. With more than 150 illustrations that include the artist's portraits, fashion plates, portraits by contemporaries, and surviving items of costume, the book illuminates Ingres's work and its relation to the social and artistic discourse of his time.pEminent dress historian Aileen Ribeiro analyzes in detail Ingres's attitudes, his skill in depicting clothing, and how he portrays the real and idealized woman in his paintings and drawings of the fashionable mainstream -- the grandes dames of elite society, the newly opulent bourgeoisie, English visitors to Italy, and family and friends. Ribeiro also devotes a section of the book to the part played by textiles and accessories in Ingres's images of bathers and odalisques.  (less)

is a remarkably flexible textile technique and is suited to small-scale methods of production, but demand from the fashion and tourism industries is increasing. This EDITION brings together the experiences and concerns of the international community of batik producers. It gives voice to their suggestions for ensuring that the producers of this traditional craft are integrated into its increasingly global production rather than excluded from it. Building on the work of batik designers and producers the book discusses the emergence of a global craft consciousness. Batik producers report on innovative measures taken both individually and collectively to hold their market position while commercial producers frequently annex and mass-produce traditional batik design. The book concludes with a discussion of marketing and production innovations and tourism which enable the producers of batik to maintain the integrity of their designs whilst harnessing the benefits of new commercial forms. Contents: Part I. Crafts, Culture and Technological Change: Quo Vadis Batik?; Aspects of intellectual property and textiles; Innovation, change and tradition in the Batik industry. Part II. Traditional Batik: Cultural values and traditional Batik patterns; Function and meaning of Batik-lurik - a reconstruction; The philosophy and meaning of classic Batik patterns of Central Java; Textiles in ancient Bali; The classical Batiks of Jambi; The development of motifs in Indonesian Batik fashion trends from 1850 onwards; The Garunda motif and cultural identity. Part III. Comparative Batik: Parang Rusak design in European art; Javanese and Indonesian Batik in Germany; Reflections on Moscow Batik; Batik as both art and craft; Malay (Perak) embroidery in contemporary Batik; The art of Batik in Sri Lanka; Persistence of traditional dress in Mesoamerica; Batik effect on pure woven wool; Batik on paper bi- and tridimensional structures; Independent European Batik technique on Easter eggs. Part IV. Batik Conservation: Textile exhibition issues in Indonesian museums; Batik conservation in the Rotterdam museum of ethnology; The Batik collection at the Tropen museum. Part V. Virtual and Souvenir Batiks: Extraterrestrial inspiration - a remarkable Batik from the textile museum collection; The challenge for Batik in the year 2020: art, commodity and technology; Lifestyles in the borderless world: marketing Sarawak textiles as cultural identity products; Batik route: Batik and tourism; The threads that tie textiles to tourism; Modern influences on East Sumbanese textiles; Tourism and Geringsing textiles in Bali: a case study from Tenganan; Endek and its role in tourism development in Bali; Textile production, tourism and the Internet - the Aus...  (less)

ever-changing, demanding workplace.  From working in a global economy to dining with class and grace to constructing a powerful, error-free resume and cover letter, to interviewing with confidence and accuracy, this text offers a plethora of activities, advice, examples, and suggestions for developing a power job search plan.  Strong coverage of ethics and character development is included, as well as a detailed chapter on financial management in the transition for college to the world of work including advice on buying a car, avoiding credit card debt, to avoiding pay-day and car title loans.  The text addresses the topics of professional presence and dress, avoiding workplace landmines, and becoming a leader in one's chosen profession.  (less)

suits, headwear and hairdressing, ethnicity and so called ethnic chic, clothes for the tourist market, the politicization of traditional dress, alternative dressing, and T-shirts as temporary markers of identity. It also considers dress and environmental issues, touching on adventure gear, the green consumer and the possible impact of smart clothing.br/divDIVFrontispiece * Acknowledgements * List of Illustrations * Captions * Acknowledgements * Introduction * Theorising Global Dress * Dress and Global Sameness * Political Dress * Ethnic Dress or Fashionably 'Ethnic'? * Style and Communication * Headwear: Negotiating Meaning * What's the Alternative? * Clothing: Is there a Responsible Choice? * Bibliography * Indexbr/divDIVUsing excellent sources and inspiration from a range of disciplines, Margaret Maynard is able to build another major step in our understanding of current developments in 'world' dress, global dress and its manufacture and consumption. Her study of the political use of dress was especially fresh--as indeed is her text on the well worn topic of hair and headress.-- Lou Taylor, University of Brightonbr/divDIVbMargaret Maynard/bis Senior Lecturer in the School of English, Media Studies and Art History at the University of Queensland, Brisbane, Australia.br/div  (less)

mid sixteenth century onwards, and explains the interest in dress collection and display both privately and in museums in Britain, France, the USA and Eastern Europe. Lou Taylor argues that only when women were permitted to be curators of dress within museums did the collection of all kinds of dress find its proper place in our museums of decorative arts, social history and ethnography. Chapters cover the current debates related to dress collecting in such institutions, including discussion of the return of sacred objects, the place of contemporary fashion within museums and issues of the commodification of collections and displays.br/divDIVAcknowledgements * Dedication * Introduction * The Foundation Stones: Dress History Publications from 1560-1900 * Dress History Debates from 1900 * Establishing Ethnographical Dress Collections from the Sixteenth Century * Establishing British Dress Collections of Fashionable Western Dress From the Mid-Nineteenth Century * The Development of Collections of Western Dress in France, the United States, and Eastern and Central Europe * Establishing Collections of European Peasant and Regional Dress * Collecting European Peasant and British Regional Dress in Museums in Britain * The Marriage of New Dress History and Dress Studies with New Museology and Critical Approaches * Conclusionbr/divDIVbLou Taylor/bis Professor of Dress and Textile History, University of Brighton.br/div  (less)

a better name, we may call the dawn of civilization. It is his hope that the young reader may find it interesting as well as instructive. Contents: The Thinkers: The Wandering Tribes; The Bronze Sword; The Magic Metal; The Water Clock; The Bright Rug; Silver Moon's Silk Dress; The Ox-Cart; The Valley of Clay; Making the Sun Work for Us; The Battering Ram; The Writing on the Walls; The Healers; The King's Messenger; The Traders; The Statue of the King; Slaves; The Golden Girdle; Gods and Men; Music; Numbers; and A Day in Egypt 4,000 Years Ago.  (less)

Kenneth Branagh, Tom Cruise, and Lyle Lovett. He founded the Personal Style and Image Development Consultancy with his wife, Kate Mayfield, which caters to corporate, private, and business clients internationally. He and Kate live in Los Angeles.bIntroduction/bbrbr"I have a closet overflowing with clothes -- but nothing I put on feels right for me. Every morning when I go to my closet to get dressed I just stand there and stare. I feel I have nothing to wear and I get upset. It's a terrible start to my day."br-- Janetbrbr"I know that my image is not up to par with the position I hold at my job. I want to look more successful."br-- Alanbrbr"A few days ago I wore my favorite jeans, and I felt and looked great in them. Only a couple of days later I put them on and they made me feel fat and I thought I looked terrible in them. What happened? What's going on?"br-- Christinebrbr"My husband and I fight about his clothes every weekend. He always looks like he doesn't care."br-- Vickybrbr"I hate shopping. I've gained some weight and nothing fits me anymore, and I feel self-conscious when I go shopping."br-- Jakebrbr"My children are no longer living at home, and I'm starting a new career. All of a sudden I have absolutely nothing to wear and no idea where to start."br-- Annabrbr"I have a pretty conservative dress code for business. How can I put my own stamp on my wardrobe without rocking the boat?"br-- Andrewbrbr"I'm too old to wear trendy and certainly not old enough to wear matronly. How can I look stylish and current on a reasonable budget?"br-- FranbrbrHow do you feel when you look in your clo@ÌÌÌÌÌÍÿ¾Û€  (less)