From Azzedine AlaÃ¯a, CristÃ³bal Balenciaga, and Coco Chanel, to Alexander McQueen, Yves Saint Laurent, and Vivienne Westwood, a centuryâ€™s worth of fashion greats from the permanent collection of The Museum at the Fashion Institute of Technology are celebrated in this limitededition volume. Photographs of over 500 garments selected from the Museumâ€™s permanent collection illuminate each of the featured designers, while texts by the curators explain why each designer is important in fashion history and what is special about the individual pieces featured.
This book seeks to address and fill a puzzling omission in contemporary critical IR scholarship. Following on from the aesthetic turn in IR, critical and 'postmodern' IR has produced an impressive array of studies into movies, literature, music and art and the way these media produce, mediate, and represent international politics. By contrast, the proponents of the aesthetic turn have consistently overlooked and ignored fashion as a source of knowledge about global politics.
Yet stories about the political role of fashion abound in the news media. In Afghanistan, the terror of the Taliban regime and the plight of women was illustrated by reference to the burqa that women are supposedly forced to wear there. In Sudan, recently a female writer and activist successfully challenged the government over her right to wear trousers in public. In Europe, the debate on women's headscarves has politicised a garment item and turned it into a symbol of fundamentalism and oppression. In the war on terror, orange jumpsuits are used on both sides to dehumanise and mark the figure of the 'detainee'. Yet the politics of fashion go beyond these examples of the uses and abuses of textiles and fabrics for political purposes, extending into its very 'grammar' and vocabulary.
The contributions to this book will investigate the politics of fashion from a variety of perspectives, addressing theoretical as well as empirical issues, establishing the critical study of fashion and its protagonists as a central contribution to the aesthetic turn in international politics.
This work will be a unique contribution to the field and will be of interest to students and scholars of international relations, critical IR theory and popular culture and world politics.
This unique ethnographic investigation examines the role that fashion plays in the production of the contemporary Indian luxury aesthetic. Tracking luxury Indian fashion from its production in village craft workshops via upmarket design studios to fashion soirees, Kuldova investigates the Indian luxury fashion market's dependence on the production of thousands of artisans all over India, revealing a complex system of hierarchies and exploitation.
In recent years contemporary Indian design has dismissed the influence of the West and has focussed on the opulent heritage luxury of the maharajas, Gulf monarchies and the Mughal Empire.Luxury Indian Fashion argues that the desire for a luxury aesthetic has become a significant force in the attempt to define contemporary Indian society. From the cultivation of erotic capital in businesswomen's dress to a discussion of masculinity and muscular neo-royals to staged designer funerals, Luxury Indian Fashion analyzes the production, consumption and aesthetics of luxury and power in India.
Luxury Indian Fashion is essential reading for students of fashion history and theory, anthropology and visual culture.
Drawing on three decades of feminist scholarship bent on rediscovering lost and abandoned women writers, Susan Staves provides a comprehensive history of women's writing in Britain from the Restoration to the French Revolution. This major work of criticism also offers fresh insights about women's writing in all literary forms, not only fiction, but also poetry, drama, memoir, autobiography, biography, history, essay, translation and the familiar letter. Authors celebrated in their own time and who have been neglected, and those who have been revalued and studied, are given equal attention. The book's organisation by chronology and its attention to history challenge the way we periodise literary history. Each chapter includes a list of key works written in the period covered, as well as a narrative and critical assessment of the works. This magisterial work includes a comprehensive bibliography and list of prevalent editions of the authors discussed.
The first printing is available as a series of "Designer Editions". Each edition will be bound in a fabric from one of six designers in the book and comes in a plexiglass box. The time-honored "Paisley" was Veronica Etro's pick for the "Etro Edition", limited to just 2,000 copies. From Azzedine Alaia, Cristobal Balenciaga, and Coco Chanel, to Alexander McQueen, Yves Saint Laurent, and Vivienne Westwood, the greatest fashion designers of the 20th and 21st centuries are featured in the permanent collection of The Museum at the Fashion Institute of Technology. The curators of America's premier fashion museum have selected 500 masterpieces of the art of fashion, providing a visual guide to the history of fashion. Known for its innovative and award-winning exhibitions and its outstanding permanent collection of more than 50,000 garments and accessories, The Museum at FIT in New York City is one of only a handful of museums in the world devoted to the art of fashion. The Museum has built its collection around aesthetically and historically significant "directional" fashion-the kind of clothing and accessories that move fashion forward. The designers are organized from A-Z: Adrian, Balenciaga, Chanel, Dior...through Xuly Bet, Yamamoto, and Zoran. Photographs of selected garments from the Museum's permanent collection illuminate each of the featured designers, while curatorial texts explain why each designer is important in fashion history and what is special about the individual pieces featured. In addition to showcasing 100 of the most important designers of the last century with essays by the curators at FIT and a foreword by Suzy Menkes, this book also explores how a fashion museum goes about collecting and exhibiting fashion. In her introductory essay, director and chief curator Valerie Steele writes about the rise of the fashion museum, and the emergence of the fashion exhibition as a popular and controversial phenomenon. "Paisley": it's practically synonymous with the Etro name, and the five "Paisley" motifs selected by Veronica Etro for this edition are no exception. For decades the company has explored and reinterpreted the classic droplet-shaped vegetable decoration, rich in history and meanings, through experimentation and technology, drawing from the past into the present with timeless international style. Six designers - Akris, Etro, Stella McCartney, Missoni, Prada, and Diane von Furstenberg - have contributed fabrics - bold, iconic, revolutionary - to cover 1,000 to 2,000 books each, for a total first printing of 11,000 copies. Crafted by hand at a bindery in the heart of Italy, and stamped with a unique number, every copy is an instant classic, and an addition to your fashion library that is truly one-of-a-kind.
Covet Magazine Articles
Covet Magazine Books