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What we wear : dressing up around the world
Features pictures of children in their national, ethnic, or tribal regalia.
Book
Why the French Don't Like Headscarves
The French government's 2004 decision to ban Islamic headscarves and other religious signs from public schools puzzled many observers, both because it seemed to infringe needlessly on religious freedom, and because it was hailed by many in France as an answer to a surprisingly wide range of social ills, from violence against females in poor suburbs to anti-Semitism.Why the French Don't Like Headscarvesexplains why headscarves on schoolgirls caused such a furor, and why the furor yielded this law. Making sense of the dramatic debate from his perspective as an American anthropologist in France at the time, John Bowen writes about everyday life and public events while also presenting interviews with officials and intellectuals, and analyzing French television programs and other media.
Bowen argues that the focus on headscarves came from a century-old sensitivity to the public presence of religion in schools, feared links between public expressions of Islamic identity and radical Islam, and a media-driven frenzy that built support for a headscarf ban during 2003-2004. Although the defense oflaïcité(secularity) was cited as the law's major justification, politicians, intellectuals, and the media linked the scarves to more concrete social anxieties--about \"communalism,\" political Islam, and violence toward women.
Written in engaging, jargon-free prose,Why the French Don't Like Headscarvesis the first comprehensive and objective analysis of this subject, in any language, and it speaks to tensions between assimilation and diversity that extend well beyond France's borders.
eBook
Clothes around the world
Looks at the rich diversity of clothes around the world and introduces children to the similarities and differences found in clothes in different cultures.
Book
Japanese Fashion Cultures
Blurb: From Rococo to Edwardian fashions, Japanese street style has reinvented many western dress styles, reinterpreting and altering their meanings and messages in a different cultural and historical context. This wide ranging and original study reveals the complex exchange of styles and what they represent in Japan and beyond, contesting common perceptions of gender in Japanese dress and the notion that non-western fashions simply imitate western styles. Through case studies focussing on fashion image consumption in style tribes such as Kamikaze Girls, Lolita, Edwardian, Ivy Style, Victorian, Romantic and Kawaii, this ground-breaking book investigates the complexities of dress and gender and demonstrates the flexible nature of contemporary fashion and style exchange in a global context. Japanese Fashion Cultures will appeal to students and scholars of fashion, cultural studies, gender studies, media studies and related fields.
eBook
Clothes
\"This book looks at the clothes we wear. Do we really need designer clothes? When is it OK to want new clothes?\"-- Back cover.
Book
Costume and History in Highland Ecuador
The traditional costumes worn by people in the Andes-women's
woolen skirts, men's ponchos, woven belts, and white felt
hats-instantly identify them as natives of the region and serve as
revealing markers of ethnicity, social class, gender, age, and so
on. Because costume expresses so much, scholars study it to learn
how the indigenous people of the Andes have identified themselves
over time, as well as how others have identified and influenced
them.
Costume and History in Highland Ecuador assembles for
the first time for any Andean country the evidence for indigenous
costume from the entire chronological range of prehistory and
history. The contributors glean a remarkable amount of information
from pre-Hispanic ceramics and textile tools, archaeological
textiles from the Inca empire in Peru, written accounts from the
colonial period, nineteenth-century European-style pictorial
representations, and twentieth-century textiles in museum
collections. Their findings reveal that several garments introduced
by the Incas, including men's tunics and women's wrapped dresses,
shawls, and belts, had a remarkable longevity. They also
demonstrate that the hybrid poncho from Chile and the rebozo from
Mexico diffused in South America during the colonial period, and
that the development of the rebozo in particular was more
interesting and complex than has previously been suggested. The
adoption of Spanish garments such as the pollera (skirt)
and man's shirt were also less straightforward and of more recent
vintage than might be expected.
eBook
Zoe gets ready
Zoe wonders what kind of day she will have as she prepares to get dressed on Saturday-- the only day of the week on which she can decide for herself what to wear.
Book
Sex and Suits
Since the dawn of western fashion in the Middle Ages, women's dress has never stopped evolving, yet menswear has seen far fewer style revolutions. At the centre of the male wardrobe is the suit: relatively unchanged since the 17th century, its cut and cloth suggest athleticism, seriousness, sexuality and strength – qualities which contrasted with the perceived superficiality and frivolity of female dress, and eventually led to the adoption of the suit into the female wardrobe where it remains to this day. In Sex and Suits brilliant essayist and art critic Anne Hollander charts the development of men's and women's fashion from their divergence in the medieval period to their convergence through to the late 20th century. Challenging the idea that the suit's success is merely down to its practicality, this trailblazing book argues that men have been fashion's true style-setters and that as women's fashion has taken on elements of men's style through tailoring, so men have reclaimed the embellishment and colour of past eras. First published in 1994 to great acclaim, this classic text is as fresh and provocative as ever and remains a must-read for students, scholars and anyone fascinated by the history of fashion and gender.
eBook
Draping period costumes: classical Greek to Victorian
One way of creating a theatrical costume is called flat patterning. This is when a costume designer uses a pattern made to the wearer's measurements to cut out and sew together a costume. In many cases flat patterning is the more appropriate method for creating a period costume - skirts, pants, and sleeves, for example. However, working in two-dimensions often does not translate correctly onto a three-dimensional dress form or person. Often a designer will need to tweak style lines on a garment once they see it worn, or a costume will need a quick adjustment right before going on stage. In those cases, designers need to know how to correctly drape a costume. Draping is also the best way to construct a period costume right from the start. The construction of garments in earlier centuries often constricted movement, especially in the area of the armhole. The very different size and proportions of contemporary people compared to those in previous centuries makes the use of period patterns difficult. A well-draped garment can give the impression of period accuracy while permitting the wearer greater freedom of movement. Having a mock-up pinned to the form in its early stages is quicker and easier to adapt than drafting a flat pattern, cutting it out of muslin and sewing it. It also provides the opportunity for greater creativity and adaptation as well as a better understanding of what fabric will and won't do.
In Draping Period Costumes, Sharon Sobel explains in step-by-step detail the basics of draping and demonstrates the use of those basic skills in the creation of a representative selection of period costumes from a variety of time periods. Chapters are broken into time periods and have two parts: an analysis of how clothing was made and worn during that specific time period, and detailed instruction on draping techniques to construct the costume. Copiously illustrated, images allow this visual audience to easily follow along with detailed instructions.
A part of the Costume Topics series, this book will be 256 pages, a snazzy 8.25 x 7.5 trim size, and spiral bound-a format consistently requested by our audience so that they can lay the book flat while working from it.
eBook