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Twenty-first century fashion practice has become increasingly borderless and diverse in the digital era, calling into question the very boundaries that define fashion in the Western cultural context. Borderless Fashion Practice: Contemporary Fashion in the Metamodern Age principally engages the work of four fashion designers -- Virgil Abloh, Aitor Throup, Iris Van Herpen, and Eckhaus Latta -- whose work intersects with other creative disciplines such as art, technology, science, architecture, and graphic design. They do their work in what Vanessa Gerrie calls the metamodern age -- the time and place where the polarization between the modern and the postmodern collapses. Used as a framework to understand the current Western cultural zeitgeist, Gerrie's exploration of the work of contemporary practitioners and theorists finds blurred borders and seeks to blur them further, to the point of erasure.

A deep dive into the visual forms, material contexts, social lives, and global circulations of booksIn the twenty-first century, debates on the future of books and print culture have intensified with the rise of digital technologies, and the contemporary art world has witnessed an explosion of interest in the book form. Amid this artistic and intellectual activity, there has been little scrutiny of book arts in South Asia and their particular ontologies, histories, and genealogies. This volume weaves together scholarly essays, original artistic projects, and works of creative nonfiction to trace a history of illustrated books in South Asia from 1100 CE to the present.From Nepalese palm-leaf manuscripts and imperial Mughal albums to lithographed cookbooks and mimeographed magazines, contributors examine a diverse range of materials rarely, if ever, studied together. Thematically organized, the chapters stage a critical dialogue between artists and scholars, emphasizing the visual, material, aesthetic, and phenomenological dimensions of books. Against narratives of the death of books in a digital age, this volume argues for the book as a vital form and dynamic practice. Written in a lucid and lively style, it will be of interest to scholars, curators, artists, critics, students, museum visitors, and readers of contemporary comics and graphic novels.

Tang dynasty (618-907) China hummed with cosmopolitan trends. Its capital at Chang'an was the most populous city in the world and was connected via the Silk Road with the critical markets and thriving cultures of Central Asia and the Middle East. In Empire of Style, BuYun Chen reveals a vibrant fashion system that emerged through the efforts of Tang artisans, wearers, and critics of clothing. Across the empire, elite men and women subverted regulations on dress to acquire majestic silks and au courant designs, as shifts in economic and social structures gave rise to what we now recognize as precursors of a modern fashion system: a new consciousness of time, a game of imitation and emulation, and a shift in modes of production.This first book on fashion in premodern China is informed by archaeological sources-paintings, figurines, and silk artifacts-and textual records such as dynastic annals, poetry, tax documents, economic treatises, and sumptuary laws. Tang fashion is shown to have flourished in response to a confluence of social, economic, and political changes that brought innovative weavers and chic court elites to the forefront of history.Art History Publication Initiative. For more information, visit http://arthistorypi.org/books/empire-of-style

This book offers an innovative account of manliness in Britain between 1760 and 1900. Using diverse textual, visual and material culture sources, it shows that masculinities were produced and disseminated through men’s bodies –often working-class ones – and the emotions and material culture associated with them. The book analyses idealised men who stimulated desire and admiration, including virile boxers, soldiers, sailors and blacksmiths, brave firemen and noble industrial workers. It also investigates unmanly men, such as drunkards, wife-beaters and masturbators, who elicited disgust and aversion. Unusually, Manliness in Britain runs from the eras of feeling, revolution and reform to those of militarism, imperialism, representative democracy and mass media, periods often dealt with separately by historians of masculinities.

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.

For a long time, car design was considered to be anonymous, the designers stood in the shadow of the perception of the design. This richly illustrated book captures the origin of a profession and maps the development of car design based on the career biographies of over 200 selected designers who contributed to the design of cars and many different associated products in the USA, Europe, and Japan between 1900 and 2000.

Collecting the perspectives of scholars who reflect on their own relationships to particular garments, analyze the politics of dress, and examine the role of consumerism and entrepreneurialism in the production of creating and selling a style, meXicana Fashions examines and searches for meaning in these visible, performative aspects of identity. Focusing primarily on Chicanas but also considering trends connected to other Latin American communities, the authors highlight specific constituencies that are defined by region (“Tejana style,\" “L.A. style\"), age group (“homie,\" “chola\"), and social class (marked by haute couture labels such as Carolina Herrera and Oscar de la Renta). The essays acknowledge the complex layers of these styles, which are not mutually exclusive but instead reflect a range of intersections in occupation, origin, personality, sexuality, and fads. Other elements include urban indigenous fashion shows, the shifting quinceañera market, “walking altars\" on the Days of the Dead, plus-size clothing, huipiles in the workplace, and dressing in drag. Together, these chapters illuminate the full array of messages woven into a vibrant social fabric.

Die digitale Revolution ist mit dem Versprechen verknüpft, die Selbstständigkeit des einzelnen Nutzers zu stärken. Der Aufstieg von kommerziellen Plattformen zur Koordination von Crowdarbeit stellt die Gültigkeit dieses Narrativs jedoch in Frage. In Crowd-Design analysiert Florian Alexander Schmidt die Entstehungsgeschichte, Funktionsweise und Rhetorik solcher Plattformen. Der Vergleich von historischen Crowd-Diskursen und Visionen der Online-Kollaboration bildet den Ausgangspunkt für eine kritische Betrachtung aktueller Ausprägungen von Crowdarbeit: Der Fokus der Studie liegt auf der Auslagerung von Designaufgaben unter Verwendung dieser Crowdsourcing-Plattformen. Grundlegenden Mechanismen, welche den Plattformbetreibern zur Motivation und Kontrolle der Crowds dienen, werden offengelegt. The digital revolution is interwoven with the promise to empower the user. Yet, the rise of centralised, commercial platforms for crowdsourced work questions the validity of this narrative. In Crowd-Design, Florian Alexander Schmidt analyses the workings and the rhetoric of crowdsourced work platforms by comparing the way they address the masses today with historic notions of the crowd. The utopian concepts of early online collaboration are taken as a vantage point from which to view and critique current and, at times, dystopian applications of crowdsourced work. The study is focused on the crowdsourcing of design tasks, but these specific applications are used to examine the design of the more general mechanisms employed by the platform providers to motivate and control the crowds. Crowd-Design is as much about the crowdsourcing of design as it is about the design of crowdsourcing.

Glamour is an alluring but elusive concept. We most readily associate it with fashion, industrial design, and Hollywood of the Golden Age, and yet it also shaped the language and interests of high modernism. InGlamour in Six Dimensions, Judith Brown looks at the historical and aesthetic roots of glamour in the early decades of the twentieth century, arguing that glamour is the defining aesthetic of modernism. In the clean lines of modernism she finds the ideal conditions for glamour-blankness, polish, impenetrability, and the suspicion of emptiness behind it all. Brown focuses on several cultural products that she argues helped to shape glamour's meanings: the most significant perfume of the twentieth century, Chanel No. 5; the idea of the Jazz Age and its ubiquitous cigarette; the celebrity photograph; the staging of primitivism; and the invention of a shimmering plastic called cellophane. Alongside these artifacts, she takes up the development, refinement, and analysis of glamour in Anglo-American poetry, film, fiction, and drama of the period.Glamour in Six Dimensions thus asks its reader to see the proximity between the vernacular and elite cultures of modernism, and particularly how glamour was animated by artists working at the crossroads of the mundane and the extraordinary: Wallace Stevens, F. Scott Fitzgerald, Virginia Woolf, Josephine Baker, D. H. Lawrence, Gertrude Stein, Nella Larsen, and others. Glamour is an alluring but elusive concept. We most readily associate it with fashion, industrial design, and Hollywood of the Golden Age, and yet it also shaped the language and interests of high modernism. InGlamour in Six Dimensions, Judith Brown looks at the historical and aesthetic roots of glamour in the early decades of the twentieth century, arguing that glamour is the defining aesthetic of modernism. In the clean lines of modernism she finds the ideal conditions for glamour-blankness, polish, impenetrability, and the suspicion of emptiness behind it all. Brown focuses on several cultural products that she argues helped to shape glamour's meanings: the most significant perfume of the twentieth century, Chanel No. 5; the idea of the Jazz Age and its ubiquitous cigarette; the celebrity photograph; the staging of primitivism; and the invention of a shimmering plastic called cellophane. Alongside these artifacts, she takes up the development, refinement, and analysis of glamour in Anglo-American poetry, film, fiction, and drama of the period.Glamour in Six Dimensions thus asks its reader to see the proximity between the vernacular and elite cultures of modernism, and particularly how glamour was animated by artists working at the crossroads of the mundane and the extraordinary: Wallace Stevens, F. Scott Fitzgerald, Virginia Woolf, Josephine Baker, D. H. Lawrence, Gertrude Stein, Nella Larsen, and others.