Explore the vast range of titles available.

The season's ladylike lips are polished and perfect, yet natural and not at all fussy. Say goodbye to glossthe bullet is back.

She's awfully young to be quite so hot. At 19, actress Juliette Lewis has already worked with Martin Scorsese and Woody Allen, and now she poses for Bruce Weber.

Unspoiled, off-the-beaten-path Nicaragua and Panama are perfect playgrounds for communing with nature.

This paper looks into the 200-year history of a particular Christian dress form in Finland, namely the körtti dress. Emerging from a declining peasant dress style, this supposedly unchanging and fossilised signifier of a revivalist Protestant movement has in fact gone through numerous transformations influenced by both socio-political and religious trends as well as fashion-driven and materially-ordained factors. From the analysis emerge four key factors that influence how dress strategies are formulated and enacted within a religious movement: (1) how vulnerable or institutionalised the movement is; (2) how it is viewed by those external to it; (3) how the members of the movement want themselves to preserve or change the movement and its public image; (4) and how external fashion processes infiltrate the tastes and sensibilities of the members. It is concluded that elements considered ‘traditional’, ‘modern’, ‘secular’ and ‘religious’ may all be present at the same time in a dress phenomenon, indicating that fashion’s association with modern secularity is not as clear-cut as is sometimes thought.

Chaucer's Reeve describes the entrance of the miller Symkyn and his wife into church on a holy day as a “sighte.” Why is Symkyn's wife in a red dress, and why does the Reeve consider it a spectacle? To answer these questions, this article examines Chaucer's use of the term sighte in the Canterbury Tales, the nature of fashion codes during the later Middle Ages, and what the choice of wearing a red dress says about an individual in a late medieval English village. Using Pierre Bourdieu's notion of distinction or taste, this article shows that the Reeve's description of Symkyn's wife in a red dress is one of the earliest renditions of tastelessness in English-language literature.

This article analyzes the conversion of peasant cultures into patrimony and \"heritage\" in early twentieth century France. It recounts more particularly how a seeming retreat from the wearing of traditional regional costume by the population of France's westernmost region of Brittany prompted new initiatives by regionalist and tourist advocates to safeguard it. In seeking to make Breton costume a part of preserved and consumable cultural inheritance, the article shows, these largely bourgeois actors asserted a more decisive stewardship over the value and historical evolution of Breton culture. Yet in endeavoring to preserve and revalue an ostensibly popular cultural expression like Breton costume, this campaign introduced new forms of mediation and stirred vexing questions of cultural identity and authenticity. The most striking evidence of this shift was the genesis of new Breton cultural festivals, at which costume came to be mediated through gestures of display, promotion and performance. The article's interdisciplinary reading of these \"new-traditional\" events suggests that they ultimately made costume a more fluid medium of exchange—one through which Bretons and non-Bretons alike could symbolically enact their conflicted experiences of cultural continuity and change.

Данная статья ставит своей целью показать, как эстетические положения, основанные на социальной теории Константина Леонтьева, отражаются в описаниях народной одежды в его романах. Социальная теория Леонтьева была построена им на постулатах биологических наук. В частности, ему принадлежит идея сложного цветения в природе и в социуме, основанная на многообразии видов в природе. Его формализм был основан на идее деспотизма формы в природе. Леонтьев был дипломатом в Турции, где он познакомился с разнообразным по этническому составу населением. На основании многочисленных примеров из эссеистики и романов Леонтьева представляется возможным доказать, что писатель превозмог влияние таких теорий о внешности, как физиономика Лаватера, которая считается источником расовых теории 19 века. Уникальность позиции Леонтьева состоит в том, что он понимал этническое своебразие отдельных народов не вводя в принцип народности таксономий и иерархий, свойственных современной ему концепции расы.

This paper examines aspects of the lives and material culture of the Irish peasantry between 1880 and 1920. Within an interdisciplinary framework, based on a foundation of work on Irish vernacular furniture, it combines a variety of sources from art history, photography, ethnography and travel writing to postcards and poetry. The relative reliability of evidence from foreign visitors versus the native Irish is assessed. Areas of social and material culture, such as the 'stage Irishman', racism, why women didn't wear shoes, why boys were dressed as girls and the pre-arrangement of rural marriage, become touchstones for the analysis of myths and realities perpetuated through contemporary sources.

We investigate two perspectives about the effects of reduced discrimination and greater social and economic opportunities on ethnic identity in rural areas of contemporary Guatemala. Our analysis contrasts the effects of new opportunities in Indigenous communities on language use and dress, using data from the 1995 Encuesta Guatemalteca de Salud Familiar (EGSF). While the use of both dress and language has changed substantially in recent years, language use has changed considerably more than dress. We conclude that, in this context, economic opportunities have not necessarily diminished ethnic solidarity, but may have instead reshaped it.