
Fashion The Key Concepts
by Craik, JenniferBuy New
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Summary
Author Biography
Table of Contents
acknowledgements | p. ix |
illustrations | p. xi |
introduction: why study fashion? | p. 1 |
the purpose of this book | p. 1 |
defining key terms | p. 2 |
key approaches to studying fashion | p. 5 |
how is this book organized? | p. 14 |
the fashion impulse | p. 19 |
investigating the fashion impulse | p. 19 |
color and fashion through time | p. 34 |
the color black in fashion | p. 42 |
conclusion | p. 47 |
the regulation of fashion | p. 49 |
black mourning dress | p. 51 |
fashions in new guinea headdresses | p. 54 |
the sailor suit: from function to fashion | p. 59 |
the eurocentric fashion system | p. 63 |
consumer culture and fashion | p. 63 |
paris fashion | p. 68 |
the paris legacy | p. 75 |
new fashion capitals | p. 82 |
conclusion | p. 91 |
beau brummell | p. 93 |
the influence of coco chanel | p. 96 |
yves saint laurent as style muse | p. 99 |
daslu luxury retailing | p. 102 |
fashion cycles, symbols, and flows | p. 105 |
fashion cycles and structures | p. 105 |
fashion symbols and codes | p. 109 |
interdisciplinary fashion theory | p. 115 |
fashion flows | p. 117 |
conclusion | p. 120 |
the meaning of men's ties | p. 122 |
jeans as uber fashion | p. 124 |
sexuality and stilettos | p. 127 |
the magic of cosmetics | p. 130 |
fashion, body techniques, and identity | p. 135 |
fashion as a body technique | p. 136 |
fashioning gender: femininity and masculinity | p. 139 |
fashioning consumers | p. 147 |
uniforms of identity | p. 148 |
conclusion | p. 156 |
fashion and identity in harajuku | p. 159 |
acquiring the techniques of royalty | p. 162 |
the metrosexual man | p. 166 |
the cult of thinness | p. 168 |
fashion, aesthetics, and art | p. 171 |
aesthetics and fashion | p. 171 |
spatial aesthetics and fashion | p. 174 |
fashion as aesthetic regime | p. 177 |
artistic fashion and cultural shifts | p. 180 |
from aesthetic innovation to museum curation | p. 183 |
conclusion | p. 189 |
fashion photography and heroin chic | p. 191 |
exhibiting vivienne westwood | p. 194 |
wearable art | p. 196 |
fashion and the wristwatch | p. 198 |
fashion as a business and cultural industry | p. 205 |
the structure of the fashion industry | p. 206 |
fashion forecasting, marketing, and the fashion consumer | p. 212 |
the changing role of the fashion designer | p. 220 |
luxury brands and global marketing | p. 225 |
conclusion | p. 231 |
celebrity models | p. 233 |
louis vuitton as luxury accessory | p. 237 |
the gap as global fashion | p. 240 |
secondhand clothing | p. 242 |
popular culture and fashion | p. 245 |
fashion and the rise of popular culture | p. 246 |
representing fashion | p. 248 |
fashion subcultures and popular music | p. 254 |
fashion journalism, public relations, and stylists | p. 264 |
conclusion | p. 270 |
sports clothing for everyman | p. 272 |
australian bush wear as urban chic | p. 275 |
retailing erotic lingerie | p. 278 |
oliviero toscani's advertisements for benetton | p. 281 |
the politics of fashion | p. 283 |
what are the politics of fashion? | p. 284 |
endogenous and exogenous factors | p. 285 |
fashion and colonialism | p. 296 |
fashion and postcolonialism | p. 301 |
conclusion: global fashion futures? | p. 302 |
the politics of veiling | p. 306 |
renegotiating chinese fashion | p. 310 |
indian fashion: from diasporas to designers | p. 314 |
burberry's brand of britishness | p. 316 |
glossary | p. 319 |
fashion milestones | p. 341 |
questions for essays and class discussion | p. 349 |
annotated guide for further reading | p. 353 |
bibliography | p. 357 |
Table of Contents provided by Ingram. All Rights Reserved. |
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