Relatively few garments survive from before the eighteenth century, and the history of costume in the preceding centuries must therefore rely to a great extent on literary and visual evidence. This book, the first of its kind, examines Stuart England through the mirror of dress. It argues that both artistic and literary sources can be read and decoded for important information on dress and the way it was perceived in a period of immense political, social, and cultural change. Focusing on the rich visual culture of the seventeenth century, including portraits, engravings, fashion plates, and sculpture, and on literary sources--poetry, drama, essays, sermons--the distinguished historian of dress Aileen Ribeiro creates a fascinating account of Stuart dress and how it both reflected and influenced society. Supported by a wealth of illustrative images, she explores such varied themes as court costumes, the masque, the ways in which political and religious ideologies could be expressed in dress, and the importance of London as a fashion center. This beautiful book is an indispensable and authoritative account of what people wore and how it related to Stuart England’s cultural climate.

Fashion in Fiction examines the ways in which dress 'performs' in a wide range of contemporary and historical literary texts. Essays by North American, European and Australian scholars explore the function of clothing within fictional narratives, including those of film, television and advertising. The book provides a groundbreaking examination of the interconnected worlds of fashion and words, providing perspectives from socio-cultural, historical and theoretical readings of fashion and text-based communication.Covering a variety of genres and periods, Fashion in Fiction analyses fashion's role within a range of creative media, exploring the many ways that dress communicates, disrupts and modulates meaning across different cultures and contexts.

During the twentieth century, the rise of the concept of Americanization--shedding ethnic origins and signs of "otherness" to embrace a constructed American identity--was accompanied by a rhetoric of personal transformation that would ultimately characterize the American Dream. The theme of self-transformation has remained a central cultural narrative in American literary, political, and sociological texts ranging from Jamestown narratives to immigrant memoirs, from slave narratives to Gone with the Wind, and from the rags-to-riches stories of Horatio Alger to the writings of Barack Obama. Such rhetoric feeds American myths of progress, upward mobility, and personal reinvention. In Fashion and Fiction, Lauren S. Cardon draws a correlation between the American fashion industry and early twentieth-century literature. As American fashion diverged from a class-conscious industry governed by Parisian designers to become more commercial and democratic, she argues, fashion designers and journalists began appropriating the same themes of self-transformation to market new fashion trends. Cardon illustrates how canonical twentieth-century American writers, including Edith Wharton, Theodore Dreiser, F. Scott Fitzgerald, Ernest Hemingway, and Nella Larsen, symbolically used clothing to develop their characters and their narrative of upward mobility. As the industry evolved, Cardon shows, the characters in these texts increasingly enjoyed opportunities for individual expression and identity construction, allowing for temporary performances that offered not escapism but a testing of alternate identities in a quest for self-discovery.

When her grandmother has a stroke, Dora returns to the small town where she grew up to take over her family's vintage clothing store -- and meets a handsome contractor. Is he interested in Dora? Or is he working from a different blueprint? Dora has always taken the path of least resistance. She went to the college that offered her a scholarship, majoring in "vagueness studies," and wears whatever shows the least dirt. She falls into a job at the college coffee shop and has a crush on her flirty boss, Gary. But just when she's about to test Gary's feelings, Mimi, the grandmother who raised her, suffers a stroke. Dora rushes back to Forsyth, NC, and finds herself running her grandmother's vintage clothing store while her grandmother recovers -- andmeets Mimi's adorable contractor, Conrad. The store has always been a fixture in Dora's life; though she grew up more of a jeans-and-sweatshirt kind of girl, before she even knew how to write, Mimi taught her that a vintage 1920s dress could lift a woman's spirit. But why has Mimi started writing down -- and giving away -- stories of the dresses in her shop? Amidst personal and professional turmoil, can Dora can trade her boring clothes for vintage glamour and her boring life for one she actually wants?

"The Fashion Committee is another winner by one of my all time favorite authors."--Meg Cabot, New York Times bestselling author of the The Princess Diaries and Mediator series Charlie Dean is a style-obsessed girl who eats, sleeps, and breathes fashion. John Thomas-Smith is a boy who forges metal sculptures in his garage and couldn’t care less about clothes. Both are gunning for a scholarship to the private art high school that could make all their dreams come true. Whoever wins the fashion competition will win the scholarship—and only one can win. Told in the alternating voices of Charlie’s and John’s journals, this hilarious and poignant YA novel perfectly captures what it’s like to have an artistic drive so fierce that nothing—not your dad’s girlfriend’s drug-addicted ex-boyfriend, a soul-crushing job at Salad Stop, or being charged with a teensy bit of kidnapping—can stand in your way. With black and white art custom-created by fashion and beauty illustrator Soleil Ignacio, the book is a collector’s item, perfect for anyone with a passion for fashion.

Essay and Interview with Dennis Freedman by Susan Kismaric and Dennis Freedman.

A charming, hilarious, irresistible romp of a novel that brings together nine unrelated women, each touched by the same little black dress that weaves through their lives, bringing a little magic with it. Natalie is a Bloomingdale's salesgirl mooning over her lawyer ex-boyfriend who's engaged to someone else after just two months. Felicia has been quietly in love with her boss for seventeen years and has one night to finally make the feeling mutual. Andie is a private detective who specializes in gathering evidence on cheating husbands—a skill she unfortunately learned from her own life—and lands a case that may restore her faith in true love. For these three women, as well as half a dozen others in sparkling supporting roles—a young model fresh from rural Alabama, a diva Hollywood star making her Broadway debut, an overachieving, unemployed Brown grad who starts faking a fabulous life on social media, to name just a few—everything is about to change, thanks to the dress of the season, the perfect little black number everyone wants to get their hands on . . .

With World War II looming over Paris, an American woman becomes entangled in the intense rivalry between iconic fashion designers Coco Chanel and Elsa Schiaparelli in this “fascinating” (Hazel Gaynor) novel from the acclaimed author of The Beautiful American. Paris, 1938. Coco Chanel and Elsa Schiaparelli are fighting for recognition as the most successful fashion designer in France, and their rivalry is already legendary. They oppose each other at every turn, in both their politics and their designs: Chanel’s are classic, elegant, and practical; Schiaparelli’s are bold, experimental, and surreal. When Lily Sutter, a recently widowed young American teacher, visits her brother, Charlie, in Paris, he wants to buy her a couture dress—a Chanel. Lily, however, prefers a Schiaparelli. Charlie’s socially prominent girlfriend soon begins wearing Schiaparelli’s designs, too, and much of Paris follows in her footsteps. Schiaparelli offers budding artist Lily a job at her store, and Lily finds herself increasingly involved in the designers’ personal war. Their fierce competition reaches new and dangerous heights as the Nazis and World War II bear down on Paris.

Imagine a new critical theory that bases its literary value on fashion. In this theory exists a community that explores and interrogates conventionality, and in American literature of the 20th century, it includes fashion and home decoration, two paths to achieving white femininity, a prized component of many novels written by and for women. Drawing on cultural materialism and its connection to the cultural forms of objects, including apparel, Making it Work: 20th Century American Fiction and Fashion provides readers a new understanding of the aims of American writers, and the desires of their readers.

A law professor and cultural critic offers an eye-opening exploration of the laws of fashion throughout history, from the middle ages to the present day, examining the canons, mores and customs of clothing rules that we often take for granted