Sam Greevy is the toast of 1920s women's apparel, until the maverick fashion designer Sam Roms springs his radical creations on the world. The Sweatshirt, The Track Suit, Skater Pants: the clothes he comes up with are as from another dimension, and maybe they are. As Greevy tries to adapt to rapidly changing fashions, a parallel drama unfolds in Albany, circa 1998: a teenage stoner keeps losing articles of clothing, and a man keeps bursting out of his closet and taking them.

Hundreds of beautiful hats by important American and European milliners, all illustrated in over 550 color photos. This carefully researched book profiles the creators and lists the most desirable designer and salon labels. It offers special sections with tips on dating, evaluation, and storing and decoration, as well as a useful value guide.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This is a standard reference for anyone who is interested in the history of essential fashion accessory – the hat. The hats always were used to protect, to express identity, to express identity, and to attract or to influence others. Main developments in the timeline of hats from ancient past to modern present, including the phenomenon of the must-have accessory covering the top of the head.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ The Twentieth Century Hat Factory David Collier Mills, Lee-McLachlan Company The Lee-McLachlan company, 1911 Hats

It has long been said that clothes make the man (or woman), but is it still true today? If so, how has the information clothes convey changed over the years? Using a wide range of historical and contemporary materials, Diana Crane demonstrates how the social significance of clothing has been transformed. Crane compares nineteenth-century societies—France and the United States—where social class was the most salient aspect of social identity signified in clothing with late twentieth-century America, where lifestyle, gender, sexual orientation, age, and ethnicity are more meaningful to individuals in constructing their wardrobes. Today, clothes worn at work signify social class, but leisure clothes convey meanings ranging from trite to political. In today's multicode societies, clothes inhibit as well as facilitate communication between highly fragmented social groups. Crane extends her comparison by showing how nineteenth-century French designers created fashions that suited lifestyles of Paris elites but that were also widely adopted outside France. By contrast, today's designers operate in a global marketplace, shaped by television, film, and popular music. No longer confined to elites, trendsetters are drawn from many social groups, and most trends have short trajectories. To assess the impact of fashion on women, Crane uses voices of college-aged and middle-aged women who took part in focus groups. These discussions yield fascinating information about women's perceptions of female identity and sexuality in the fashion industry. An absorbing work, Fashion and Its Social Agendas stands out as a critical study of gender, fashion, and consumer culture. "Why do people dress the way they do? How does clothing contribute to a person's identity as a man or woman, as a white-collar professional or blue-collar worker, as a preppie, yuppie, or nerd? How is it that dress no longer denotes social class so much as lifestyle? . . . Intelligent and informative, [this] book proposes thoughtful answers to some of these questions."-Library Journal

The 20th Century You Never Knew By: Herman W. Reed Dr. Herman W. Reed gives a humorous account of what it was like to live in the early part of the twentieth century. His book will bring joy to senior citizens as it stimulates their memory bank. Younger people will appreciate learning customs and common terms that are no longer part of our present day vocabulary. Rotary telephones, drive-in theatres, doctors who make house calls, coal furnaces, and families gathered around radios instead of TVs—all of these and much more await readers who will experience either nostalgia or shock as the spirit of a time now past moves them in this highly readable and always interesting memoir.

Includes Paul Poiret, Jeanne Paquin, Jeanne Margaine-Lacroix, Maison Lucile, Coco Chanel, Jacques Doucet, Jean Patou, Callot Soeurs, Jeanne Lanvin, Madeleine Vionnet, Elsa Schiaparelli, Adrian, Christian Dior, Madame Gr{grave}es, Charles James, Crist{acute}obal Balenciaga, Hubert de Givenchy, Pierre Balmain, Pierre Cardin, Emilio Pucci, Yves Saint Laurent, Halston, Ralph Lauren, Kenzo, Christian Lacroix, Thierry Mugler, Yohji Yamamoto, Gianni Versace, Calvin Klein, Martin Margiela, and others.