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This illustrated survey of 600 years of fashion investigates its cultural and social meanings from medieval Europe to 20th-century America. It provides a guide to the changes in style and taste, showing that clothes have always played a pivotal role in defining a sense of identity and society.

Threads of globalization is the first collection to examine the interplay of gender, textiles, fashion, labour, and heritage across Asia. It features chapters on India, Pakistan, Bangladesh, Bhutan, Cambodia, the Philippines, China, Taiwan, Japan, and the Asian diaspora throughout the long twentieth century. This richly illustrated interdisciplinary volume situates fashion, including specific garments, motifs, materials, and methods of production, at the nexus of modernity, tradition, and identity, bringing these factors into Pan-Asian dialogue. Exploring the impact of textiles and garments on both national and local cultural identity, as well as gender identity and personal expression, Threads of globalization also investigates how garment and textile production has influenced women's creative agency. The final section of the book examines examples of 'artivism' (art+activism) that critique the often-gendered structural violence and environmental impacts of the global fashion industry. Threads of globalization's uniquely interdisciplinary contributors - scholars of art history, history, fashion, anthropology, and curators working across Asia - provide a fresh and timely inquiry into these intersectional topics from the late nineteenth century to today.

This study focuses on the significance of the displays of stained glass at several international exhibitions held in Britain, France, the USA and Australia between 1851 and 1900. It provides new perspectives for the study of nineteenth-century stained glass, within these temporary secular exhibition contexts. -- .

This book productively contests the supposedly exclusive feminine aspect of the style moderne (Art Deco). Through a sustained focus on the figure of the dandy, the books claims an essential role and place of the male body and masculinity in the history of Art Deco. -- .

This book focuses on men's bodies, emotions and material culture to offer a new understanding of masculinities in Britain in the long nineteenth century. Using objects as well as texts and images, it shows how idealised and ugly bodies, and the feelings they stimulated, helped convey ideas about manliness and unmanliness across society. -- .

Explores how housing design came to occupy the center of the modernist project in Germany. -- .

What did it mean to be an artisan in early modern London? Through an innovative and inter-disciplinary approach to urban social, cultural and architectural histories, this book examines how individual and corporate identities were forged through negotiation of the spatial and material cultures of the early modern city. -- .

This book advances a novel approach to a familiar eighteenth-century building type: the brick terraced house. Focusing on issues of design and architectural taste, it rehabilitates the reputation of the artisan communities of bricklayers, carpenters and plasterers responsible for its design and construction. -- .

This is a timely exploration of the traffic between design and activism in the context of precarity - a social and material condition brought about by the growth of temporary, informal and irregular work. The book shows how design objects and practices open up possibilities to recode and reconfigure the effects of precarity. -- .

This book examines Anna of Denmark's engagement with visual and material goods, including architecture, garden design, painting and jewellery. It contextualises the consort's place within the wider socio-political environment of the Stuart courts and provides a comprehensive understanding of her personal iconography, aims, interests and alliances. -- .

This book explores the origins of interior design in nineteenth-century France. It shows how new, modern techniques of image-making and reproduction enabled the still-unnamed profession of the interior designer to take shape. -- .

This book aims to explore the designed landscapes associated with factories and corporations in the UK and US created since the industrial revolution. It is largely historical, focusing on the period between 1890 and 1930 but it comes right up to date with initiatives such as secret gardens and vegetable allotments at the London Google offices. -- .

Focusing on the house-building boom of the interwar years, when Britain became a nation of homeowners, this book investigates the ways in which ordinary people expressed new class and gender identities through the design, architecture and decoration of their homes. -- .

Hot Metal focuses on the experience of Australian print-workers between the 1960s and 1980s, concentrating on labour, production, design and culture in the context of deindustrialisation. -- .

Carefully considers the complicated relationships between the modern queer bachelor and interior design, material culture and aesthetics in Britain between 1885 and 1957 -- .

Material relations tells the story of nineteenth and early twentieth century middle-class families by exploring the domestic spaces they inhabited and the material goods they prized. By opening the doors of the house, the book sheds new light on aspects of family life including love, marriage, sex, childhood and death. -- .

A fascinating reassessment of the conventional understanding of a cohesive 'Arts and Crafts movement' in Britain. The book's illuminating visual analysis and radical new interpretations of key contexts such as the Arts and Crafts Exhibition Society and the homes of William Morris call for a major reconsideration of the history of Victorian design. -- .

This book offers a new perspective on the history of Soviet design. It argues that the 'comradely objects' of Russian productivism were not just shabby copies of western commodities - they were agents of progressive social relations with a discernible inheritance from the 1920s avant-garde. -- .

This book tells the story of critical avant-garde design in Japan. It challenge the characterisation of Japanese design as beautiful, sublime or a simple product of 'Japanese culture', and reveal the ways in which material and visual culture can serve to voice protest and formulate social critique. -- .

Explores the relationship between industry and the visual arts in the long nineteenth century, using new research to reveal surprising collaborations between craftspeople, inventors, engineers and educators. -- .

This volume brings together many aspects of the Tapestry: the practical skills involved in making the embroidery, aspects of its iconography, its first documented association with Bayeux in an inventory of 1476, its later copying and reproduction in different media and its role as a model for the production of stitched narrative friezes today. -- .

First full-length study on the 1951 Festival of Britain. An examination of how Britain and Britishness were portrayed in the 1951's Festival's exhibitions and events. Covers the Festival's history and historiography, purpose, representations of the future and past, the role of London and the 'local', the British Empire and finally its legacy. -- .

This volume examines the cultural history of the fashion industry in the postwar era. Taking an original, interdisciplinary approach, it focuses on the internal culture of the trade, explaining the significance of value creation and assessing the transformation of local industries into global brands. -- .

Drawing on research and models from anthropology, material culture and art history, this study explores topics as diverse as Inka stonework, cork platforms for shoes and the Christian Eucharist. -- .

Explores the relationship between industry and the visual arts in the long nineteenth century, using new research to reveal surprising collaborations between craftspeople, inventors, engineers and educators. -- .

This innovative volume explores how individuals understood production processes in new ways during the eighteenth century. It examines a series of different groups - consumers, retailers, designers, manufacturers and workers - to show how their means of perceiving production changed in this period. In doing so, it reorients current discussions of consumption and production to see them as interrelated entities. At the same time, it underscores the importance of materiality to understandings of eighteenth-century consumer culture. As such, it moves beyond taste, desire and novelty to reveal how objects acted as conduits through which people living in Georgian Britain could examine the material world and the processes and knowledge that rendered it. Primarily bought in retail spaces, ceramic objects were more than fashionable commodities, they were also pieces of clay that had been shaped, fired and decorated. How then did contemporaries conceive of such materiality? Combining material culture and visual culture approaches, this volume shows how consumers made use of different representations of production to understand manufacturing and making. By also exploring how retailers, designers, manufacturers and workers conceived of production processes, the contested nature of such understandings begin to emerge. In marking out the sites upon which these groups disputed ideas about production, this study makes an important contribution to assessing how people in eighteenth-century Britain explored the labour, materials, knowledge and skills that constituted the material world around them.

Drawing on research and models from anthropology, material culture and art history, this study explores topics as diverse as Inka stonework, cork platforms for shoes and the Christian Eucharist. -- .

Crafting design in Italy is the first book to examine the role that craft played in post-war Italian design, one of the most celebrated design episodes in the twentieth century. Craft was vital to the development of Italian design, and it has been so far overlooked.This book examines the multiple ways craft shaped Italian design from 1945 to the 1980s in the context of bigger socio-economic, cultural and political change; from post-war reconstruction to the economic 'miracle' of the 1960s, to the rise of the countercultural Radical Design movement and advent of postmodernism. It consists of case studies on design areas including product, furniture, fashion, glass and ceramics to bring to light previously unknown makers and objects as well as re-examine design 'icons' such as Gio Ponti's Superleggera chair and Ettore Sottsass's Memphisware. It also offers a model for analysing design and craft's relationship in other contexts, including today.

A critical reassessment of chinoiserie, a style both praised and derided for its triviality, prettiness, and ornamental excesses -- .

The first work to survey dress around the world, covering consumption, ethnicity, gender and the body, as well as anthropological accounts and studies of representation. The book also examines international western style dress, headwear, ethnicity, traditional dress, 'alternative' dressing, and T-shirts as markers of identity. -- .