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The imagined worlds of the cinematic mise-en-scène are rich with textiles: fabrics drape over sets, serve as props, and develop mood and character as dress and décor. A much-needed examination of the cultural and emotional impact of textiles as mediated through cinematic technology, Textiles on Film broadens our understanding of the dynamic relationship between fabric and film.Drawing on scholarship across multiple disciplines and exploring a wide range of films-from lesser-known avant-garde films to big-budget Hollywood productions-this book will inspire scholars and students of film, fashion, and textiles. Close readings of on-screen textiles redirect meaning to that which is often overlooked, including depictions of gender expression, behind-the-scenes labor, and architectural and bodily ornamentation. Attentive to the social nuances of fabrics from polyester to velvet, and to the physical qualities of the textiles themselves, Becky Peterson unearths new possibilities for reading media and textile cultures.

The definitive, deluxe art book from costume design legend Ruth E. Carter.Ruth E. Carter is a living legend of costume design. For three decades, she has shaped the story of the Black experience on screen—from the'80s streetwear of Do the Right Thing to the royal regalia of Coming 2 America. Her work on Marvel's Black Panther not only brought Afrofuturism to the mainstream, but also made her the first Black winner of an Oscar in costume design. In 2021, she became the second-ever costume designer to receive a star on the Hollywood Walk of Fame.In this definitive book, Carter shares her origins—recalling a trip to the sporting goods store with Spike Lee to outfit the School Daze cast and a transformative moment stepping inside history on the set of Steven Spielberg's Amistad. She recounts anecdotes from dressing the greats: Eddie Murphy, Samuel L. Jackson, Angela Bassett, Halle Berry, Chadwick Boseman, and many more. She describes the passion for history that inspired her period pieces—from Malcolm X to What's Love Got to Do With It—and her journey into Afrofuturism.Carter's wisdom and stories are paired with deluxe visuals, including sketches, mood boards, and film stills. Danai Gurira, beloved for her portrayal of Okoye in Black Panther, has contributed a foreword. Fans will even get a glimpse behind the scenes of the sequel Black Panther: Wakanda Forever.At its core, Carter's oeuvre celebrates Black heroes and sheroes, whether civil rights leaders or Wakandan warriors. She has brought the past to life and helped us imagine a brighter future. This book is sure to inspire the next generation of artists and storytellers.MAJOR ICON: Ruth E. Carter is behind some of the most iconic costumes on screen, not least the opulent Black Panther looks that won her an Oscar. She's worked with some of the biggest names in cinema, from Spike Lee to Ava DuVernay. Her popularity goes beyond those interested in fashion and film—she is also a role model for women of color and creative entrepreneurs.INCREDIBLE VISUALS: This gorgeous book includes an amazing array of images. Film stills reveals the details that make Carter's costumes so special. Sketches and mood boards illuminate her artistic process and the way she collaborates with actors, directors, and other fellow crew members. This book is a feast for the eyes.COMPELLING STORY: Taken as a whole, Carter's three-decade career is not just a collection of great films; it tells a story. Whether comedies or period pieces, biopics or superhero blockbusters, her films have shaped the narrative of the Black experience in American cinema.BEHIND THE SCENES OF BLACK PANTHER: WAKANDA FOREVER: The book will include a chapter on the sequel to Black Panther, which was the top-grossing superhero film at the time of its release. Fans will love seeing behind the scenes of the original and the new movie, discovering the artistry and passion that went into creating Wakanda.Perfect for:Fans of Ruth E. Carter, Black Panther, Spike Lee, and all the icons of Black HollywoodArt, fashion, and film studentsYoung women and Black creatives looking for inspirationFollowers of Hollywood fashion trends and devotees of costume and clothing designFilm buffs building their coffee table book collection

Feuds within fashion houses, megalomaniacs and photoshoot nightmares – fashion and drama have been a perfect match for decades. Over the past ten years, we have witnessed a boom of documentaries about fashion magazine editors, fashion and media politics and the history of fashion houses.How and why did fashion documentaries and non-fiction media become so popular? Documenting Fashion explores and reassesses the role of documentary media by tracing its history in shaping our understanding of fashion across multiple platforms and different national contexts, including industrial films, newsreels, TV shows, documentary films, digital media and photography. The essays in this collection underpin and profile a scholarly space in which a dialogue between fashion and documentary studies can evolve by drawing from different methodologies and approaches, such as media and cultural studies, ethnography, archival and museum studies, gender studies, marketing and public relations.

Since the 1920s, fashion has played a central role in Hollywood. As the movie-going population consisted largely of women, studios made a concerted effort to attract a female audience by foregrounding fashion. Magazines featured actresses like Jean Harlow and Joan Crawford bedecked in luxurious gowns, selling their glamour as enthusiastically as the film itself. Whereas actors and actresses previously wore their own clothing, major studios hired costume designers and wardrobe staff to fabricate bespoke costumes for their film stars. Designers from a variety of backgrounds, including haute couture and art design, were offered long-term contracts to work on multiple movies. Though their work typically went uncredited, they were charged with creating an image for each star that would help define an actor both on- and off-screen. The practice of working long-term with a single studio disappeared when the studio system began unraveling in the 1950s. By the 1970s, studios had disbanded their wardrobe departments and auctioned off their costumes and props. In Designing Hollywood: Studio Wardrobe in the Golden Age, Christian Esquevin showcases the designers who dressed Hollywood's stars from the late 1910s through the 1960s and the unique symbiosis they developed with their studios in creating iconic looks. Studio by studio, Esquevin details the careers of designers like Vera West, who worked on Universal productions such as Phantom of the Opera (1925), Dracula (1931), and Bride of Frankenstein (1931); William Travilla, the talent behind Marilyn Monroe's dresses in Gentleman Prefer Blondes (1953) and The Seven Year Itch (1955); and Walter Plunkett, the Oscar-winning designer for film classics like Gone with the Wind (1939) and An American in Paris (1951). Featuring black and white photographs of leading ladies in their iconic looks as well as captivating original color sketches, Designing Hollywood takes the reader on a journey from drawing board to silver screen.

Fashion Narrative and Translation: Is Vanity Fair? combines comparative literature, fashion, and translation studies in their interactional roles. The integrated approach provides an innovative blended approach to comparative literature studies benefiting from growing fields of fashion and translation. Within the descriptive frame of fashion concepts and themes, the research furthers the analysis of multiple translations (English and Romance languages) to costume design in film adaptations, from page to screen. The eight chapters of the book are thematically structured raising crucial issues about language and literature in verbal and visual representation and questioning the translatability of the fashion lexicon and lexicography.

Over the last decade fashion film's presence has become ubiquitous. From the retail environments where fashion film is projected onto windows and buildings, to the online arenas of fashion brands and labels through to art gallery installations, fashion communication is on the move.With examples from dozens of groundbreaking international films, including QR codes linking to the films online, The Fundamentals of Fashion Filmmaking places fashion film in its broader industry, cultural and historical context. You'll also learn about the process of making fashion film, exploring how it works across multiple technologies, platforms and audiences. Interviews with filmmakers bring together a wealth of industry expertise on everything from storyboarding to finding an audience.

Examines Western-inspired fashion objects in Japanese cinema between 1923 and 1939Consults varied primary Japanese-language source material, such as visual analysis of extant films; film fragments and stills from the era; advertising ephemera such as film posters and match boxes; and various print-based materialsProvides film analysis and synopses of many Japanese films which are not yet commercially available and/or subtitled in EnglishConcentrates equally on depictions of menswear and womenswear – there is currently a bias towards depictions of women's styles in both fashion and film studiesDiscusses the history of issues highly relevant to today's media climate in a non-American and non-European contextPresents fashion as a means of coding identities both on- and off-screen – case studies include the Modern Girl (the Japanese variant of the Hollywood flapper), the Modern Boy (a foppish masculine archetype), the modernising Japanese housewife and the healthy sportsperson.Discusses LGBT identities and the usage of fashion to depict them in both Japanese and Hollywood cinemasFilm and Fashion in Japan, 1923-39 examines the interaction between the audience member and Japan's film and fashion industries, focusing on Western-inspired fashion objects as opposed to indigenous Japanese items. Taking an interdisciplinary approach, Barnett examines the semiotics of dress onscreen within Japan's transcultural media climate, consulting not only film- or fashion-related theoretical bases but also historical and gender-based approaches.The work consults surviving films, print media and advertising materials, allowing insights into lost films and the period's thriving commercial context. It focuses on the expressive Modern Girl image (the Japanese equivalent of the Hollywood flapper); sportswear and hybridised dress styles (which combined Japanese and Western-influenced aesthetics) and their relationship with body; and menswear in the early work of the director Ozu Yasujirō. This book discusses the role of fashion consumption in defining emergent modern identities and their relationships with new spaces, questioning their arising in the Japanese context and within the global sphere.

The question of whether movies can deliver philosophical content is a leading topic in the cognitive and analytic debate on film. But instead of turning to the well-trodden terrain of narrative and emotional engagement, this is the first time fashion and costume choices are analyzed to demonstrate how movies can be said to be doing philosophy. Considering how fashion and costumes can deliver the epistemic content of a film and act as a guidance to the interpretation of the philosophical content of a film, Laura T. Di Summa examines fashion and costume choices in classical and contemporary films. She discusses a number of cinematic examples, and the costumes and fashion elements within them, illustrating the importance of issues such as the performative side of fashion, the alteration between novelty and repetition, the pivotal role of the body, and the relation between fashion, style, and individual as well as collective identity. Featuring close examinations of 1950s melodramas, Hollywood blockbusters and documentaries such as All That Heaven Allows, Mad Max Fury Road, and McQueen, Di Summa uses an innovative new lens to provide fresh philosophical analysis of films. The result is not only an advancement of our understanding of the aesthetic means through which film can do philosophy, but the first insights into a philosophy of fashion.

From cinema's silent beginnings, fashion and interior design have been vital to character development and narrative structure. Despite spectacular technological advancements on screen, stunning silhouettes and striking spaces still have the ability to dazzle to dramatic effect. This book is the first to consider the significant interplay between fashion and interiors and their combined contribution to cinematic style from early film to the digital age.With examples from Frank Lloyd Wright inspired architecture in Hitchcock's North by Northwest, to Coco Chanel's costumes for Gloria Swanson and a Great Gatsby film-set turned Ralph Lauren flagship, Cinematic Style describes the reciprocal relationship between these cultural forms. Exposing the bleeding lines between fashion and interiors in cinematic and real-life contexts, Berry presents case studies of cinematic styles adopted as brand identities and design movements promoted through filmic fantasy.Shedding light on consumer culture, social history and gender politics as well as on fashion, film and interior design theory, Cinematic Style considers the leading roles domestic spaces, quaint cafes, little black dresses and sharp suits have played in 20th and 21st-century film.

Fashioning James Bond is the first book to study the costumes and fashions of the James Bond movie franchise, from Sean Connery in 1962's Dr No to Daniel Craig in Spectre (2015). Llewella Chapman draws on original archival research, close analysis of the costumes and fashion brands featured in the Bond films, interviews with families of tailors and shirt-makers who assisted in creating the'look'of James Bond, and considers marketing strategies for the films and tie-in merchandise that promoted the idea of an aspirational'James Bond lifestyle'.Addressing each Bond film in turn, Chapman questions why costumes are an important tool for analysing and evaluating film, both in terms of the development of gender and identity in the James Bond film franchise in relation to character, and how it evokes the desire in audiences to become part of a specific lifestyle construct through the wearing of fashions as seen on screen. She researches the agency of the costume department, director, producer and actor in creating the look and characterisation of James Bond, the villains, the Bond girls and the henchmen who inhibit the world of 007. Alongside this, she analyses trends and their impact on the Bond films, how the different costume designers have individually and creatively approached costuming them, and how the costumes were designed and developed from novel to script and screen. In doing so, this book contributes to the emerging critical literature surrounding the combined areas of film, fashion, gender and James Bond.

Since embarking on economic reforms in 1978, the People's Republic of China has also undergone a sweeping cultural reorganization, from proletarian culture under Mao to middle-class consumer culture today. Under these circumstances, how has a Chinese middle class come into being, and how has consumerism become the dominant ideology of an avowedly socialist country? The Art of Useless offers an innovative way to understand China's unprecedented political-economic, social, and cultural transformations, showing how consumer culture helps anticipate, produce, and shape a new middle-class subjectivity.Examining changing representations of the production and consumption of fashion in documentaries and films, Calvin Hui traces how culture contributes to China's changing social relations through the cultivation of new identities and sensibilities. He explores the commodity chain of fashion on a transnational scale, from production to consumption to disposal, as well as media portrayals of the intersections of clothing with class, gender, and ethnicity. Hui illuminates key cinematic narratives, such as a factory worker's desire for a high-quality suit in the 1960s, an intellectual's longing for fashionable clothes in the 1980s, and a white-collar woman's craving for brand-name commodities in the 2000s. He considers how documentary films depict the undersides of consumption—exploited laborers who fantasize about the products they manufacture as well as the accumulation of waste and its disposal—revealing how global capitalism renders migrant factory workers, scavengers, and garbage invisible.A highly interdisciplinary work that combines theoretical nuance with masterful close analyses, The Art of Useless is an innovative rethinking of the emergence of China's middle-class consumer culture.

A beautiful compendium of famous fashion designers, their gorgeous creations and the film stars that wore them.Fashion designers have been involved in movies since the early days of cinema. The result is some of the most eye-catching and influential costumes ever committed to film, from Ralph Lauren's trend-setting masculine style for Diane Keaton in Annie Hall to Audrey Hepburn's little black Givenchy dress in Breakfast at Tiffany's.Fashion in Film celebrates the contributions of fashion designers to cinema, exploring key garments, what they mean in context of the narrative, and why they are so memorable. Illustrated with beautiful film stills, fashion images and working sketches, this book will appeal to lovers of both fashion history and cinema.'Put simply, it doesn't matter how many coffee table books you have on fashion or on film: this one is essential, and delightful, and beautiful.'One & Other

A partir del estilo provocador y arrabalero de Tita Merello, la fotogenia de Zully Moreno, el desparpajo indumentario de Niní Marshall y la devoción por tramas, vestidos largos y sombreros de Paulina Singerman, Prueba de vestuario recorre la historia del cine argentino y llega hasta la impronta de la nouvelle vague en Graciela Borges, los mundos extraños de Lucrecia Martel y la expresividad lacónica de las ferias vintage en los films de Martín Rejtman. En diferentes épocas y filmografías pueden advertirse usos, costumbres y tendencias utilizadas por los principales diseñadores de vestuario. Figuras como Eduardo Lerchundi, Paco Jaumandreu, Horace Lannes, Fridl Loos, Vanina de War, Julia Bertotto, Beatriz Di Benedetto, Roberta Pesci y Julio Suárez explican en detalle sus exploraciones y desafíos ante cada puesta y revelan los secretos de un oficio cuyo mayor orgullo, muchas veces, es pasar desapercibido. Con una escritura personal y el abordaje de diversos materiales de archivo y entrevistas personales con los protagonistas, Victoria Lescano presenta un trabajo inaugural que se volverá referencia ineludible para las investigaciones futuras y pone en evidencia las relaciones entre la moda contemporánea, las citas de los estilos foráneos, la exaltación de estilos criollos y los oficios vinculados a la industria del cine. De esta manera, Prueba de vestuario agrega un nuevo volumen a la serie que la autora inició con Prêt-à-Rocker y siguió con Letras hilvanadas, donde abordó la música, la literatura y el cine para encontrar nexos estimulantes entre moda y cultura.

The Cinema of Sofia Coppola provides the first comprehensive analysis of Coppola's oeuvre that situates her work broadly in relation to contemporary artistic, social and cultural currents. Suzanne Ferriss considers the central role of fashion - in its various manifestations - to Coppola's films, exploring fashion's primacy in every cinematic dimension: in film narrative; production, costume and sound design; cinematography; marketing, distribution and auteur branding. She also explores the theme of celebrity, including Coppola's own director-star persona, and argues that Coppola's auteur status rests on an original and distinct visual style, derived from the filmmaker's complex engagement with photography and painting.Ferriss analyzes each of Coppola's six films, categorizing them in two groups: films where fashion commands attention (Marie Antoinette, The Beguiled and The Bling Ring) and those where clothing and material goods do not stand out ostentatiously, but are essential in establishing characters'identities and relationships (The Virgin Suicides, Lost in Translation and Somewhere). Throughout, Ferriss draws on approaches from scholarship on fashion, film, visual culture, art history, celebrity and material culture to capture the complexities of Coppola's engagement with fashion, culture and celebrity. The Cinema of Sofia Coppola is beautifully illustrated with color images from her films, as well as artworks and advertising artefacts.

Examining the special relationship between footwear and film, Shoe Reels explores images of shoes in cinema. It questions what shoes mean in the context of narrative, aesthetics and symbolism, why they are so memorable, and what their wider cultural resonances might be.

The moving image has become a key marketing tool for luxury fashion, central in enabling brands to shape their visual codes and extend their brand awareness. Fashion Film is the first detailed study of the shifting shape of fashion imagery in the digital age, investigating the role of the moving image in the promotion, communication and spectacle of contemporary fashion. Combining interdisciplinary analysis of cinema and digital culture, this ground-breaking book traces the emergence of fashion film in the 21st century through its historical roots in pre-digital forms of photography, experimental cinema, mass-media advertising and documentary film-making, right up to today's visual spread of contemporary fashion on video blogs, online magazines and live-streamed catwalk shows.Examining collaborations between fashion designers and pioneering image-makers such as Guy Bourdin, Jean-Paul Goode, William Klein and Nick Knight, the book highlights the critical tension between the fashion film conceived as a creative endeavour and as commercial enterprise. Fashion Film also includes a parallel focus on factual representations of fashion through the recent rise of documentary fashion film that goes behind the scenes to follow the processes and personalities involved in making fashion. Accessible and well-illustrated, Fashion Film will appeal to students and scholars of fashion, film, media, photography, celebrity, sociology and cultural studies.

Shows how cinematic treatments of fashion during times of crisis offer subtle reflections on the everyday lives, desires, careers, and self-perceptions of postwar German women.This book steers attention toward two key aspects of German culture - film and fashion - that shared similar trajectories and multiple connections, looking at them not only in the immediate postwar years but as far back as 1939. They formed spectacular sites of the postwar recovery processes in both East and West Germany. Viewed against the background of the abundant fashion discourses in the Berlin-based press, the films discussed include classics such asThe Murderers Are among Us, Street Acquaintance, and Destinies of Women as well as neglected works such as And the Heavens above Us, Martina, Modell Bianka, and Ingrid. These films'treatments of fashion during times of crisis offer subtle reflections on the everyday lives, desires, careers, and self-perceptions of the women who made up a large majority of the postwar public. Costume - in films produced both by DEFA and by West German studios - is a productive site to explore the intersections between realism and escapism. With its focus on costumes within the context of the films'production, distribution, and reception, this bookopens up wider discussions about the role of the costume designer, the ways film costumes can be read as intertexts, and the impact on audiences'behaviors and looks. The book reveals multiple connections between film and fashion,both across the temporal dividing line of 1945 and the Cold War split between East and West. Mila Ganeva is Professor of German at Miami University, Oxford, Ohio.

A fascinating look at one of the most experimental, volatile, and influential decades, Film, Fashion, and the 1960s, examines the numerous ways in which film and fashion intersected and affected identity expression during the era. From A Hard Day's Night to Breakfast at Tiffany's, from the works of Ingmar Bergman to Blake Edwards, the groundbreaking cinema of the 1960s often used fashion as the ultimate expression for urbanity, youth, and political (un)awareness. Crumbling hierarchies brought together previously separate cultural domains, and these blurred boundaries could be seen in unisex fashions and roles played out on the silver screen. As this volume amply demonstrates, fashion in films from Italy, France, England, Sweden, India, and the United States helped portray the rapidly changing faces of this cultural avant-gardism. This blending of fashion and film ultimately created a new aesthetic that continues to influence the fashion and media of today.

Takes a one-of-a-kind, utterly irresistible tour of fashion history through our favorite style icons of film and television.Fictionally Fabulous is a full-color illustrated guide to dozens of beloved characters who changed the face of fashion: from the flapper era embodied by Louise Brooks to polka dot-studded housewife Lucy Ricardo, working-girl chic Mary Richards, tartan-skirted Cher Horowitz in Clueless, the Scandalous Olivia Pope, and all our favorite style stars in between. Each fashion hero is showcased in gorgeously whimsical style by Higgins, who offers stunning views of their most memorable moments, inspiration boards, and profiles describing each character's signature style and trend-setting influence.

From Jack the Ripper to Frankenstein, Halloween customs to Alexander McQueen collections, Fashioning Horror examines how terror is fashioned visually, symbolically, and materially through fashion and costume, in literature, film, and real life.With a series of case studies that range from sensationalist cinema and Slasher films to true crime and nineteenth-century literature, the volume investigates the central importance of clothing to the horror genre, and broadens our understanding of both material and popular culture. Arguing that dress is fundamental to our understanding of character and setting within horror, the chapters also reveal how the grotesque and horrific is at the center of fashion itself, with its potential for instability, disguise, and carnivalesque subversion. Packed with original research, and bringing together a range of international scholars, the book is the first to thoroughly examine the aesthetics of terror and the role of fashion in the construction of horror.

This is the first in-depth, book-length study on fashion and Italian cinema from the silent film to the present. Italian cinema launched Italian fashion to the world. The book is the story of this launch. The creation of an Italian style and fashion as they are perceived today, especially by foreigners, was a product of the post World War II years. Before then, Parisian fashion had dominated Europe and the world. Just as fashion was part of Parisian and French national identity, the book explores the process of shaping and inventing an Italian style and fashion that ran parallel to, and at times took the lead in, the creation of an Italian national identity. In bringing to the fore these intersections, as well as emphasizing the importance of craft in cinema, fashion and costume design, the book aims to offer new visions of films by directors such as Nino Oxilia, Mario Camerini, Alessandro Blasetti, Federico Fellini, Michelangelo Antonioni, Luchino Visconti and Paolo Sorrentino, of film stars such as Lyda Borelli, Francesca Bertini, Pina Menichelli, Lucia Bosè, Monica Vitti, Marcello Mastroianni, Toni Servillo and others, and the costume archives and designers who have been central to the development of Made in Italy and Italian style.

Marilyn Monroe made history by standing over a subway grating in a white pleated halter dress designed by William Travilla. Hubert de Givenchy immortalized the Little Black Dress with a single opening scene in Breakfast at Tiffany's. A red nylon jacket signaled to audiences that James Dean was a Rebel Without a Cause. For more than a century, costume designers have left indelible impressions on moviegoers'minds. Yet until now, so little has been known about the designers themselves and their work to complement and enrich stories through fashion.Creating the Illusion presents the history of fashion on film, showcasing not only classic moments from film favorites, but a host of untold stories about the creative talent working behind the scenes to dress the stars from the silent era to the present day. Among the book's sixty-five designer profiles are Clare West, Howard Greer, Adrian, Walter Plunkett, Travis Banton, Irene, Edith Head, Cecil Beaton, Bob Mackie, and Colleen Atwood. The designers'stories are set against the backdrop of Hollywood: how they collaborated with great movie stars and filmmakers; how they maneuvered within the studio system; and how they came to design clothing that remains iconic decades after its first appearance. The array of films discussed and showcased through photos spans more than one hundred years, from draping Rudolph Valentino in exotic'sheik'dress to the legendary costuming of Gone with the Wind, Alfred Hitchcock thrillers, Bonnie and Clyde, Reservoir Dogs, and beyond.This gloriously illustrated volume includes candid photos of the designers at work, portraits and wardrobe tests of stars in costume, and designer sketches. Drawing from archival material and dozens of new interviews with award-winning designers, authors Jay Jorgensen and Donald L. Scoggins offer a highly informative, lavish, and entertaining history of Hollywood costume design.About TCM:Turner Classic Movies is the definitive resource for the greatest movies of all time. It engages, entertains, and enlightens to show how the entire spectrum of classic movies, movie history, and movie-making touches us all and influences how we think and live today.

The Hindi film industry, among the most prolific in the world, has delighted audiences for decades with its colourful, exquisite and sometimes startling costumes. But are costumes more than just a source of pleasure? This book, the first in-depth exploration of Hindi film costume, contends that they are a unique source of knowledge about issues ranging from Indian taste and fashion to questions of identity, gender and work.Anthropological and film studies approaches combine to analyze costume as the outcome of production processes and as a cinematic device for conveying meaning. Chapters lead from the places where costume is planned and executed to explorations of characterization, the actor body, spectacles of fashion, to the imagining of historical or fantasy worlds through dress, to the power of stardom to launch clothing styles into the public domain. As well as charting the course of film costume as it parallels important trends in cultural history, the book considers the future of Hindi film costume, in the context of new strains of filmmaking that stress unvarnished realism.Fashioning Bollywood will appeal to students and scholars of Indian culture, anthropology and fashion, as well as anyone who has seen and enjoyed Hindi films.

With the advent of inexpensive but beautifully designed clothing available nationwide, elegance is within everyone's reach. And George Kotsiopoulos—the breakout star of TV's Fashion Police—will show you the way. Glamorous by George offers easy-to-achieve tips for looking like a movie star. Through practical advice and blunt observations, this simple, no-nonsense guide is accessible to people of all ages and income levels. George addresses clothing, accessories, and fashion, as well as the best pieces for different body types and skin color. And because movie-star style also extends to surroundings, Glamorous by George also guides readers to budget-friendly ideas for easy decorating and entertaining.

This exploration of fashion in American silent film offers fresh perspectives on the era preceding the studio system, and the evolution of Hollywood's distinctive brand of glamour. By the 1910s, the moving image was an integral part of everyday life and communicated fascinating, but as yet un-investigated, ideas and ideals about fashionable dress.

New view of the crucial role of fashion discourse and practice in Weimar Germany and its significance for women.In the Weimar Republic, fashion was not only manipulated by the various mass media -- film, magazines, advertising, photography, and popular literature -- but also emerged as a powerful medium for women's self-expression. Female writers and journalists, including Helen Grund, Irmgard Keun, Vicki Baum, Elsa Maria Bug, and numerous others engaged in a challenging, self-reflective commentary on current styles. By regularly publishing on these topics in the illustrated press and popular literature, they transformed traditional genres and carved out significant public space for themselves. This book re-evaluates paradigmatic concepts of German modernism such as the flâneur, the Feuilleton, and Neue Sachlichkeit in the light of primary material unearthed in archival research: fashion vignettes, essays, short stories, travelogues, novels, films, documentaries, newsreels, and photographs. Unlike other studies of Weimar culture that have ignored the crucial role of fashion, the book proposes a new genealogy of women's modernity by focusing on the discourse and practice of Weimar fashion, in which the women were transformed from objects of male voyeurism into subjects with complex, ambivalent, and constantly shifting experiences of metropolitan modernity. Mila Ganeva is Associate Professor of German at Miami University, Oxford, Ohio.

Both an exploration of the ways in which we fashion our public identity and a manual of modern sociability, this lively and readable book explores the techniques we use to present ourselves to the world: body language, tone of voice, manners, demeanour,'personality'and personal style. Drawing on historical commentators from Castiglione to Machiavelli, and from Marcel Mauss to Roland Barthes, Joanne Finkelstein looks to popular visual culture, including Hollywood film and makeover TV, to show how it provides blueprints for the successful construction of'persona'. She also discusses the role of fashion and of status symbols and how advertising sells these to us in our never ending quest for social mobility. Finkelstein's interest here is not in the veracity of the self - recently dissected by critical theory - but rather in the ways in which we style this'self', in the enduring appeal of the'new you'and in our fascination with deception, fraudulent personalities and impostors.

At the Academy Awards, the answer to who wore what matters just as much as who won what. Focusing on the actresses nominated for Oscars and a few seminal presenters, Made for Each Other traces the fashion trends of the widely watched Oscar ceremony. From the splendor of Vivien Leigh to the spare war-era chic of Ingrid Bergman, from the arresting glamor of Marlene Dietrich to Barbra Streisand's daring sequined Arnold Scaasi pantsuit, Bronwyn Cosgrave delivers a revealing account of the entertainers who have helped shape the look of the Academy Awards and the international couturiers and behind-the-scenes fashion players on whom they've relied. Delving deep into the partnerships that have defined Oscar fashion-Claudette Colbert and Travis Banton; Grace Kelly and Edith Head; Audrey Hepburn and Hubert de Givenchy; Elizabeth Taylor and Helen Rose; Liza Minelli and Halston; Cher and Bob Mackie; Jodie Foster and Georgio Armani; Nicole Kidman and John Galliano; Hilary Swank and Randolph Duke-Cosgrave demonstrates that from the beginning fashion was as integral to Oscar night as the films it celebrated. In a package befitting the glamorous subject, Made for Each Other includes previously unseen sketches of Oscar dresses by legendary couturiers, rare vintage photographs, and fashion illustrations of key dresses created especially for this book. For fashionistas and film buffs alike, Made for Each Other is a must have for anyone interested in this perfect pairing.