Bloomsbury Fashion 2013 US

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Front Cover: Alexander McQueen Spring/Summer 99/00, photograph by Niall Mcinerney, Bloomsbury Fashion Photography Archive.

contents Introduction to Fashion and Fashion Careers

4

Fashion Merchandising and Promotion

8

UK, Europe and Rest of World Bloomsbury Publishing 50 Bedford Square, London, WC1B 3DP, UK

Fashion Law 15

Tel: +44 (0)207 631 5600

Product Development 16

Fax: +44 (0)207 631 5800

Fashion Design 18

[email protected]

Technical Design 24 UK Trade Orders

CAD for Fashion 25

Macmillan Distribution (MDL)

Fashion Presentation 26

Brunel Road, Houndmills, Basingstoke, RG21 6XT, UK

Fashion Styling 27

Tel: +44 (0)1256 302692

Construction 28

Fax: +44 (0)1256 812521 / 812558

Patternmaking 31

[email protected]

Draping 34

US, Canada, Central and South America

Sustainable Fashion 36

Bloomsbury Academic

Introduction to Textiles 37

1385 Broadway, 5th Floor, New York, NY 10018, USA

Textile Design and Technology 40

Tel: +1 212 418 5300

Textile History and Culture

43

[email protected]

Fashion and Costume History

45 US Trade Orders

Berg Fashion Library 51

Bloomsbury USA

Bloomsbury Fashion Photography Archive

52

Fashion, Culture and Society

53

World Dress and Anthropology

59

Tel: +1 888 330 8477

Reference 62

Fax: +1 800 672 2054

Journals 67

[email protected]

MPS/BUSA Orders 16365 James Madison Highway, Gordonsville, VA 22942, USA

[email protected]

Index 70 Representatives and Agents 72

Bloomsbury Head Offices and Distributors

Bloomsbury Visual Arts 2

EBooks

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FAIRCHILD BOOKS Titles marked with the Fairchild Books logo can be found on www.fairchildbooks.com or www.bloomsbury.com. 

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Bloomsbury Academic is a division of Bloomsbury Publishing Plc. Registered in England No. 01984336.

1

Discover the largest ACADEMIC Visual Arts publisher in the world and are now published under the Bloomsbury and Fairchild Books names

One destination for all your teaching and research needs Following the acquisitions of Fairchild Books, AVA Publishing and Berg Publishers, Bloomsbury is now the largest publisher of academic materials for visual arts in the world. We are committed to providing visual arts students, instructors, researchers, librarians and practitioners with: • Resources tailored to meet the needs of students, academics and libraries • Integrated books, journals and digital content • A one-stop shop for all levels: from practical introductory textbooks to scholarly monographs • An understanding of the unique demands of visual arts students • Brands you can trust: Fairchild Books, offering practical, visually stimulating textbooks

Bloomsbury, offering quality scholarly publishing

A complete range of products in core areas To serve you better we will focus on the following subject areas: • Fashion & Textiles • Design • Architecture & Interior Design • Film & Moving Image • Photography • Ceramics This focus allows us to offer real depth of content to all our global customers. It positions Bloomsbury as the only visual arts publisher able to provide a complete range of products to meet the full spectrum of educational needs in these core areas.

2

IPG Independendent Publisher of the Year and FBF Academic and Professional Publisher of the Year 2013 Digital innovation and online resources Building on the global success of the Berg Fashion Library, we have a number of other exciting digital products in development that will serve research and teaching needs across our larger visual arts programme. These include the forthcoming Bloomsbury Fashion Photography Archive (see page 52) as well as a range of new online resources for instructors and students to accompany our textbooks.

Fairchild Books: for textbooks and student resources Fairchild Books has a long history of excellence in textbook publishing for the Higher Education market. Their titles are comprehensive, authoritative and adopted as core reading on many fashion, merchandising, retailing and interior design courses worldwide. Also acquired by Bloomsbury in 2012, AVA Academia publishes textbooks in fashion, design and across a range of other visual arts disciplines. Their striking presentation and student-friendly content sets them apart from other academic publications. From April 2013, AVA will publish under Fairchild Books, a Bloomsbury imprint. Readers will find new publications build upon the features that have made these titles so successful, bringing them to a larger audience of students, instructors and practitioners than ever before.

fourth edition

the dynamics of fashion

elaine stone

Bloomsbury: for quality scholarly publishing Bloomsbury acquired Berg Publishers in 2008. Berg has an international reputation in fashion and design and a rapidly growing journals programme with a focus on the visual arts. Its flagship journal, Fashion Theory established the serious study of fashion in the academy. In 2010 Berg launched the Berg Fashion Library, winner of the Dartmouth medal. From January 2013, Berg books and journals will publish under the Bloomsbury brand. Researchers, scholars, lecturers and upper level students will find quality, peer-reviewed coursebooks, monographs, readers, reference works and journals within core areas of the visual arts. Fashion Theory Volume 17 Issue 1 2013

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Cover images: Hedi Slimane for Dior Homme Spring/Summer 2002. Courtesy Maria Chandoha Valentino/MCV Photo. ISBN 978 1 4725 1698 5 ISSN 1362-704X 

Fashion Theory The Journal of Dress, Body & Culture

985

3

Introduction to Fashion and Fashion Careers The World of Fashion

www/TEXTBOOK 5th edition

Jay Diamond and Ellen Diamond The World of Fashion is an essential resource for students who want to understand the fashion industry. Starting with an introduction to the history of fashion and its evolving role within the global marketplace, each chapter focuses on an aspect of the industry, from consumer behaviour and fashion trends to textiles, product development, manufacturing, and merchandising. Each chapter has been fully updated to include new information and updated artwork. Fashion history has been updated to include current events and an added discussion of portfolio preparation provides complete coverage of careers in fashion. Unique chapters on the multicultural consumer and outsourcing fashion design, production, and management plus coverage of important industry trends such as social responsibility, eco-consciousness, social networking reflect the current state of the fashion industry. • Includes chapter learning objectives, highlights, list of key terms, review questions, exercises and projects and case studies • Point-of-View readings and a glossary enhance learning • Teaching Resources: Instructor’s Guide and PowerPoint® presentations New to this Edition

UK March 2013 ∙ US January 2013

• Two new chapters on social responsibility and sustainable fashion • Profiles of leading individuals and firms in the fashion industry

720 pages ∙ 216 x 228mm ∙ 8.5 x 11 inches ∙ 450 colour illus PB 9781609015275 ∙ £75.00 / $105.00

JAY DIAMOND is Professor Emeritus at Nassau Community College, USA, where he served as the Chair of the Fashion, Marketing, and Retailing Department as well as the Dean of Business.

Available on CourseSmart (9781609017224) Pricing Available Upon Request Fairchild Books

ELLEN DIAMOND is Professor Emerita at Nassau Community College in the Fashion, Marketing, and Retailing Department.

Part Four: The Fashion Merchandise Industries

1. The Evolution of Fashion

12. Apparel: Women’s, Men’s, And Children’s

2. Fashions: 1900 to the Present

13. Intimate Apparel

3. The Powerful Consumer

14. Fashion Accessories

4. The Multicultural Consumer and Fashion

15. Details and Trimming

5. Ever-Changing Fashion and its Acceptance

16. Cosmetics and Fragrances

6. Fashion in the Global Marketplace

17. Home Fashions

7. Careers in Fashion Part Two: Social Responsibility and Sustainable Fashion

Part Five Designing and Manufacturing Fashion Apparel and Accessories

8. Social Responsibility in the Retailing and Fashion Industry

18. Fashion Forecasting for Designers and Manufacturers

9. Sustainable Fashion: An Eco-friendly Movement

19. Elements and Principles of Design for Developing a Fashion Collection

Part Three: The Producers of Raw Materials 10. The Textile Industry 11. Furs and Leather

20. Apparel and Accessories Manufacturing 21. Outsourcing Fashion Design, Production, and Management Part Six Merchandising Fashion 22. Resident Buying Offices and Other Fashion Information Sources for Retailers 23. The Fashion Retailer 24. Advertising, Special Events, Publicity, and Visual Merchandising

4

contents

Part One: Introduction to Fashion

www.bloomsbury.com • UK, Europe, ROW • +44 (0)1256 302699 • [email protected]

Introduction to Fashion and Fashion Careers www/TEXTBOOK

The Dynamics of Fashion 4th edition

Elaine Stone

fourth edition

the dynamics of fashion

Fashion today is fast-paced, technologically savvy, and global. This fourth edition of the bestselling The Dynamics of Fashion has been updated to be on the cutting edge. Featuring the latest facts and figures, and the most current theories in fashion development, production, and merchandising, this book provides a broad foundation for students hoping to become a part of the industry. Apparel, accessories, cosmetics, home fashions, green design, and more are all explored in detail. Hundreds of examples make the business aspect fun. Fresh, forward, challenging, and comprehensive, Elaine Stone’s classic text is for those in fashion who want to be both in the now and in the know. • Includes glossary of over 500 industry terms • Teaching Resources: Instructor’s Guide and PowerPoint® presentations New to this Edition • Updated “Fashion Focus” and “Then and Now” features • Many new colour photographs and illustrations

elaine stone

ELAINE STONE is Professor Emerita at the Fashion Institute of Technology (FIT), USA, and founder of The Enterprise Center, a business training resource for fashion industry professionals, designers, and artists.

UK August 2013 ∙ US June 2013 624 pages ∙ 500 colour illus 228 x 305mm / 9 x 12 inches HB 9781609015008 ∙ £60.00 / $110.00

Unit Four: The Secondary Level: The Other Producers 12. Innerwear, Bodywear and Legwear 13. Accessories 14. Cosmetics and Fragrances 15. Home Fashions

Unit Two: The Primary Level: The Materials of Fashion 6. Textiles: Fibers and Fabrics 7. Leather and Fur

Unit Five: The Retail Level: The Markets for Fashion 16. Global Fashion Markets 17. Global Sourcing and Merchandising 18. Fashion Retailing 19. Policies and Strategies in Fashion Retailing

Unit Three: The Secondary Level: The Producers of Apparel 8. Product Development 9. Women’s Apparel 10. Men’s Apparel 11. Children’s and Teens’ Apparel

contents

Unit One: The Changing World of Fashion 1. A Century of Fashion 2. The Nature of Fashion 3. The Environment of Fashion 4. The Movement of Fashion 5. The Business of Fashion

Individual eBook 9781609018191 ∙ UK £59.00 / $109.99 Fairchild Books

Unit Six: The Auxiliary Level: Supporting Services 20. Fashion Auxiliary Services

www.bloomsbury.com • US, Canada, South America • 888-330-8477 • [email protected]

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Introduction to Fashion and Fashion Careers Fashion

www/TEXTBOOK 2nd edition

The Industry and Its Careers Michele M. Granger Fashion: The Industry and Its Careers offers a thorough and informative exploration of fashion careers across the board, including designer, textile manufacturer, retailer, wholesaler, illustrator, model, product developer, journalist, publicist, trend forecaster, and more. This second edition has been completely updated to reflect recent developments in technology, world economics, and globalization. For each career covered, readers will learn about what to expect on the job, required education and training, how to advance to a management role, relationship to the industry as a whole, and future outlook. • Features illustrations and examples from around the world • Includes interviews with industry professionals (including Vera Wang and Rachel Zoe) representing each of the careers discussed and advice on resume writing, interviewing, and job hunting • End of chapter questions encourage critical thinking and further career research • Teaching Resources: Instructor’s Guide and PowerPoint® presentations

UK May 2012 ∙ US March 2012 496 pages ∙ colour illus

New to this Edition:

203 x 254mm / 8 x 10 inches

• A comprehensive salary and career position chart • “Tech Talk” boxes in each chapter that detail relevant technological advances and resources

PB 9781609012250 ∙ £60.00 / $95.00 Available on CourseSmart (9781609017255) Pricing Available Upon Request Fairchild Books

MICHELE M. GRANGER is Professor in the Fashion and Interior Design Department, College of Business Administration, at Missouri State University, USA.

In Fashion Elaine Stone The new edition of this best-selling text is completely updated to cover the latest industry trends. 2011 ∙ 352 pages ∙ colour illus PB 9781609012229 ∙ £60.00 / $98.50 Fairchild Books Available on CourseSmart

6

The Ancillary Businesses 12. Management for the Retailer

8. Fashion Design

13. Fashion Styling and Visuals as Ancillary Businesses

Careers in Product Development and Sales for the Fashion Retailer 9. Product Development and Design by the Retailer 10. Promotion in Retailing 11. Merchandising for the Retailer

WWW/TEXTBOOK

4th edition

The Business of Fashion Designing, Manufacturing and Marketing Leslie Davis Burns, Kathy K. Mullet and Nancy O. Bryant 2011 ∙ 640 pages ∙ 8pp colour plate section PB 9781609011109 ∙ £60.00/$95.00 Fairchild Books

14. Fashion Scholarship 15. Environments: Websites, Exteriors, and Interiors 16. Beauty, Spa, and Wellness

TEXTBOOK

Fashion The Key Concepts Jennifer Craik “Craik’s refreshing approach and lucid analysis of the complexities of dress and fashion theory provides essential reading... A panoramic and ambitious study of dress, in all its wider meanings and manifestations.” Claire Wilcox, Senior Curator, Victoria & Albert Museum, London, UK 2009 ∙ 396 pages ∙ 135 bw illus 244 x 189mm / 9.6 x 7.4 inches PB 9781845204525 ∙ £17.99 / $34.95 HB 9781845204518 ∙ £55.00 / $109.95 Series: The Key Concepts ∙ Berg Publishers

www.bloomsbury.com • UK, Europe, ROW • +44 (0)1256 302699 • [email protected]

key titles

WWW/TEXTBOOK 2nd edition

7. Resource Management: Finance, Accounting, and Human Resources

contents

Careers in Raw Materials, Merchandising, Manufacturing, and Design in the Fashion Industry 1.Trend Forecasting 2. Textile Design and Product Development 3. Sourcing 4. Production 5. Promotion 6. Sales .

Introduction to Fashion and Fashion Careers TEXTBOOK

Key Concepts for the Fashion Industry Andrew Reilly

Key ConCepts For the Fashion industry

Key Concepts for the Fashion Industry is the first concise and accessible overview of fashion theories for students on any fashion course. This textbook provides an easy understanding of core concepts, from scarcity to conformity. Clear, practical examples and accessible case studies make complex theory easy to digest. Containing student-friendly features such as discussion questions, activities and further reading, this book is essential reading for all students studying across all areas of fashion. • Concise and accessible introduction to key fashion theories for introductory level students, suitable for any fashion course • Packed with international case studies and pedagogical material • Includes western and non-western illustrative examples of fashion

Andrew Reilly

ANDREW REILLY is Associate Professor of Apparel Product Design and Merchandising at the University of Hawaii, Manoa, USA.

contents

1. Overview 2. The Fashion System 3. Cultural Influence on Fashion 4. Social Influence on Fashion 5. Individual Influence on Fashion 6. Conclusion Bibliography Index

UK March 2014 ∙ US May 2014 160 pages ∙ 244 x 172 mm / 7.6 x 6.8 inches PB 9780857853653 ∙ £17.99 / $29.95 HB 9780857853646 ∙ £55.00 / $99.95 Individual eBook 9780857853677 ∙ £17.99 / $23.40 Library eBook 9780857853660 ∙ £55.00 / $99.95 Bloomsbury Academic Series: Understanding Fashion

TEXTBOOK

Fashion Designer’s Resource Book Samata Angel The Fashion Designer’s Resource Book is a fashion resource and lifestyle book that provides a comprehensive overview of the fashion industry as a business, combined with an insider’s understanding of the creative process and the lifestyle of a fashion entrepreneur. The author, award-winning designer Samata Angel, explains how to take steps towards a fulfilling career – achieving creative, business and emotional balance – in this competitive and complex industry. The range of pertinent topics covered include working in the industry as a fashion designer, business planning, selling your brand, networking and using social media, emotional wellbeing and environmentally and socially responsible fashion. The book also contains insights from a range of key industry influencers: Harold Tillman CBE, Chairman of the British Fashion Council; Sarah Curran, Founder of my-wardrobe.com; Nigel Barker from TV show America’s Next Top Model; Helen Jennings, Editor of ARISE magazine and Suzy Amis Cameron, Founder of Red Carpet Green Dress. SAMATA ANGEL is an award-winning womenswear designer, public speaker and author who has her own fashion label. Angel is now the Global Campaign Director of Red Carpet Green Dress, working between Los Angeles, New York and London. She is also a guest lecturer at the London College of Fashion, London, U.K.

UK February 2013 ∙ US April 2013 192 pages ∙ 172 colour illus 246 x 189mm / 9.7 x 7.4 inches PB 9781408170892 ∙ £19.99 / $34.95 A&C Black Visual Arts

2nd edition

TEXTBOOK

The Fashion Reader

The Great Fashion Designers

Edited by Linda Welters and Abby Lillethun

Brenda Polan and Roger Tredre

PRAISE FOR THE FIRST EDITION:

“This is a comprehensive introduction into the world of fashion and the designers you need to know about who inhabit it ... If it’s not already, put it on your Christmas list now!” Vogue.com

“A panoramic collection of current and classic texts and an excellent introduction to fashion . . . from history, cultural identity, gender, through to the business, economics, manufacturing and marketing of fashion.” Pammi Sinha, University of Manchester, UK 2011 ∙ 736 pages ∙ 100 bw illus ∙ 244 x 189mm / 9.6 x 7.4 inches PB 9781847885890 ∙ £24.99 / $44.95 HB 9781847885906 ∙ £75.00 / $129.95 Berg Publishers

2009 ∙ 252 pages ∙ 50 bw illus ∙ 244 x 189mm / 9.6 x 7.4 inches PB 9781847882271 ∙ £16.99 / $29.95 HB 9781847882288 ∙ £55.00 /$99.95 Individual eBook ∙ 9780857851758 £16.99 / $27.99 Library eBook ∙ 9780857851741 £54.99 / $89.99 Berg Publishers

key titles

TEXTBOOK

www.bloomsbury.com • US, Canada, South America • 888-330-8477 • [email protected]

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Fashion Merchandising and Promotion Retailing Principles

www/TEXTBOOK 2nd edition

Global, Multichannel, and Managerial Viewpoints

SECOND EDITION

RETAILING

Lynda Rose Poloian “This book keeps you abreast of the latest retailing trends, while also giving students the foundations they need to be successful in the retailing marketplace.” Joseph Hancock, Drexel University, USA What is retailing today? Who are the players and how do they operate? And what will happen tomorrow? These are just some of the questions addressed by Retailing Principles which has been thoroughly updated to reflect current trends and conditions in the global retail market.

PRINCIPLES global, multichannel, and managerial viewpoints

lynda rose poloian

An essential companion for any student seeking a career in the world of retail, the text focuses on the strategies that retailers both large and small are employing to thrive in this challenging economic climate, and in a marketplace where globalization, multi-channel retailing, and issues of sustainability are dominant factors. • Introduces definitions of retailing vocabulary in the margins, as well as a comprehensive glossary • Includes ‘From the Field’ articles from leading trade and consumer publications featuring industry incidents and trends • Global retail profiles for each unit highlight international companies and their practices • Includes an appendix presenting careers in retailing • “Did You Know?” and “Cyberscoop” marginal notations providing retail trivia designed to illuminate a point or example • Teaching Resources: Instructor’s Guide and PowerPoint® presentations

Figure 5.5 Gourmet food retailer Fauchon has a flagship store in Paris and extends its reach through branded concept shops in department stores, including Selfridges in London.

HB 9781563677427 ∙ £55.00 / $100.00 Fairchild Books

The State of the Industry Roots and Rudiments The Retail Environment: Dynamics of Change Strategic Planning: Adapting to Change Customer Behavior Global Retail Profile—Walmart, USA

Store Location and Planning Site Selection Shopping Centers and Malls Store Design and Visual Merchandising Global Retail Profile—Carrefour, France Retail Management Principles of Management Human Resources Management Financial Analysis and Management Merchandising Management Global Retail Profile—H&M, Sweden

International Customer Focus Many stores have added multilingual signs in addition to bilingual associates; department stores around the globe attract a cross-section of foreign tourists and some experience greater ethnic diversity within their domestic markets. Stores in major cities already employ associates that collectively speak 50 different languages. Sales from international customers are significant. New York City hosted 9.7 million international visitors in 2010;20 overseas shoppers spent approximately $7.5 billion while visiting the city. Department stores will continue to face intense competition in a volatile economy. They will also contend with price adjustments, overdependence on promotion, and further consolidation within the industry. Despite the special problems they face, many will rise to the challenge admirably and continue to be recognized as truly exciting places to shop. Writer David Moin sums up the ideal department store: “What’s the ultimate vision? Department stores as huge upscale carnivals with demonstrations, technology, interactive displays, parades, fashion shows, music, celebrities, and great restaurants. A little bit of what they have now, what they used to have, and more.”21

Specialty Stores

Specialty stores may be as small as a single-unit sole proprietorship or as large as a several-thousand-unit corporate chain. In general, to be considered a chain, a company must operate more than ten stores. Specialists are known for being on top of trends, delivering excellent customer service, turning merchandise faster, and adapting to change more quickly than department stores. Single-unit boutiques and gift shops and other sole proprietorships also belong in this category. Exclusivity and originality pervade merchandise assortments of small and large specialty retailers, although operationally, they are run differently. Unit 2 | Retail Structures and Multichannel Strategies

Poloian_ch05_125-160.indd 136

216 x 228mm / 8.5 x 11 inches

Retail Structures and Multichannel Strategies Brick-and-Mortar Retailing Direct Marketing and Selling Electronic Retailing Global Retailing Global Retail Profile—Retailing in China

Personalized Service Limited-line department stores are renowned for their service, a benefit to which many customers can attest. A customer buying a St. John knit suit at Nordstrom can expect service that lasts for the life of the garment. She can bring the garment back for free alterations if her size changes—within reason, of course!—and if the customer does not live in the immediate area or does not wish to pick up her altered suit at the store, the goods are shipped to her home free of charge. Follow-up telephone calls by Nordstrom staff are personalized and welcome when impeccable services have been rendered. After learning more about the customer’s tastes, the sales associate will contact the customer when a new season starts or when there is a special sale. This is the essence of personalized service that never goes out of style. More department stores are considering the impact of high-level personal service as they plot future strategies.

136

624 pages ∙ 180 colour illus

1/31/13 9:07 AM

Marketing the Merchandise Pricing for Profit Planning Retail Promotion Monitoring the Supply Chain Global Retail Profile—Uniqlo, Fast Retailing, Japan Appendix: Retail Career Directions

8

www.bloomsbury.com • UK, Europe, ROW • +44 (0)1256 302699 • [email protected]

contents

LYNDA ROSE POLOIAN taught retailing, marketing, and fashion courses at Southern New Hampshire University, USA, and was Director of the Fashion Merchandising Program for more than 25 years. She is past president of ACRA, thecollegiate affiliate of the National Retail Federation.

UK May 2013 ∙ US March 2013

Fashion Merchandising and Promotion www/TEXTBOOK

Mathematics for Retail Buying Bette K. Tepper

7th edition

This best-selling textbook meets the needs of students who will be directly or indirectly involved in the activities of merchandising and buying at the retail level. Mathematics for Retail Buying explains the essential concepts, practices, procedures, calculations, and interpretations of figures that relate to producing profitable retail buying and selling operations. Now in its seventh edition, the text has been reorganized and expanded to provide real world examples that reflect current industry practices and trends. • Practice problems and case studies apply industry concepts and terminology in realistic merchandising situations • Teaching Resources: Instructor’s Guide and PowerPoint® presentations NEW TO THIS EDITION: • New edition incorporates metrics used to analyze in-store and e-commerce business • Reorganized units reflect the order of importance of profit factors in the buying/selling process

UK September 2013 ∙ US July 2013 384 pages ∙ 50 bw illus 216 x 228mm / 8.5 x 11 inches

BETTE K. TEPPER is a founding faculty member of the Fashion Management Department at the Fashion Institute of Technology (FIT), USA, where she taught for more than 30 years, and served as Assistant Chairperson of Marketing Fashion and Related Industries Department.

PB 9781609015244 ∙ £64.99 / $105.00 Individual eBook 9781609018283 ∙ £64.99/ $104.99 Fairchild Books

Merchandise Buying and Management 4th edition John Donnellan The fourth edition of Merchandise Buying and Management has been updated to cover the most current information on merchandising and retailing. Written for college-level courses dealing with retail buying and the management for retail inventories, the text covers topics relevant to future buyers and store management personnel. The material is presented within the context of a contemporary retail environment – with examples from both fashion and non-fashion retailers – in which buyers often act as fiscal managers as well as product developers, and store managers play important roles in sales productivity and assortment planning. Retail technology is a theme that runs throughout the book, tied to topics such as space management, electronic data exchange, point-of-sale systems, and floor ready merchandise. • Increased coverage of social responsibility, sustainability, fast fashion, new media and social networking • More detail added to chapters covering retail math, specifically inventory valuation and terms of purchase • Expanded coverage of brands and private labels • Teaching Resources: Instructor’s Guide and Powerpoint® Presentations

MERCHANDISE BUYING AND MANAGEMENT

4TH EDITION

www/TEXTBOOK

JOHN DONNELLAN

UK October 2013 ∙ US August 2013 512 pages ∙ 205 illus 185 x 235mm / 7.375 x 9.25 inches PB 9781609014902 ∙ £64.99 / $105.00 Individual eBook 9781609019679 ∙ $104.99 Fairchild Books

JOHN DONNELLAN was Dean of Business and Computer Information Systems at Holyoke Community College, USA. For 20 years, he held management, merchandising, and sales promotions positions in various department and specialty stores.

1. Retail Merchandising 2. Retailing Formats 3. Retail Locations 4. Retail Growth and Expansion 5. Communicating with Consumers

The Development and Distribution of Consumer Products

Pricing, Planning, And Purchasing Retail Inventories

6. Fashion Merchandising 7. Brands and Private Labels 8. Merchandise Resources

12. Retail Pricing 13. Planning Sales and Inventory 14. Purchase Terms

The Financial Aspects of Merchandising

Merchandise Control and Presentation

9. Measures of Productivity 10. Merchandising Accounting 11. Inventory Valuation

15. Merchandising Controls and Report Analysis 16. Store Layout and Merchandise Presentation

contents

The Structure Of The Retail Industry

www.bloomsbury.com • US, Canada, South America • 888-330-8477 • [email protected]

9

Fashion Merchandising and Promotion TEXTBOOK

Fashion Buying From Trend Forecasting to Shop Floor David Shaw and Dimitri Koumbis Fashion Buying: From Trend Forecasting to Shop Floor looks at what fashion buying entails in terms of the activities, processes and people involved from the perspective of the fashion buyer. It breaks down the five key areas of buying activity for those wishing to pursue a career in the industry: the role of the fashion buyer, sources of buying inspiration, sourcing and communication, merchandise planning, and trends in fashion buying. • Features insightful interviews with successful fashion creatives alongside business case studies, putting the contents of each chapter into professional context and perspective • Exercises and activities also enable you to apply your knowledge of the subject as you work through the book Fashion Buying is an invaluable go-to handbook for fashion design, marketing, buying and merchandising students. DAVID SHAW is an academic, consultant trainer and writer. DIMITRI KOUMBIS teaches courses in Fashion Merchandising and Marketing at the Art Institute, New York, USA.

CHAPTER 2: SOURCES OF BUYING INSPIRATION Buyers, Designers and Markets Market Research Trend Forecasting Case Study: Promostyl Interview: Matthew Jeatt for Promostyl Chapter 2 Summary and Review Questions/Exercise CHAPTER 3: SOURCING AND COMMUNICATION What is a Supply Chain? Product Development and Selecting Lines Buying Offices Making the Product Purchase Case Study: Lambert and Associates

Retail Buying

Interview: Buyer for Lambert and Associates Chapter 3 Summary and Review Questions/ Exercise CHAPTER 4: MERCHANDISE PLANNING What is Merchandise Planning? Developing a Season Buying Plan Product Sampling and Preparation Retail Pricing Strategies Case Study: SAP Interview: Stephen Henley for SAP Chapter 4 Summary and Review Questions/ Exercises

contents

CHAPTER 1: THE FASHION BUYER What is a Fashion Buyer? Retail Environments and the Buyer Fashion Buying Approaches Case Study: Anthropologie Interview: Women’s Buyer at Anthropologie Chapter 1 Summary and Review Questions/Exercise

CHAPTER 5: TRENDS IN FASHION BUYING Promotional Activities Technology Corporate Social Responsibility Case Study: Banana Republic Interview: Buyer for Banana Republic Chapter 5 Summary and Review Questions/ Exercises

UK August 2013 ∙ US October 2013 176 pages ∙ 200 colour illus 230 x 160mm / 9.1 x 6.3 inches PB 9782940411689 ∙ £23.99/ $41.95 Library eBook 9782940447541 ∙ £23.99 / $37.99 Series: Basics Fashion Management Fairchild Books

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4th edition

From Basics to Fashion Richard Clodfelter This comprehensive book provides students with the skills and savvy needed to become successful buyers in any area of retail. Its simple and straightforward approach presents step-by-step instructions for typical buying tasks, such as identifying and understanding potential customers, creating a six-month merchandising plan, and developing sales forecasts. This new edition contains up-to-date coverage of important retailing trends and technological advances, including social responsibility, sustainability, fast fashion, and the use of new media and social networking. Ample activities – drawn from real-world merchandising and incorporating current trends – give students the opportunity to apply critical skills as they would in a professional environment. • New additions to this edition include a fresh, contemporary retailing examples in end-of-chapter ‘Snapshot’ and ‘Trendwatch’ case studies • A companion CD-ROM, referenced throughout book, provides additional opportunity for the practical application of concepts using computerized spreadsheets • Includes step-by-step instructions for typical buying tasks, such as identifying and understanding potential customers, creating a six-month merchandising plan, and developing sales forecasts • Teaching Resources: Instructor’s Guide and Powerpoint® Presentations RICHARD CLODFELTER is a Professor in the College of Hospitality, Retail, and Sport Management at the University of South Carolina, Columbia, USA.

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UK September 2012 ∙ US July 2012 576 pages ∙ 75 colour illus 244 x 189mm / 9.6 x 7.4 inches PB 9781609012779 ∙ £55.00 / $90.00 Available on CourseSmart (9781609017859) Pricing Available Upon Request Fairchild Books

Fashion Merchandising and Promotion TEXTBOOK

Visual Merchandising for Fashion Sarah Bailey and Jonathan Baker This book will help visual merchandisers develop new ways of working within the fashion retail business and will define a theoretical underpinning of visual merchandising principles. Examples are used to highlight and amplify the theoretical narratives existing in consumer spaces and their representations. Interviews provide invaluable advice from all levels of industry. • Includes activities to encourage an interactive approach • Includes interviews with visual merchandisers from a range of fashion environments including Liberty London, Beyond Retro and Anthropologie

SARAH BAILEY is Course Director for the BA Hons Fashion Retail Branding and Visual Merchandising degree course at the London College of Fashion, UK. JONATHAN BAKER is the Course Director of the BA (Hons) Fashion Retail Branding and Visual Merchandising course at the London College of Fashion, UK.  Product handling techniques

Colour in visual merchandising 

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CHAPTER 2: VISUAL DISPLAY PRODUCTION

Applying the theory

4

One thing that it particular key in product handling are the methods used by old masters. We can analyse the paintings of historical artists and identify a considerable amount of ‘dynamics’ which are very much relevant in the way we work today. Vertical lines Within visually merchandised spaces, vertical lines play an essentially part in drawing the customer’s eye around a space. Vertical lines are essentially straight lines which represent the shortest possible route between two points. Visual merchandising therefore should encourage the viewer to inspect the merchandise rhythmically up and down forcing them to open their eyes further and view more of the installation. Vertical lines can be interpreted as stabilising, however when vertical lines are positioned diagonal they become more active and energising. V shapes draw ones attention faster than other shapes and are commonly used to that effect.

2 3

UK December 2013 ∙ US February 2014 208 pages ∙ 200 colour illus 230 x 160mm / 9.1 x 6.3 inches

1 5

Horizontal lines

1 Hermes Paris 2011 vertical 2 John Galliano – circular shapes 3 Nike Town Live for the Game - horizontal fixtures 4 Topshop Oxford Street - vertical lines 5 Letterpress blocks 6 Diesel Rollercoaster - horizontal lines

Horizontal lines used within a commercial space can be identified through the use of tables, shelves or fixtures. These add a sense of intrigue to the shopping experience as it relies on restricting the view of the product to the customer while enticing them to take a closer look. Equally, if we apply a more lateral approach to visual merchandising horizontal lines can be identified in such instances as reclining mannequins on a chaise-longue for example or stripes in vinyl placed on the fenestration. We can use both vertical and horizontal lines to frame a window or create a focus; horizontal lines can give a relaxing effect, drawing on nature’s horizon.

PB 9782940496129 ∙ £23.99 / $41.95 Library eBook 9782940447701 ∙ £23.99 / $41.99 Series: Basics Fashion Management 6 7

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7 Topman Oxford Street – squares, rectangles and triangles masculine

What is Visual Merchandising? Designing The Customer Experience Where do Visual Merchandisers Work? Activity

Journey to Sale

5. The Future Of Visual Merchandising

Activity

Shopping Trends - Innovation

4. Displaying Merchandise Retail Windows Landscaping Selection of Fashion Merchandise

New Retail Concepts Technology and Digital Visual Merchandising Sustainability Internationalisation Activity

2. Display Basics

Fixtures

Line

Activity

Appendix:

Composition

Visual Concept Research and Design

Working in the Visual Merchandising Industry

Texture

Approaches to Visual Design Research

Becoming Part of the Industry

Colour

Sources of Visual Inspiration

Finding Your First Job

Lighting

Visual Design Development

Work Experience

Activity

Model Concepts

Going it Alone

Concept Development

Visual Presentation Standards

Assessing Physical Space

Working With Suppliers

25 Themes to Get You Started

Glossary

3. Space Planning Principles Store Architecture and Retail Formats Space Hierarchy Space Planning Layouts

Index

Customer Navigation

Acknowledgements

contents

1. Visual Merchandising and Designing the Customer Experience

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Fashion Merchandising and Promotion WWW/TEXTBOOK

Marketing Fashion A Global Perspective Patricia Mink Rath, Richard Petrizzi and Penny Gill This new edition of the bestselling text is for anyone in merchandising, from store planners and manufacturers to visual merchandisers, and includes a new section on sustainability. Marketing Fashion: A Global Perspective is the first text to engagingly present marketing theories and practices as they specifically relate to apparel, home goods, and other design-driven products. Using a variety of contemporary examples, the text details how fashion marketers develop and apply marketing strategies that meet consumer needs at a profit. Topics covered include: consumer and organizational buying behaviour, market research, market segmentation, product planning and positioning, pricing, retailer relationships, and additional classic marketing theories and practices as they relate to design. In addition, Marketing Fashion explores in-depth contemporary issues such as technology, social responsibility and ethics, sustainability, and globalization, and considers effective strategies for various economic climates. • Features a wealth of colour illustrations, case studies, and other current examples of fashion marketing practices that provide visual, real-world instruction • Includes engaging special features for class discussion, research, and individual and group projects, including case studies, “Fashion Marketing in Focus” boxes, “What Do You Think?” and “What’s Your Point of View?” • Assignments can form the basis of a marketing plan for a business the student has selected to study throughout the term. The appendix includes an example of a successful marketing plan • Teaching Resources: Instructor’s Guide and PowerPoint® presentations

UK July 2012 ∙ US May 2012 528 pages ∙ 255 colour illus 203 x 254mm / 8 x 10 inches PB 9781609010782 ∙ £70.00 / $110.00 Fairchild Books

PATRICIA MINK RATH is a consultant in marketing education in Winnetka, Illinois, USA. She teaches courses in consumer behaviour, fashion merchandising, and retail buying. RICHARD PETRIZZI is an Associate Professor in the Marketing and Management Department at the Illinois Institute of Art, Chicago, USA. PENNY GILL is President of PWG Communications Inc., White Plains, NY, USA.

Martin M. Pegler 2011 ∙ 432 pages ∙ 280 full colour 216 x 288mm / 8.5 x 11 inches PB 9781609010843 ∙ £60.00 / $98.00 Available on CourseSmart (9781609014469) Pricing Available Upon Request Fairchild Books

Silent Selling

WWW/TEXTBOOK 4th edition

Best Practices and Effective Strategies in Visual Merchandising Judith Bell and Kate Ternus The new edition of Silent Selling teaches the best practices in visual merchandising as currently applied by professionals in the retail industry, providing readers with the knowledge and skills to create retail environments that sell. 2011 ∙ 448 pages ∙ colour 216 x 228mm / 8.5 x 11 inches PB 9781609011536 ∙ £55.00 / $88.50 Available on CourseSmart (9781609017392) Pricing Available Upon Request Fairchild Books

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key titles

Visual Merchandising and Display 6th edition

WWW/TEXTBOOK

Fashion Merchandising and Promotion TEXTBOOK

Basics Fashion Management 02: Fashion Promotion Building a Brand Through Marketing and Communication Gwyneth Moore Fashion Promotion is an inspiring and practical guide to promoting a brand. It addresses the new ways in which brands engage with customers, through the latest digital channels as well as traditional methods. Topics covered include developing a brand from an original idea, the impact of blogging and street style sites, digital fashion, online and offline marketing techniques, creating the vision behind a brand, and public relations. • Examines traditional and digital methods of communicating with the customer, and looks at the impact digital technology has had on fashion PR and marketing • Interviews with key professionals, including Jose Neves, Julia Kasper, Rebecca Gray, Jayne Pierson, Harriet Williams and Emma Griffiths provide inspiring insights into the fashion promotion industry GWYNETH MOORE has worked in marketing, branding and public relations for more than 20 years, promoting and publicizing products and services ranging from fashion and lifestyle brands to telecommunications and education services. She currently works in the UK as a freelance brand and PR consultant, edits two consumer blogs and is involved in the careers of a number of young fashion designers.

Guide to Producing a Fashion Show 3rd edition

UK October 2012 ∙ US November 2012 184 pages ∙ 200 colour illus 230 x 160mm / 9.1 x 6.3 inches PB 9782940411870 ∙ £23.99 / $37.95 Library eBook 9782940447473 ∙ £23.99 / $39.99 Series: Basics Fashion Management AVA Publishing

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Judith C. Everett and Kristen K. Swanson “I love the writing style. Not only does it interest and excite the students, this is the one book they keep and refer back to!” Diane Ellis, Meredith College, USA Guide to Producing a Fashion Show is the definitive source of information for anyone interested in fashion show production. All aspects of fashion show production are covered, including: reasons to produce a show, planning, model selection, merchandise selection, staging and music, budgeting, show preparation, execution, and evaluation. The third edition has been updated with behind-the-scenes examples and expanded coverage of technology, the internet and social media, training amateur models and how to set up and run a dressing room. Whether the reader is experienced or a novice this text provides a step-by-step process for how to plan, organize, promote and execute an exciting fashion show. • Chapter features include objectives, key fashion show terms, summary recaps, discussion questions, activities, and capstone projects • Notes from the Runway feature includes insider interviews in each chapter • A 16-page colour insert features real world fashion show and behind the scenes examples • Accompanying CD-ROM includes all blank sheets, forms, and templates needed to plan and execute a fashion show • Teaching Resources: Instructor’s Guide and PowerPoint® presentations

UK March 2013 ∙ US January 2013 320 pages ∙ 133 bw illus, 16 pp colour plate section 216 x 228mm / 8.5 x 11 inches PB 9781609015060 ∙ £55.00 / $83.00 Fairchild Books

JUDITH C. EVERETT is Professor Emerita of Merchandising in the School of Communication at Northern Arizona University, USA. KRISTEN K. SWANSON is Professor of Merchandising in the School of Communication at Northern Arizona University, USA.

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Fashion Merchandising and Promotion www/TEXTBOOK

Fashion Forward A Guide to Fashion Forecasting Chelsea Rousso Fashion Forward demystifies the exciting career of the fashion forecaster and fosters skills and instincts that will benefit any design professional. The book begins with an overview of fashion forecasting theory and concepts and then leads readers through a step-by-step guide to creating and presenting a forecast. The author’s expertise, honed over decades of industry and academic experience, is supplemented by real world examples and interviews with both influential forecasters and the designers who rely on them. • Each chapter includes a chapter overview and interview with a forecasting professional • Activities and discussion topics encourage experimentation with conceptual ideas and refine skills to continue forecasting • End-of-chapter elements include summary and review, list of terms used in chapter, discussion ideas for group learning, in-class activities and assignment ideas for outside the classroom • Teaching Resources: Instructor’s Guide and PowerPoint® presentations CHELSEA ROUSSO teaches fashion merchandising and design at the Art Institute of Fort Lauderdale, Florida, USA, focusing on fashion forecasting, design and textiles.

Evelyn L. Brannon

WWW/TEXTBOOK

3rd edition

This best-selling text demystifies fashion forecasting-making techniques accessible to students, explaining information gathering and how to organize and analyze the lastest information in order to present a fashion forecast.

Susan Dillon The Fundamentals of Fashion Management provides a guide to how the fashion industry works, examining the processes, roles and objectives that make up this multifaceted industry. 2011 · 184 pages · 200 colour illus · 230 x 200mm / 9.1 x 7.9 inches PB 9782940411580 · £26.50 / $38.50 Series: Fundamentals AVA Publishing

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PB 9781563679247 ∙ £50.00 / $80.00 Available on CourseSmart (9781609013981) Pricing Available Upon Request Fairchild Books

Fashion 2nd edition Entrepreneurship

WWW/TEXTBOOK

Retail Business Planning Michele M. Granger and Tina Sterling Fashion Entrepreneurship helps students develop the business concept, provides them with knowledge of basic business principles and guides them to write a retail business plan.

2010 ∙ 480 pages ∙ colour illus 185 x 235mm / 7.375 x 9.25 inches PB 9781563678202 ∙ £60.00 / $99.00 Available on CourseSmart (9781609013981) Pricing Available Upon Request Fairchild Books

The Fundamentals of Fashion Management

352 pages ∙ colour illus · 203 x 203 mm / 8 x 8 inches

2011 ∙ 392 pages ∙ colour illus 216 x 228mm / 8.5 x 11 inches PB 9781609011345 ∙ £50.00 / $85.00 Fairchild Books

TEXTBOOK

WWW/TEXTBOOK

Going Global

2nd edition

The Textile and Apparel Industry Grace I. Kunz and Myrna B. Garner Going Global provides a coherent framework for understanding globalisation in the field of textile and apparel, from the perspective of not only business, but all major constituencies affected by world trade. 2011 ∙ 464 pages ∙ 8 pp colour plate section 187 x 234 mm / 7.4 x 9.2 inches PB 9781609011062 ∙ £55.00 / $88.00 Available on CourseSmart (9781609017361) Pricing Available Upon Request Fairchild Books

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key titles

Fashion Forecasting

UK April 2012 ∙ US February 2012

Fashion Law Fashion Law

www/TEXTBOOK 2nd edition

A Guide for Designers, Fashion Executives, and Attorneys Edited by Guillermo C. Jimenez and Barbara Kolsun The revised second edition of Fashion Law provides authoritative information on all legal aspects of the fashion business–from the start-up phase all the way through international expansion. The book covers the principal legal disciplines that play a role in the life of a fashion company: intellectual property protection and litigation, licensing, anti-counterfeiting, start-up and finance, commercial transactions, employment regulations, advertising and marketing, celebrity endorsements, and custom and international trade. With contributions by attorneys specializing in various aspects of fashion law and business issues, editors Jimenez and Kolsun provide a foundation for law students as well as fashion student, fashion professionals and their legal advisors. • Practical, tips and templates for legal agreements that apply to the unique needs of the fashion industry • Key legal issues, summaries of court cases and real-life examples presented in straightforward and accessible language • Teaching Resources: Instructor’s Guide GUILLERMO C. JIMENEZ, ESQ., is Professor of International Trade and Marketing at Fashion Institute of Technology, USA. Jimenez is an academic advisor to the Fashion Law Committee of the New York County Law Association and is a technical expert on international trade for the International Chamber of Commerce.

UK May 2014 ∙ US March 2014 ∙ 368 pages ∙ 156 x 235mm / 6.125 x 9.25 inches PB 9781609018955 ∙ £59.99 / $90.00 Individual eBook 9781609018610 ∙ £59.99/ $89.99 Fairchild Books

BARBARA KOLSUN, ESQ., is Executive Vice President and General Counsel of Stuart Weitzman, LLC, a luxury shoe design, manufacturing and retail company based in New York, USA, and adjunct Professor of Fashion Law, at Benjamin Cardozo School of Law and New York University School of Law.

Dress, Law and Naked Truth A Cultural Study of Fashion and Form Gary Watt Why are civil authorities in so-called liberal democracies affronted by public nudity and the Islamic full-face ‘veil’? Why is law and civil order so closely associated with robes, gowns, suits, wigs and uniforms? Why is law so concerned with the ‘evident’ and the need for justice to be ‘seen’ to be done? Why do we dress and obey dress codes at all? In this, the first ever study devoted to the many deep cultural connections between dress and law, the author addresses these questions and more. Engaging with sources from The Epic of Gilgamesh to Shakespeare, Carlyle, Dickens and Damien Hirst, Watt draws a revealing history of dress and civil order and offers challenging conclusions about the nature of truth and the potential for individuals to fit within the forms of civil life. GARY WATT is Professor of Law at the University of Warwick, UK. He is a National Teaching Fellow and a Fellow of the Higher Education Academy, UK. 4. The Face the Law Makes

Author’s Preface

5. Addressing the Naked and Unfolding The Veil

1. Dress Is Law 2. Foundations of the State of Dress 3. Shakespeare on Proof and Fabricated Truth

6. Something More Comfortable: A Fitting Conclusion

contents

Series Editor’s Foreword

UK August 2013 ∙ US October 2013 160 pages ∙ 234 x 156mm / 9.2 x 6.1 inches HB 9781472500427 ∙ £50.00 / $90.00 Individual eBook 9781472500434 ∙ £50.00 / $77.99 Library eBook 9781472500458 ∙ £150 / $241 Series: The WISH List Bloomsbury Academic

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Product Development www/TEXTBOOK

Apparel Quality A Guide to Evaluating Sewn Products Janace E. Bubonia Apparel Quality is a user-friendly guide to evaluating apparel quality that presents the roles of product designers, manufacturers, merchandisers, testing laboratories, and retailers from product inception through the sale of goods. The contents provide an overview of quality characteristics and cues, consumer influences and motivations impacting purchasing decisions, perceptions of quality in relation to apparel manufacturing and production processes, and assembly techniques in regard to price point and desired quality level of a product. • Focuses on both US and International standards and regulations required for apparel quality, performance, and safety • Supplementary lab manual includes instructions for the lab activities and templates • Includes chapter objectives, end of chapter summary and activities, key terms, reference pages, tables and boxes • Teaching Resources: Instructor’s Guide and PowerPoint® presentations JANACE E. BUBONIA, is an Associate Professor and Chair of the Department of Design, Merchandising and Textiles at Texas Christian University, USA.

3. Raw Materials Selection and Performance 4. Apparel Sizing and Fit Strategies 5. ASTM and ISO Stitch Classifications 6. ASTM and ISO Seam Classifications 7. Sourcing and Mass Production of Sewn Products

8. Labeling Regulations and Guidelines for Manufactured Apparel 9. Safety Regulations and Guidelines for Wearing Apparel 10.Measuring Product Quality 11.Quality Assurance Along the Supply Chain 12. Performance Test Selection and Quality Evaluation

Apparel Merchandising

contents

1. Overview of Apparel Quality and the Consumer 2. Integrating Quality into the Development of Apparel Products

UK May 2014 ∙ US May 2014 480 pages ∙ 365 colour illus ∙ 216 x 228mm / 8.5 x 11 inches PB 9781609015121 ∙ £70.00/ $105.00 Individual eBook 9781609018641∙ £69.99/ $89.99 Fairchild Books

www/TEXTBOOK 3rd edition

The Line Starts Here Jeremy A. Rosenau and David L. Wilson Apparel Merchandising: The Line Starts Here is a comprehensive review of apparel merchandising. It describes today’s challenges for both apparel manufacturers and retailers in meeting the consumer’s demands for the right products at the right prices at the right times. Approached from the perspective of the apparel product manager, Rosenau and Wilson cover men’s and women’s sportswear and activewear and children’s wear in both domestic and international markets. The text follows the evolution of the merchandising function with an emphasis on product development and production efficiency, highlighting the philosophies of industry executives and the effective integration of the merchandising, marketing, and manufacturing functions. • “Executive Perspectives” feature profiles merchandising professionals from companies including Theory, Lilly Pulitzer and Eileen Fisher • Includes chapter objectives summaries, key terms, discussion questions, learning activities, references and resources to enhance learning, as well as case studies • Teaching Resources: Instructor’s Guide and PowerPoint® presentations NEW TO THIS EDITION: • Addresses the impact of technology and social media on all facets of product development • Emphasis on the increased importance of retailer’s private brands JEREMY A. ROSENAU is Professor Emeritus and Program Director of the graduate program in Fashion Apparel Studies at Philadelphia University, USA, and Program Director of Master of Science in Fashion Apparel Studies. DAVID L. WILSON is a former Assistant Professor and Director of Fashion and Apparel Programs at Philadelphia University, USA.

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UK February 2014 ∙ US December 2013 560 pages ∙ 120 bw illus 185 x 235mm / 7.375 x 9.25 inches PB 9781609015398 ∙ £64.99 / $95.00 Individual eBook 9781609019648 ∙ £64.99/ $104.99 Fairchild Books

Product Development Beyond Design

www/TEXTBOOK 3rd edition

The Synergy of Apparel Product Development Sandra J. Keiser and Myrna B. Garner This practical text takes students step-by-step through the pre-production processes of apparel product development: planning, forecasting, fabricating, line development, technical design, pricing, and sourcing. It demonstrates how these processes must be coordinated to get the right product to market, when consumers want it, and at a price they are willing to pay. Now in full color, this Third Edition includes a greater focus on sustainability and business ethics, fast fashion calendars and their impact on product development, and the effect of social media on design and distribution. The text also includes a discussion of how technologies– such as color matching, body scanning, and the use of avatars for fitting and patternmaking– have advanced in their accuracy and commercial applications. Chapters have been updated to incorporate current practices in sourcing, pricing, and costing with a more focused point of view on how increasingly sophisticated distribution channels impact the product development process. • Includes explanations of various careers in apparel product development and the skill sets required for each • Includes references to contemporary developments with examples relevant to today’s generation • Includes international examples and case studies that address the effects of globalization. • Teaching Resources: Instructor’s Guide and PowerPoint® presentations

SANDRA J. KEISER is Associate Professor and chairperson of the Fashion Department of Mount Mary College, Wisconsin, USA. MYRNA B. GARNER is Associate Professor in the Department of Family and Consumer Sciences at Illinois State University, Illinois, USA, and a member of the Graduate Faculty.

figure 8.8a–b When a square is filled with vertical stripes it appears to be wider than it is long; when a square is filled with horizontal stripes it appears to be taller than it is wide. The same effect occurs when stripes are used as a pattern on a silhouette. Note that the dress with the vertical stripes appears to be wider, particularly through the hips.

figure 8.9 Karl Lagerfeld utilizes texture to add interest in this monochromatic ensemble for the spring 2011 Chanel couture collection.

A

B

UK August 2012 ∙ US June 2012 624 pages ∙ colour illus 216 x 228 mm / 8.5 x 11 inches PB 9781609012267 ∙ £65.00 / $104.00 Available on CourseSmart (9781609017453) Pricing Available Upon Request Fairchild Books

figure 8.10a Marc Jacobs was one of many designers who used dots and discs for fall 2011.

C

figure 8.10b Etro is known for its use of strong prints. This dress from the fall 2011 collection shows how important it is to maintain the integrity of large prints by not cutting them up with unnecessary seamlines.

colors (addition of gray) absorb light and tend to be more slimming, so wearing a darker shade of a warm color or a less-saturated version of a bright color that is in fashion may be more flattering on some figures. On the other hand, lighter colors are often more flattering to the face, hence collars are often white or a lighter color than the body of the garment. Color harmonies also affect how we perceive the figure. Monochromatic ensembles that are made up of a single color or shades of that color tend to be slimming because they create an illusion of height. When an ensemble consists of a top and bottom of different colors, that long line is broken up into two shorter shapes. Some customer groups are more sensitive to these nuances than others. Understanding how color affects the figure can help to provide options when selecting a color range for a particular silhouette or when determining how to best use color harmonies that are in fashion.

organza, stand away from the body; as a result, the garment silhouette may need some reference to the body to communicate its shape. Drapey fabrics, such as matte jersey, and fabrics cut on the bias tend to cling to the body, identifying its natural curves. By using a dress form, a designer can explore the natural attributes of a fabric. Fabrics and their textures are used to best advantage when allowed to do what they do naturally. Pattern Some fabrics also have pattern. Patterns can be created by the texture of the fabric; they can be constructed into the fabric through weaving, knitting, or felting; or they can be applied to the fabric through printing, embossing, and other specialty techniques such as dévoré or laser cutting. The popularity of specific patterns is subject to fashion cycles (Figure 8.10a). In a manner similar to line, color, and texture, patterns can help to create figure illusions. In general, the pattern should be scaled to the wearer. As noted in Chapter 6, the placement of large motifs may need to be engineered on the body to avoid calling attention to certain body parts. This can be more easily accomplished with today’s digital printing technology. Large patterns are generally best used in garment silhouettes where there is extra fabric, and the pattern can drape in folds over the body or in slim silhouettes where there are a minimum of darts and seams (Figure 8.10b).

Texture Texture is the term used to describe the surface or hand of a fabric and can be attributed to a combination of the fabric’s characteristics—fiber, yarn, construction, weight, and finish (Figure 8.9). A fabric’s hand affects how it drapes. The texture of a fabric affects how we perceive color. Shiny surfaces, such as satin or metallics, reflect light, emphasizing the color and making the figure look larger. Pile surfaces, such as velvet, chenille, and corduroy, absorb light, giving the color more variation. Pile surfaces also have more loft or thickness, thus making the figure look larger. Stiff fabrics, including taffeta and

ChaptEr 8: GarmENt StyLING

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Janace Bubonia Updates the industry terms first listed in Fashion Production Terms (1979) to reflect advances in machinery and technology and the impact of globalization. 2011 ∙ 416 pages 432 colour illus ∙ 216 x 228 mm / 8.5 x 11 inches PB 9781563677625 ∙ £55.00 / $86.50 Fairchild Books

key titles

Apparel Production Terms and Processes

TEXTBOOK

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Fashion Design TEXTBOOK

Fashion Thinking Creative Approaches to the Design Process Fiona Dieffenbacher By following nine award-winning student designers through their thought processes in response to a brief, Fashion Thinking establishes key approaches to design and encourages this process of discovery. Each student project represents a diverse range of strategies at each stage of the design cycle. These examples offer a unique and inspiring insight into the thinking behind a final collection by following students throughout their various stages of development, Supported by beautiful imagery and illuminating perspectives from professionals throughout the fashion industry, Fashion Thinking is a book that no aspiring fashion designer should be without! • Richly illustrated to show each part of the process in an easy-to-follow step-by-step way

• Includes case studies and interviews from designers working in the industry, in academia and across retail, design and media FIONA DIEFFENBACHER is Program Director of the BFA Fashion Design course at Parsons The New School for Design, New York, USA. 98

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‘Neurovision’ by Jovana Mirabile

Concept / Practice

UK January 2013 ∙ US February 2013

1

224 pages ∙ 200 colour illus Don’t discard anything!

4/5/6/7

4

3D drape, photograph and sketch

It is crucial to exhaust every option and push ideas as far as possible. In this particular process, Jovana employed a variety of approaches: 3D draping with paper on the dress form, zero-waste pattern-making, photography, 2D sketching and back to 3D draping. Moving back and forth between these methods enabled Jovana to see the design process from new perspectives, and an idea gains momentum when seen from a variety of vantage points.

Jovana moved between 2D and 3D to play with flat pattern, photography and draping. This enabled her to embroidery and zero-waste techniques.

Library eBook 9782940447602 ∙ £37.99 / $64.99

A threefold linear framework was evident in the 3D draping process: the draping on the dress form itself, photographing the drapes, and then tracing over the photographs to create new ideas. Silhouettes were then developed with more detail in the sketchbook. At this point in the process, each new design formed a modified version of the previous iteration and key elements were carried forward. Zero-waste patterncutting techniques informed 3D development by starting with one yard (90cm) of fabric and exploring shapes on the dress form without cutting. Seeking to highlight the wholeness of the body, Jovana chose to completely eliminate side seams. This was achieved by draping on the bias and creating bias tubes, which where then draped on the form automatically. After the 3D phase, Jovana started to develop key design details in 2D and began pairing individual items together in head-to-toe looks. At this point in the 2D sketch phase, attention was paid to the mixing of prints, colours, knits, and embroideries, along with a consideration of how the inside of the garments could reflect the concept of the body beneath the skin. This led to the idea of reversibility.

300 x 220mm / 11.8 x 8.7 inches PB 9782940411719∙ £37.99 / $59.95

play with ideas of print, colour, knit,

Series: Required Reading Range AVA Publishing

7 2

5

1/2/3 Exploring mood, colour and a muse Jovana used the concept of a muse to move her ideas forward. By examining who this might be, a more clearly defined ideal emerged.

6

3

Bradley Quinn “Cerebral fashion gets the scholarly treatment by a writer intent on deconstructing the work of such artists and designers as Issey Miyake, Hussein Chalayan, Mandarina Duck, and Lucy Orta ... Armed with thorough research and surprisingly personal interviews, Quinn makes fashion look smarter than the clothes could ever make the man.” Black Book 2002 ∙ 240 pages ∙ 50 bw & 16 colour illus ∙ 234 x 156mm / 9.2 x 6.1 inches PB 9781859736203 ∙ £17.99 / $32.95 HB 9781859735992 ∙ £53.00 / $104.95 Library eBook 9781845209360∙ £52.99 / $84.99 Berg Publishers

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key titles

Techno Fashion

Fashion Design TEXTBOOK

Fashion Design: The Complete Guide John Hopkins “For a reader who is considering this career path or beginning their coursework, the text gives a very clear and comprehensive understanding of fashion design. It’s excellent at covering the primary areas of the fashion design industry.” Steven Faerm, Parsons, The New School for Design, USA “A useful addition for technical/vocational programs or extremely comprehensive fashion collections. Summing Up: Recommended.” Choice This behind-the-scenes guide to the study of fashion is for current and aspiring designers, fashion lovers and students. It provides an all-inclusive overview of the entire design process, covering the history of fashion, fashion illustration, colour and fabrics, the journey from concept to finished garment, research processes, presenting a collection and professional practice. • Contributions from industry professionals span centres of fashion across London, Paris and New York • Includes suggestions for further resources, illustrated with beautiful examples of work from both established and up-and-coming designers JOHN HOPKINS is Head of Fashion and Textiles at Winchester School of Art, UK.

The Fundamentals of Fashion Design

UK January 2012 ∙ US February 2012 208 pages ∙ 200 colour illus 300 x 220mm / 11.8 x 8.7 inches PB 9782940411528 ∙ £37.50 / $52.50 Library eBook 9782940447220 ∙ £37.99 / $64.99 Series: Required Reading Range AVA Publishing

TEXTBOOK 2nd edition

Richard Sorger and Jenny Udale “I like the compact layout of this book as well as the current inspiring images and modern appeal - very student friendly.” Amanda Lovell, Art Institute of New York City, USA “A good introductory text with informative visuals mapping the important aspects to Fashion Design.” Alison Gault, University of Ulster, UK The Fundamentals of Fashion Design, offers a fully illustrated introduction to the key elements of fashion design, from the initial concept of a fashion idea to realising it in 3D form. • New case studies featuring contemporary designers contextualise the ideas explored within the book and offer key insights into working – and succeeding – in the fashion industry • A range of design exercises also helps readers to discover new techniques • Features interviews with: Alan Humphrey Bennett, Bally; Boudicca; Kristin Forss, Marni; Louise Grey; Richard Grey; John-Gabriel Harrison; Virginia James, Poetry and Wrap; Peter Jensen; Winni Lok, Calvin Klein; and more RICHARD SORGER is the fashion design tutor at Middlesex University, UK. JENNY UDALE is a Lecturer at Middlesex University and Ravensbourne College, UK and a freelance textile and womenswear designer.

UK July 2012 ∙ US August 2012 208 pages ∙ 200 illus ∙ 230 x 200mm / 9.1 x 7.9 inches PB 9782940411788 ∙ £26.50 / $38.50 Library eBook 9782940447404 ∙ £26.99 / $42.99 Series: Fundamentals AVA Publishing

Color and Design Edited by Marilyn DeLong and Barbara Martinson Color and Design addresses how we understand and experience colour, and through specific examples explores how colour is used in a spectrum of design-based disciplines including apparel design, graphic design, interior design, and product design. Through highly engaging contributions from a wide range of international scholars and practitioners, the book explores colour as an individual and cultural phenomenon, as a pragmatic device for communication, and as a valuable marketing tool. MARILYN DELONG is Professor of Apparel Studies, College of Design, University of Minnesota, USA. BARBARA MARTINSON is Professor of Graphic Design, College of Design, University of Minnesota, USA.

UK November 2012 ∙ US January 2013 256 pages ∙ 36 bw & 47 colour illus 244 x 172mm / 9.6 x 6.8 inches PB 9781847889515 ∙ £19.99 / $34.95 HB 9781847889522 ∙ £55.00 / $99.95 Individual eBook 9781847889539 ∙ £19.99 / $30.99 Library eBook 9781472520159 ∙ £60.00 / $96.00 Berg Publishers

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Fashion Design New price!

Creativity in Fashion Design

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An Inspiration Workbook Tracy Jennings Creativity in Fashion Design: An Inspiration Workbook aims to inspire and empower designers by helping them to develop their personal creativity and use it as a tool to achieve design goals. Activities throughout the book demonstrate that creativity is a tool available to anyone who understands its components and teach students to identify and then seek out or avoid the personal and environmental factors that promote or inhibit their own creativity. • Workbook format balances creativity theory with immediate application • Student resources include journal templates, chapter-opening vignettes and interactive illustrated activities • Teaching Resources: Instructor’s Guide and PowerPoint® presentations TRACY JENNINGS is based at Dominican University, Illinois, USA.

textiles

A fashion designer’s domain-specific knowledge should include:

Figure

1.4

Women of the late 1800s increasingly worked outside the home and participated in recreational athletic activities. This tendency contributed to the pared down fashion silhouette of the time. Although the expansive crinoline had fallen out of style, women were loathe to discard the dresses that covered them, so they pulled excess fabric to the back for a bustled silhouette. The Charles Worth gown below features the generously draped bustle and elaborate embellishment of gowns worn at French and English courts during the period. © The Metropolitan Museum of Art/Art Resource, NY

Fibers have inherent properties that determine their end uses. For example, hydrophilic fibers, such as cotton and wool, absorb moisture so, most often, they are comfortable to wear. Hydrophobic fibers, such as polyester and acrylic, do not readily absorb moisture, so they are prone to static and can feel clammy against the skin. Fiber and fabric properties suggest how garments will drape, feel, and be worn, and also how they can be cleaned. Designers wanting to avoid returns at retail will familiarize themselves with fiber and fabric characteristics, so they can choose fabrics that are compatible with the ultimate end use of the product. In addition, new textile innovations are continually being introduced that can increase a fabric’s comfort, performance, and/or aesthetics. Designers need to keep abreast of these developments.

• The historical aspects of dress and the underlying conditions that lead to develop-

ments in fashion. • An appreciation of the cultural aspects of dress and their inherent meanings. • An understanding of the origins of, uses for, and care of fabrics and textiles. • An awareness of legendary designers and the impact they made on the field. • Familiarity with silhouettes, style terminology, and sources of information. • Knowledge of the skills of the discipline, such as patternmaking, dressmaking,

and tailoring.

2011 ∙ 280 pages ∙ 288 colour illus 216 x 228mm / 8.5 x 11 inches

legendary designers

• An aptitude for the technology used and developed in the field.

When you think of iconic designers, Christian Dior, Miuccia Prada, Narciso Rodriguez, Tracy Reese, or Carolina Herrera may come to mind. Or it could be American designers Calvin Klein and Ralph Lauren. Regardless, a league of fashion designers has paved the way for designers today. For example, Coco Chanel is often credited with ridding women’s fashion of constricting corsets and introducing menswear fabrics into women’s apparel (Figure 1.6). Each designer that has come before or is in the limelight today has made a contribution to what we know as contemporary fashion.

• An extensive understanding of one’s customer base or audience. • An understanding of anatomy and the proportion and movement of the

human body. • The guiding principles that underpin all design.

This knowledge is not gained quickly. It takes patience and devotion to develop a deep and broad base. Most disciplines are never really mastered, but continual learning always keeps the material fresh and exciting. Acquiring an ever-increasing body of knowledge gives the learner confidence, even as it stimulates inspiration. University courses within fashion design programs address many of the aspects listed here, and industry experience expands on the knowledge gained from coursework.

PB 9781563678950 ∙ £30.00/ $50.00 Figure

1.5 (above)

Traditional Japanese kimonos are made from

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a single, narrow length of cloth. The meticulously screened silk fabric was considered a precious resource, so the entire length was used. No fabric was cut away as waste. This Christian Dior creation is an amalgam of Japanese influences,

historical aspects of dress

but the drape of a single

Designers look to history for several reasons. First, there is no reason to reinvent the wheel, as the saying goes, each time a garment is made. Past eras reveal much in the way of clothing construction, sewing techniques, textiles used, and skills developed, and many of these tactics still have relevance in the apparel field today (Figure 1.4). The aesthetic aspects of dress are also explored. Dress is often considered as an art form that can reveal much about the cultural sensibilities of an age. When approaching the study of historical costume, designers rarely look at the dress of a period in isolation. They also consider the circumstances of when it was worn. Economic conditions, political climate, social structure, religion, technology, and other aspects are investigated, and these components can inform how certain items can be viewed and utilized today.

length of uncut silk fabric acknowledges the kimono as its inspiration. Courtesy of WWD/Giovanni Giannoni

Figure

styling into the twentieth century. She advocated simplicity and comfort over the structured silhouettes that came

cultural aspects of dress

before. Her soft tailoring

As with the study of historical dress, cultural aspects of dress are considered within the broad context of how a garment is developed and worn (Figure 1.5). Many cultural traditions evolve out of necessity, and skills in fabric construction, dyeing, and printing often originate from the indigenous natural resources available to the people. Designers want to ascertain, and be respectful of, the meanings behind the cultural aspects of dress. In this way, when they reference cultural facets in their designing, they honor the embodied traditions of the work.

complemented, rather than restricted the female form, and it epitomized the independent modern woman. Courtesy of Condé Nast Archive

22  creativity in fashion design

01_pp. 12-49.indd 22

1.6 (left)

Coco Chanel ushered new

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chapter 1: creativity and fashion design

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Janice G. Ellinwood Fashion by Design covers the elements and principles of design as they relate to fashion. Students will develop the eye of the fashion designer, able to identify and understand how to manipulate the elements and principles of design. 2011 ∙ 336 pages ∙ 278 colour illus ∙ 216 x 228mm / 8.5 x 11 inches PB 9781563678486 ∙ £60.00 / $93.50 Fairchild Books

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Fashion by Design

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Fashion Design Basics Fashion Design 01: Research and Design

TEXTBOOK 2nd edition

Simon Seivewright “A very useful sourcebook for both students and professionals. Breaks down the research and design process clearly, helping to understand the importance of relevant research for design.” Pasqualina Iarrobino, De Montfort University, UK Basics Fashion Design 01: Research and Design investigates fashion design research and how to use it to develop inspired designs and concepts. It includes new case studies and eleven interviews with key personnel, plus reflective exercises designed to instruct readers on how to excel in carrying out professional fashion research and design.

NEW TO THIS EDITION: • Revised and updated with a new design scheme and many new visuals from the catwalk, the studio and designers’ portfolios • Filled with new, full-length interviews with contemporary designers and creatives including Jenny Packham, Omar Kashoura, Alice Palmer, Julien Macdonald, Richard Sorger and Dr. Noki • Features helpful, practical exercises to support readers with their own understanding and creative development SIMON SEIVEWRIGHT runs the successful undergraduate Fashion degree at Northbrook College, UK. He has also recently completed a series of lectures on research and design methodologies in Shanghai, China, as well as at various UK universities.

UK January 2012 ∙ US February 2012 192 pages ∙ 200 colour illus 230 x 160mm / 9.1 x 6.3 inches PB 9782940411702 ∙ £23.50 / $34.50 Library eBook 9782940447305 ∙ £23.99 / $41.95 Series: Basics Fashion Design AVA Publishing

TEXTBOOK

Textiles and Fashion

2nd edition Exploring Printed Textiles, Knitwear, Embroidery, Menswear and Womenswear

BASICS FASHION DESIGN

TEXTILES AND FASHION

Jenny Udale

Exploring printed textiles, knitwear, embroidery, menswear and womenswear

Textiles and Fashion explores the integration of textile design with fashion. It begins with a brief history of textiles, showing the links with technical innovation and social developments. It then focuses on the processes of textile design, including the ethical and sustainable issues around textiles today. The book also provides practical information on fibre production, dyeing and finishing techniques. Various surface treatments are explored, as well as the way in which colour and trend influences fashion and textiles.

Jenny Udale

2nd edition

Through case studies and interviews, fashion and textile designers discuss their production processes and how they use textiles in their work. New to the second edition are exercises to help students to explore and further their knowledge of textiles and fashion.

NEW TO THIS EDITION: • Exercises aimed at helping students to explore further the world of textiles and fashion • Updated images bring an exciting and fresh look • Case studies and new interviews ensure readers will gain a clear and practical understanding of the world of textile design JENNY UDALE is a lecturer at the University of Middlesex and Ravensbourne College, UK.

TEXTBOOK

Basics Fashion Design 06: Knitwear

TEXTBOOK

Elinor Renfrew and Colin Renfrew

Juliana Sissons

“Good book, very visual and great case study insights into designers. The student collection is particularly useful in terms of how to develop a student portfolio for employability.” Rachel Studd, University of Manchester, UK

“A fascinating study of knitwear design, from the initial approach to creative development, construction through both texture and shape, and details ... There are some incredible photographs, from swatches and sketches to full blown catwalk images showing the most innovative techniques you can do with knitting.” Knitting Magazine

2009 ∙ 176 pages ∙ 200 colour illus ∙ 230 x 160mm / 9.1 x 6.3 inches PB 9782940373956 ∙ £23.50 / $34.50 Library eBook 9782940439256 ∙ £23.99 / $41.95 Series: Basics Fashion Design ∙ AVA Publishing

Basics Fashion Design 05: Fashion Drawing

2010 ∙ 184 pages ∙ 200 colour illus ∙ 230 x 160mm / 9.1 x 6.3 inches PB 9782940411160 ∙ £21.95 / $32.95 Library eBook 9782940439478 ∙ £23.99 / $41.95 Series: Basics Fashion Design ∙ AVA Publishing

key titles

Basics Fashion Design 04: Developing a Collection

UK December 2013 ·US January 2014 192 pages · 200 colour illus 230 x 160mm / 9.1 x 6.3 inches PB 9782940496006 ∙ £23.99 / $41.95 Library eBook 9782940447688 · £23.99 / $41.95 Series: Basics Fashion Design Fairchild Books

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John Hopkins “A fantastic introduction to fashion drawing – simple and easy to follow layout with excellent descriptions.” Troy Sizer, CATC Gold Coast, Australia 2009 ∙ 176 pages ∙ 200 colour illus ∙ 230 x 160mm / 9.1 x 6.3 inches PB 9782940411153 ∙ £21.95 / $32.95 Library eBook 9782940439379 ∙ £23.99 / $41.95 Series: Basics Fashion Design ∙ AVA Publishing

Basics Fashion Design 07: Menswear

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John Hopkins “This little book ... is packed with information on all aspects of the menswear industry.” CHOICE 2011 ∙ 200 pages ∙ 200 colour illus ∙ 230 x 160mm / 9.1 x 6.3 inches PB 9782940411436 ∙ £23.50 / $34.50 Library eBook 9782940447145 ∙ £23.99 / $41.95 Series: Basics Fashion Design ∙ AVA Publishing

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Fashion Design New Fashion Designers’ Sketchbooks Zarida Zaman An invaluable resource for fashion students, teachers and designers, New Fashion Designers’ Sketchbooks looks at research sketchbooks and the role they play in the research and design process. Demonstrating how ideas are constructed, for single garments as well as entire collections, the book looks at how pages and whole sketchbooks are put together. This book includes work and sketchbook pages from over 30 fashion designers, and examines a range of work from foundation fashion students through to professional designers. ZARIDA ZAMAN teaches at Central St Martin’s and the London College of Fashion, UK, and is also currently involved in producing a sportswear range for a London-based fitness company. gloria lin

UK April 2012 ∙ US June 2012 Gloria

160 pages ∙ colour illus

beGins every project by collectinG imaGery relevant to her project

210 x 210mm / 8.3 x 8.3 inches

and editinG the best of what she has. she Guides

PB 9781408140628 ∙ £19.99 / $29.95

the viewer on a very personal journey throuGh and conclusions, creatinG

GLORIA LIN

GLORIA LIN

her own investiGations collaGes of imaGery. she uses her research to

A&C Black Visual Arts

inspire ideas for fashion

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shapes, prints and knitwear.

Fashion Sketchbook

www/TEXTBOOK 6th edition

Bina Abling Fashion Sketchbook demystifies the fashion drawing process with simple, step-by-step directions. Now in full color and completely revised, with updated instructions and images throughout, this introductory text explains how to draw women, men, and children, pose the figure, develop the fashion head and face, sketch accessories, add garment details, and prepare flats and specs. Abling’s detailed, easy-to-follow lessons are accompanied by Women’s Wear Daily photographs from the showroom and the runway that accelerate comprehension and lead to the diversification of drawing skills. • Contains companion DVD with video of author demonstrating mixed media rendering techniques • Includes guest artist spreads that serve as guides and provide goals for students • Teaching Resources: Instructor’s Guide and PowerPoint® presentations BINA ABLING has taught courses on design concepts, fashion illustration, model drawing, and fashion portfolio in the fashion design departments at the Fashion Institute of Technology and Parsons School of Design, USA. She is the author of numerous books on fashion illustration, model drawing, and rendering.

UK June 2012 ∙ US April 2012 496 pages ∙ 680 colour illus 228 x 305mm / 9 x 12 inches HB 9781609012281 ∙ £60.00 / $98.50 Available on CourseSmart (9781609017514) Pricing Available Upon Request Fairchild Books

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Fashion Design www/TEXTBOOK

Accessory Design Aneta Genova This comprehensive introduction to accessory design gives the aspiring designer an overview of the history of fashion accessories, including a look at important contributions by brands both classic and contemporary. Accessory Design presents a model for accessory design, from inspiration through manufacturing, and relates that process to the design of handbags and small leather goods, footwear, hats, gloves, belts, neckwear, and pocket squares. For each accessory, the text explains how the designer’s creativity can be channelled into the development of styles that enhance a brand’s appeal to its target market. • Includes many case studies including Louis Vuitton and Hermès, helping students understand the importance of developing, building, and maintaining a brand identity for accessories • Interviews with current accessory designers and other key players in the industry provide real-world information about the industry • Chapter Projects designed for a design studio course allows students to practice a complete set of accessory design skills • Teaching Resources: Instructor’s Guide and PowerPoint® presentations ANETA GENOVA is Assistant Professor of Accessory Design at the BFA Fashion Design Department at Parsons School of Design, New York, USA and has created online accessory design and history of costume classes respectively for The Academy of Art University Online and Drexel University in Philadelphia, USA.

Basics Fashion Design 09: Designing Accessories

2011 ∙ 320 pages ∙ 450 colour illus 216 x 228mm / 8.5 x 11 inches PB 9781563679261 ∙ £55.00 / $90.00 Fairchild Books

TEXTBOOK

Exploring the design and construction of bags, shoes, hats and jewellery John Lau “This is an impressive book - informative, inspiring and imaginative. It provides a solid foundation for starting design students interested in working within this growing market. An essential for any fashion, textiles or product design student.” Jane Stanton, Head of Design, University of Derby, UK Basics Fashion Design 09: Designing Accessories is filled with important information that any designer will need to know, examining four key items from concept to production: the bag, footwear, jewellery and millinery. The design process is explored by looking at creative product development, from gathering research to generating ideas into key products, construction techniques and the essential tools of the trade used in modern accessories design. • Key accessories are dissected to clearly display the core components, giving a clear view of how each connects • Explores specialist finishing techniques and includes a detailed explanation of small accessories • 2D pattern and 3D modelling techniques are described in detail with explanations of traditional and rapid prototyping tools in use today • Bespoke and commercial production is examined and creative solutions to technical challenges are presented JOHN LAU is Senior Lecturer in International Fashion Business at Manchester Metropolitan University, UK.

UK October 2012 ∙ US November 2012 200 pages ∙ 200 colour illus 230 x 160mm / 9.1 x 6.3 inches PB 9782940411313 ∙ £23.50 / $34.50 Library eBook 9782940439720 ∙ £23.99 / $39.99 Series: Basics Fashion Design AVA Publishing

TEXTBOOK

Basics Fashion Design 10: Jewellery Design From Fashion to Fine Jewellery Elizabeth Galton “This book is a great resource for all recent jewellery design graduates and those wishing to break into the business and start a collection. Beautifully produced and with insightful, professional commentary, this book offers both encouragement and direction. I wish such a book existed when I was starting out!” Karen Bachmann, Adjunct Assistant Professor, Fashion Institute of Technology, New York, USA Basics Fashion Design 10: Jewellery Design is an introduction to the world of jewellery. It provides a brief overview of how the design process evolves, and demonstrates that even on a limited budget it is possible to carve out a niche in this exciting genre. With inspiring case studies and illustrated with beautiful imagery, Jewellery Design explores the origins of jewellery and provides an overview of the design process. • Includes interviews with some of the world’s most famous jewellery designers, giving an insight into the creative process and exploring their brands • Projects and case studies ensure that students are given a practical and inspirational introduction to the world of jewellery design ELIZABETH GALTON visiting lecturer at the University of the Arts, the London College of Fashion and Central Saint Martins, UK. She was an official ambassador for London Jewellery Week in 2011.

UK October 2012 ∙ US November 2012 184 pages ∙ 200 colour illus 230 x 160mm / 9.1 x 6.3 inches PB 9782940411948 ∙ £23.99 / $37.95 Library eBook 9782940447213 ∙ £23.99 / $39.99 Series: Basics Fashion Design AVA Publishing

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Technical Design www/TEXTBOOK

Technical Sourcebook for Designers 2nd edition Jaeil Lee and Camille Steen “This is a highly effective book. It is so straightforward and useful to students in understanding how technical design fits into the product development pipeline. It would be a great resource on the job.” Carol Salusso, Washington State University, USA Technical Sourcebook for Designers prepares aspiring and professional apparel designers for the growing demand for technical design skills in the apparel industry. Lee and Steen provide a holistic perspective of the role of technical design in apparel production, including such considerations as selection of fabrics, finding seasonal fashion trends, garment construction, and fit evaluation, all in the context of meeting the needs of the target consumer with costeffective decisions. With versatile coverage of a variety of product categories including women’s wear, menswear and knitwear, this text gives students essential tools to develop specification sheets and technical packages for specific markets. NEW TO THIS EDITION: • This edition includes a new section on real-life fit problems and solutions • More information on essential math for designers • Coverage of product lifecycle management (PLM) and sustainability

UK July 2014 ∙ US May 2014 480 pages ∙ 695 bw illus 228 x 305mm / 9 x 12 inches PB 9781609018566 ∙ £59.99 / $90.00

JAEIL LEE is a Professor and Director of Clothing and Textiles Program in the Department of Family and Consumer Science at Seattle Pacific University, USA. CAMILLE STEEN is Technical Design Manager at Ex Officio, LLC, USA.

Individual eBook 9781609019495 · £59.99 / $89.99 Fairchild Books

Preface Acknowledgments 1. Overview of the Industry 2. The Apparel Product Development Process and Technical Design 3. All about the Technical Package 4. Developing Technical Sketches 5. Technical Design Terms for Silhouettes and Design Details 6. Styles, Lines, and Details for Shape and Fit 7. Fabrics and Cutting 8. Sweaters 9. Stitches and SPI 10. Seams, Seam Finishes and Edge Treatments 11. Construction-Related Design Details 12. Shape and Support 13. Fasteners 14. Labels and Packaging 15. How to Measure, Size, and Grade 16. Fit and Fitting Appendix A: Seams and Stitches Appendix B: XYZ Product Development, Inc. Selected Technical Packages Glossary Index

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contents

• Features hundreds of detailed illustrations of design flats and sample spec sheets from technical packages for a variety of garments including menswear, women’s wear and knitwear • Includes lists of key terms and a comprehensive glossary to familiarize readers with industry terminology • Covers industry standards for seams and stitches plus tech packs for 12 different apparel products • Includes templates of blank tech packs, clip art of flats for various product, and Excel charts of tech packs with embedded grade rule formulas • Instructor’s guide, PowerPoint presentations and image bank available

CAD for Fashion www/TEXTBOOK

CAD for Fashion Design and Merchandising Stacy Stewart Smith CAD for Fashion Design and Merchandising allows students to immediately begin creating digital fashion presentations using Adobe Illustrator® and Photoshop®. This book takes an integrated approach, allowing students to master the three-dimensional benefits of combining the two software programs. Colourful illustrations accompany easy, step-by-step tutorials that are geared toward students at the beginner and intermediate levels. Because the book uses fashion photography rather than hand-drawn illustrations as a basis for demonstrating the proportion of fashion croquis, instructors will be able to evaluate students’ mastery of digital illustration regardless of their hand-drawing skills, and students will benefit from a seamless transition from creative thought to digital rendering. • Tutorials are customized to the needs and interests of fashion students • Instruction is cross-platform (Mac and PC) and compatible with all versions through CS6 upgrade • “Digital Duo” shows users how to combine techniques in Photoshop® and Illustrator® to achieve optimal results • DVDs feature video demonstrations, additional practice and supplementary techniques, plus CS6 applications files needed to complete tutorials in the text • Digital Duo Modeling Agency containing more than 150 live model photographs • A library of fabric swatches and trim, technical flats and images for trend and mood boards • Teaching Resources: Instructor’s Guide

UK April 2013 · US February 2013 592 pages · 1,250 colour illus 228 x 305mm / 9 x 12 inches PB 9781609010638 £60.00 / $90.00 Fairchild Books

STACY STEWART SMITH is an Adjunct Assistant Professor of Fashion Design Art at the Fashion Institute of Technology (FIT), USA.

1. Cross-Platform Desktop Publishing 2. Basic Vector Design Skills with Illustrator® 3. Digital Fashion Illustration Foundation with Illustrator® 4. Mastering Vector Tools for Apparel Design and Presentation 5. Basic Raster Skills with Photoshop®

contents

Preface

6. Tracing Figurative Fashion Art and Photography 7. Fashion Design, Presentation, and Exhibition with Photoshop® 8. Defining Prints and Patterns 9. Digital Color Theory 10. Fashion Color Correction and Photo Retouching with Photoshop® 11. Creating the Fashion Croquis with Illustrator® 12. Fashion Design Art with Illustrator® and Photoshop® 13. “Digital Duo” Fashion Face and Hair 14. Technical Design with Illustrator® 15. “Digital Duo” Color Flats, Floats, Design, and Presentation Appendix Glossary Index

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FASHION PRESENTATION Designing Your Fashion Portfolio

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From Concept to Presentation Joanne Ciresi Barrett Designing Your Fashion Portfolio: From Concept to Presentation uses the design process to guide students through the conceptualization and assembly of a fashion design portfolio. The richly illustrated text helps students assemble their work and organize it into a compelling story of their artistic talents and market savvy. In the process, students learn to evaluate their skills and identify their interests so that they can focus on building collections for their chosen target markets. The author’s fashion design portfolio system enables designers to tailor their portfolios for each client throughout their careers. • • • • •

Skill-building exercises throughout the text enable students to apply learning immediately Includes inspiring artwork from the portfolios of both students and professionals that serve as models Provides advice and insights from professional designers interviewed by the author Coverage of digital and Web-based portfolios as well as CAD design and hand-rendering Teaching Resources: Instructor’s Guide and PowerPoint® presentations

JOANNE CIRESI BARRETT is a freelance designer specializing in active sportswear and owner of Joanne Ciresi Barrett Designs. She was an instructor at Massachusetts College of Art and Design in Boston, Massachusetts, USA for seven years, teaching fashion illustration, portfolio presentation, and accessory design courses.

UK December 2012 · US October 2012 400 pages · 356 colour illus 228 x 279mm / 8.5 x 11 inches PB 9781609010072 · £65.00 / $98.00 Fairchild Books

Design Your Fashion Portfolio Steven Faerm Design Your Fashion Portfolio provides clear advice and instruction on how to present your work based around key fashion genres including lingerie, athletic wear, designer and evening wear and discover how layouts, art direction, and merchandising for each can vary. From developing your graduate thesis, to building your first collection, perfecting your portfolio to interview techniques and career options to establish yourself as a professional, this book is the key to launching your career in fashion. STEVEN FAERM is the BFA Director of Fashion Design at Parsons: The New School for Design in New York, USA.

UK February 2012 160 pages · 400 colour illus PB 9781408146491 · £14.99 Australia / Europe / New Zealand / South Africa Only A&C Black Visual Arts

Linda Tain

3rd edition

This comprehensive portfolio reference prepares students as they begin their fashion design careers. Each chapter highlights essential skills and techniques to help designers become competitive with in their chosen markets 2010 · 384 pages · colour illus · 228 x 305mm / 9 x 12 inches PB 9781563678172 · £55.00 / $94.50 Fairchild Books

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TEXTBOOK

key titles

Portfolio Presentation for Fashion Designers

FASHION STYLING www/TEXTBOOK

Style Wise A Practical Guide to Becoming a Fashion Stylist Shannon Burns-Tran Style Wise: A Practical Guide to Becoming a Fashion Stylist is an essential step-by-step guide and reference tool for anyone interested or involved in professional styling. The book paints a realistic picture of the day-to-day activities of professional stylists and provides aspiring stylists with the tools and information needed to begin building a portfolio. Topics covered include photo shoots, film shoots, fashion shows, special events, and other areas such as image management and food, prop, and set styling. Burns includes charts of fashion icons, history, terms, and other sources of inspiration from classic films to street culture, the book also provides references to helpful apps, websites, and other resources for portfolio building, branding, networking, and maintaining a freelance or salaried career. • More than 150 color photos that show stylists at work and tools of the trade • Sample documents used by professionals and an illustrated list of essential items for the stylist’s kit • Step-by-step preparation, walk-through, and follow-up of an actual shoot • Charts and tables that summarize key information and resources and hands-on learning activities for every type of styling • Teaching Resources: Instructor’s Guide and PowerPoint® presentations

304 pages · 160 colour illus 185 x 235mm / 7.375 x 9.25 inches PB 9781609011604 · £37.00 / $65.00 Fairchild Books

contents

SHANNON BURNS-TRAN is an Adjunct Instructor at the International Academy of Design and Technology, Tampa, USA.

UK April 2013 · US February 2013

Preface Acknowledgments Part I The Fashion Styling Profession 1. Introduction to Fashion Styling 2. Styling for Print 3. Styling for the Entertainment Industry 4. Image Management 5. Career Diversity Part II Getting Established As a Fashion Stylist 6. Fashion Lexicon: Terms, Icons, History, and Inspiration 7. Portfolio Building, Branding, and Networking 8. Preparing for a Test Shoot 9. Putting It to the Test: Performing a Test Shoot 10. Business 101 for Freelance Stylists Glossary Credits Index

Jacqueline McAssey and Clare Buckley 2011 · 200 pages · 200 colour illus 230 x 160mm / 9.1 x 6.3 inches PB 9782940411399 · £23.50 / $34.50 Library eBook 9782940447138 · £23.99 / $39.99 Series: Basics Fashion Design · AVA Publishing

TEXTBOOK “…this book is comprehensive and clear, packed with lots of practical advice - it is a great guide to a career in fashion styling.” Joyce Thornton, Arts Thread

key titleS

Basics Fashion Design 08: Styling

www.bloomsbury.com • US, Canada, South America • 888-330-8477 • [email protected]

27

CONSTRUCTION www/TEXTBOOK

The Art of Couture Sewing Zoya Nudelman

2nd edition

The Art of Couture Sewing is a practical guide to custom techniques in the construction of couture garments. Beginning with a brief history of haute couture, the book covers tools and supplies then discusses matching fabrics with the appropriate needle, thread, pressing, and construction techniques. The types of closures, hems and finishes used in couture as well as basic draping techniques are discussed. This edition features expanded coverage of corset history, design, and construction plus a new chapter on constructing large skirts including trains, hoop skirts and petticoats. Nudelman covers many embellishment techniques, including beading, embroidering, and fine stitching with added sections on shisha, couching, eyelet overcasting and ribbon rosette stitches. Highly illustrated with photographs of couture designs as well as close-ups of finishes and details, The Art of Couture Sewing will inspire the design of high-quality garments using couture techniques. • Objectives, summaries, projects and key terms in each chapter help readers fine-tune their skills • End-of-chapter biographies discuss notable designers and their couture techniques, such as Paul Poiret, Coco Chanel, Yves Saint Laurent, Valentino, Jean-Paul Gaultier, and Vera Wang • Including step-by-step techniques with clear instructions and illustrations • Student resources include page templates to guide the compilation of a sample book of all the seams, hems, embellishments, and closures covered in text • Teaching Resources: Instructor’s Guide and PowerPoint® presentations ZOYA NUDELMAN is an Assistant Professor in the Fashion Design Department at Illinois Institute of Art- Chicago, Illinois, USA.

UK May 2014 · US March 2014 456 pages · 1387 colour illus 216 x 228mm / 8.5 x 11 inches PB 9781609018313 · £59.99 / $90.00 Individual eBook 9781609019686 · £59.99/ $89.99 Fairchild Books

1. Introduction to Couture 2. The Art of Textiles 3. Uses of Sewing Tools and Supplies 4. The Skill of Hand and Machine Stitching 5. The Skill of Couture Draping 6. The Art of Skirts 7. The Secret of the Corset 8. The Skill of Fabric Manipulation 9. The Skill of Garment Embellishment 10. The Secret of Closures 11. The Skill of Hems and Other Edge Finishes 12. The Skill of Basic Tailoring Glossary Bibliography Illustration Credits Index

28

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contents

Preface Acknowledgements

CONSTRUCTION TEXTBOOK

Sewing Techniques

BASICS FASHION DESIGN

Jennifer Prendergast Sewing Techniques simplifies the often complex processes required to turn a two-dimensional design into its three-dimensional realization by arming readers with the basic sewing skills they need.

SEWING TECHNIQUES Jennifer Prendergast

• Clear diagrams demonstrate essential techniques in a step-by-step way • Encourages students to develop their own sample folio and emphasizes the importance of developing these for individual projects • Explores the work of contemporary fashion practices, including Barbour, Nike and Sarah Burton JENNIFER PRENDERGAST is a Senior Lecturer in Design and Product Development at Manchester Metropolitan University, UK, and teaches both design and garment technology.

contents

Introduction 1. Planning 2. Preparation 3. Closures 4. Professional finishing 5. Toile/muslin/prototype development 6. Innovation within industry Conclusion

UK March 2014 ∙ US January 2014 184 pages ∙ 200 colour illus PB 9782940411917 ∙ £23.99 / $41.95 HB 9781472535948 ∙ £75.00 / $115.00 Library eBook 9782940447718 ∙ £23.99 / $41.95 Series: Basics Fashion Design Fairchild Books

Folds in Fashion Rosa Garcia and Adriana Muñoz This practical and inspiring book of folding techniques provides a detailed examination of the world of fashion folding, from paper to fabric. Clear explanations of how to implement different types of folds, following well-known techniques like draping or Japanese origami, are accessibly laid out and supported by visuals. Alongside advice on the materials required and helpful fabric recommendations, the 23 varied types of fold included in the book are developed step-by-step and described in-depth, with drawings and photographs illustrating the different stages of the development process. • The first book to focus specifically on folding techniques such as origami for fashion • Technique-driven and image-led, the book will be perfect for students and practitioners • Includes step-by-step tutorials, illustrated with drawings and photos showing how to create 23 folds ROSA GARCIA is in charge of Atelier de Costura y Novias (sewing and bridal wear) by designer Alma Aguilar. ADRIANA MUÑOZ works as a textile designer in the design department of a fashion company, combining her position with freelance work as an illustrator. 13. Ruffle Strips 14. Tulle Godet Flounce 15. 3D Stars 16. Fantasy Face on Kapok 17. Combined Pleat/Ruffle for Necklines 18. Fantasy Overlapped Triangles 19. Flowers Pleats of ½ cm 20. Ruff Necks of XVIth Century 21. Slashed Fabric Roses 22. Windmills 23. Snake scales

contents

1. Origami Rectangle Stripes 2. Flowers Gathering on a Circular Base 3. 5 cm Horizontal Flutted Pleats for Yokes 4. Microdraped by Hand on Mannequin 5. Irregular Pleated Waist 6. 3D Heart 7. Fortuny Plissage 8. Wired Ringlet 9. V-Pockets 10. Ribbon Pleats 11. Triangle Shoulder Pads 12. Quilting on Kapok

UK September 2013 · US November 2013 120 pages PB 9780857858498 · £19.99 / $29.95 World English excluding China, Hong Kong, Indonesia, North Korea, South Korea, Japan, Malaysia, Philippines, Singapore, Taiwan A&C Black Visual Arts

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29

CONSTRUCTION www/TEXTBOOK

Professional Sewing Techniques for Designers 2nd edition Julie Cole and Sharon Czachor It is impossible to have good designs without having accurate quality construction skills. Professional Sewing Techniques for Designers is an up-to-date sewing guide that teaches fashion design students the skills they will need to execute their original designs in a professional environment. Each chapter cover a particular theme, such as collars, and reflects the order of assembly of any garment. Detailed and annotated sketches provide visual support to the techniques covered. • Style Key to indicate the various materials used for each project • Organization reflects the stitching order of any garment with insights into varying levels of proficiency • Teaching Resources: Instructor’s Guide and PowerPoint® presentations

UK May 2014 ∙ US March 2014 576 pages ∙ 1475 colour illus 216 x 228 mm / 8.5 x 11 inches HB 9781609019259 ∙ £50.00 / $85.00 Individual eBook 9781609019068 ∙ £49.99 / $84.99 Fairchild Books

NEW TO THIS EDITION: • New Chapters on Sewing with Knits and Fitting: Developing an “Eye” for Good Fit • A companion Sample Workbook to Accompany Professional Sewing Techniques for Designers available JULIE COLE is an instructor at William Rainey Harper College, USA. Cole also had her own business designing and stitching couture bridal gowns. SHARON CZACHOR is an adjunct instructor in the fashion department of Harper College in Illinois, USA.

Connie Amaden-Crawford A basic text for beginner sewers, this book features step-by-step instructions that take the reader start-to-finish through over 100 sewing applications. 2010 · 400 pages · 12pp colour plate section 216 x 228mm / 8.5 x 11 inches PB 9781609010010 · £65.00 / $100.50 Available on CourseSmart (9781609014506) Pricing Available Upon Request Fairchild Books

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TEXTBOOK

Basics Fashion Design 03: Construction Anette Fischer “I was extremely impressed with this book. It is well written and extremely well illustrated, with current illustrations provided throughout.” Barbara A. Diack, Robert Gordon University, UK 2008 · 200 pages · 200 colour illus 230 x 160mm / 9.1 x 6.3 inches PB 9782940373758 · £23.50 / $34.50 Library eBook 9782940439072 · £23.99 / $39.99 Series: Basics Fashion Design AVA Publishing

www.bloomsbury.com • UK, Europe, ROW • +44 (0)1256 302699 • [email protected]

TEXTBOOK

key titles

A Guide to Fashion 5th edition Sewing

PATTERNMAKING TEXTBOOK

Patternmaking for Menswear Classic to Contemporary Injoo Kim & Myoungok Kim This comprehensive patternmaking text covers many different garment types and design elements, including patternmaking techniques for both woven and knit fabrics. Noting the subtle difference between patternmaking for men versus women, the authors provide readers with a complete understanding of the male anatomy, how to take measurements and fitting techniques. Patternmaking for Menswear has a unique modular organization, moving from basic sloper development to detailing slim-fit versus classic-fit garments with design details grouped together to allow readers to combine them to create unlimited design variations. • Step-by-step format with accompanying detailed illustrations is appropriate for beginning to advanced students, as well as the industry professionals looking to sharpen their patternmaking skills • Reflects the contemporary menswear market with emphasis on patternmaking for both slim-fit and classic-fit style • Details patternmaking techniques for knit designs using jersey fabrics • Photos show completed garments and how to accurately measure the male body, and clear illustrations are highlighted with colour to show precisely what to do at each step of the patternmaking process INJOO KIM is an Associate Professor in the Fashion Design program at the University of Cincinnati, Ohio, USA. MYOUNG KIM is a lecturer in the Department of Clothing and Textiles at Hanyang University, Seoul, South Korea.

UK June 2014 · US March 2014 440 pages · 600 colour illus PB 9781609019440 · £50.00 / $75.00 Individual eBook 9781609019419 · £49.99 / $74.99 Fairchild Books

3. Necklines 4. Collars 5. Sleeves and Cuffs 6. Plackets and Pockets 7. Details

contents

Preface SECTION I : PRINCIPLES 1. Introduction to Patternmaking 2. Basic Sloper for Wovens: Slim-Fit Style vs Classic-fit

SECTION II: DESIGN VARIATIONS FOR WOVEN 8. Shirts 9. Pants 10. Jumpers 11. Jackets 12. Coats 13. Vest SECTION III: DESIGN VARIATIONS FOR JERSEY 14. Jersey Sloper and Jersey Design Variations 15. Jersey Pants APPENDIX 1. Measurement Chart 2. Decimal Conversion Chart 3. Half Scale Slopers 5. Technical Spec Sheet

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31

PATTERNMAKING TEXTBOOK

Pattern Cutting: The Architecture of Fashion Pat Parish “A fresh and innovative resource, which provides an exciting selection of contemporary patterns and a solid foundation for pattern drafting/cutting.” Debbie Allsop, University of Huddersfield, UK “An important bookshelf addition... particularly for students in self-directed study wishing to advance their pattern cutting knowledge.” Janet Robinson, K College, UK The pattern cutter’s aesthetic judgement of proportion, balance, line and form has always underpinned success in fashion design. In Pattern Cutting: The Architecture of Fashion, Pat Parish approaches the subject from this perspective, identifying key shapes and structures from the catwalk and translating them into 3D through a number of cutting, draping and construction processes. These methods are explored here through a series of practical scenarios, richly illustrated and annotated with step-by-step instructions. This exciting new approach provides you with the inspiration, tools and confidence to interpret and adapt basic patterns and take your designs even further. • A clear guide aimed at fashion students with some basic knowledge of pattern cutting, ready to experiment with new shapes and structures • Uses a fresh and contemporary approach, taking shapes directly from the catwalk and translating them to the cutting table • Encourages readers to adapt the scenarios provided to produce their own unique designs

UK February 2013 · US March 2013

• Includes real-life case studies from students studying fashion design and pattern cutting

PB 9782940411900 · £37.99 / $59.95

PAT PARISH is a professor at Croydon University College, UK.

Library eBook 9782940447435 · £37.99 / $64.95

184 pages · 200 colour illus 300 x 220mm / 11.8 x 8.7 inches

Series: Required Reading Range

Shape

Two-piece Collars Circles and Ruffles 5: Trousers Trouser Fundamentals Standard and Narrow Fit Adding Pleats Above Waist Fitting Below Waist Fitting Pockets, Zips and Finishes 6: Sustainability and Fashion Deconstructing Hierarchies and Traditions Cutting Down on Waste Pattern-Led Design New Horizons

Hourglass Dome Lantern Cocoon Balloon

Shape in design Linear Inverted triangle Square Trapeze

91

136

Sleeves, Collars and Circles

CREATING THE DOME SHAPE

NP

NP (1cm lower)

3 D

C

B

4

A

A

B

Prep pattern front W–E = 7cm

G (5cm wider)

CB grain

W

CF grain

E

Sleeve prep pattern

E W

F

F

Sleeve fundamentals Set-in sleeves Grown-on sleeves Sleeve cuffs

CIRCLES AND RUFFLES Circle patterns are effective in creating full ruffles at the neck and cuff and cascading ruffles. The weight and thickness of cloth and depth of ruffles will determine the size and shape of these patterns. The more circles you add, the more ruffles will be created. The case study on the opposite page would need several circles to achieve such fullness. It is helpful to test the fabric and circle ratios in cloth so that you can establish how many circles you may need and how deep. The grain of the circles varies from straight to bias, and where you position the grain will influence the way it falls and the look.

C D

G

AVA Publishing

Prep pattern back W–E = 7cm A–B = 1cm C–D = 3cm

Collar fundamentals One-piece collars Two-piece collars Circles and ruffles

CIRCLES AND RUFFLES

[Case study] Nadine Mukhtar

Seam

B

Full ruffles A–B = length of seam to be inserted or section of seam. Inside circle is seam line, outside circle is hem.

D

1. Trace off front bodice with dart in armhole position to hem length (hip). Draw a new shoulder line 1cm lower – this moves the line forward to the front.

Seam

2. Trace off sleeve block, draw a line 4cm down the centre line and square out to either side. Cut out sleeve and separate along centre line. Slash across construction line. 3. Place the sleeve crown 1cm away from the SP. Open slash line approx 2cm so that the elbow line drops and touches the side seam of the body (see dotted lines).

5. Draw sleeve hemline square to the new top sleeve curve to meet point E. 6. Complete pattern by connecting E–F in a straight line and squaring a hem across to CF.

BACK 1. Trace off back bodice to hem length (hip). Move shoulder line forward 1cm. 2. Trace off sleeve block, draw a line 4cm down the centre line and square out to either side. Cut out sleeve and separate along centre line. Slash across construction line. 3. Place the sleeve crown 1cm away from the SP. Open slash line approx 2cm so that the elbow line drops and touches the side seam of the body (see dotted lines).

Less full ruffles or gathered/ pleated finish C–D = length of seam to be inserted for less full ruffles. Inside circle is seam line, outside circle is hem. Sketchbook pages

Step-by-step 4. Raise SP 1cm (to the original SP). Mark point E 7cm above the waist for sleeve hem. Draw in a new shoulder and top sleeve line curving from NP position upwards through the SP, maintaining a good rounded curve and continuing down slightly wider than the original sleeve.

Technical flat drawings of Nadine’s collection

C

Step-by-step

FRONT

Nadine’s work has been inspired by radial spirals and geometric forms. The fan shapes radiate around the body in 3D. Circles are used to create a full ruffled effect at the neckline in the jacket.

A

Final pattern front and back

Step-by-step

137

Cut open

90

3: Shape Trapeze Square Dome Inverted Triangle Cocoon Hourglass Linear Lantern Balloon 4: Sleeves, Collars and Circles Sleeve Fundamentals Set-in Sleeves Grown-on Sleeves Collar Fundamentals One-piece Collars

Cut open

CONTENTS 1: Context: What is a Pattern? The Role of the Pattern Cutter Body shape and size Measuring and Mapping the Body Getting Started 2: Pattern Fundamentals: from 3D to 2D - Basic Blocks Darts in Design Panel Lines for Fit and Flare Control Complex Style Lines Adding Flare Adding Volume

Radius = circumference divided by 6.28.

4. Raise SP 1cm. Mark point E 7cm above the waist for sleeve hem. Draw in a new shoulder and top sleeve line curving from the dart position upwards through the new SP, maintaining a good rounded curve and continuing down slightly wider than the original sleeve. 5. Draw sleeve hemline square to the new top sleeve curve to meet point E. 6. Complete pattern by connecting E–F in a straight line and squaring a hem across to CB.

1. Measure the length of the seam the ruffles will be inserted into (C–D = seam length or part of).

TROUBLESHOOTING

To create more movement add extra width by slashing a line from the point at which the sleeve meets the side seam up to the NP. Add width (3cm) and redraw the side seam and sleeve hem. Do this back and front.

If more circles are required, divide the length of the seam line equally so that the circles will fit comfortably. You can allow a little extra length if there are a few circles as the seams may be tight and may pull when sewn. If gathers or pleats are required, do a test in fabric first to establish how much extra to add. Then create your circles according to the extra length needed for the gathering.

Nadine’s final garments

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PATTERNMAKING Pattern Cutting Primer Jo Barnfield and Andrew Richards The Pattern Cutting Primer is the ultimate resource for keen sewers and aspiring fashion designers looking to get to grips with every aspect of pattern design and customisation. This practical and accessible book covers all the basics of pattern design and cutting and gives readers the confidence to take matters into their own hands and produce perfect patterns for all garments and styles. Featuring clear step-by-step instructions, the Pattern Cutting Primer covers all the basics of tools and equipment, pattern symbols and fabrics, drafting techniques, pattern developments, finishing and even gives guidelines on how to sell and market your own patterns. It’s the perfect resource for all amateur and professional pattern-makers, designers and students. JO BARNFIELD is a Part-time Lecturer and Industry Practitioner at Bath Spa University and City of Bath College, UK, teaching design, pattern cutting and construction. ANDREW RICHARDS is Senior Technical Demonstrator in Pattern Cutting at Bath Spa University, UK, teaching garment construction, drafting and modelling for its undergraduate Fashion Design course.

94–95

CHAPTER 6: RUB-OFF PATTERN DRAFTING

UK August 2012 · 300 colour illus · 192 pages

FLAT METHOD: RUB-OFF SKIRT

2

1 2

1

3 4 1

5 2

6

CF

3

Flexiback 9781408156674 · £25.00 / $39.95

7 8

around 12in (30cm)

4 5

9

6 7

10

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8

12

9 10

13

11

14

13 14

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2

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the fashion industry. This can be fueled by a desire to recreate a vintage find—

5

15

hip line

is traced or “lifted” from an existing item of clothing, is not uncommon within

6

1

2

3

4

5

Available in Europe/South Africa Only

12

15

Although it is not widely publicized, rub-off pattern drafting, in which a pattern

A&C Black Visual Arts

6

the like of which is a staple of many design ranges. There are two main methods of taking a pattern from an existing garment: the flat method, for predominantly flat garments, and the drape method, for more three-dimensional garments. For both methods, when all sections are traced, double-check seam lengths with the measurements of the original garment. A vintage piece is likely to have distorted with wear, so patterns

2 3 4 5 6 7 8 9

THE FLAT METHOD

Find the CF of the skirt by measuring across and halving the amount, marking it with pins. Do this at spaced intervals down the top. If the skirt is symmetrical, you can measure from the seams rather than the edge.

1

Cut a piece of pattern paper the length of the skirt plus an amount extra. In the center, mark a line straight down (CF); at about 12in (30cm) from the top, square across the hip line.

should be trued up and then tested by producing a muslin.

10

4

11 12 13 14

3

15

For mainly flat garments, such as a skirt, the simplest approach is to trace

1

through the item directly onto pattern paper using a spiked tracing wheel.

2

1

3

There are likely to be areas of suppression (darts, gathering, ease) within

2

3

4

5

6

CF

4 5 6

the garment that are slightly harder to transfer as they do not lay completely

7 8

flat when pinned to paper. These may need to be estimated. If the piece can

9 10

11

be unpicked to its component parts, the process becomes much simpler.

12 13

For symmetrical garments, it is wise to trace just one half of the front and back;

14

hip line

15

the piece can then be mirrored when cut. For demonstration purposes, the

1 2 3

illustrations in this chapter show the pieces being traced on both sides.

2

3

4

5

4

1

6

5 6 7 8 9

1 10

11

2

12

3

13

4

14

5 15

6 7 8 9 10

11 12 13 14 15

1

2

3

4

5

6

To find the hip line, put the skirt on the stand (or yourself) and pin a horizontal line at the widest part of the hip. This measurement should be around 8¼in (21cm) down from the waist.

1

2

3

4

5

6

Place skirt on paper, matching CF and hip lines. Pin as flat as possible; areas that do not lie flat will have some form of shaping suppression. Trace around edge (side seams, hem, and waistline) with a pencil. DRAFTING TECHNIQUES Rub-off pattern drafting

A Multi-Method Approach to the Art of Style Selection, Fitting, and Alteration Elizabeth Liechty, Judith Rasband and Della Pottberg-Steineckert This comprehensive guide presents proven methods of style selection, fitting, and alteration that are rooted in the elements and principles of design. Revised illustrations with a second color added show directional measuring needed to facilitate the alteration process. 2009 · 2 colour illus · 480 pages PB 9781563677830 ·£65.00 / $101.50 Fairchild Books

key titleS

Fitting and Pattern Alteration 2nd edition

TEXTBOOK

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33

DRAPING www/TEXTBOOK

Draping for Apparel Design 3rd edition Helen Joseph-Armstrong “Clarity is a strength. Students can see the design lines and make an analysis before moving into a drape.” Debra Otte, Michigan State University, USA The third edition of Draping for Apparel Design combines Joseph-Armstrong’s classic step-bystep instructions with a user-friendly layout. To show how to turn two-dimensional drawings into three-dimensional garments, the author presents the following three draping principles and techniques: manipulating dart excess, adding fullness, and contour draping. Design analyses identify the creative elements of each design and help determine draping techniques required to develop patterns. This text emphasizes the importance of draping foundation garments for building more complex designs. Designers will gain essential skills to creatively apply draping techniques to their own designs. NEW TO THIS EDITION:

HELEN JOSEPH-ARMSTRONG is a Professor of Fashion Design at the Fashion Center of the Los Angeles Trade-Technical College, USA.

UK April 2013 · US February 2013 640 pages · 1,450 colour illus 228 x 305mm / 9 x 12 inches PB 9781609012403 · £60.00 / $90.00 Fairchild Books

1. Tools and Supplies for Draping 2. Fabric Characteristics and Terms 3. Draping Essentials 4. Dress Form: Personal/Client Preparation and Measurements 5. Basic Dress Foundation 6. Manipulating Dart Excess and Adding Fullness 7. Bodice Styles 8. Skirts 9. Collars 10. Built-up Necklines 11. Cowls 12. Dress Foundations and Designs 13. Strapless Dress Foundations and Designs: The Principle of Contour Draping 14. Bias Cut Dresses and Twist 15. Kimono, Raglan, and Drop Shoulder 16. Shirts and Blouses 17. Jackets and Coats 18. Pants 19. Knit Characteristics 20. Bodysuits, Leotards, and Swimsuit Foundations

34

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contents

• Twist designs based on Madeleine Vionnet’s bias-cut techniques and a bias slip dress design variation • New and updated design projects illustrate how to prepare a draping plan • More than 150 new fashion illustrations show completed design projects • Design Variations and Thought Problem sections provide directions and helpful hints • New step-by-step instructions for padding a dress form, an expanded guide for measuring the dress form and model and updated instructions for developing attachable arms • Teaching Resources: Instructor’s Guide

DRAPING TEXTBOOK

Creative Draping Gareth Kershaw Creative Draping examines the historical relevance of the haute couture houses of central Europe and their legacy on modern-day apparel and explores the techniques developed by the great masters. Creative modelling and self-exploration through design are encouraged in this visually stimulating book, which also features revealing case studies with key practitioners of contemporary draping. • An indispensable guide to exploring the creative use of drape within fashion design • Step-by-step instructions lead readers through the basic draping exercises, processes and approaches that they will need to understand in order to successfully practice the craft • Contemporary in approach, the book outlines the limitations of two-dimensional design and explores the theory and practice behind designing for three-dimensional silhouettes GARETH KERSHAW is a Senior Lecturer in the department of Clothing Design and Technology at Manchester Metropolitan University, UK.

UK January 2014 · US March 2014 208 pages · 200 colour illus 270 x 210mm / 10.6 x 8.3 inches PB 9782940496020 · £37.99 / $65.95 Library eBook 9782940447633 · £37.99 / $65.95 Series: Required Reading Range Fairchild Books

The Art of Fashion Draping

www/TEXTBOOK 4th edition

Connie Amaden-Crawford An invaluable teaching tool for fashion design, apparel, and patternmaking students and professionals, this user-friendly bestseller teaches the different methods of – and principles involved in – draping fabric on a dress form. • A wealth of two-colour, how-to illustrations illustrate each step, making the draping and pinning process easy to follow • Illustrations are fully updated for the fourth edition to reflect current fashion • Organised from basic to advanced topics, enabling students to progress systematically through the book • Teaching Resources: Instructor’s Guide

CONNIE AMADEN-CRAWFORD is a licensed designer for The McCall Pattern Company under the Butterick label and is President and CEO of Fashion Patterns by Coni, USA. Dartless Designs

Draping Principles and Skills

Kimono and Raglan Designs

The Dress Form, Tools, and Terminology

Skirt Designs

2. Basic Foundation Patterns

4. Advanced Techniques

The Basic Bodice

Pants

3. The Basic Fitted Skirt

Knit Designs

Sleeves

Collar and Neckline Designs

Torso/Blouse Block and Basic Shift Silhouettes

Jacket Silhouettes and Collar/Lapel Designs

4. Intermediate Techniques Bodice and Blouse Designs Designing with Circular Flounces and Ruffles Princess Designs

contents

1. Introduction to Draping

UK April 2012 · US March 2012 512 pages · 2 colour illus 228 x 305mm / 9 x 12 inches PB 9781609012274 · £65.00 / $101.50 Fairchild Books

Cowl Designs Casual Dress Designs Formal Dress Designs Fitting Methods

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35

SUSTAINABLE FASHION TEXTBOOK

A Practical Guide to Sustainable Fashion Basics Fashion Design 12 Alison Gwilt Packed with full-colour images from contributors such as Stella McCartney, Vivienne Westwood, Edun and People Tree, A Practical Guide to Sustainable Fashion will inspire and motivate both students and professionals in the fashion and textile industries to consider sustainability as an integral part of the design and production process. Promoting life cycle thinking as an approach to fashion design, this book covers a wide range of sustainable design approaches, such as using mono materials and low-impact textile techniques, design for empathy, zero waste pattern cutting, design for durability, engaging with local producers, design for need, reducing laundering, design for repair, upcycling and design for closed-loop systems. • Includes step-by-step guidance on how to identify the potential environmental and social impacts of a garment during the design process • Studio-based exercises will encourage you to experiment with a number of approaches explored in the book • Features innovative and inspiring examples of best practice sourced from contemporary fashion brands and designers working across different market levels • Features interviews with designers and professionals who give invaluable insight into how sustainability can be integrated into the fashion design and production process ALISON GWILT is a Reader in Fashion Design at the Art and Design Research Centre, Sheffield Hallam University, UK.

UK December 2013 ∙ US February 2014 184 pages ∙ 200 colour illus 230 x 160mm / 9.1 x 6.3 inches PB 9782940496143 ∙ £23.99 / $41.95 Library eBook 9782940447640 ∙ £23.99 / $41.95 Series: Basics Fashion Design

Part 1: Rethinking fashion design 1. Fashion and sustainability The supply chain The key issues Developments in sustainable fashion The future of fashion? Exercise 1: Reflecting on sustainable fashion 2. The life cycle of a garment Life cycle thinking Activities and impacts Assessing the impacts Exercise 2: Comparing two garments Sustainable design strategies

Garment Design

6. Use

Spotlight On: Design for Empathy

Patterns of Use

Interview: Annika Matilda Wendelboe

Spotlight On: Reduce Laundering

Exercise

Repair and Maintenance

4. Production

Spotlight On: Design for Repair

Pattern Making and Toiling

Interview: Lizzie Harrison, Remade in Leeds

Spotlight On: Zero Waste Techniques

Exercise

Construction Techniques

7. End-of-Life

Spotlight On: Design for Durability

Reuse And Re-Manufacture

Interview: Susan Dimasi, Materialbyproduct

Spotlight On: Up-cycling

Exercise

Material Recycling

5. Distribution

Spotlight On: Closed-loop Systems

Suppliers, Makers And Producers

Interview: Wayne Hemingway, Hemingwaydesign

Spotlight On: Engaging With Local Communities

Exercise

Retail Opportunities

Conclusion

Part 2: Designing Sustainable Fashion

Spotlight On: Design for Need

3. Design

Interview: Isabelle De Hillerin

Selecting Fabrics

Exercise

Materials and Techniques Spotlight On: Using Mono Materials

36

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contents

Introduction

INTRODUCTION TO TEXTILES www/TEXTBOOK

Swatch Reference Guide to Fashion Fabrics 2nd edition Deborah E. Young Using simple, direct language, the second edition of Swatch Reference Guide to Fashion Fabrics, is an all-in-one text and swatch book intended for both students of textile science and for anyone in the fashion industry. One of the essential components of the swatch book is the presentation of both fabric samples and all the pertinent information regarding fabric identification on the same page. Preprinted mounting boards for each fabric sample include: Fabric Name, Fiber Content, Yarn Construction, Count, Coloration, Finishes, Weight, and List of Characteristics. Through the text and swatches, readers will learn the inherent performance properties and construction of fibers and yarns. This invaluable reference brings together a wide variety of information into one volume, enabling users to spend less time trying to connect the dots and more time applying the concepts. • 206 (2” x 3”) swatches, including sea island cotton, bamboo cotton, soy or organic cotton, printed denim, “denim” jersey, crushed knit velvet, brushed sweater jersey chiffon, muslin, tweed, canvas, taffeta, and satin • Expanded coverage of knit fabrics reflecting the growth of the knit industry • End of chapter activities help readers organize and classify information • Includes a pick glass to let users examine and magnify fabrics • Quick Reference Guides for Basic Weaves, Complex Weaves, Knits, and Warp Knits Table for Fabric Selections for Garments • Extra blank swatch board, more space on swatch boards and additional assignments for advanced projects and learning opportunities. • Teaching Resources: Instructor’s Guide and PowerPoint® presentations

UK January 2013 · US November 2012 200 pages · 50 bw illus 216 x 228mm / 8.5 x 11 inches Three-Ring Binder 9781609015503 · £100.00 / $145.00 Fairchild Books

DEBORAH E. YOUNG is an Assistant Chair of the Textile Science Department at Fashion Institute of Design and Merchandising (FIDM), Los Angeles, California, USA.

Researching Colour, Surface, Structure, Texture and Pattern Josephine Steed and Frances Stevenson “The concepts, sentences and ideas were very clear and written in a student friendly way ... very good illustrations which are very appropriate and quite exciting.” Tom Embleton, Northbrook College, UK UK March 2012 · US April 2012 184 pages · 200 colour illus PB 9782940411634 · £23.50 / $34.50 Library eBook 9782940447336 · £23.99 / $41.95 Series: Basics Textile Design AVA Publishing

TEXTBOOK

key titles

Basics Textile Design 01: Sourcing Ideas

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INTRODUCTION TO TEXTILES JJ Pizzuto’s Fabric Science

www/TEXTBOOK 10th edition

Allen C. Cohen, Ingrid Johnson and Joseph J. Pizzuto With an increased emphasis on textiles as a major global industry, the tenth edition of this best-selling book continues to meet the needs of both students and professionals in the textile, fashion, and related industries. Based on their combined experience in both education and the industry, Cohen and Johnson provide readers with a comprehensive text about the design, structure, and application of textiles. The range of information is exceptionally broad, and includes basic fibre makeup, fibre innovation, the formation of fabrics, quality issues, and laws that regulate textiles; updated topics include environmental responsibility, nanotechnology and innovations in industrial textiles. The authors also provide readers with information regarding textilerelated trade and professional associations and career opportunities in design, production, marketing, merchandising, apparel and home products. • New edition includes expanded coverage of sustainability issues • New Textile Connection feature that calls out and explains key terms in each chapter • End-of-chapter assignments, including questions related to Fabric Science’s swatches, facilitate an understanding of the relationship between chapter content and textiles • New full-colour illustrations and photographs throughout the text • Teaching Resources: Instructor’s Guide and PowerPoint® presentations

2011 · 400 pages · colour illus 216 x 228mm / 8.5 x 11 inches Three-Ring Binder 9781609013806 · £65.00 / $97.50 CourseSmart (9781609014537) Pricing Available Upon Request Fairchild Books

ALLEN C. COHEN is Professor Emeritus at the Fashion Institute of Technology, New York, USA. INGRID JOHNSON is Professor at the Fashion Institute of Technology, New York, USA.

J.J. Pizzuto’s Fabric Science Swatch Kit 10th edition

www/TEXTBOOK

Allen C. Cohen, Ingrid Johnson and Joseph J. Pizzuto Designed to accompany the tenth edition of Fabric Science, this Swatch Kit supplements the study of textiles for students in fashion design, merchandising, product development and home furnishings. Swatches represent the types of fabrics currently available to apparel, interior, and industrial designers. • 114 fabric swatches included in the Swatch Set represent examples of every major type of fibre, yarn, weave, and knit as well as examples of dye, print, and finishing applications • Examples are also provided for more recent materials such as microdenier fibre, lyocell fibre, and special purpose high tech fabric such as Staybright™ bleach-resistant fabric. Eco-friendly fibres include organic cotton and reprocessed wool • Teaching Resources: Instructor’s Swatch Set with 8 additional instructor swatches, Instructor’s Guide, PowerPoint® Presentations

2011 · 124 pages 216 x 228mm / 8.5 x 11 inches Three-Ring Binder 9781609013585 · £55.00 / $82.50 Fairchild Books

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INTRODUCTION TO TEXTILES TEXTBOOK

The Story of Colour in Textiles Susan Kay-Williams From pre-history to the current day, the story of dyed textiles brings together the worlds of politics, money, the church, law, taxation, international trade and exploration, fashion, serendipity and science. This book is an introduction to a broad, diverse and fascinating subject of how and why people coloured textiles. A fresh review of this topic, this book brings previous scholars’ work to light again, alongside new discoveries and research. SUSAN KAY-WILLIAMS is the Chief Executive of the Royal School of Needlework at Hampton Court, UK. 78

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UK January 2013 · US March 2013 176 pages · 106 colour illus 246 x 189mm / 9.7 x 7.4 inches The Healing of the Lame Man cartoon designed by Raphael and painted by his studio team. It is hard to believe that these were ‘just’ designs – later designers often do not complete the entire work, leaving notes instead to indicate colour or similar patterning, but these are painted in full and as such have been much admired in their own right, not just as an inspiration for the tapestries. The Royal Collection © 2011 Her Majesty Queen Elizabeth II

The Healing of the Lame Man tapestry, one of a series woven by Peter van Aelst and company based on the cartoons of Raphael at the behest of Poe Leo X, to hang on the lower walls of the Sistine Chapel. © Vatican Museums

This does not mean, however, that only the strongest colours were used. Yellow is in evidence, though often edged with red, as in the jacket of the lame man, and underpinned at the sides and in the sleeve with blue hatching to help give definition to the garment even after it has faded.11 What is more surprising is the choice of orchil, a lichen dye, for the purple-red colour. It was already known to be fugitive yet they chose to use it. One can only conjecture why, but perhaps because of the very limited range of purplegiving dyestuffs at this time, as well as an inability to imagine they would still be seen 500 years later. At any rate, the purple has long since faded to brownish colours.12 The green that can be seen so clearly in the original cartoon was painted in malachite, but no green-dyed wool, requiring blue and yellow overdyeing, possessed the longevity of malachite paint.

tarnished by 500 years of dirt. It would be impossible to try to lift the dirt from the metal threads without doing irreparable harm to the surrounding threads so the piece now looks flatter in colour and shine than it would have originally; nevertheless, thanks to being kept in the rarefied confines of the Vatican, these tapestries are in remarkable condition considering their age.

One further difference between the painting and the tapestry is the use of metal thread. While gold was used in paintings, Raphael did not use it here because these were cartoon designs, never meant to be displayed in their own right. The weavers, however, incorporated gilt-wrapped threads in the weaving of the columns, giving added sparkle and lustre that was much in evidence to the Pope and his guests in the candlelight when the first seven tapestries were displayed on 26 December 1519. Vasari commented that ‘the completed work was of such wonderful beauty that it astonishes anyone who sees it to think that it could have been possible to weave the hair and the beards so finely and to have given such softness to the flesh merely by the use of threads. The tapestries seem to have been created by a miracle rather than by human skill.’13 Inevitably, the metal threads have become

NEW WORLD, NEW DYESTUFFS When he first discovered it, Pedro Alvarez Cabral thought Brazil was only an island and named it Vera Cruz. In 1501 it was renamed Santa Cruz, but when

PB 9781408134504 · £19.99 / $29.95 Individual eBook 9781472517043 · £19.99 / $31.99

the Portuguese laid claim to the whole territory they named it Brazil due to the large number of Caesalpina trees, making it the only country to be named after a dye source.14 Notwithstanding this new source of the dye, brazilwood continued to be controversial throughout this century. In 1524, Henry VIII of England banned it from being used to make scarlet, while in Venice it was only permissible for use on cotton, where the dyers did not expect to get a good colour and refused to use the more expensive madder and kermes.15 Brazilwood was not the only heartwood dye discovered in the Americas, the other being logwood. At first, it was thought logwood might be a substitute for woad or indigo, with a much easier dyeing process than the vat method those materials required. However, it was quickly found to be quite fugitive

Library eBook 9781472517050 · £19.99 / $31.99 A&C Black Visual Arts

TEXTBOOK

The Textile Reader Edited by Jessica Hemmings “This is a book that will undoubtedly become a key resource for all those interested in considering the location of textile practice, but also for those who seek to understand and challenge textile practice’s perceived inferiority as a mode of practice.” Embroidery Magazine The Textile Reader is the first anthology to address textiles as a distinctive area of cultural practice and a developing field of scholarly research. Revealing the full diversity of approaches to the study of textiles, The Textile Reader introduces students to the theoretical frameworks essential to the exploration of the textile from both a critical and a creative perspective. • Selected authors include Anni Albers; Gilles Deleuze; Félix Guattari; Sarat Maharaj; Rozsika Parker; Sadie Plant; Peter Stallybrass; Alice Walker; and Catherine de Zegher • Divided into six key themed sections to aid study, covering every dimension of textiles: touch, memory, structure, politics, production and use • Includes a wealth of diverse material, drawn from the nineteenth century to the present day, including authors’ statements, blogs and short stories, as well as critical writings

2012 · 40 bw illus · 488 pages ·

JESSICA HEMMINGS is Professor of Visual Culture and Head of the Faculty of Visual Culture, National College of Art and Design, Dublin, Ireland.

Berg Publishers

TEXTBOOK

Fashion and Textiles

The Textile Book

An Overview

Colin Gale and Jasbir Kaur

Colin Gale and Jasbir Kaur

“I recommend reading every page ... a valuable authority that provides an historical and global view of the past, present, and future of textiles.’” Handwoven

2004 · 256 pages · 30 bw illus, 8pp colour plate section · 244 x 172mm / 9.6 x 6.8 inches PB 9781859738184 · £17.99 / $32.95 HB 9781859738139 · £53.00 /$109.95 Library eBook 9781845206420 · £52.99 / $84.99 Berg Publishers

2002 · 232 pages · 30 bw & 8 colour illus 234 x 156mm / 9.2 x 6.1 inches PB 9781859735121 · £17.99 / $32.95 HB 9781859735077 · £53.00 / $89.95 Library eBook 9781845209100 · £52.99 / $84.99 Berg Publishers

PB 9781847886347 · £24.99 / $39.95 HB 9781847886354 · £70.00 / $115.00

TEXTBOOK

The Fundamentals of Printed Textile Design Alex Russell “An excellent overview of the role of a printed textile designer.” Nick Rodgers, Norwich University College of the Arts, UK 2011 · 208 pages · 200 colour illus 230 x 200mm / 9.1 x 7.9 inches PB 9782940411474 · £26.50 /$38.50 Library eBook 9782940447176 · £26.99 / $TK Series: Fundamentals · AVA Publishing

key titles

TEXTBOOK

244 x 189mm / 9.6 x 7.4 inches

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TEXTILE DESIGN AND TECHNOLOGY TEXTBOOK

Sourcing and Selecting Textiles for Fashion Erin Cadigan Written with the innovative fashion student in mind, Sourcing and Selecting Textiles for Fashion gives a full overview of the current textile market and shows how to apply this knowledge when creating a fashion collection. Following a brief look at the historical growth of fashion textiles in industry and culture, the book explores the manufacturing, design, sourcing and end-use of fashion textiles. Natural and man-made fibres are discussed along with current woven, knit and non-woven production methods. A variety of industrial and custom surface design techniques including dye, print, embellishment and fabric manipulation are covered. Trend, inspiration, colour, creating the collection and how to enhance design through textile choice and surface design are included. A perspective of current innovation and sustainability is offered in each area. • Illustrated with 200 colour photographs, showing the sourcing and selecting process from fibre to final fashion product • Includes unique insight from practitioners across the spectrum, from student to retail store supplier • Includes the cultural and historic development of fashion textiles as well as current trends

ERIN CADIGAN is a fashion design instructor at Pratt Institute in New York, USA.

UK October 2013 · US December 2013 208 pages · 200 colour illus 300 x 220mm / 11.8 x 8.7 inches

fashion and textile: sourcing and selection

chapter one: the role of textile in fashion Chapter two: Materials Chapter three: surfaCe Design Chapter four: ConCeptualizing the ColleCtion Chapter five: sourCing Your fabriC Chapter six: textile anD the ColleCtion sourCing interviews appenDiCes

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PB 9782940496105 · £37.99 / $65.95

textile Culture evolution of textile deSign glObal textile prOduCtiOn a Call fOr sustainability CertifiCatiOns and labelling

Library eBook 9782940447671 · £39.99 / $64.99 Series: Required Reading Range

europe: central and eastern like all traditional peoples, costume varied from region to region. in this

Fairchild Books

colder climate woven wool, heavier fabrics, velvets and fur were used. textiles generally had a white or black base. decoration was embroidered or woven floral or animal motifs in red, white, blue, gold, or black. fine pleating, gathered lace collars and bell shaped skirts were common in women’s clothing. men wore tunics and decorative vests inspired by turkish invaders. North America

always respecting the whole animal, the basic hide silhouettes were sewn together with bone needles and gut thread. pieces were highly decorative with fringe, tassels, feathers, braiding and intricate porcupine quill or seashell

Introduction 1. The Role of Textile in Fashion 2. Materials Fibres and Yarns

beading. motifs were symbolic of their connection to the natural world and portrayed celestial or animal images. many designers today reference imagery from woven or quilted navajo rugs and blankets or northwest Coast Chilkat hand woven ceremonial capes and hand carved totem poles. south and central America the native peoples of south and Central americas believed clothing could transform a person. they are known for their brightly colored, highly patterned and decorated cloth. ikat weaving, found in many areas of the

3. Conceptualizing the Collection 4. Sourcing Your Fabric

globe, was particularly advanced, both in multi -color application and patterning. the patterns were precisely controlled on a back strap loom by wrapping the warp threads around a stick. Other methods of textile decoration included brocade weaving, tapestry, embroidery and tiedye. much of these lands are covered in lush rainforest. the proliferation of mineral, animal and plant has given these peoples a spectrum of natural dies including lime greens, bright pinks, indigo and the entire rainbow. imagery denoted

5. Textile and the Collection

status, religion and village through both design and color. motifs were often people, plants or animals.

6. Sourcing Interviews

contents

the native tribes of north america relied heavily on animal skins for clothing.

Glossary Bibliography Index fashion and textile: sourcing and selection

In more recent years Miyake has added

deSign Spotlight issey miyaKe

58

59

disCussiOn questiOns

1. what do you think about miyake’s

three more lines, each based on textile

decision to retire from head design

concepts. One is a line of easy care

position? is fashion and textile

tshirts utilizing multi-directional stretch pleats, innovative materials and advanced techniques. The second, Haat, brings Miyake back to his roots in a way. This line combines Japanese simplicity of form, cutting edge textile technology and the beauty of traditional Indian handicraft; the simple silhouettes

conception the same as fashion design? 2. how do you work a collection? do you design to textiles or find textiles for your design concepts? would you be comfortable designing in opposite?

almost just a vehicle to showcase the

3. miyake design studio’s head

textile on the body. Haat is a collaborative

designer, dia fujiwara has said “i

effort between Issey Miyake and textile

do not believe that any discussion

designer, Mikiko Minagawa.

of art is possible without bringing

The most recent innovation, 132 5. ISSEY MIYAKE was introduced in 2010. A sub-group of the Miyake Design Studio, Reality Lab, has created a line of clothing

technology onboard.’ do you find this to be true? do you think this statement will be more relevant as we move into the future?

to address future thinking. Employing

4. it has been said that issey miyake

folded paper, three-dimensional

focuses on his craft for arts sake

computer modeling, a revolutionary

while many of his fashion peers focus

recycled polyester fabric and high-end

on the bottom line. do you think

design concept, the resulting fashions

it’s possible to focus on both, high

address comfort, minimal use of

concept design and profitability,

materials, production concerns and

at once? is there room for many

beauty. They look at once both straight

designers like issey miyake in the

out of a sci-fi film and hauntingly

market place or do you feel he is an

reminiscent of the ancient art of origami.

outlier? 5. what inspires you to push the boundaries of design concept?

>> See also page 21

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TEXTILE DESIGN AND TECHNOLOGY TEXTBOOK

Digital Jacquard Design Julie Holyoke Digital Jacquard Design presents a comprehensive introduction to the creation of weave patterning in the era of digitally piloted looms. It offers both aesthetic and technical training for students of figured weaving, covering the Jacquard medium in fantastic breadth and depth. The book is an essential guide for all who create figured textiles with modern materials and tools, and provides the reader with a ‘digital’ key to access and employ the great textile traditions of the past. • Lavishly illustrated with photographs and diagrams in full colour, balancing the artistic and technical dimensions of the subject • Covering all aspects of figured weaving, this book equips students with a complete guide to the design process and the analytical tools essential to the understanding of weavepatterned textiles • Concludes with a rich set of case studies to demonstrate ingenious and effective weave and design solutions JULIE HOLYOKE is affiliated with the Lisio Foundation, Florence, Italy. UK October 2013 · US December 2013 256 pages · 220 colour illus 297 x 210mm / 11.7 x 8.3 inches HB 9780857853455 · £35.00 / $60.00 Bloomsbury Academic

Part One: The Designer’s Skill Set Visual Analysis: Identifying Contrasts Sample Analysis and Documentation: Structure and Design Weave Drafting Methods: Recording, Designing and Reading Weaves

contents

Acknowledgments and Abbreviations Introduction

Part Two: Technology, Process, Technique Weave-patterning Technology Design Process and Terminology, from Sketch to Card Figuring Techniques Part Three: Woven Structure, Design and the Jacquard Medium Weave Glossary, Choosing and Building Weaves, Evaluating Weaves Which Comes First: Figuring Technique or Design Case Studies Notes Bibliography Contributors Photography and Illustrations Credits Index

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TEXTILE DESIGN AND TECHNOLOGY Dyeing and Screen-Printing on Textiles 2nd edition Joanna Kinnersly-Taylor This new edition of Dyeing and Screen-Printing on Textiles has been fully updated, with revised recipes and methods, and brand new images. This essential text is a clear, easy-to-follow guide for students as well as accomplished artists and designers who wish to expand their knowledge of a range of fascinating techniques. Joanna Kinnersly-Taylor covers all the key processes used in creating dyed and screen-printed fabrics using a range of synthetic dyes. • Suitable for students and textile artists as well as hobby textile-dabblers • Includes recipes for cloth preparation, dyeing and printing, fixation, designing a repeat, and preparing imagery and screens for exposure • Features a selection of work from international artists • Advises students on equipment needed for setting up a studio and safe working practice JOANNA KINNERSLY-TAYLOR is a visiting lecturer at a number of colleges and universities and has exhibited widely, both in the UK and abroad. dyeing and screen-printing on textiles

thickeners

producing a stable thickener that gives sharp prints and is also capable of withstanding acidic conditions, making it suitable for use in acid and pigment resist pastes. there are various brands of thickeners on the market, including ‘tylose c’, ‘Diaprint 1060’, and ‘printex’ range, but unfortunately these are not easily available in the uK. However, it is possible to purchase tylose in small quantities from cake-decorating suppliers, as it is used for icing (see www.cake-stuff.com).

syntHetics emulsion thickeners these are now mostly used with pigment print pastes, where white spirit has mainly been replaced by solvent-free ingredients. in the past, white spirit emulsion was combined with an alginate thickener such as Manutex to make a thickener for use with reactive and disperse dyes. in industry their use has declined, due to environmental concern and the development of synthetic alternatives. thickeners or binders for pigment pastes can be bought ready-mixed.

Joanna Kinnersly-taylor (uK), the shape of things (detail), 2009. screenprinted irish linen using reactive dyes and discharge, 133 x 260cm (52 x 102in.). photo: electric egg ltd

UK March 2012 · US June 2012 192 pages · 150 bw & 60 colour Joanna Kinnersly-taylor (uK), shawl currents, balcony ‘aprons’ at the Fishermen’s Mission, north shields, tyne & Wear; part of Wavelengths, a temporary externally-sited project commissioned by northern print studio, 2005. Dyed and screen-printed with reactive dyes, pigment and discharge on wool, each: 150 x 300cm (59 x 118in.). photo: Joe ingleby

246 x 189mm / 9.7 x 7.4 inches PB 9781408124758 · £19.99 / $29.95 A&C Black Visual Arts

solvitose / Monagum starch ethers can withstand strong alkaline conditions without breaking down and are used for white discharge printing on reactive and direct grounds, colour discharge printing with basic dyes and colour discharge printing with pigments. it is also the thickener used for devoré printing onto protein fibres and in crimping pastes. the most well-known brand of starch ether thickener is ‘solvitose’, and there are two types: ‘c5’ (maize starch) and ‘oFa’ (guar gum based). in the uK, solvitose c5 is most easily available and is the recommended starch ether thickener for recipes in this book; in the us, Monagum would be an equivalent product. these are best mixed well in advance to ensure there are no lumps remaining in the paste. solvitose c5 1 Measure 1 litre cold water, and slowly sprinkle 120g solvitose c5 powder or flakes onto the surface, mixing thoroughly with an electric whisk. leave to stand for a few hours or, if possible, overnight. Monagum Measure 1 litre lukewarm water, and slowly sprinkle 36g Monagum flakes onto the surface, mixing thoroughly with an electric whisk. leave to stand for a few hours or, if possible, overnight.

1

cellulose ethers (carboxymethyl cellulose or cMc) cellulose ethers are made from purified cellulose of cotton or wood origin. the grainy white powder dissolves easily in hot and cold water,

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Fashion, Design and Technology Bradley Quinn This highly illustrated book takes a cutting edge look at the latest textiles and textile technologies. Covering all applications, including fashion, architecture, interior decoration, medicine, and industry, it includes a wide range of international artists, designers and industry names. 2010 · 320 pages · 150 bw & 60 colour illus 244 x 172mm / 9.6 x 6.8 inches PB 9781845208080 · £19.99 / $34.95 HB 9781845208073 · £60.00 /$99.95 Berg Publishers

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www.bloomsbury.com • UK, Europe, ROW • +44 (0)1256 302699 • [email protected]

key titles

Textile Futures

TEXTILE HISTORY AND CULTURE Global Denim Daniel Miller and Sophie Woodward “An interesting and commendable first foray into an anthropology of blue jeans.” Anthropology Review Database On any given day nearly half of the world’s population is wearing blue jeans. This is the first serious attempt to understand the causes, nature and consequences of the rise of ‘global’ denim. While discussing the consequences of denim at the global level, the book consists of some exemplary studies by anthropologists of what blue jeans mean in a variety of local situations. These range from the discussion of hip-hop jeans in Germany, denim and sex in Milan through to the connection between denim and recycling in the US. DANIEL MILLER is Professor of Material Culture at University College, London, UK. SOPHIE WOODWARD is Lecturer in Sociology at the University of Manchester, UK.

2. The Making of an American Icon: The Transformation of Blue Jeans during the Great Depression 3. Diverting Denim: The Ecology of Jeans in Popular Hindi Film 4. How Blue Jeans went Green: The Materiality of an American Icon 5. The Limits of Jeans in Kannur 6. ‘Brazilian Jeans’: Materiality, Body and Seduction at a Rio de Janeiro Funk Ball 7. Indigo Bodies: Fashion, Mirror Work and Sexual Identity in Milan

contents

1. The Global Denim Project

2010 ∙ 224 pages ∙ 12 bw illus ∙ 234 x 156 mm PB 9781847886316 ∙ £19.95 / $29.95 HB 9780857851420 ∙ £55.00 / $99.95 Individual eBook 9781847887399 ∙ £19.95 / $31.99 Library eBook 9780857851420 ∙ £55.00 / $89.99 Berg Publishers

8. Jeanealogies: The (Im)permanence of Relationships 9. Picaldi Jeans and the Figuration of Working-Class Male Youth Identities in Berlin: An Ethnographic Account

>> See also pages 54, 64, 66

10. The Jeans That Don’t Fit: Marketing Cheap Jeans in Brazil

Warp and Weft Woven Textiles in Fashion, Art and Interiors Jessica Hemmings “Readable, with enough technical insight to satisfy an academic or professional audience and enough explanation to reach a more casual reader. Carefully chosen photographs (and especially the detail shots) help clear up any ambiguities and pique the reader’s curiosity.” Selvedge This beautiful weaving book explores the world of woven textiles created for fashion, interiors and art. It focuses on the many different weaving structures used in modern textiles, from the childishly simple to the incredibly complex, and the effects these are used to create. An excellent resource for everyone with an interest in modern, woven textiles, this book features work by contemporary makers including Salt, Nuno, Maggie Orth, Dashing Tweeds, Ismini Samanidou, Liz Williamson, Dries van Noten, Lia Cook and Mark Pollack. Jessica Hemmings is Professor of Visual Culture and Head of the Faculty of Visual Culture at the National College of Art and Design in Dublin, Ireland.

UK October 2012 · US December 2012 144 pages · 170 colour illus 246 x 189mm / 9.7 x 7.4 inches PB 9781408134443 · £19.99 / $29.95 A&C Black Visual Arts

www.bloomsbury.com • US, Canada, South America • 888-330-8477 • [email protected]

43

TEXTILE HISTORY AND CULTURE Hand Stitch Perspectives Alice Kettle and Jane McKeating The companion volume to Machine Stitch, Hand Stitch is an essential read and reference for any textiles student, practicing embroiderer, designer and artist. Together these two titles form the significant and substantial references on current stitch practice. Each chapter is written by an established maker, embroiderer, artist or academic and discusses hand stitch from a different perspective. Wonderful illustrations of artistic hand stitch, both contemporary and historical, demonstrate this diverse and intimate craft in detail. The contributors draw upon important collections including the Victoria and Albert Museum, London, the Whitworth Art Gallery, Manchester, and the rich archive held by Manchester School of Art in this extensively researched and beautifully presented volume. Contributors Include: Lesley Millar, David Owen, Tom Lundberg, Kate Egan, Heather Belcher, Anne Morrell, June Hill, Melanie Miller, James Hunting, Ian Wilson, Nigel Hurlstone, Lesley Mitchison, Ann French, Tracy Gill, Sue Prestbury. ALICE KETTLE is Senior Research Fellow at Manchester School of Art, UK, Visiting Professor at the University of Winchester, UK and is one of the UK’s finest textile artists. JANE MCKEATING is Director of Studies in the design Department at the Manchester School of Art, UK.

oR imagined: conveRsations about stitching on to and into

Real

j a n e m c k e at i n g

Ground in Cloth and Thread Asif Shaikh Kutchchi Ari, 2009. Chain stitch with ari needle and twisted silken floss. Detail of Kutchchi ari border, embroidered with twill weave pure silk, embellished with badla (flat metal strip) and sequins. The collections are stitched in Ahmedabad for international clients. The designs are inspired by and adapted from traditional Kutchchi designs held in the V&A collection. 10 x 18 cm (4 x 7 in.). Collection revival of Kutchchi ari. Photo: Asif Shaikh.

g r o u nd

i n

c l o th

a n d

t h r e a d

The cloTh and The Thread as i sew, a conveRsation with embRoideReR asif shaikh

earlier this year in Ahmedabad keeps playing in my mind. Initially, I thought it was due to his intense use of miniature stitching, the way he had reduced the scale of his designs by half, challenging himself to make work where the minute stitches are hardly visible. However, on reflection, I now feel certain that it was his obsession with the straight grain that stayed with me. He stressed repeatedly, ‘For me, geometry is very important, the grain lines keeping it very straight when you remove it from the frame.’1 Asif ’s designs and stitches are neither geometric nor rigid, but beautifully placed, intricate motifs adorning immaculate garments. His determination is to perfect, to produce something of absolute quality, which for him required complete precision, order and control. Reflecting on the conversation, analysing in turn the role of order in my own and others’ practice, I understand that I stitch against the grain, marks going a little askew, the weave of the cloth distorting the image. The cloth’s structure inflicts a grid to accept or ignore, a rule asking to be obeyed or broken. Sometimes a stitched line is moving happily along the warp and then shoots off, finding its own pattern. Stitching layers of overlaid cloth creates an intriguing, jarring mix. I have observed artists select, absorb, reject and experiment with threads and grounds and have become interested in embroiderers’ choice of, and sensitivity to, their materials. That a stitch can and does exist independently from a ground and is made from materials other than fibre is discussed elsewhere. Here I present responses to the relationship between thread and cloth and illustrate that the ground, its surface, structure and handle, is central to encapsulating the spirit of the work. A selection of apparently random examples illustrates a commonality that transcends the professional and amateur, the historic and the contemporary, the novice and the experienced. The commonality here being the stitches’ connection to a base, as Gavin Fry describes it, the ‘in and out, not the on’.2 Whether artists paint or stitch, I have recently begun to understand that the attraction of stitch for me is the connection of thread to cloth. Cloth dictates a history; it has tactile qualities and its structure, usually constructed of thread, suggests somewhere to start. Nigel Cheney expresses this well: I went through a few years of thinking I had to be a painter and tried oils (allergic), canvas (too bouncy) MDF (better), acrylic (just can’t get enough layers before it becomes fugitive), watercolours (too disciplined and can’t leave the white of the paper ) … paint just isn’t enough. I look at them and they are flat and dead and without the bounce, edge and depth that stitch has.3 He goes on to describe hand stitch as ‘like a highlighter pen’. Applied to the cloth, the stitch punctures and punctuates, heightens and distorts, even has a right and a wrong. It eventually obliterates the cloth in various proportions, the embroiderer judging how much of the cloth needs to remain visible. Stitch is physical colour in a multiplicity of guises, a means to imbue the cloth with ideas,

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the

james hunting

The Professional Embroiderer?

James Hunting Sample, 2000. Stranded cotton embroidery on silk tulle. Photo: James Hunting. I produced a range of wedding veils for a client. I used soft-coloured cottons rather than the traditional cream. They are stitched with two strands of cream cotton and one other colour, which runs through. This is an aspect of stranded cotton: you can blend colours through mixing strands.

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this chapter is a reflection on the identity of a professional embroiderer, his role, his knowledge and his current and future working patterns. It is written as my own opinion and not as the definitive and sole function/persona of the professional embroiderer. The particular emphasis of the chapter will be on the use of embroidery within the fashion arena; as a skill, it needs to be far more comprehensive than simply an ability to technically make work to a high standard. Within this chapter, the term ‘hand’ is used to describe any work not produced on a machine, free-arm or otherwise. I use the term ‘professional embroiderer’ to refer to an artisan who is able to use his or her skill and knowledge of hand-embroidery techniques in order to produce work for a third party or commissioning client. Within this second definition, there is a distinction to be made, since there remain a few embroiderers who are wedded to technical skill. They are experts in their field but they do not involve themselves in any of the design process. They may be from the older generation of embroiderer and have worked as employees of embroidery or couture houses. For such artisans, the work may not be to their taste, but this is not a question that they pose, since their job is to execute the work professionally within any given time constraints and to any budget. The embroiderers of today are more often artisans who can apply their knowledge to resolve ideas and design concepts, innovate with materials and techniques in order to remain economically viable, and display an individual approach to their skills that can integrate and complement the aesthetic considerations of their clients. The term ‘embroidery’ is generally synonymous with the act of using needle and thread on a cloth base. The term, however, is now open to a multitude of activities that include beading, the addition of sequins, and all embellishments to an article of clothing which lie outside other specific disciplines such as knit, weave or print. Economically, within the reality of the current fashion world, it is rare to produce any hand-stitched work other than samples (which will be translated into mechanical outcomes, and the wedding market, which I will discuss later). I am not including here designer-makers who sell their own products or artworks. They may be professional but do not fall within the focus of this chapter, which is the application of skill in the artisan world. My own professional identity lies where skill is mixed with a strong design element and an awareness and knowledge of the wider context, history and potential of embroidery, together with an ability to look beyond the technical precedents and constraints of tradition.

p r o f e s s i o n a l

e m b r o i d e r e r

?

The profession of embroiderer is under threat in the UK. We have to recognise that we cannot compete with the market leaders in the making of hand embroidery. Freelance embroiderers in the UK have a set of fixed charges and expenses that specify a higher hourly rate of pay, and given the time-intensive manner of hand embroidery, we cannot be as cheap as the current market leaders, China and India. The haute couture tradition of hand embroidery in France could be said to be superior. The French have a proactive approach to the retention of traditional craft, of artisanship and of regional knowledge, which means that embroidery continues to maintain its status as a serious profession. In France, training is financially supported by both the Ministry of Culture and the Ministry of Education, since embroidery is identified as a national skill. They train people to work with the couture world to a very high level of technical speed and finish; however, I have observed that the one thing that appears to be absent in their training is the achievement of a personal, individual, artistic approach.The cultural rules in France are so well established that although lip service is paid to the idea of the individual the individualists seem to be frowned upon. My own particular area, whilst working in the couture houses in Paris, was finished or nearly finished dresses, so I would often be contacted late in the collection to produce work. This would mean working in the main studio of the couture house, unlike the French embroiderers, who stitched on framed-up work in the studios of the embroidery companies, the dresses being delivered for fitting. The work was focused and time was of an essence: there is no way you can be late for a catwalk. Often, dresses were finished just before the show, and by the word ‘just’, I mean five minutes beforehand. Work was often interrupted by fittings and design developments, which could alter the work and outcome. These changes had to be absorbed and reacted to – this too is the reason that an embroiderer has to be able to apply knowledge and skills in order to achieve; designers are not interested in ‘how’, just ‘when’. The greatest advantage was to work in the proximity of the ‘petites mains’, the artisans of the ateliers who have an incredible skill base, can fit a garment by eye, and can produce exquisitely made and resolved pieces quietly and efficiently, the storm of the creative team passing over their heads. Fabric and couture techniques demand their own respect. I was more interested in gaining the respect of the petites mains than the designer himself or herself: for me, the ultimate in a good job is the respect of other artisans and experts in their field. One of our skills in the UK is our ability to innovate, to take ownership of techniques and skills, to rework and approach them in a different way. This is a vital and essential part of our economic viability that should be celebrated (look at the ‘Cool Britannia’ label and how much cultural and creative activities bring into the UK). The embroidery world needs innovation, it needs to constantly build on tradition, rather than simply reworking seventeenth-, eighteenth- or nineteenthcentury models in order to preserve the skills. I believe that we need to continue to acquire technical knowledge and to understand the mechanics and gesture of

James Hunting Samples, 2010. Silk thread, handstitched on to silk duchesse satin. Photo: James Hunting. The brief these samples were made for was to change the texture of the silk duchesse and lose the join between the fabrics. The client had a very strong image of her look and needed the fabric to look less wedding-like and pristine. I had been looking at self-coloured embroidery and was interested in the geometric look, an extension of seeding stitch worked on the surface.

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UK October 2012 · US December 2012 224 pages · 294 colour illus 276 x 219mm / 10.9 x 8.6 inches HB 9781408123416 · £35.00 / $55.00 A&C Black Visual Arts

FASHION AND COSTUME HISTORY The History of Sportswear Fashion From Chanel to Wang Christian Blanken The History of Sportswear is the definitive guide to sportswear and leisurewear fashion over the past century. Chronologically mapping the rise of sportswear over the past century through the designers that made the style mainstream, author and luxury fashion designer Christian Blanken gives fascinating insights into the development of sporting style. Featuring interviews with some of the biggest names in fashion today, this beautifully illustrated book brings a unique insider’s perspective focussed as much on the nuances of the design developments as the wider historical context. • • • •

eaturing interviews with top designers and industry insiders from across the globe F Written by a practising high-end fashion designer for a unique insight Beautifully illustrated Presented chronologically for an in-depth overview of the topic

CHRISTIAN BLANKEN is a UK-based fashion designer. UK February 2014 ∙ US February 2014 144 pages ∙ 80 colour 40 bw illus 219 x 276mm / 10.9 x 8.6 inches PB 9780857856463 ∙ £19.99 / $29.95 A&C Black Visual Arts

key titles

Japanese Fashion Designers The Work and Influence of Issey Miyake, Yohji Yamamoto and Rei Kawakubo Bonnie English “A comprehensive synthesis of the works and careers of the three Japanese designers who revolutionized the Western fashion world... This is a must read for anyone interested in Japanese fashion.” Yuniya Kawamura, Fashion Institute of Technology/State University of New York, USA Based on twelve years of research, this book provides a richly detailed and uniquely comprehensive view of the work of these three key designers. It outlines their major contributions and the subsequent impact that their work has had upon the next generation of fashion and textile designers around the world. Designers discussed include: Issey Miyake, Yohji Yamamoto, Rei Kawakubo, Naoki Takizawa, Dai Fujiwara, Junya Watanabe, Tao Kurihara, Jun Takahashi, Yoshiki Hishinuma, Junichi Arai, Reiko Sudo & the Nuno Corporation, Makiko Minagawa, Hiroshi Matsushita, Martin Margiela, Ann Demeulemeester, Dries Van Noten, Walter Beirendonck, Dirk Bikkembergs, Alexander McQueen, Hussein Chalayan and Helmut Lang.

2011 ∙ 192 Pages ∙ 24 colour & 40 bw illus 244 x 172mm / 9.6 x 6.8 inches PB 9781847883100 ∙ £17.99 / $29.95 HB 9781847883117 ∙ £55.00 / $99.95 Individual eBook 9780857850546 ∙ £17.99 / $28.99 Library eBook 9780857853134 ∙ £54.99 / $89.99 Berg Publishers

BONNIE ENGLISH is Associate Professor in Art and Design Theory at the Queensland College of Art, Griffith University, Brisbane, Australia.

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FASHION AND COSTUME HISTORY A History of the Paper Pattern Industry Joy Emery A History of the Paper Pattern Industry explores this history, outlining innovations in patternmaking by the companies who produced patterns and how these reflected the fashions and demands of the market. Showcasing beautiful illustrations from original pattern pamphlets, packets and ads, the book provides a unique visual guide to homemade fashions as well as essential exploration of the industry that produced them. • Provides a concise overview of the paper dress pattern industry across the centuries • Highly illustrated with 200 images from packets and advertising, the book also includes 12 original patterns from different decades which readers can use to make vintage garments • An essential read for fashion students, researchers, sewers and fashion enthusiasts

Joy Emery

A History  of the  Paper  Pattern  Industry

JOY EMERY is Professor Emerita of Theatre and the Curator of The Commercial Pattern Archive at the University of Rhode Island, USA. UK January 2014 ∙ US March 2014 256 pages ∙ 75 bw & 125 colour 244 x 189mm / 9.6 x 7.4 inches PB 9780857858313 ∙ £19.99 / $29.95 HB 9780857858306 ∙ £55.00 / $99.95 Bloomsbury Academic

2. Development of Dressmaking Patterns 3. Nineteenth Century Technology 4. Early History of Pattern Companies 1860s-1880s 5. New Markets and expansion 1880s-1900 6. Shifts and Balances 1900-1920s 7. Blossoming Economy 1920-1929 8. Surviving the Great Depression 1930s 9. The War Years 1940s 10. Shifting Trends 1960s 11. New Challenges 1960s-1980s 12. Reinvention and Renaissance 1980s-2010

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contents

1. Birth of Published Garment Patterns to the 20th Century

FASHION AND COSTUME HISTORY Luxury Fashion A Global History of Heritage Brands Caroline Cox Luxury Fashion is a unique tribute to the world’s most hallowed fashion brands. Glossy and highly informative, it provides in-depth feature portraits of fifty of the finest luxury fashion brands (renowned heritage labels and hidden gems) as well as an essential directory of a further 150 brands, which includes details of key items and where to find them. Each featured brand is beautifully illustrated, with historical and contemporary images, evoking the story of how artisans from all over the world have created objects of desire that have endured because of their superb quality, superior craftsmanship and timeless design appeal. Lively, insightful text explores manufacturing processes and materials, revealing how the most revered fashion brands have maintained astonishingly long lineages. A luxurious and sophisticated volume, Luxury Fashion will captivate and inform even the most avid fashion devotee. CAROLINE COX is an International Consultant at Vidal Sassoon’s Advanced Academy in London, UK.

UK November 2013 352 pages ∙ 600 colour illus HB 9780857857552 ∙ £30.00 Available in the UK only A&C Black Visual Arts

Decades A Century of Fashion Cameron Silver “Stunning ... it’s an education not only about the people who create fashion but also the people who bring the looks to life.” Los Angeles Times “A brilliant showcase of the past century of fashion.” Elle Decoration Cameron Silver runs the most glamorous boutique in LA, where Hollywood royalty go to find vintage couture that is totally unique and utterly timeless. Decades is a showcase of the past hundred years of fashion, accompanied by Silver’s witty commentary. Each chapter opens with a pair of women who epitomise rival hot trends, like the luminous Cheryl Tiegs with her sunshine sexiness versus Bianca Jagger, the dark disco goddess of Studio 54. The chapters close with a designer of the decade: think Chanel, YSL and Dior at their most fabulous. Every one of the more than 150 photographs in the book is completely contemporary and modern-looking, even as far back as the 1900s. There are rare and previously unpublished images, as well as work by legendary fashion photographers. Decades is a bubbling, sassy, fabulous book that will make you think about vintage fashion in a totally new way.

2012 ∙ 256 pages ∙ colour illus HB 9781408806364 ∙ £40.00 / $60.00 Bloomsbury Publishing

CAMERON SILVER has been named one of Time magazine’s “25 most influential names and faces in fashion.” He is currently filming his television series as well as developing new projects for Decades and elsewhere.

A History from Sandals to Sneakers Edited by Giorgio Riello and Peter McNeil “At last a work that deals not only with the history of footwear, but also with its cultural significance. This volume helps transform the shoe from a mundane object of everyday use into something of great social and psychological power.” Manolo Blahnik 2006 ∙ 658 pages ∙ 210 colour illus ∙ 235 x 210mm / 9.3 x 8.3 inches PB 9780857850386 ∙ £19.99 / $29.95 HB 9781845204433 ∙ £29.99 / $49.95 Berg Publishers

key titles

Shoes

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FASHION AND COSTUME HISTORY TEXTBOOK

A Cultural History of Fashion in the 20th and 21st Centuries 2nd edition From Catwalk to Sidewalk Bonnie English “This new edition of Bonnie English’s invaluable introduction to the cultural perspectives on fashion in the twentieth century expands upon her original text, covering and updating her investigation of both the commercial and cultural aspects of fashion. Situating fashion as both intercontextual and interdisciplinary, English provides a solid grounding of issues, concerns and debates that are essential to understand for any scholar of fashion.” Shaun Cole, London College of Fashion, UK “This edition has encompassed all the intricacies of the fashion world and refreshingly included insight into the ‘business’ of the industry. A valuable tool for opening up the fashion world to students, and a one-stop read that will be entertaining for fashionistas who are keen to learn more about the mysteries of fashion.” Kay McMahon, Queensland University of Technology, Australia This new edition of a best-selling textbook is designed for students, scholars, and anyone interested in 20th century fashion history. Accessibly written and well illustrated, the book outlines the social and cultural history of fashion thematically, and contains a wide range of global case studies on key designers, styles, movements and events.

UK March 2013 ∙ US May 2013 280 pages ∙ 61 bw & 32 colour illus 244 x 169mm / 9.6 x 6.6 inches PB 9780857851352 ∙ £16.99 / $29.95 HB 9780857851345 ∙ £55.00 / $100.00

NEW TO THIS EDITION: • A longer, more attractive new edition of this successful overview text, completely revised throughout • Twice as many images as the first edition and two colour plate sections • Contains new content on eco-fashion, fashion and the museum, major changes in the fashion market in the 21st century (including the impact of new media and retailing networks), new technologies, fashion weeks, the rise of Asian fashion centers and more

Individual eBook 9780857851376 ∙ £16.99 / $26.99 Bloomsbury Academic

BONNIE ENGLISH is Associate Professor in Art History and Theory at the Queensland College of Art, Griffith University, Brisbane, Australia.

TEXTBOOK 5th edition

Phyllis G. Tortora and Keith Eubank Survey of Historic Costume, 5th Edition, which now includes a free student Study Guide, presents a thorough overview of Western dress from the ancient world to the trends of today. Each chapter presents social, cross-cultural, environmental, geographic, and artistic influences on clothing. With visuals, illustrated tables, and in-depth discussions, readers come to recognize recurring themes and concepts and understand the role of dress from a diverse, global perspective. 2009 ∙ 640 Pages ∙ 500 colour illus ∙ 216 x 279 mm / 8.5 x 11 inches HB 9781563678066 ∙ £80.00 / $119.50 Value Pack with Free Student Guide Available (978160902304) Pricing Available Upon Request Fairchild Books

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key titles

Survey of Historic Costume

FASHION AND COSTUME HISTORY Poiret, Dior and Schiaparelli Fashion, Femininity and Modernity Ilya Parkins Through a highly original and detailed analysis of the memoirs, interviews and other life writings of Poiret, Dior and Schiaparelli, this book explores changing notions of femininity in the early decades of the twentieth century, when the democratization of fashion began. Examining the idea of modernity, eternity and the ephemeral in the writings of these haute couturiers, the book reflects on fashion’s ambivalent approach to women, which both celebrated and vilified them, presenting them as both ultra modern style leaders and irrational creatures stuck in the past. ILYA PARKINS is Assistant Professor of Gender and Women’s Studies at the University of British Columbia, Okanagan, Canada.

UK September 2012 ∙ US November 2012 208 pages ∙ 24 bw illus 234 x 156mm / 9.2 x 6.1 inches PB 9780857853271 ∙ £19.99 / $29.95 HB 9780857853264 ∙ £55.00 / $99.95 Library eBook 9780857853288 ∙ £19.99 / $30.99 Individual eBook 9780857853295 ∙ £60.00 / $50.00 Berg Publishers

Fashion and Orientalism Dress, Textiles and Culture from the 17th to the 21st Century Adam Geczy “Geczy opens our eyes to an understanding of fashion as an exchange of values between Asia and the West for the past 500 years. This timely, patiently researched, brilliantly written book will become the standard reference for the field and a must-read for anyone interested in the intersections of cultural studies, art history and philosophy.” Melissa Chiu, Director, Asia Society Museum, New York, USA In this groundbreaking book, the author shows the extent of the influence that the Orient had, and continues to have, on fashion. Exploring topics including Chinoiserie, masquerade, bohemianism, Japonisme, the “deOrientalization” of the Orient, perfume and the birth of couture, Fashion and Orientalism is an essential read for students and scholars of fashion, cultural studies and history. ADAM GECZY is a Senior Lecturer at Sydney College of the Arts, a faculty of the University of Sydney, Australia.

UK January 2013 ∙ US February 2013 272 pages ∙ 44 bw illustrations 234 x 156mm / 9.2 x 6.1 inches PB 9781847885999 ∙ £19.99 / $29.95 HB 9781847886002 ∙ £55.00 / $100.00 Individual eBook 9780857854278 ∙ £19.99 / $30.99 Library eBook 9780857854261 ∙ £60.00 / $50.00 Bloomsbury Academic

A Cultural History of Jewish Dress Eric Silverman A Cultural History of Jewish Dress is the first comprehensive account of how Jews have been distinguished by their appearance from Ancient Israel to the present. This lively work explores the rich history of Jewish dress, examining how Jews and non-Jews alike debated and legislated Jewish attire in different places, as well as outlining the big debates on dress within the Jewish community today. Focusing on tensions over gender, ethnic identity and assimilation, each chapter discusses the meaning and symbolism of a specific era or type of Jewish dress. The book also offers the first analysis of how young Jewish adults today announce on caps, shirts, and even undergarments their striving to transform Jewishness from a religious and historical heritage into an ethnic identity that is hip, racy, and irreverent. Fascinating and accessibly written, A Cultural History of Jewish Dress will appeal to anybody interested in the central role of clothing in defining Jewish identity. ERIC SILVERMAN is Associate Professor of Anthropology in the American Studies and Human Development department, Wheelock College, Boston, USA and a Scholar at the Women’s Studies Research Center, Brandeis University, USA.

UK January 2013 ∙ US February 2013 288 pages ∙ 77 bw illus 244 x 172mm / 9.6 x 6.8 inches PB 9781847882868 ∙ £19.99 / $34.95 HB 9781845205133 ∙ £55.00 / $99.95 Individual eBook 9780857852106 ∙ £19.99 / $30.99 Library eBook 9780857852090 ∙ £60.00 / $50.00 Series: Dress, Body, Culture Bloomsbury Academic

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FASHION AND COSTUME HISTORY The Swimsuit Fashion from Poolside to Catwalk Christine Schmidt The Swimsuit documents the modern swimsuit’s trajectory from men’s underwear and circus/performance wear to its unique niche in world fashion. This exciting book explores the history and significance of the swimsuit, revealing how fashion, sport, entertainment, publicity and national identity have been played out in this unique and at times scandalous garment. In addition, the book offers new perspectives on national histories of the swimsuit and investigates how traditional European fashion centers have opened up to new markets and modes of living, bringing together influences from around the globe. CHRISTINE SCHMIDT is a fashion researcher and independent fashion and concept consultant. UK October 2012 ∙ US December 2012 ∙ 163 pages ∙ 46 bw illus ∙ 244 x 172mm / 9.6 x 6.8 inches PB 9780857851239 ∙ £19.99 / $29.95 ∙ HB 9780857851222 ∙ £55.00 / $99.95 Individual eBook 9780857851253 ∙ £19.99 / $30.99 ∙ Library eBook 9780857851246 ∙ £60.00 / $50.00 Berg Publishers

Wartime Fashion From Haute Couture to Homemade, 1939-1945 Geraldine Howell “A rigorous, meticulously researched - and fantastically well referenced - text which will make a significant contribution to existing studies on women’s dress during wartime Britain.” Professor Amy de la Haye, London College of Fashion, UK Wartime Fashion explores the impact of war on the dress and appearance of civilian women of all classes in the context of changing social and economic infrastructures created by the national emergency. Using new archival and primary source evidence, this book clarifies how and why clothing was rationed, and repositions style and design during the war in relation to past expectations and ideas about clothes and fabrics. GERALDINE HOWELL taught Theoretical Studies for over twenty years on the Fashion Design course at the University of Westminster, UK and recently became a freelance writer on dress history. UK December 2012 ∙ US January 2013 ∙ 272 pages ∙ 30 bw illus ∙ 234 x 156mm / 9.2 x 6.1 inches PB 9780857850713 ∙ £19.99 / $34.95 ∙ HB 9780857850706 ∙ £55.00 / $99.95 Individual eBook 9780857854292 ∙ £19.99 / $30.99 ∙ Library eBook 9780857854285 ∙ £60.00 / $50.00 Berg Publishers

Victorian Fashion Accessories Ariel Beaujot Victorian Fashion Accessories explores how women’s use of gloves, parasols, fans and vanity sets revealed their class, gender and colonial aspirations. Beaujot’s engaging prose illuminates the complex identities of the women who used accessories in the Victorian culture that created and consumed them. Victorian Fashion Accessories is essential reading for students and scholars of, history, gender studies, cultural studies, material culture and fashion studies, as well as anyone interested in the history of dress. 2012 ∙ 192 pages ∙ 53 bw illus ∙ 234 x 156 mm / 9.2 x 6.1 inches PB 9781847886828 ∙ £19.99 / $34.95 ∙ HB 9781847886835 ∙ £54.99 / $99.95 Individual eBook 9780857853202 ∙ £19.99 / $31.99 ∙ Library eBook 9780857853196 ∙ £55.00 / $99.95 Berg Publishers

Oral History in the Visual Arts Edited by Linda Sandino and Matthew Partington Oral History in the Visual Arts is the first book to explore the theory and practice of oral history as a methodology across a wide range fields including art, design, fashion, textiles, museum studies, history and craft. This groundbreaking text demonstrates how artists, writers and historians deploy interviews as creative practice, as ‘history’, and as a means to insights into the micro-practices of arts production and identity. Through a wide range of case studies from international scholars and practitioners across a variety of fields, the volume maps how oral history interviews contribute to a practice that is creative, rigorous and ethically grounded. LINDA SANDINO is the CCW/VA Senior Research Fellow at Victoria and Albert Museum, London, UK. MATTHEW PARTINGTON is the Victoria and Albert Museum Senior Research Fellow (Applied Arts) at the University of West England and a Research Fellow at the Victoria and Albert Museum, London, UK. UK February 2013 ∙ US April 2013 ∙ 224 pages ∙ 32 bw & 24 colour illus ∙ 246 x 189mm / 9.7 x 7.4 inches PB 9780857851987 ∙ £19.99 / $29.95 ∙ HB 9780857851970 ∙£55.00 / $99.95 Individual eBook 9780857852007 ∙ £19.99 / $30.99 ∙ Library eBook 9780857851994 ∙ £60.00 / $50.00 Bloomsbury Academic

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BERG FASHION LIBRARY Berg Fashion Library WINNER OF: 2012 PCAACA Electronic Reference Award • 2011 Dartmouth Medal for Outstanding Reference • ALA Outstanding Reference Source • Bookseller FutureBook Award for Best Website • Independent Publishers Guild Frankfurt Book Fair Digital Award • Highly Commended ALPSP Certificate for Publishing Innovation 2011 • Booklist Editor’s Choice 2011 Incorporating the Berg Encyclopedia of World Dress and Fashion,* this unique online portal is the leading source of information for anyone working on dress or fashion. The Berg Fashion Library offers users cross-searchable access to an expanding range of essential resources, and it is updated at least three times a year to keep students, scholars, and professionals at the cutting edge of their subject. Key Content: • • • • •

The Berg Encyclopedia of World Dress and Fashion online – updated twice a year Lesson plans with links through to online content Online exclusive articles available only to subscribers E-book collection: full text of c. 70 Berg fashion e-books with regular updates An extensive colour image bank with thumbnails that link through to enhanced content. This includes: • • • • • • •

NEW! 500 images (of a total of 2,500 to come) from the Philadelphia Museum of Art 2,000 images from the Metropolitan Museum of Art’s Costume Institute Collection 1,600 images from the V&A Museum’s internationally renowned fashion collection 2,000 images from the Commercial Pattern Archive database (CoPA) 2,000 images from the print Encyclopedia 600 images from MoMu Fashion Museum, Belgium 230 sample images from collections including the London College of Fashion and The Museum at FIT

• Links to e-journals: cross-searchable functionality with Berg fashion e-journals Fashion Theory, Fashion Practice and Textile for mutual subscribers • Links at article level with Oxford Art Online • Classic and Modern Writings on Fashion: 67 seminal pieces on fashion, including classic and contemporary essays and primary sources • Extra reference sources, such as the A-Z of Fashion** and The Dictionary of Fashion History by Valerie Cumming, C.W. Cunnington and P.E. Cunnington • Museum Directory • Specially-created taxonomy guides users to the information they need, and allows them to refine by place, period, themes, textiles and much more Key content coming in 2013: • New online exclusive articles and e-books • More lesson plans and other teaching resources • More Images from the Philadelphia Museum of Art • Content from the Bath Fashion Museum

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• Bibliographic articles

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BLOOMSBURY FASHION PHOTOGRAPHY ARCHIVE Bloomsbury Fashion Photography Archive A Unique Online Resource for Students and Scholars Bloomsbury Publishing is pleased to announce plans for an online fashion photography archive designed specifically for students and researchers. The Bloomsbury Fashion Photography Archive will be fully searchable and meticulously indexed, containing over 600,000 high quality images, hundreds of articles and audio and video resources to provide context and analysis from expert scholars and commentators. “Bloomsbury is thrilled to have acquired this amazing window into fashion history. The archive traces the rise of the supermodel and the groundbreaking designs of innovators such as Vivienne Westwood, John Galliano, Jean-Paul Gaultier and Alexander McQueen. Providing literally hundreds of thousands of images from the catwalk as well as rare backstage shots at the shows in London, Paris, New York and Milan, the archive is a treasure trove for students, designers, and fashion historians.” Kathryn Earle, Head of Visual Arts Pubilshing at Bloomsbury International Range of Runway, Backstage and Street Style Images At its centre is the is the Niall McInerney Fashion Photography Archive, the life’s work of a photographer who has captured many seminal fashion moments covering international runway shows and street style from the 1970s until 2000. Featuring a wealth of images from rare backstage shots to inventive ready-to-wear to spectacular couture shows, this international archive documents key changes in design trends and the cultures of fashion over a vibrant period in fashion history. Editor-in-Chief Valerie Steele and The Core Image Collection The Bloomsbury Fashion Photography Archive will launch with a core image collection curated by Valerie Steele, internationally renowned scholar and Director of the Museum at FIT in New York. As Chief Curator and Editor-in-Chief of the Archive, she will commission expert original commentary on the Archive’s treasures to provide important background and an unrivalled insight into the fascinating world of fashion they represent. Additional Resources for Teaching and Learning Perfect for teaching as well as research, the archive will also contain a range of exciting learning resources including lesson plans for instructors and students of fashion, design, history, photography, media, visual culture and related fields. More information about this resource will be released later in 2013. To register your interest, please e-mail [email protected].

Images: Niall McInerney Fashion Photography Archive, © Bloomsbury Publishing Plc.

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UK, Europe, ROW • +44 (0)1256 302699 • [email protected] www.bloomsbury.com • [email protected]

FASHION, CULTURE, AND SOCIETY Slogan T-Shirts Cult and Culture Edited by Stephanie Talbot Slogan T-Shirts explores the vast spectrum of slogan use on T-shirts: its function as a message delivery system; and its role as an emblem of political, social, recreational and sartorial trends. The book unfurls as a cultural library of perspectives, nuanced positions and eclectic sources and each interview offers a cultural snapshot within the versatile framework of slogan T-shirt culture. The book also glances into the inner worlds, inside stories and mechanisms of those involved in fashion, design and the production of media. Beautifully designed, visually seductive and packed with influential innovators from the last three decades, every page of this book is a source of inspiration. • Packed with interivews and commentary from designers and industry insiders including: Antoni and Alison, Karen Savage, Katherine Hamnett, Topshop, Barnzley Armitage, Vexed Generation, 6876, YMC, Scott King, Gerard Saint at Big Active, Experimental Jetset, 2k By Gingham, Iain R Webb, I Love Boxie, Cassette Playa, Karen Savage, Dr Noki, Jeremy Deller, Ian Warner and Oliver Miller At Slab Magazine, Delay No More, and Toby Mott • Showcases hundreds of photographs including pictures of T-shirts from rarely seen collections • Features many rarely seen and collectable vintage T-shirts including McLaren and Westwood’s designs, original artwork by English artist and anarchist Jamie Reid, political slogan T-shirts from the private collection of Howard Besser and many more STEPHANIE TALBOT is a freelance writer, stylist and creative consultant. 116

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UK January 2013 ∙ US March 2013 176 pages ∙ 400+ colour illus 276 x 219mm / 10.9 x 8.6 inches PB 9781408157541 ∙ £19.99 / $34.95 A&C Black Visual Arts

S L O G A N T - S H I R T S  | Part two: Designers

Barnzley Armitage www.achildofthejago.com

‘Choose Life’ (1983)

‘Save The Rainforest’ (1983)

‘Worldwide Nuclear Ban Now’ (1983)

‘I always see people

T-shirts kindly supplied by Katharine Hamnett from the studio’s archive • Models: Amy Thompson and Karlie Shelley

wearing my T-shirts, probably because there have been you see one you can’t help but read it.’ According to Hamnett the slogan T-shirt’s appeal is also its aesthetic: ‘They have to be something that you would want to wear ... The use of slogans on a T-shirt gives you a voice. You speak to anybody who sees you. They can be quite sexy. Wearing a T shirt that’s says ‘KNOWLEDGE IS POWER’, for instance, makes you look like someone who has a brain, [someone who is] interesting, you would like to know more about them. You look as if you are part of a thinking elite. By wearing the slogan T-shirt, you use your body to put over a clear message. For instance, the ‘STOP THE WAR COLLECTION’ (2003) started as a follow up to some T-shirts we did as a reaction to Bush’s call for a ‘war on terror’. The ‘NOT IN MY NAME’ T-shirt was hugely visible in the enormous demonstrations held in London.’ Always au courant with current affairs Hamnett continues: ‘Article 13 of the British “Prevention of Terrorism Act”

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says that it is illegal to wear a T-shirt with a politically contentious message. In theory you can be jailed for wearing a T-shirt that says ‘FREE TIBET’.’ Hamnett’s assertive and universally recognisable proclamations have been used as a blueprint for slogan T-shirts on a scale that is unparalleled, but as she remarks: ‘Someone once said you should get worried when they stop copying you. High street copies are an endorsement; stupid slogans go nowhere. You can never really devalue a slogan that’s says ‘WORLDWIDE NUCLEAR BAN NOW’ or ‘SAVE THE RAINFOREST’. A contribution from sales of our T-shirts has been made to various charities over the years. We also donate slogan designs to charities to help raise awareness and funding. Sometimes people ask me to do some relating to a particular issue like AIDS awareness for H&M where I came up with ‘STOP AND THINK, USE ONE’ and ‘PROTECT AND SURVIVE = use a condom’. We try to keep them pure,’ adding;

‘the ‘FRANKIE SAYS RELAX’ wasn’t ours, they did it themselves.’ During the entire process of producing this book, one name has repeatedly been cited as a source of inspiration, regardless of the industry the contributors come from, and that is Katharine Hamnett. Moreover, in 2011 the Queen finally recognised Hamnett by awarding her a CBE (Commander of the Order of the British Empire: an official accolade given for services to the country or community) for ‘services to the fashion industry’. Hamnett continues to innovate with clothing designs that make her patrons’ hearts palpitate, and erudite slogan T-shirts that likewise make government hearts palpitate: ‘I think they have turned into a new medium; they don’t seem to go away. The most popular ones are some of the first ones we ever did such as ‘CHOOSE LIFE’, ‘SAVE THE SEA’ and ‘LOVE’. People carry on asking for them and I keep on making up new ones. They work.’

so many of them.’

Cultural agitator and co-founder of the inimitable fashion label A Child of the Jago, Simon ‘Barnzley’ Armitage’s creative trajectory has nearly always involved the presence of T-shirts: ‘Even as a kid I was making homemade T-shirts, everyone used to do that, it was standard punk rock practice.’ Yet, what is palpable about any one of the independent T-shirt ventures that Barnzley has established since the 1980s is his ability to demote elitism through his transgressive tactics and irreverent vision that capsizes the cultural status quo. During the latter part of the ’80s a trend erupted that saw the appropriation of statusled logos such as Chanel and Gucci engaged with as street fashion, bringing an urban glamour to what was formerly regarded as bourgeois fashion. Inadvertently, this guerrilla gesture changed the fabric of designer labels as we knew them. By negating the exclusivity and fiscal inaccessibility of haute couture, these luxury brands no longer belonged merely to members of the affluent and privileged, deluxe fashion had crossed the threshold into pop fashion’s colourful playground. The man responsible for this revolutionary T-shirt spectacle was Barnzley Armitage.

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It was in the mid ’80s whilst working at the headquarters of the iconic King’s Road boutique BOY that Barnzley’s entrepreneurial spirit was inaugurated: ‘In the studio was a screenprinting table, and at night, once the manager had locked up, the guys who had the keys used to let us in and we’d mess around with ideas.’ Inspired by the sartorial prowess of Japanese youths that used to frequent the King’s Road, Barnzley recalls how they’d imported a trend that saw buttons removed from Chanel clothing and sewn onto the front of jeans. ‘I remember seeing all these Japanese kids hanging around Worlds End [Vivienne Westwood’s landmark boutique] with their video cameras, which at the time you sensed were going to be the next big thing after Walkmans. Anyway they seemed so futuristic with their gadgets and their customised clothes and quite suddenly there was this whole thing about bootleg designer clothes.’ This movement towards recontextualising designer motifs led Barnzley to cut out adverts from magazines and screenprint them onto muslin T-shirts: ‘Chanel made this T-shirt just for their show and I saw it in a magazine and it was either not for sale or for sale at £300 or something

S L O G A N T - S H I R T S  | Part two: Designers

‘Eternal’, designed by Nat Russell (2010)

‘Juste un Garçon’, designed by Curse of the Multiples (2011)

‘Sincere Sin’, designed Margaret Kilgallen (2000)

‘Fly’, designed by Yoko Ono (2003)

‘Watch This Space’, designed by Andy Smith (2008)

‘Art’, designed by Davide Meucci (2008)

‘Juste Une Fille’, designed by Curse of the Multiples (2011)

‘L/S Revolution’ T-shirt with gun/lipstick, designed by Nick Egan (2011)

‘End’, designed by Andy Smith (2008)

‘New Ouch 41% Yeah 59%’, designed by Geneviève Gauckler (2009)

Although 2K’s covetable merchandise had been limited to Japan, demand from around the world generated global expansion. It was in the latter part of 2000 that 2K set up another headquarters in Los Angeles fulfilling a palpable void in the market in the United States. Several years later 2K changed ownership and suffixed its original name with ‘by Gingham’.

‘Tatanka’, designed by Frohawk Two-Feathers (2009)

‘Wedding Album’, designed by Yoko Ono (2003)

Interestingly, the name 2K was assigned by fellow independently-minded enclave, the Amsterdam-based graphic design studio Experimental Jetset, who also contributed many T-shirt designs in the early years. Quite simply, both founders’ surnames began with a ‘K’. Nowadays 2K by Gingham continue to carefully select artists and designers whose

artwork and imagery it considers to be imaginative. Livingston sums up 2K by Gingham’s own attraction to text-based T-shirts: ‘I think slogan T-shirts have weight if you are referencing the societal changing power in the message of the work of someone like Katharine Hamnett. Nonetheless, silly humour is always welcome in our world as well.’

‘Call Me’, designed by Deanne Cheuk (2011) ‘The Brooklyn Manhattan Queens Brooklyn Statten Island’, designed by Stereotype Design (2011)

‘Fame’, designed by Nick Egan (2011)

T-shirts kindly supplied by Indigofera; www.indigoferashowroom.co.uk • Still life images kindly supplied by 2K by Gingham • Model: E-Sinn Soong

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FASHION, CULTURE, AND SOCIETY The Language of Fashion Roland Barthes Roland Barthes was one of the most widely influential thinkers of the 20th Century, and the semiotic power of fashion and clothing were of perennial interest to him. The Language of Fashion – now available in the Bloomsbury Revelations series – collects some of his most important writings on these subjects. Barthes’ essays here range from the history of clothing to the cultural importance of Coco Chanel, from Hippie style in Morocco to the figure of the dandy, from colour in fashion to the power of jewellery. Barthes’ acute analysis and constant questioning make this book an essential read for anyone seeking to understand the cultural power of fashion. ROLAND BARTHES (1915-1980) was a major French writer, literary theorist and critic of French culture and society.

I. Clothing History 1. History and Sociology of Clothing: Some Methodological Observations 2. Language and Clothing 3. Towards a Sociology of Dress II. Systems and Structures 4. ‘Blue is in Fashion this Year’: A Note on Research into Signifying Units in Fashion Clothing 5. From Gemstones to Jewellery 6. Dandyism and Fashion 7. [An Early Preface to] The Fashion System 8. Fashion, a Strategy of Desire: Round-table Discussion with Roland Barthes, Jean Duvignaud and Henri Lefebvre

9. Fashion and the Social Sciences (interview) 10. On the Fashion System III.Fashion Debates and Interpretations 11. The Contest Between Chanel and Courreges, Refereed by a Philosopher 12. A Case of Cultural Criticism 13. Showing How Rhetoric Works Afterword: Clothes, Fashion and System in the Writings of Roland Barthes: ‘Something out of Nothing’, Andy Stafford Editor’s Note and Acknowledgements Bibliography Glossary of Names Index

contents

Preface

UK October 2013 ∙ US December 2013 224 pages ∙ 216 x 130mm / 8.5 x 5.4 inches PB 9781472505422 ∙ £12.99 / $19.95 World English (excluding Australia/New Zealand) Series: Bloomsbury Revelations Bloomsbury Academic

Vampire Culture Maria Mellins The London vampire subculture is an alternative lifestyle community of people from all walks of life and all ages, from train drivers to university lecturers, who organise events such as fang fittings, gothic belly dancing, late night graveyard walks, and ‘carve your own tombstone’. Mellins presents an extraordinary account of this fascinating subculture, which is largely unknown to most people. Through case study analysis of the female participants, Vampire Culture investigates women’s longstanding love affair with the undead, and asks how this fascination impacts on their lives, from fiction to fashion. Vampire Culture includes photography from community member and professional photographer SoulStealer, and is an essential read for students and scholars of gender, film, television, media, fashion, culture, sociology and research methods, as well as anyone with an interest in vampires, style subcultures, and the gothic. MARIA MELLINS is a Senior Lecturer in Screen Media at St Mary’s University, UK.

2. Interviewing Vampires 3. Vampire Femininity and Status 4. Vampire Community Profile 5. Feminine Discourses 6. Alternative Celebrity 7. Conclusions

contents

1. Twenty-first Century Vamp

Appendix Bibliography Index

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www.bloomsbury.com • UK, Europe, ROW • +44 (0)1256 302699 • [email protected]

UK August 2013 ∙ US September 2013 160 pages ∙ 234 x 156mm / 9.2 x 6.1 inches PB 9780857850751 ∙ £19.99 / $29.95 HB 9780857850744 ∙ £65.00 / $120.00 Individual eBook 9781472503855 ∙ £19.99 / $30.99 Library eBook 9780857850898 ∙ £60.00 / $50.00 Series: Dress, Body, Culture Bloomsbury Academic

FASHION, CULTURE, AND SOCIETY Fashion As Performance Elizabeth Patterson Fashion As Performance represents the first critical examination of fashion as dramatic performance. Going beyond analyses of fashion as a means of social performance, relating to communication and consumption of community, cultural and personal identity, this highly original and engaging book explores the ways in which clothing operates by applying key performance theory approaches. From Aristotle and Brecht to Auslander and Boal, elements of classical and current dramatic theory are used in case study style to unpack specific collections, designers and moments in contemporary fashion at which dramatic theory finds its way to the runway, the hanger and the street corner. ELIZABETH PATTERSON is Assistant Professor of Performance Studies at Elon University, North Carolina, USA.

1. Fashion as Performance: A Theoretical Foundation 2. “Body Becomes Dress Becomes Body”/Rei Kawakubo and Cindy Sherman: The Mobius Strip of the Dressing Body 3. Under Wear/Joseph Corre’s Male Gaze: Jill Dolan and the Feminist Spectator 4. Thierry Mugler and 2003’s Zumanity: Between Fashion and Costume 5. Dirk Bikkembergs/A Matter of Performance: Materiality, Technological and Dramatic Performance 6. Martin Margiela’s Brechtian Stitch: Exposure of Craft, Exposure of Performance

contents

Introduction

UK February 2014 ∙ US April 2014 192 pages ∙ 40 bw illus 234 x 156mm / 9.2 x 6.1 inches PB 9781847888068 ∙ £19.99 / $29.95 HB 9781847888075 ∙ £55.00 / $99.95 Individual eBook 9781847889027 ∙ £19.99 / $25.99

7. “Vicious is the Look”/Gareth Pugh’s Presentation of Self: Considering Persona and Character

Library eBook 9781847889010 ∙ £60.00 / $80.00

8. McQ/Alexander McQueen and Target: Theatrical Phenomenology and Plasticity in Clothing

Bloomsbury Academic

9. Fashion is Performance: Conclusion and Beyond Bibliography Index

Porn Chic Exploring the Contours of Raunch Eroticism Annette Lynch This engaging book draws from a diverse range of examples including film, popular tabloids, campus culture, mass media marketing campaigns, facebook profiles, and art exhibits to explore expressions and meanings of porn chic. Bringing a cultural and feminist lens to the material, this book challenges the reader to question the sexual agency of the 12-year-old girl dressed to seduce in fashions inspired by Katie Price, the college coed flashing her breasts for a film maker during Spring break, and the waitress making her customer happy with chicken wings and a nice set of Hooters. It also explores the raunchy bad boys being paid handsomely to tell the world about their sexual exploits, online, on film, and in popular press bestsellers. Porn Chic also features thought-provoking artwork by Nicola Bockelmann, which focuses on the permeable border between pornography and mainstream culture and urges viewers to question everyday explicitness. ANNETTE LYNCH is a Professor of Textiles and Apparel and the Director of the Center for Violence Prevention at the University of Northern Iowa, USA.

2. Katie Price: From Topless Tabloid to Queen of Marketing 3. Girls Gone Wild: College Coeds Flash Their Goods 4. “Oh I wish I’d looked after me boobs”: Red Hatters (still) Covet Male Gaze 5. Midriff Marketing: Teaching Girls the Power of Sexy 6. Construction of Cyber Raunch Identity: The Private becomes Public 7. Hooters: Centerfolds for the Mainstream 8. Plastic Surgery: Molding Soft Porn Identity

contents

1. Porn Chic: The Raunch Erotic Ideal

UK October 2012 ∙ US December 2012 224 pages ∙ 14 bw illus 234 x 156mm / 9.2 x 6.1 inches PB 9781847886286 ∙ £19.99 / $39.95 HB 9781847886293 ∙ £55.00 / $99.95 Individual eBook 9781472520142 ∙ £19.99 / $30.00 Library eBook 9781472520135 ∙ £60.00 / 80.00 Series: Dress, Body, Culture Berg Publishers

9. The Unapologetic Bad Boy: Masculinity in the Millennium 10. Deconstructing the Icon: Feminist Responses to Porn Chic Bibliography Index

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FASHION, CULTURE, AND SOCIETY TEXTBOOK

Queer Style Adam Geczy and Vicki Karaminas “A well researched and eloquently written book that fills a massive gap in the current writing on this important area of fashion, dress and identity. I thoroughly recommend this book.” Shaun Cole, London College of Fashion, UK “Undoubtedly destined to become a classic.” Joseph H. Hancock, II Drexel University, USA Queer Style offers an insight into queer fashionability by addressing the role that clothing has played in historical and contemporary lifestyles. From a fashion studies perspective, it examines the function of subcultural dress within queer communities and the mannerisms and messages that are used as signifiers of identity. ADAM GECZY is Senior Lecturer at Sydney College of the Arts, Australia. VICKI KARAMINAS is Associate Professor of Fashion Studies and Associate Head of the School of Design at the University of Technology, Sydney, Australia. UK August 2013 ∙ US October 2013 ∙ 192 pages ∙ 19 bw illus ∙ 234 x 156mm / 9.2 x 6.1 inches PB 9781847881960 ∙ £17.99 / $29.95 ∙ HB 9781847881953 ∙ £55.00 / $100.00 Individual eBook 9781847887368 ∙ £17.99 / $27.99 ∙ Library eBook 9781472535344 ∙ £55.00 / $TK Series: Subcultural Style ∙ Bloomsbury Academic

Punk Style

TEXTBOOK

Monica Sklar Punk is frequently positioned as a forerunner of trends that later become commonplace, as demonstrated in the proliferation and acceptance of body modification, the repeated use of deconstruction as a design aesthetic, and the recent boom in fashion that reflects DIY style through handmade crafts. The book explores how this dominant subcultural style continues to expand via the internet, youth buying-power, and the constant re-appropriation of its distinctive styles. MONICA SKLAR has taught several college-level courses in dress and retailing, and has published widely on the subject of subcultural style. UK November 2013 ∙ US January 2014 ∙ 192 pages ∙ 35 bw illus ∙ 234 x 156mm / 9.2 x 6.1 inches PB 9781847884220 ∙ £17.99 / $29.95 ∙ HB 9781847884237 ∙ £55.00 / $99.95 Individual eBook 9780857853059 ∙ £16.99 / $22.10 Series: Subcultural Style ∙ Bloomsbury Academic

Fetish Style

TEXTBOOK

Frenchy Lunning Fetish Style traces the history, forms and tendencies of sub-cultural fashions that are popular in both mainstream and alternative fashion cultures. Presenting the world of subcultural fetish clothing design in all of its richness and beauty, this book explores the idea of fetish as subversive and repressive as reflected in clothing choices in people of all ages and cultures. Linking the fetishistic aspects of contemporary culture with everyday clothing as dictated by fashion and merchandizing, Fetish Style presents a fascinating study of historical as well as 21st century subcultures. FRENCHY LUNNING is Professor of Liberal Arts at the Minneapolis College of Art and Design, USA. UK February 2013 ∙ US April 2013 ∙ 176 pages ∙ 29 bw illus ∙ 234 x 156mm / 9.2 x 6.1 inches PB 9781847885708 ∙ $29.95 / £17.99 ∙ HB 9781847885715 ∙ £49.50 / $100.00 Individual eBook 9781472535306 ∙ £17.99 / $27.99 ∙ Library eBook 9780857858092 ∙ £55.00 / $87.00 Series: Subcultural Style ∙ Bloomsbury Academic

Body Style Therèsa M. Winge Body Style reveals the subcultural body as a site for understanding subcultural identity, resistance, agency, and fashion. Drawing on specific subcultural examples and interviews with members, this book explores the subcultural body and its style within global culture. Body Style is the result of over twelve years of research examining these intersections within specific urban subcultures, including Urban Tribals, Modern Primitives, Punks, Cybers, Industrials, Skaters, and others. THERÈSA M. WINGE is Assistant Professor of Fashion Design and Theory in the Department of Art and Art History, Michigan State University, USA. 2012 ∙160 pages ∙ 30 bw illus ∙ 234 x 156mm / 9.2 x 6.1 inches PB 9781847880239 ∙ £17.99 / $29.95 ∙ HB 9781847880017 ∙ £55.00 / $99.95 Individual eBook 9781847887375 ∙ £17.99 / $28.99 ∙ Library eBook 9780857853219 ∙ £54.99 / $89.99 Series: Subcultural Style ∙ Berg Publishers

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www.bloomsbury.com • UK, Europe, ROW • +44 (0)1256 302699 • [email protected]

TEXTBOOK

FASHION, CULTURE, AND SOCIETY The Meanings of Dress

www/TEXTBOOK 3rd edition

Kimberley A. Miller-Spillman, Andrew Reilly and Patricia Hunt-Hurst This collection of articles and essays from magazines, newspapers, books, and academic journals is designed to expand the reader’s awareness and understanding of the role dress plays in cultures and subcultures across the globe. • • • •

Includes visuals from popular magazines, newspapers, and scholarly journals Packed with examples, references, and learning activities New edition includes more theory and an increased emphasis on the male perspective Teaching Resources: Instructor’s Guide

KIMBERLY A. MILLER-SPILLMAN is Director of Graduate Studies and Associate Professor in the Merchandising, Apparel, and Textiles Department of the University of Kentucky, USA. ANDREW REILLY is Associate Professor of Apparel Product Design and Merchandising at the University of Hawai`i, Manoa, USA. PATRICIA HUNT-HURST is Associate Professor and head of the Textiles, Merchandising, and Interiors Department at The University of Georgia, USA. • Dressing for Life and Death

• Fashion as a Dynamic Process

• Fashion, Status, and Inequality in Dress

• Dress as Nonverbal Communication

• Dress in the Workplace

• The Body

• Dress and Media

• Appearance for Gender and Sexual Identity

• Fashion and Fantasy

• Race and Ethnicity

• Dress and Technology

• Dress and Religion

• Ethics in Fashion

contents

• Introduction to Dress, Culture, and Theory

UK December 2012 ∙ US October 2012 640 pages ∙ 190 bw illus 216 x 228mm / 8.5 x 11 inches PB 9781609012786 ∙ £55.00 / $85.00 Fairchild Books

Fashion and Age Dress, the Body and Later Life Julia Twigg Fashion and Age is the first study to systematically explore the links between clothing and age, drawing on fashion theory and cultural gerontology to examine the changing ways in which age is imagined, experienced and understood in modern culture through the medium of dress. Clothes lie between the body and its social expression, and the book explores the significance of embodiment in dress and in the cultural constitution of age. Drawing on the views of older women, journalists and fashion editors, and clothing designers and retailers, it aims to widen the agenda of fashion studies to encompass the everyday dress of the majority, shifting the debate about age away from its current preoccupation with dependency, towards a fuller account of the lived experience of age. JULIA TWIGG is Professor in the School of Social Policy, Sociology and Social Research at the University of Kent, UK.

UK July 2013 ∙ US August 2013 224 pages ∙ 12 bw illus 234 x 156mm / 9.2 x 6.1 inches PB 9781847886958 ∙ £19.99 / $29.95 HB 9781847886965 ∙ £65.00 / $120.00 Individual eBook 9781472520111 ∙ £19.99 / $27.99 Library eBook 9781472520128 ∙ £62.00 / $96.00 Bloomsbury Academic

Ageing and Youth Cultures Music, Style and Identity Edited by Andy Bennett & Paul Hodkinson Through a wide range of accessible ethnographic case studies, this highly original volume examines the ways in which members of subcultures adapt and see their identities evolve as they grow older. Aging and Youth Cultures explores responses to and perceptions of ageing in a wide variety of key subcultures including: goth, punk, dance, riot grrrl, queer, northern soul and be-bop. Showcasing a range of original research case studies from across the globe, the chapters explore how participants reconcile their continuing involvement with ageing bodies, older identities and adult responsibilities. ANDY BENNETT is Director of the Centre for Public Culture and Ideas at Griffith University, Australia. PAUL HODKINSON is Senior Lecturer in Sociology at the University of Surrey, UK.

2012 ∙ 208 pages 234 x 156mm / 9.2 x 6.1 inches PB 9781847888358 ∙ £19.99 / $34.95 HB 9781847888365 ∙ £55.00 / $99.95 Individual eBook 9780857850379 ∙ £19.99 / $27.99 Library eBook 9780857852953 ∙ £62.00 / $96.00 Berg Publishers

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FASHION, CULTURE, AND SOCIETY Fashion and Art Edited by Adam Geczy and Vicki Karaminas “In its reach and sophistication, this book is a stand-alone in its field. Fashion and Art is a landmark book for whose appearance couldn’t be more timely.” Joseph H. Hancock II. Drexel University, Philadelphia, USA. Bringing together original, cutting-edge contributions from leading international scholars across a range of disciplines, this book is essential reading for anyone interested in exploring the intersections and changing relationship between fashion and art, past and present. Some of the world’s foremost scholars in the field are assembled here to explore the art-fashion nexus in numerous ways: from aesthetics and performance to masquerade and media. ADAM GECZY is Senior Lecturer at Sydney College of the Arts, Australia. VICKI KARAMINAS is Associate Professor of Fashion Studies and Associate Head of the School of Design at the University of Technology, Sydney, Australia. 2012 ∙ 224 pages ∙ 32 colour & 5 bw illus ∙ 244 x 172mm / 9.6 x 6.8 inches PB 9781847887832 ∙ £19.99 / $29.95 ∙ HB 9781847887849 ∙ £55.00 / $99.95 Individual eBook 9780857852144 ∙ £19.99 / $31.99 ∙ Library eBook 9780857852137 ∙ £54.99 / $89.99 Berg Publishers

Fashion and Cultural Studies Susan B. Kaiser Bridging theory and practice, this accessible text provides an introduction to fashion from both cultural studies and fashion studies perspectives, and addresses the growing interaction between the two fields. Organised thematically, the book uses a wide range of cross-cultural case studies to explore ethnicity, class, gender and nation through fashion, and explains the ways in which these notions interact and overlap. SUSAN B. KAISER is Professor of Textiles and Clothing, as well as Women and Gender Studies and Cultural Studies at the University of California, Davis, USA. UK November 2012 ∙ US January 2013 ∙ 240 pages ∙ 29 bw illus ∙ 234 x 156mm / 9.2 x 6.1 inches PB 9781847885647 ∙ £17.99 / $29.95 ∙ HB 9781847885654 ∙ £55.00 / $99.95 Individual eBook 9780857854315 ∙ £17.99 / $27.99 ∙ Library eBook 9780857854308 ∙ £54.00 / $87.00 Berg Publishers

Identities Through Fashion A Multidisciplinary Approach Edited by Ana Marta González and Laura Bovone This volume brings together academics from various disciplines - philosophy, sociology, medicine, anthropology, psychology and psychiatry - to examine fashion’s complex relationship with post-industrial societies. The authors address what crucial functions fashion fulfils in the modern world, especially as it relates to the construction and deconstruction of the self. ANA MARTA GONZÁLEZ is Associate Professor of Moral Philosophy at the University of Navarra in Pamplona, Spain. LAURA BOVONE is a professor in Sociology of Communication, Director of the ‘Centro per lo studio della moda e della produzione culturale’ and the Master’s program ‘Comunicazione per le industrie culturali’ at the Università Cattolica del Sacro Cuore in Milan, Italy. UK February 2012 ∙ US April 2012 ∙ 240 pages ∙ 2 bw illus ∙ 234 x 156mm / 9.2 x 6.1 inches PB 9780857850584 ∙ £19.99 / $39.95 ∙ HB 9780857850577 ∙ £55.00 / $99.95 Individual eBook 9780857851185 ∙ £19.99 / $31.99 ∙ Library eBook 9780857851192 ∙ £54.99 / $89.99 Berg Publishers

Fashioning Models Image, Text and Industry Edited by Joanne Entwistle and Elizabeth Wissinger This volume brings together cutting-edge articles on fashion models, examining modelling through race, class and gender, as well as its structure as an aesthetic marketplace within the global fashion economy. Essays include treatments of the history of fashion modelling, exploring how concerns about racial purity and the idealization of light skinned black women shaped the practice of modelling in its early years. Other essays examine how models have come to define femininity through consumer culture. JOANNE ENTWISTLE is Senior Lecturer at King’s College, London, UK. ELIZABETH WISSINGER is Associate Professor at the BMCC campus of the City University of New York, USA. 2012 ∙ 240 pages ∙ 12 bw illus ∙ 234 x 156mm / 9.2 x 6.1 inches PB 9781847881540 ∙ £19.99 / $34.95 ∙ HB 9781847881557 ∙ £55.00 / $99.95 Library eBook 9780857853103 ∙ £19.99 / $30.00 ∙ Individual eBook 9780857853110 ∙ £54.00 / $87.00 Berg Publishers

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TEXTBOOK

WORLD DRESS AND ANTHROPOLOGY African Dress Fashion, Agency, Performance Edited by D. Soyini Madisonand Karen Tranberg Hansen Focusing on the dressed body as a performance site, African Dress explores how ideas and practices of dress contest or legitimize existing power structures through expressions of individual identity and the cultural and political order. Drawing on innovative, interdisciplinary research by established and up-and-coming scholars, the book examines real life projects and social transformations that are deeply political, revolving around individual and public goals of dignity, respect, status, and morality. D. SOYINI MADISON is Professor of Performance Studies with affiliate appointments in the Department of Anthropology and African American Studies at Northwestern University, USA. KAREN TRANBERG HANSEN is Professor of Anthropology at Northwestern University, USA.

Part 2: Material Culture, Visual Recognition, and Display 4. Bazin Riche in Dakar, Senegal: Altered Inception, Use, and Wear 5. Fashioning People, Crafting Networks: Multiple Meanings in the Mauritanian Veil 6. The Hijab as Moral Space in Northern Nigeria PART 3: Connecting Worlds through Dress 7. Dressing the Colonial Body: Senegalese Rifleman in Uniform

8. Ghana Boys in Mali: Fashion, Youth, and Travel 9. Forging Connections, Performing Distinctions: Youth, Dress, and Consumption in Niger 10. Fashion, Transnationality, and Swahili Men PART 4: Transculturated Bodies 11. Photography, Poetry, and the Dressed Bodies of Léopold Sédar Senghor 12. Transculturated Displays: International Fashion and West African Portraiture 13. Spectacular Dress: Africanisms in the Fashions and Performances of Josephine Baker, 1925-1975 14. Dressing Out-of-Place: From Ghana to Obama Commemorative Cloth on the American Red Carpet

contents

Part 1: Dressed Bodies and Power 1. Dressing for Success: The Politically Performative Quality of an Igbo Woman’s Attire 2. Fashionability in Colonial and Postcolonial Togo 3. Branding Festive Bodies: Corporate Logos and Chiefly Image T-shirts in Ghana

UK February 2013 ∙ US April 2013 272 pages ∙ 12 colour and 34 bw illus 234 x 156 mm / 9.2 x 6.1 inches PB 9780857853813 ∙ £19.99 / $29.95 HB 9780857853806 ∙ £55.00 / $100.00 Individual eBook 9780857858207 ∙ £19.99 / $30.99 Library eBook 9780857854186 ∙ $60.00 / £96.00 Series: Dress, Body, Culture Bloomsbury Academic

Islamic Fashion and Anti-Fashion New Perspectives from Europe and America Edited by Emma Tarlo and Annelies Moors Introducing innovative new research from international scholars working on Islamic fashion and its critics, Islamic Fashion and Anti-Fashion provides a global perspective on muslim dress practices. The book takes a broad geographic sweep, bringing together the sartorial experiences of Muslims in locations as diverse as Paris, the Canadian Prairie, Swedish and Italian bath houses and former socialist countries of Eastern Europe. • First comparative study of Islamic fashion in a wide variety of Muslim minority contexts • Includes a very wide range of case studies from: France, Britain, The Netherlands, Sweden, Denmark, Germany, Romania, Bulgaria, Italy, Poland, Canada and the United States EMMA TARLO is Professor of Anthropology, Goldsmiths, University of London, UK. ANNELIES MOORS is Professor of Social Scientific Study of Contemporary Muslim Societies, University of Amsterdam, The Netherlands.

2. Histories, Heritage and Narrations of Islamic Fashion 3. Markets for Islamic Fashion 4. Islamic Fashion in The Media 5. Dynamics of Fashion and Anti-Fashion

contents

1. Location and The Dynamics of Encounter

UK July 2013 ∙ US September 2013 288 pages ∙ 55 bw & 34 colour illus 234 x 156mm / 9.2 x 6.1 inches PB 9780857853356 ∙ £19.99 / $29.95 HB 9780857853349 ∙ £55.00 / $100.00 Individual eBook 9780857853370 ∙ £19.99 / $30.99 Library eBook 9780857853363 ∙ £60.00 / $96.00 Bloomsbury Academic

www.bloomsbury.com • US, Canada, South America • 888-330-8477 • [email protected]

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WORLD DRESS AND ANTHROPOLOGY The Chinese Fashion Industry An Ethnographic Approach Jianhua Zhao As the first ethnographic account of the Chinese fashion industry in the post-Mao era, The Chinese Fashion Industry combines first-hand accounts with sophisticated cultural analysis to offer new insights. This book offers a historically informed, and interpretive analysis of contemporary Chinese fashion and the fashion industry. It examines the interplay of state politics, market forces, local social and cultural factors, and the global political economy, both in the rise of the Chinese fashion industry and in the life and work of Chinese fashion professionals. JIANHUA ZHAO is Assistant Professor in the Department of Anthropology, University of Louisville, USA.

UK January 2013 ∙ US February 2013 224 pages ∙ 20 bw illus 234 x 156mm / 9.2 x 6.1 inches PB 9781847889355 ∙ £19.99 / $29.95 HB 9781847889362 ∙ £55.00 / $99.95 Individual eBook 9781847889386 ∙ £19.99 / $30.99 Library eBook 9780857853028 ∙ £60.00 / $96.00 Series: Dress, Body, Culture Bloomsbury Academic

Fashioning Bollywood The Making and Meaning of Hindi Film Costume Clare Wilkinson-Weber Fashioning Bollywood, the first in-depth exploration of Hindi film costume, contends that it is a unique source of knowledge about issues ranging from Indian taste and fashion to 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 detailed analyses of men and women’s costumes, to the imagining of historical or fantasy worlds through clothes, 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. CLARE WILKINSON-WEBER is Assistant Professor of Anthropology, Washington State University, Vancouver, Canada.

UK December 2013 ∙ US February 2014 192 pages ∙ 25 bw illus 234 x 156mm / 9.2 x 6.1 inches PB 9781847886972 ∙ £19.99 / $29.95 HB 9781847886989 ∙ £55.00 / $99.95 Individual eBook 9780857852977 ∙ £19.99 / $27.99 Library eBook 9780857852960 ∙ £54.99 / $87.00 Bloomsbury Academic

Fashioning Japanese Subcultures Yuniya Kawamura Since the mid-1990s Japanese youth have been playing a crucial role in forming their own unique fashion communities and producing creative styles which have had a major impact on fashion globally. Based on insightful ethnographic fieldwork in Tokyo, Fashioning Japanese Subcultures is the first theoretical and analytical study on Japan’s contemporary youth subcultures and their stylistic expressions. It is essential reading for students, scholars and anyone interested in fashion, sociology and subcultures. YUNIYA KAWAMURA is Associate Professor of Sociology at the Fashion Institute of Technology, State University of New York, USA. 2012 ∙ 192 pages ∙ 30 colour illus ∙ 234 x 156mm / 9.2 x 6.1 inches PB 9781847889478 ∙ £19.99 / $29.95 HB 9781847889485 ∙ £55.00 / $99.95 Individual eBook ∙ 9780857852168 ∙ £19.99 / $28.99 Library eBook 9780857852151 ∙ £54.99 / $89.99 Berg Publishers

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WORLD DRESS AND ANTHROPOLOGY The Religious Life of Dress Lynne Hume From clothing to the painted and scarified nude body, through overt, public display or esoteric symbols known only to the initiated, dress can convey information about beliefs, faith, identity, power, agency, resistance, and fashion. Taking a ‘senses’ approach, Hume’s engaging account takes into consideration the look, smell, feel, touch and sound of religious apparel, the ‘smells and bells’ of dress and its accoutrements, as well as the emotions evoked by donning religious garb. The book’s global perspective provides wide-ranging, yet detailed, coverage of religious dress, from the history and meaning of the simple ‘no-frills’ attire of the Anabaptists to the power structure displayed in the elaborate fabrics and colours of the Roman Catholic Church; Hume examines the 2,500 year-old tradition of Buddhist robes, the nudity of India’s holy men, and much more. With chapters on Sufism, Vodou, modern Pagans, as well as painted and tattooed indigenous and modern Western bodies, the reader is swept along on a sensual journey of the sight, sound, smell and feel of wearing religion. LYNNE HUME is Associate Professor in the School of History, Philosophy, Religion and Classics at the University of Queensland, Brisbane, Australia.

1. Hierarchies and Power: Christianity and the Roman Catholic Church 2. Simplicity and Humility: Anabaptist Orders of Amish, Hutterites and Mennonites 3. Fashioning Faith: Judaism and Islam PART II: Eastern Religions 4. India: Hindus, Holy Sadhus, Sikhs and Jains 5. The Buddha, the Dharma, the Sangha ... and the Robe

contents

PART I: Western Monotheist Religions

UK October 2013 ∙ US December 2013 192 pages ∙ 25 bw illus 234 x 156mm / 9.2 x 6.1 inches PB 9780857853615 ∙ £19.99 / $29.95 HB 9780857853608 ∙ £55.00 / $99.95 Individual eBook 9780857853639 ∙ £19.99 / $25.99 Series: Dress, Body, Culture Bloomsbury Academic

PART III: The Mystical and the Magical 6. Sufis, Indigenous Shamans, and Modern Pagans 7. Possession and the African Diaspora: Vodou, Candomblé and Santería

Visibly Muslim

Daniel Miller and Mukulika Banerjee

Fashion, Politics, Faith

“Intellectually compelling and theoretically sophisticated, The Sari will be of great interest to scholars in many disciplines - from anthropology to women’s studies. It is also an absolutely fascinating read, which will appeal to anyone with an interest in India.” Valerie Steele, Museum at the Fashion Institute of Technology, USA

Emma Tarlo

“A fascinating and original insight into one of the most enigmatic garments in the world” South Asian Studies Journal 2008 ∙ 288 pages ∙ 215 bw illus 235 x 210mm / 9.3 x 8.3 inches PB 9781847883148 ∙ £19.99 / $29.95 HB 9781859737323 ∙ £55.00 / $99.95 Berg Publishers

“Tarlo’s work shows the changing contemporary styles of first-generation British Islamic fashion design companies and opens dialogue for mutual understanding between Muslims and non-Muslims interested in clothing subleties. Highly Recommended.” CHOICE

key titles

The Sari

“This beautifully written and illustrated book by Emma Tarlo is remarkable for showing just how much of profound significance has been left out of sight in earlier scholarly discussions.” Sociological Review 2010 ∙ 256 pages ∙ 50 bw & 32 colour illus 244 x 172mm / 9.6 x 6.8 inches PB 9781845204334 ∙ £19.99 / $34.95 HB 9781845204327 ∙ £60.00 / $109.95 Berg Publishers

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Reference The Fairchild Books Dictionary of Fashion

4th edition

The Fairchild Books

Phyllis G. Tortora and Sandra J. Keiser The Fairchild Books Dictionary of Fashion, fourth edition builds on the success of previous editions with over 15,000 entries, including apparel, accessories, and their components, historical and textiles terms that relate to contemporary fashion and the language of the fashion industry. Tortora and Keiser organize terms over fifty broad categories that are fully cross-referenced to the alphabetical listing to promote understanding of related terminology.

Dictionaryof fourth edition

Lavishly illustrated with over 900 illustrations capturing the styles and details of fashion, this reference work is a must have for students, designers, fashion merchandisers, historians, and fashion enthusiasts. • • • •

Includes Appendix of historic and contemporary designers Updated anatomical drawings show how the parts of fashion items fit together With more than 100 new illustrations Icons identify historic terms and textile terminology defined in depth in The Fairchild Books Dictionary of Textiles, 8th edition

PHYLLIS G. TORTORA SANDRA J. KEISER

illustrated by bina abling

PHYLLIS G. TORTORA is Professor Emerita at Queens College, USA. SANDRA J. KEISER is Associate Professor in the Fashion Department at Mount Mary College, USA.

UK December 2013 ∙ US October 2013 640 pages ∙ 950 bw illus 203 x 254mm / 8 x 10 inches PB 9781609014896 ∙ £45.00 / $75.00 Individual eBook 9781609019204 ∙ $74.99 Fairchild Books

A / academic costume: doctor's gown with the colors to be used on the hood. Academic costume originated at the Universities of Oxford and Cambridge more than 600 years ago. Also called academic regalia (ak-ah-dem′-ik ree-gale′-ee-yah). academic hood Decorative drape that comes close to the neck in front and hangs down the back of academic gowns. Made in various lengths and shapes according to the degree held, hoods are usually black with a colored facing indicating the degree granted, while lining colors represent the school colors of the institution conferring the degree, and the outer band of velvet shows the field of study. Der. From the cowl cape attached to gowns of undergraduates since end of 15th c. Also see under ACADEMIC COSTUME: BACHELOR’S, MASTER’S, and DOCTOR’S HOODS, and ACADEMIC HOOD COLORS.

A 1. Shoe width: Letter indicating a width that can range from AAAA to EEEEE with AAAAs being the narrowest and EEEEEs the widest. 2. Bra cup size. Standard sizes run AAA, AA, A, B, C, D, E, F, G, H, HH with the A sizes being the smallest and HH the largest. There is no industry agreement on cup sizes larger than D. Different manufacturers use different designations. abalone See CLOSURES: ABALONE BUTTON. abilements/abillements See HEADWEAR: BILLIMENT. abstract See PRINTS, STRIPES, AND CHECKS: AB¬STRACT PRINT.

ACADEMIC COSTUME

Outfits consisting of caps, called mortarboards (see ACADEMIC COSTUME: MORTARBOARD); gowns; and hoods traditionally worn at Commencement exercises or other ceremonial occasions by students and faculty. Although simple gowns and mortarboards may be worn by secondary-school students, those in higher education wear more elaborate regalia consisting of caps, gowns, and hoods that are most often black with color trim on hoods. American academic costume was designed by Gardner Cotrell Leonard of Albany, NY, in 1887 and adopted by the American Intercollegiate Code of 1894, revised in 1932. The code states the style of cap, gown, and hood to be worn by persons with bachelor’s, master’s, and doctor’s degrees along academic costume

academic hood colors The lining colors at the back of the academic hood represent the school colors of the college or institution conferring the degree. The outer band of velvet that extends around the front of the neck indicates the different faculties, or fields of study, as follows: Agriculture, maize; Arts and Letters, white; Chiropody, nile green; Commerce and Accounting, drab; Dentistry, lilac; Economics, copper; Engineering, orange; Fine Arts, brown; Forestry, russet; Human¬ ities, crimson; Law, purple; Library Science, lemon; Medicine, green; Music, pink; Nursing, apricot; Optometry, seafoam; Oratory, silver gray; Pedagogy, light blue; Pharmacy, olive green; Philanthropy, rose; Philosophy, blue; Physical Education, sage green; Public Administration, drab; Public Health, salmon pink; Science, golden yellow; Social Science, citron; Theology, scarlet; and Veterinary science, gray. bachelor’s gown Academic gown, formerly of black worsted or similar fabric, opening in front with two wide box pleats extending to the hem; large flowing sleeves ending in points; back and sleeves set into square yoke with cartridge pleats. Worn with the bachelor’s hood and mortarboard at graduation by candidates, or former recipients, of a bachelor’s degree. Since the 1970s colored gowns are sometimes worn instead of black. Also see under ACADEMIC COSTUME: BACHELOR’S HOOD, ACADEMIC HOOD COLORS, and MORTARBOARD. bachelor’s hood Black decorative drape, 3′ long in back with a 2″ colored velveteen band around the neck in front and a pendant tail in the back that is turned over to reveal colors of the institution granting the degree. Worn with the bachelor’s gown and mortar board at graduation by candidates, or former recipients, of bachelor’s degree. Also see ACADEMIC COSTUME: ACADEMIC HOOD COLORS. doctor’s gown Black unclosed academic gown with wide bands of velvet down the front. The full sleeves are set in with cartridge pleats and have three bands of velvet at the upper arm. Worn as part of academic costume by candidates for, and holders of, doctoral degrees.

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academic costume:

doctor's hood / activewear: cycling suit/cycling costume

doctor’s hood Black academic hood with colored velvet band at neck to indicate type of degree. This velvet band extends down the back and is rolled over to show the school colors of the wearer. Square cut at hem and larger than bachelor’s and master’s hoods. See ACADEMIC COSTUME: ACADEMIC HOOD COLORS. master’s gown Black open-front gown with a square yoke and long closed hanging sleeves. The arms emerge through slits above elbows of the sleeves, which have crescents cut out near the sleeve hems. In the back cartridge pleats join a full back and sleeves to the yoke. Worn with master’s hood and mortarboard by candidates for, and holders of, master’s degrees. master’s hood Black cowl-drape 31⁄2-feet long in back with band of colored velveteen around the edge that is turned over in back to show a lining denoting the institution granting the degree. Worn with master’s gown. Also see ACADEMIC COSTUME: ACADEMIC HOOD and ACADEMIC HOOD COLORS. mortarboard Academic headgear consisting of large, square black brim attached horizontally to a cap. A large tassel in center of the flat top hangs to right side before graduation, to the left after. Worn all over United States today and since 14th c. at such universities as Oxford and Cambridge in England. Formerly called by various names including cater cap, corner-cap, cornet, Oxford cap, and trencher cap. accordion pleats See CLOTHING CONSTRUCTION DETAILS: ACCORDION, PANTS: PARTY PANTS, and SKIRTS: ACCORDION-PLEATED SKIRTS. † acetate (as′-uh tayt) Generic fiber category established by the FTC for manufactured fibers that are chemical variants of cellulose called cellulose acetate and that are manufactured from cellulose materials, such as wood chips. The term also refers to fabrics or yarns made from acetate fibers. Used in a wide variety of apparel, acetate fabrics have a crisp hand and a high luster. achilles tendon protector See FOOTWEAR: A.T.P. acrobatic slipper See FOOTWEAR. † acrylic (uh krihl′ ihk) Generic fiber category established by the FTC for a manufactured fiber primarily composed of a polymer material called acrylonitrile. Also refers to fabrics or yarns made from acrylic fibers. Acrylic fabrics have a soft, wool-like hand, good wrinkle resistance, wash and dry quickly, and therefore are often used in easy-care apparel products such as sweaters and socks. action back Term used to describe the extra fullness incorporated into the back of a jacket, coat, or dress that extends from the shoulder blades to the waist in form of pleats or the insertion of a stretch fabric, to permit freedom of movement. See COATS AND JACKETS: BI-SWING. action gloves See GLOVES AND GLOVE CONSTRUCTIONS.

activewear:

ACTIVEWEAR

Any of a wide variety of apparel items designed to be worn for active sports. Not to be confused with official athletic uniforms worn by professional athletes, although such uniforms may serve as the inspiration for the design of some activewear. Many consumers wear activewear apparel not only for sports but also as casual dress.

aerobic wear (uh-roh′-bik) Headband, leotards, tights, and leg warmers worn for aerobic dancing. In this costume the headband is usually a brow band of terry cloth; leotards are a tight-fitting, torso-length garment with high or low neck and long or short sleeves; tights are made with or without feet and/or stirrups and are usually made of stretch nylon; leg warmers are knitted leg coverings without feet. Also called workout suit or exercise suit. bathing dress See SWIMWEAR: category heading. bathing suit See SWIM¬WEAR: category heading. bike suit Tightly fitted, one-piece garment, often worn for bicycling, that extends from the top of the torso to the hem, which is located above the knee. Worn for bicycling, the garment fit is achieved by using SPANDEX. Synonym: bike tards. Also see ACTIVEWEAR: TRI-SUIT and SHORTS.

bike suit

See PANTS:

camouflage suit

suit/cycling costume Any costume worn for bicycling in the late 19th c. Boys: jacket, similar to PATROL JACKET, worn with tight knee pants. Women: RATIONALS (see ACTIVEWEAR) or a divided skirt with tailored or NORFOLK JACKET, leggings, and a straw sailor hat. Men:

∞ cycling

fencing suit Two-piece white suit with close-fitting pants and waist-length jacket made with a standing collar, diagonal closing, and small red heart on left breast. Top is quilted or padded to prevent injury from the fencing foil. gaiter See FOOTWEAR. gym suit Suits worn by students for physical education classes; the acceptable style being determined by individual schools. When gym was first introduced, women wore blue serge or sateen pleated BLOOMERS (see under PANTS), white MIDDY BLOUSES (see under BLOUSES AND TOPS), and long black stockings. During the 1930s, ROMPER suits were worn. Since mid-1970s any type pull-on shorts and T-shirts are acceptable. gymnastic suit Suit worn for gymnastic competitions. Women wear leotards. Men wear athletic shirts and long slim tapered pants with a stirrup strap under the instep.

informal habit Suit worn by adults and children for horse shows consisting of a riding coat and jodhpurs, sometimes matched as to fabric, sometimes contrasting. Colors worn are usually black, tan, blue, and gray. DERBY hat (see HEADWEAR) may be worn to complete costume. Also see ACTIVEWEAR: RIDING HABIT. jockey pants Below the knee breeches with drop front and jodhpur-type legs worn tucked into boots by jockeys in horse races.

cat suit One-piece, skintight, longsleeved suit with feet; variation of the UNITARD (see under ACTIVEWEAR. cross-country skiing KNICKERS #1.

exercise suit See under ACTIVEWEAR: AEROBIC ENSEMBLE and SAUNA SUIT.

hunt breeches Riding breeches with drop front, legs cut wide from thighs to hips and tight at knees. Usually made in canary or tan cavalry twill with buckskin patches at inside of knees.

bike-tards See BIKE SUIT. camouflage suit Two-piece suit consisting of a hip-length jacket, tapered pants, and sometimes a matching cap with ear flaps. Made of soft waterproofed duck fabric printed in abstract pattern of greens and browns to blend with surrounding terrain. Used by combat soldiers in World War II. Accepted for sportswear, particularly for duck hunting, in mid-1960s. After the early 1980s accepted for general wear.

KNICKERBOCKERS and NORFOLK JACKET. See COATS AND JACKETS: NORFOLK JACKET and PATROL JACKET.

jodhpurs (jod′ poors) Riding pants, with drop front or zipper closing, that flare at thighs and have narrow straight-cut legs below knee with cuffs at ankles. Similar to men’s breeches worn in India and popular for men and women horseback riders since 1920s. Der. Jodhpur, city in India. Also see RIDING BREECHES. jogging suit Suit worn for a slow, steady type of running called “jogging,” popular since the 1960s. Various types of suits are worn: (a) sweatsuits (b) suit consisting of a zippered jacket, crew-necked sweater, and pants,

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jodhpurs 1930s

jogging suit

exercise suit / activewear: playsuit

and (b) warmup suits. Often made of fleece, terrycloth, or velour. See ACTIVEWEAR: SWEATSUITS and WARMUP SUITS. judo suit Suit, similar in style to karate suit, which is worn for judo, a form of Japanese martial arts. See ACTIVEWEAR: KARATE SUIT. jumpsuit 1. Shirt and ankle-length pants in a one-piece suit with zip-front and long or short sleeves. Originally worn by flyers in World War I, also by parachute jumpers and flyers in World War II. In the late 1960s adopted for sports- and leisurewear by men and women. 2. Sleeveless one-piece swimsuit with tank or V-top combined with shorts. Introduced in 1985. karate suit Two-piece suit made of white cotton or cotton and polyester, called a gi or ghi (ghee), that is worn for practicing the martial art of karate. The garment consists of a pair of drawstring pants and a wrap top that ties shut with a belt. As practiced in Asia, the uniform closed with either a white belt, for beginners, or a black belt, for advanced practitioners. For teaching non-Asians, a belt ranking system was invented. Each different karate system has different colors with one fairly common system being white for beginners, then progressing through yellow, green, and brown, to black. leotard (lee′-ah-tard′) Originally a two-piece, knit, body-hugging garment worn by the French acrobat Jules Leotard in the 19th c. Now a formfitting one-piece knitted garment with high or low neck, long or short sleeves, and ending in brief panties that is worn alone or over ankle-length tights as practice garment. Adopted by dancers, acrobats, and for exercising. Claire McCardell first introduced it in fashionable dress in 1943, although it did not catch on until the 1960s. playsuit Shorts and shirt combined to make a suit with a waistline seam, worn with a coordinating skirt. Introduced in 1930s and fashionable at intervals since.

jumpsuit 1981

karate suit

leotard

playsuit and skirt 1930s

3

Reference The Fairchild Books Dictionary of Textiles

Anniversary Edition

8th edition

Phyllis G. Tortora and Ingrid Johnson The eighth edition of this industry standard for textile terminology is fully revised and expanded, featuring approximately 100 new entries. This comprehensive dictionary includes 14,000 definitions of fibers, fabrics, business and trade terms, inventors of textile technology, and laws and regulations affecting textile materials and processing.

The Fairchild Books

Dictionaryof eighth edition

The newly revised edition includes updated trademark information to reflect the U.S. Patent and Trademark Office’s Trademark Electronic Search System (TESS) as well as current definitions from industry associations like the American Association of Textile Chemists and Colorists and the American Society for Testing and Materials. Fully illustrated with over 500 photographs and line drawings, entries include pronunciation, derivation, definition, and uses. An extensive appendix provides a list of national and international industry associations and organizations. • Since last publication in 1996, content is updated to include geographic information, entries for governmental entities relevant to the textile field, and current trademarks • Extensive cross-referencing, listings of synonyms and acronyms, and icons to distinguish historic terms • Entries include relevant information on a textile product end use PHYLLIS G. TORTORA is Professor Emerita at Queens College, USA. INGRID JOHNSON is Professor at the Fashion Institute of Technology (FIT), USA.

PHYLLIS G. TORTORA InGRId jOHnSOn

UK October 2013 ∙ US August 2013 720 pages ∙ 365 bw illus 203 x 254mm / 8 x 10 inches HB 9781609015350 ∙ £120.00 / $195.00 Individual eBook 9781609019181 ∙ $194.99 Fairchild Books

aal / abenaki rug abacaxi fiber (Brazilian Portuguese) pineapple fiber. abaka See abaca. abassi cotton A variety of pure white, Egyptian cotton,

about 1¼ in. (3.1 cm) brilliant staple of good quality. Not as strong as mit afifi cotton but longer and finer. No longer widely grown. Originally selected from either mit afifi or zafiri cotton in 1893, and first produced in 1895 by a Greek named Parahimona, who named it for the contemporary khedive (viceroy) of Egypt, Abbas Hilmi.

abat-chauvée (French) pulled wool of low quality. It is

generally detached from a slaughtered animal’s skin by a lime treatment.

abattre (French) Types of quilted or depressed effects in

fabrics.

abb (British English) Low-grade wools as the skirting from

aal (al) A reddish dyestuff obtained from the roots of the

East Indian shrubs Morinda tinctoria and Morinda citrifolia. Synonyms: aal root, suranji. See morindone.

aal root See aal. AATCC Blue Wool Lightfastness Standard One of a

group of dyed wool fabrics distributed by AATCC for use in determining the amount of light exposure of specimens during lightfastness testing.

AATCC fading unit (AFU) A specific amount of exposure

made under the conditions specified in various test methods where one AFU is one-twentieth (1/20) of the light-on exposure required to produce a color change equal to Step 4 on the Gray Scale for Color Change or 1.7 ± 0.3 CIELAB units of color difference on AATCC Blue Wool Lightfastness Standard L4.

aba 1. A coarse, thick, felted fabric of natural-colored

the breech and tail of the sheep. At one time, these wools were used principally for warp yarns, although they were used occasionally for filling. In some districts, the term also has been applied to both warp and filling yarns of these wools.

abba mantle cloth A traditional Arab cloth, made of silk

or camel’s hair, generally plain or striped. Worn as an outer covering over other clothing. See aba 2.

abbot cloth See monk’s cloth 1. abbotsford A lightweight, dress-faced twilled woolen

dress fabric with a faint, woven-in check pattern.

abbreviated system A system of worsted yarn manufac-

ture. See american system.

ABC See abc silk. ABC silk A sheer, plain weave fabric with cotton warp and

spun silk filling, made in white and solid colors. Uses: underwear, linings.

wool, made in Hungary and worn there by peasants. 2. A coarse fabric made of wool and camel’s hair or goat’s hair; sometimes made in stripes. Common to Bulgaria, Turkey, the Arabian Peninsula, and North Africa.

abdig wool (abudig wool) A Moroccan wool of medium

abaca (abaka) [ah-bah-cah′] A hard fiber from the leaf

abee A plain weave, dress fabric made in Turkey with a

stems that form the trunk of the abaca plant, Musa textilis. Of the same family as the banana and native to the Philippines and Central America. The fibers are coarse, creamy-white to brown in color, and 5 to 11½ ft. (1.5 to 3.5 m) long, strong, and durable. The inner fibers are used in the making of hats, including manila hats; hammocks; matting; cordage; rope; and types of canvas. Called manila hemp in the market, although it is unlike true hemp. Synonyms: cebu hemp, davao hemp. See hemp.

fineness.

abdullah-kani A plain weave, striped, silk dress fabric

made in Lyon, France for export to Africa. cotton warp and a wool filling.

abelmoschus See okra1.

abenaki rug [ab-nah́-kee] An American hooked rug with

bold patterns made on a coarse, open jut burlap ground. Unbleached, all-wool, twilled flannel is dyed and cut lengthwise into ¼-in. wide strips, and hooked through the burlap to form the pile. The Abenaki are a Native American tribe of northern New England.

1

/ absorbency anilineabercrombie dye / antibacterial finish obtained from Anondendron paniculatum in southern abercrombie A Scottish oxidation of nigraniline undertartan propercharacterized conditions, isbya a blue black mass, the color of which not affected by acids. and black ground and anisovercheck of green and white.India and Sri Lanka. It is used locally for nets and bowIt combines with such metallic oxides as chromic oxide. strings and also is employed for rope. Synonym: dul. aberdeen [ab-uhr-deeń] 1. Men’s half hose made in Scotaniline dye dyestuff from tar products. landA of coarse,prepared gray wool. 2. Acoal direct yarn numbering anonang A white, lace-like, inner bark obtained from See aniline. system for such heavy yarns as wool and jute, occasionCodia myxa, a tall shrub in the Philippines. Used locally ally used in some sections of the British for cordage. anilo A fiber obtained from the shrub Grewia Commonwealth. columnaonPhilippines the weight for in pounds of one spindleSee of 14,400 ris. UsedBased in the twine and cordage. anonas A fiber obtained from the inner bark of the 3s means grewia,yds.; kaffer hemp.that one spindle weighs 3 lbs. (1.4 kg). See branches of a small tree. Reticulata, in the Philippines. yarn number. Used for cordage and twine. animal fibers and filaments Fibers and filaments (gener∞ abeston A fabricmaterials) describedtaken by the ancient Egyptians ally hair, fur, and cocoon from animals anoncilio A bark fiber, used in Venezuela, abrasion which is obtained as “noncombustible flax” that is thought to have been for the purposes of weaving, knitting, or felting into a from various species of Annona, which are small trees or made of asbestos or similar noncombustible fiber. abrasion mark Damage caused by friction to a localized fabric. Typical animal fibers include wool, mohair, llama, shrubs. Synonym: manirito. area of a fabric. See bruise, chafe mark. alpaca, cashmere, camel hair, cow hair, fur, horsehair, ∞ abestrine cloth A fabric made of asbestos. Acronym for analysis of variance. vicuña. The cocoon material is silk. All are essentially ANOVAabrasion resistance The ability of a fabric to withstand ablaque (ablack) (French) A fine, raw silk from Iran. Synproteinaceous substances. Wool and the hair fibers ANSI Acronym for american national standards loss of appearance, utility, pile, or surface through the onyms: adassin, ardassin, pearl silk. come in staple lengths, while the original form of silk is institute. destructive action of surface wear and rubbing. parallel filamentscrimp several In thousand yards long. abnormal manufactured fibers, crimp that ∞ anteloon As used in early American account books, shows one or more of the following abnormalities: (1) abrasion tester A mechanical instrument that tests a fab∞ animalized cotton A cotton yarn coated or treated with probably a woolen clothing material. ric’s resistance to the destructive actions of surface wear spaced toogelatin, close together too far apart; (2) too high or albumen, casein, or otherorsubstances to enable and rubbing. The best abrasion tests simulate ∞ antelope cloth A fabric formerly used in England for surface too low;used or (3) an incorrect it to take dyes foratanimal fibers. angle. When mixed with wear and rubbingand of the fabrics in actual fabrics. use. Depending embroidered waistcoats other embroidered untreated cotton, it lends itself to cross-dye effects; French abouchouchon (abouchouchous) A low-grade, on the end use, fabrics may be tested for flat abrasion, ∞ anterineflex(anterne, As abrasion. used in England durwhen mixed with silkmade or wool, said to and dye more woolen cloth for it thewas Egyptian Middle Eastabrasion,antherine) and/or edge ing the 18th century, a fabric that was made of worsted evenly. It hasmarkets. fallen into disuse with thewith advent of ends betterin 56-in. ern Originally made 1600 abrasive fabric cotton fabric that is used as backing for and silk, or mohair andA cotton. cotton dyes and the use of rayon, acetate, and synthetic (140-cm) wide cloth with black-and-white stripes in the various abrasive and polishing agents. Sheetings and fibers toselvages. produce cross-dye effects. ∞ anternedrills See anterine. are employed extensively, and other twills are animalized viscose rayon rayon that been aboudia Short, whiteViscose wool crimped like has a fine crossbred, in smaller quantities forof special purposes. Antherea used A genus of large, wild moths the family Satur-The fabgiven the property of accepting wool-type dyes by from northern Morocco. See beldia, urdiga wool. niidae (the ric silkworm is coated moth). on one Found side with emeryChina, carborundum or in Japan, and either impregnating the fibers after formation with synother abrasive grit. Largely used onmezankoorie, industrial machinIndia. The leading varieties are: Antherea abougedid (abougidid) Unbleached cotton goods that are thetic resins having substantivity for wool-type dyes or for (assamo), polishingAntherea metal and otherAntherea material.paphia Anthereaery muga mylitta, imported into Ethiopia. incorporating such proteins as resins or casein in the (tussah), Antherea pernyi, Antherea roylei,and Antherea abrawan (Hindi) A fine grade of plain dacca muslin. The above grade from In thewhich floor the covering descriptive spinning solutions fibersindustry, are formed. yamamai. name means “running water” and indicates the fineness of areas that are above ground level. choice of an Synonyms: basified viscose, modified cellulose fiber,The modified of the ∞ antherine Seefabric. anterine. rayon . appropriate type of wall-to-wall carpet or carpet backing for a particular area is influenced by whether the abridged spinning system A set of machines for yarn animalizing A chemical treatment that enables fibers anthistiria A stem fiber obtained from Anthistiria arundimanufacture that shortens the spinning process by surface carpeted is above or below grade. nacea, a grass found in northwestern India and Pakistan. other than wooltotobe take dyes used for animal fibers. combining some of the traditional steps, e.g., sliver-toUses: cordage. yarn A continuous yarn thation has been anionicabraded [an-eye′-ah-nihk] Forming afilament large negative yarn ring spinning. cut or abraded at intervals given added (anion) deliberately in water solution. In textiles, this termand is used anthraquinone dye A dye based on the chromophore abrohany A sheer cotton muslin made in India. twistintoreference bring about certain degree of hairiness most often toacertain dyestuffs and syn- or spun anthraquinone, which comprises three fused benzene yarn character. Most abraded yarns have been either visstrong, lustrous, clean,numwhite fiber thetic detergents. ringsabroma with two(abrome) carbonyl A(>C=O) groups. A large cose rayon or acetate. They are usually plied or twisted obtained the bast of the twigs augustus in ber of vat dyes from and many individual dyesofinAbroma other dye anionic dye A other dye that dissociates in aqueous solution to with yarn. India. Resembles Chiefly used locally for cordage. classes are derivatives of sunn. anthraquinone. produce negatively charged colored ions. Synonyms: devil’s cotton, perennial Indian hemp. abrang A plain weave, cotton fabric made in India with antibacterial agent Any chemical material which kills anjengo yarn coarse, handspun, two-ply, fiber fine, aviolet stripes generally ½ tocoir 1 in. (1.3yarn to 2.5 cm) absolute humidity See humidity. bacteria (bactericide) or interferes with the multiplimade inapart the Anjengo India. Uses: mats and and givendistrict a glazedoffinish. cation, growth, orThe activity (bactgeriostat) absorbance abilityofof bacteria a material to transform radiant carpets. (AATCC). See bactericide, abrash Color change along the filling of a rug. Often found energy to a differentbacteriostat. form, usually heat. annatto See achiote. in nomadic rugs. antibacterial finish A treatment of aoffabric or fiber absorbency The propensity a material to that take in and annotto See achiote. makes itretain resistant to, or inhibits theingrowth of, and microabrasion The wearing away of any part of a material by a liquid, usually water, the pores interstices of the material (AATCC). rubbing against another surface (ASTM). anondendron (anadendron) A strong, fine, bast fiber organisms.

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2

/ acetate antichlorabsorbent / apishamore India; A a stiff-finished dyestuff is obtained bark, pods, and absorbent A substance notedtofor its ability to takeantique up antichlor Any chemical agent used remove residual taffeta fabric infrom plainthe weave made leaves. See calico chalk, corn chlorineother or itssubstances. compoundsSuch from absorbents goods after as bleaching to meal, to resemble taffeta fabrics1.,of3.the 18th century. It may

are used inSee stain removal because they preventor thefuller’s fabric earth from tendering. tender. be made of douppioni silk or synthetic fibers. Iridescent acala cotton [uh-kal′-uh] A group of cotton varieties with will absorb the liquid staining ingredient when spread effects may belength achieved byin. dyeing lengthwise and cross- into (2.7 cm) or greater. Introduced staple 13/32 Anti-Crease One of the first trademarks, no longer upon the stain. These materials are most effective when wise yarns different colors. the in U.S. from Mexico. used, for a crease-resistant, resin finish. Term formerly used on light or freshly made stains. See adsorbent. used more broadly in Great Britain than the U.S., where antiquing Manufacturing process that imparts a worn ∞ acca A rich medieval fabric, now obsolete, made of silk absorbent cotton cotton from which trademark Tebilized hadAbeen employed. See natural crease-wax and look to apparel. Such processes includeoriginally garment made wash-in Acre, decorated with gold threads; fats are removed by chemical treatment to make ing, it stone resistance. th washing. Syria. Used during the 14 century for church vestments absorbent. Used as loose fiber or in various other forms and regalagent applications. antidumping duty Tariff imposed by an importing coun- antiredeposition Substance added to synthetic for surgical dressings. try on goods exported to that country at a price below detergents to keep soil, which hasspeeds been released by fabaccelerant A chemical that up a reaction or dyeing finish The treatment of fabrics with chemical “fair absorbent value.” These tariffs are imposed because this rics during washing, suspended in the wash water. The process. compounds that may increase ability toimporttake up liquids below “fair value” price causetheir injury to the most common chemical used is sodium carboxymethyl accelerated spinning test A method for evaluating spinor moisture. Also see hydrophilic. ing country’s economy. cellulose. ning performance using small amounts of fiber. absorption A processmaterial in whichadded one material (the absorantifoam agent A chemical to dye soluantirot finishes See antiseptic, mildew-resistant finaccelorotor An abrasion tester developed by the Ameribent) takesorinfinishing or incorporates another material (the tions, print pastes, formulations to reduce ish. can Association of Textile Chemists and Colorists. To absorbate) withinduring itself; such as the absorption of moisor prevent foam buildup processing. anti-runback course horizontal row of specimen knitted tuck conduct the A test, an unfettered is whirled ture by fibers (AATCC). antifume finish A finish, especially applied to acetate stitchesaround intended to prevent runs below the knee of a cylindrical chamber lined with abrasive. absorption coarse,their plainresistance weave fabric that may fabrics and yarns,fabric whichA raises to or stockings. These stitches, or courses, generally are acceptance testing Testing performed to decide whether impregnated increase gas and preventsbethe destructionwith of thechemicals colors bytoatmospheric placed below the garter welt. a material meets acceptance criteria (ASTM). vapor absorption. Used by forcombustion screens andor filters fumes, especially those caused thosein many antisag Applicable to a fabric that, under normal condiaccessory stitch Thread or yarn that is not part of the industries. Synonym:See brattice cloth. that have an acid character. gas fading. tions, will not stretch out that of shape. textile structure passes through a textile. Such absorption gauge An instrument for kills measuring the rate at antimicrobial agent A chemical agent that or intermaysubstance be functional, of a textile antisepticstitches Chemical used tosecuring prevent part bacterial which fabric will absorb liquid in both warp and filling. feres with the agrowth of bacteria or molds. product several textile together; or, or fungal growthor onholding cellulosic fabrics. Somepieces of the more absorption A laboratory mildew-resistant method for measuring the may be decorative, incopper, which case usually are antimildew finish test See antiseptic, commonthey antiseptics include zinc, and they mercury called embroidery. finish. ability of fibers or textile fabrics to absorb water or salts; salicylanilide; and pentachlorophenol. other liquids. fabric A patterned fabric antipolo A fiber obtained from the bark of the Philippine antislipaccordion finish A finish usually made with resinproduced (durable)on orcircular A cleaningincise, agent. needle) knitting machines. The pattern breadabstergent fruit tree, Artocarpus of See the detergent. Moraceae family. a silica (single compound (temporary) which prevents smoothincorpoandand welt stitches. Although lighter in Uses:Abutilon rope and cordage. filamentrates yarnknit, fromtuck, sliding creating distorted areas [uh-boot′-l-on′] A genus of annual plants of the weight, it closely resembles fabric produced by means of in fabrics. mallow family, whichfabrics are indigenous to tropical antique Descriptive of certain made in imitation of counneedle selection on jacquard machines. tries. Many species yield strong, lustrous See silk produced in previous centuries and also appliedfibers. to antistatic agent Chemical compound applied to fabric to chingma, giant abutilon. accordion pleats A series of of narrow (⅛ to ½ in. [.3 fabrics that have developed a vintage character through reduce or eliminate accumulation staticfolds electricity. to 1.3 cm] wide) 1.in a fabric; arranged close together to service, storage, or wear. The Musa ensete plant, which yields See static eliminator abyssinian banana resemble folds in an accordion. Frequently found in stem fibers used for cordage. antique cutwork Seeprincipally cutwork 1. Antwerp skirts lace and 1. A dresses. Belgian These bobbinpleats lace may with be bold pat-durable. made terns made of sprigs connected bars, or made in one ticking. See durable press, heatbysetting. antiqueACA lace See Anaca open, coarse form of darned lace. The piece, generally with cordonnet outlining the patterns. medieval for Athis was ticking opus araneum; sometimes ACA name ticking twill that has blue-and-white accuracy (of a test method) The degree of agreement A heavy, fancy ground is employed. The potten kant it was called d’art, ouvrages, masches, stripes.guipure Originally trademarked and and laterlater, used as a between the true value of the characteristic design is characteristic; original patterns pictured the being when reproduced in France, cluny guipure. Synonym: spigeneric term. tested, or an accepted standard value, and the average Annunciation. Formerly used extensively by the women der work. of many observations made according to the method. Acacia [uh-kay′-sha] A genus of shrubs and trees found of Antwerp as trimming for caps. 2. A needlepoint edgantique satin reversible in warmAclimates that yields gums used in print pastes, acetate [as′-uh-tayt] 1. An organic chemicalstitches containing one ing made with one row of open buttonhole fabric, some the right of and coarse fiber. Acacia sengal, in naturalside dyestuffs, —CO—O— groups. 2. A generic or more CH3in caught with a knot each loop. Synonym: flandersfiber lace.category which the resembles eastern andshanwestern parts of tropical Africa, and acathat has been defined by the Federal Trade Commission aoudad sheep 1. argali sheep. Synonym bearded argali. tung slubbed in the filling cia arabica in India yield the best gum arabic (Synonyms: as “a manufactured fiber in which the fiber-forming sub2. Such wild sheep as the bighorn of North America. Also direction; the gum wrong sideAcacia catechu produces catechu of acacia, acacia). stance is cellulose acetate. Where not less than 92% of the known as barbary sheep, which predominate in Tunisia, resembles some satins cutch, andsilk Acacia leudophloea yields a coarse, tough bast hydroxyl groups are acetylated, the term triacetate may Libya, and Algeria. of previous Madeand nets. Acacia farnesiana, native to fibercenturies. used for rope be used as a generic description of the fiber.” Term also from various manufactured apishamore (apishemean) used yarns in themade American the western hemisphere and also found in the eastern is applied to fabricAs and/or fromWest, acetate fiber. or natural fibers. hemisphere, yields a gum used by calico a saddleFibers blanket. most often are used in filament form. Aesthetic antique satin printers in

∞

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63

Reference Encyclopedia of Embroidery from the Arab World Gillian Vogelsang-Eastwood The Encyclopedia of Embroidery from the Arab World is the first reference work to chart the history of embroidery from Ancient Egypt to the present day and to offer an authoritative guide to all the major embroidery traditions of the region. It maps the diversity of embroidery from the Maghreb to the Gulf states and from Turkey to Sudan. It traces the impact of trade, commerce, politics and religion on materials, colors, styles and fashions, introduces the embroiderers, their materials, equipment and techniques, and highlights the artistic and design influences of embroidery through to its use by modern fashion designers. Richly illustrated with images of clothes, accessories, cushions, bed linen, curtains, floor coverings and wall hangings, the Encyclopedia is an essential resource for students and scholars of the subject. • T he first comprehensive reference work on this subject in any language (including Arabic) • Generously illustrated with 500 images, patterns and diagrams, many never previously published or on public view • Provides detailed coverage of the material and technical aspects of embroidery, as well as its development over time, up to and including its use by modern fashion designers from the region GILLIAN VOGELSANG-EASTWOOD is Director of the Textile Research Centre, Leiden, The Netherlands. UK February 2014 ∙ US April 2014 416 pages ∙ 150 bw & 350 colour illus HB 9780857853974 ∙ £150.00 / $240.00 Bloomsbury Academic

Part 2. Archaeological And Historical Embroideries • Tutankhamun’s Embroidery • Embroideries from Sites from Egypt, Nubia and Sudan, Nettie Adams • Embroideries from Judea, Syria and Iraq • Coptic, Byzantine and Arab Sicilian Embroideries • Medieval Embroideries from Egypt, Nettie Adams • Medieval Embroideries from Lebanon • The Main Medieval Styles of Embroidery • Tiraz. The Kiswah. Street of the Tent Makers • Turkish Embroidery, Sumru Krody

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3. Regional Embroidery • The Maghreb: Morocco • The Jewish Kiswa El-Kabir • Algeria • Tunisia • Libya • Toureg Embroidery. • Egypt: Egyptian Embroidery • Abas and Bishts • Ecclesiastical Embroidery from the Eastern Mediterranean, Karel Innemee • Sinai and Negeb Bedouin Embroidery • Eastern Mediterranean, Syria and Iraq: Jewish Ceremonial Embroidery • Samaritan Embroidery • Palestine, Widad Kawar • Lebanon, Nour Majdalany • Jordan, Widad Kawar • Jordian Designer Using Embroidery • Syrian Embroidery Widad Kawar and Heike Weber

• Iraqi Embroidery, Layla Pio • Arabian Peninsula: Saudi Arabian Embroidery • Saudi Arabian Designer Using Hand Embroidery • Saudi Arabian Designer Using Machine Embroidery • Sudanese Embroidery • Yemeni Embroidery, Margret Ramson • Naeksha Harazi Embroidery • Zari Work from India • Oman • Omani Designer Using Embroidery • Gulf States 4. Resources • Glossary of Stitches • Glossary of Terms • Bibliography • Index

www.bloomsbury.com • UK, Europe, ROW • +44 (0)1256 302699 • [email protected]

contents

Part 1. General Information • Introduction • The Embroiderers • Foreign Influences • Materials and Equipment • Hand and Machine Embroidery Techniques • Designs and Colors

Reference key titles

The Visual Dictionary of Fashion Design Gavin Ambrose and Paul Harris “A great little pocket reference book for fashion students. It provides instant answers on a variety of topics.” Kevin Almond, University of Huddersfield, UK

“This is the only dictionary-style book I use and recommend. A simple, easy to read and visually interesting book.” Shelley Campton, Canberra Institute of Technology, Australia The Visual Dictionary of Fashion Design is a guide to more than 250 common fashion terms, both practical and conceptual, used in the fashion industry.

2007 ∙ 288 pages ∙ 300 colour illus 160 x 120mm / 6.3 x 4.7 inches PB 9782940373611 ∙ £16.95 / $24.95 Library eBook 9782940439669 £16.99 Series: Visual Dictionaries AVA Publishing

The Dictionary of Fashion History Valerie Cumming, C. W. Cunnington and P. E. Cunnington “Nearly forty years on and now hard to find save in reference libraries, the volume reappears as The Dictionary of Fashion History, skilfully enlarged and re-edited by Valerie Cumming, formerly Deputy Director of the Museum of London. Given fresh life and thorough coverage from 1900 through the present day, the new dictionary is once again ready to prove itself a trustworthy guide and companion to all those interested in the absorbing study of clothing.” Ann Saunders, Costume “A welcome, needed update of an early landmark dictionary on dress; a must-have for all who care about the A to Z of fashion.” Joanne B. Eicher, Regents Professor Emerita at the University of Minnesota, USA “Concise yet detailed, academic, and fabulous, it is truly a dictionary. The Dictionary of Fashion History is an essential purchase for any library serving patrons with an interest in fashion, clothing, art, history, theater, anthropology, or nearly any area of the social sciences.” Library Journal

2010 ∙ 304 pages ∙ 75 bw illus 244 x 189mm / 9.6 x 7.4 inches PB 9781847885333 ∙ £17.99 / $29.95 HB 9781847885340 ∙ £55.00 / $99.95 Individual eBook 9781847887382 ∙ £17.99 (World English, excluding USA) Library eBook 9780857851437 ∙ £54.99 (World English, excluding USA) Berg Publishers

The Berg Companion to Fashion Edited by Valerie Steele “The Berg Companion to Fashion is the title to get.” Library Journal “Recommended for reference collections” Booklist Online An essential reference for students, curators and scholars of fashion, cultural studies, and the expanding range of disciplines that see fashion as imbued with meaning far beyond the material.

2010 ∙ 800 pages ∙ 150 bw illus, 32pp colour plate section 244 x 189mm / 9.6 x 7.4 inches PB 9781847885630 ∙ £29.99 / $49.95 HB 9781847885920 ∙ £75.00 / $140.00 Berg Publishers

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Reference The Handbook of Fashion Studies Edited by Sandy Black, Amy de la Haye, Joanne Entwistle, Agnès Rocamora, Regina Root and Helen Thomas The Handbook of Fashion Studies identifies an innovative spectrum of thematic approaches, key strands and interdisciplinary concepts that continue to push forward the boundaries of fashion studies. Each section contains four essays written by international subject specialists who each engage with their section’s theme in the light of their own discipline and provide clear case studies to further knowledge on fashion. This consistency provides clarity and permits comparative analysis. The Handbook presents a state-of-the-art overview of the subject – its methodologies, current debates, history and future –and covers both historical and contemporary fashion. SANDY BLACK is Professor of Fashion and Textile Design and Technology at the London College of Fashion, University of the Arts, London, UK. AMY DE LA HAYE is the Rootstein Hopkins Chair of Dress History and Curatorship at the London College of Fashion, University of the Arts, London, UK. JOANNE ENTWISTLE is Senior Lecturer, Culture, Media and Creative Industries at King’s College, London, UK. AGNÈS ROCAMORA is Reader in Social and Cultural Studies at the London College of Fashion, University of the Arts, London, UK. REGINA ROOT is Associate Professor of Hispanic Studies at the College of William and Mary, Williamsburg, VA, USA. HELEN THOMAS is Director of Doctoral Programmes at the University of the Arts, London, UK.

UK October 2013 ∙ US December 2013 608 pages ∙ 244 x 169mm / 9.6 x 6.6 inches HB 9780857851949 ∙ £90.00 / $140.00 Bloomsbury Academic

Textiles Critical and Primary Sources Edited by Catherine Harper “Congratulations on this incredible publication, what an amazing resource for all of us in the textile world!” Annet Couwenberg, Maryland Institute College of Art, USA “A very fine achievement.” Professor Janis Jefferies, Goldsmiths College, London, UK Textiles: Critical and Primary Sources is a major multi-volume reference work that draws together 93 seminal texts on textiles. The contents are therefore gathered into four thematic collections dealing with history and curation; production and sustainability; science and technology; and identity, each supported by an introductory editorial essay that serves to critique and supplement each textual collection and theme. Textiles: Critical and Primary Sources is a key scholarly resource for any researchers involved in the study of textiles, as well as associated subjects, including studies in dress, costume and fashion; feminism and gender; art, design and cultural history; and sociology and anthropology. CATHERINE HARPER is Dean of the School of Arts and Digital Industries, University of East London, UK.

UK February 2012 ∙ US April 2012 1,600 pages ∙ 244 x 172mm / 9.6 x 6.8 inches HB 9780857850355 ∙ £550.00 / $995.00 Berg Publishers

Critical and Primary Sources Edited by Peter McNeil “This excellent, accessible introduction to many of the most important trends in modern fashion studies will serve as an invaluable research tool for students just starting in the field.” CHOICE 2009 ∙ 1632 pages ∙ 244 x 172mm / 9.6 x 6.8 inches HB 9781847882929 ∙ £550.00 / $1,095.00 Berg Publishers

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www.bloomsbury.com • UK, Europe, ROW • +44 (0)1256 302699 • [email protected]

key titles

Fashion

Journals The Journal of Dress, Body and Culture Edited by Valerie Steele

Institutions will receive both Fashion Theory and Fashion Practice as a single subscription.

Boys Keep Swinging: The Fashion Iconography of Hedi Slimane Nick Rees-Roberts   Sonia Delaunay’s Robe Simultanée: Modernity, Fashion, and Transmediality Tom Slevin   Indonesian Fashion Blogs: On the Promotional Subject of Personal Style Brent Luvaas   Fashioning the Fantastical Self: An Examination of the Cosplay Dress-up Phenomenon in Southeast Asia Anne Peirson-Smith

Fashion Theory Volume 17 Issue 1 2013

Fashion Theory

Volume 17 Issue 1 February 2013 Online at www.ingentaconnect.com

“A fine addition to academic institutions with cultural studies programs; essential for those with special collections in fashion and costume.” Library Journal Launched in 1997, Fashion Theory is well established as the leading peer-reviewed, international, and interdisciplinary journal for the analysis of all aspects of the cultural significance of dress and fashion worldwide – from Vogue to Versace, from kimonos to kilts, and from foot-binding to body piercing. VALERIE STEELE is Director and Chief Curator of The Museum at the Fashion Institute of Technology (FIT), USA. www.bloomsbury.com ISBN 978-1-4725-1698-5

90100

Cover images: Hedi Slimane for Dior Homme Spring/Summer 2002. Courtesy Maria Chandoha Valentino/MCV Photo. ISBN 978 1 4725 1698 5 ISSN 1362-704X 

Fashion Theory The Journal of Dress, Body & Culture

9 781472 516985

Available to purchase as a subscription or as individual issues 5 issues per year: February, April, June, September, November ISSN: 1362-704X e-ISSN: 1751-7419 www.bloomsbury.com/fashiontheory

Fashion Practice The Journal of Design, Creative Process and the Fashion Industry

Institutions will receive both Fashion Theory and Fashion Practice as a single subscription.

Edited by Sandy Black and Marilyn DeLong Fashion Practice is the first academic peer-reviewed journal to cover all aspects of contemporary design and manufacture within the context of the fashion industry. Interdisciplinary in approach, it provides a muchneeded forum for topics ranging from design theory to the impact of technology, economics and industry on fashion practice. SANDY BLACK is Professor of Fashion and Textile Design and Technology at the London College of Fashion, University of the Arts London, and Co-Director of the Centre for Fashion Science at LCF. MARILYN DELONG is Professor of Apparel Studies at the University of Minnesota, USA.

Only available on subscription 2 issues per year, May, November ISSN: 1756-9370 e-ISSN: 1756-9389 www.bloomsbury.com/fashionpractice

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67

Journals Textile The Journal of Cloth and Culture

ZEN AND THE ABSTRACT MACHINE OF KNITTING OTTO VON BUSCH

CREATIVITY AND CORDED SKIRTS FROM BRONZE AGE SCANDINAVIA SØLVI HELENE FOSSØY AND SOPHIE BERGERBRANT

“Any university or college with an interest in textiles should subscribe to it and make it easily available. For individual scholars and makers, the journal provides a useful resource and will be a pleasure to collect and possess.” Times Higher Education

Volume 11 Issue 1 March 2013

THE CASE OF THE DISAPPEARING MILL VILLAGE: IMPLICATIONS OF INDUSTRY CHANGE FOR BUILDING AND SUSTAINING SMALL COMMUNITIES NANCY HODGES AND PHILLIP FRANK WILD SILK TEXTILES OF THE DOGON OF MALI: THE PRODUCTION, MATERIAL EFFICACY, AND CULTURAL SIGNIFICANCE OF SHEEN LAURENCE DOUNY

TEXTILE VOLUME 11 ISSUE 1 MARCH 2013

Edited by Catherine Harper

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Textile

The Journal of Cloth & Culture

Textile is an international and peer-reviewed journal that brings together research in textile studies in an innovative and distinctive academic forum. It provides a platform for points of departure between art and craft; gender and identity; cloth, body and architecture; labour and technology; techno-design and practice – all situated within the broader context of material and visual culture. FRONT COVER IMAGE FABRICFORMWORK WALL 2, BY ALAN CHANDLER. PHOTOGRAPH BY DIRK LELLAU. COURTESY OF THE ARTIST.

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CATHERINE HARPER is Dean of the School of Arts and Digital Industries at the University of East London, UK. 9 781472 518071

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Journal of Textile Design Research and Practice

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Edited by J.R. Campbell, Faith Kane, Janette Matthews, Lauren Moriarty and Nancy Boiter Powell The Journal of Textile Design Research and Practice aims to create a forum to facilitate, stimulate and disseminate research in the domain of textile design and practice, and encompasses a range of approaches, disciplines and outcomes. The journal is interested in interdisciplinary and cross-disciplinary approaches and the role of collaboration; relationships between traditional and contemporary practices; the application of new and traditional technologies and materials from both technical and aesthetic perspectives; sustainable textile practices, interfaces between research and industry, the textile design process including the role of drawing and the significance of craft. Institutions will receive both Textile and Journal of Textile Design Research and Practice as a single subscription. J.R. CAMPBELL is a Professor and Director at Kent State University, USA. FAITH KANE is a lecturer in Textiles and leader of the Textiles Research Group at The School of the Arts, Loughborough University, UK. JANETTE MATTHEWS is a Researcher at Loughborough University School of Art and Design, UK. LAUREN MORIARTY is a Senior Lecturer for the BA (Hons) Textiles and Surface Design course at Buckinghamshire New University, UK, and teaches on the Surface Design pathway. NANCY BOITER POWELL is an Associate Professor in the Textile and Apparel, Technology and Management Department at North Carolina State University, USA

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Articles Neither Pictorialism nor Documentary Photography: The Camera’s Uses and the Struggle for Self-Expression in Industrial Cities, ca.1857–1907 Nicole Hudgins

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Photography & Culture

VOLUME 6 ISSUE 1 MARCH 2012

“Thank You for Our Flat Daddy”: Photography, Imagination, and Citizenship as Child’s Play Rebecca A. Adelman

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Albania before the Collapse Stuart Griffiths

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VOLUME 6 ISSUE 1 MARCH 2012

VOLUME 6 ISSUE 1 MARCH 2013

Photography & Culture

Photography & Culture

Photography and Culture

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KATHY KUBICKI is Senior Lecturer at the University for the Creative Arts, Farnham, UK. THY PHU is Associate Professor in the English Department at Western University, Canada. VAL WILLIAMS is Professor of the History and Wave of Photography and Director of the Photography and the Archive Research Centre at the University of the Arts, London College of Communication, UK. ISSN 1751-4517 ISBN TBC

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index

70

Abling, Bina.......................................................................... 22

Color and Design.................................................................... 19

Fashion Practice..................................................................... 67

Accessory Design................................................................... 23

Cox, Caroline........................................................................... 47

Fashion Reader, The.................................................................7

African Dress........................................................................... 59

Craik, Jennifer...........................................................................6

Fashion Sketchbook.............................................................. 22

Ageing and Youth Cultures.................................................. 57

Creative Draping..................................................................... 35

Fashion Theory........................................................................ 67

Amaden-Crawford, Connie.........................................30, 35

Creativity in Fashion Design................................................ 20

Fashion Thinking.................................................................... 18

Ambrose, Gavin...................................................................... 65

Cultural History of Fashion in the 20th and 21st

Fashion: Critical and Primary Sources............................ 66

Angel, Samata...........................................................................7

Centuries, A.......................................................................... 48

Fashion: The Industry and its Careers................................6

Apparel Merchandising......................................................... 16

Cultural History of Jewish Dress, A.................................. 49

Fashion: The Key Concepts.....................................................6

Apparel Production Terms and Processes..................... 17

Cumming, Valerie.................................................................. 65

Fashioning Bollywood........................................................... 60

Apparel Quality........................................................................ 16

Cunnington, C.W..................................................................... 65

Fashioning Japanese Subcultures.................................... 60

Art of Couture Sewing, The.................................................. 28

Cunnington, P.E....................................................................... 65

Fashioning Models................................................................. 58

Art of Fashion Draping, The................................................. 35

Czachor, Sharon.................................................................... 30

Fetish Style............................................................................... 56

Bailey, Sarah........................................................................... 11

Davis, Leslie...............................................................................6

Fischer, Anette....................................................................... 30

Baker, Jonathan..................................................................... 11

de la Haye, Amy..................................................................... 66

Fitting and Pattern Alteration............................................. 33

Banerjee, Mukulika............................................................... 61

Decades..................................................................................... 47

Folds in Fashion...................................................................... 29

Barnfield, Jo............................................................................ 33

DeLong, Marilyn..............................................................19, 67

Fundamentals of Fashion Design, The............................. 19

Barrett, Joanne Ciresi.......................................................... 26

Design Your Fashion Portfolio............................................ 26

Fundamentals of Fashion Management, The................. 14

Barthes, Roland..................................................................... 54

Designing Your Fashion Portfolio...................................... 26

Fundamentals of Printed Textile Design, The................ 39

Basics Fashion Design 01: Research and Design........ 21

Diamond, Ellen..........................................................................4

Gale, Colin................................................................................ 39

Basics Fashion Design 02: Textiles and Fashion.......... 21

Diamond, Jay.............................................................................4

Galton, Elizabeth.................................................................... 23

Basics Fashion Design 03: Construction......................... 30

Dictionary of Fashion History, The.................................... 65

Garcia, Rosa............................................................................ 29

Basics Fashion Design 04: Developing a Collection.... 21

Dieffenbacher, Fiona............................................................ 18

Garner, Myrna B. ............................................................14, 17

Basics Fashion Design 05: Fashion Drawing................. 21

Digital Jacquard Design....................................................... 41

Geczy, Adam..............................................................49, 56, 58

Basics Fashion Design 06: Knitwear................................ 21

Dillon, Susan........................................................................... 14

Genova, Aneta......................................................................... 23

Basics Fashion Design 07: Menswear............................. 21

Donnellan, John........................................................................9

Gill, Penny................................................................................ 12

Basics Fashion Design 08: Styling.................................... 27

Draping for Apparel Design................................................. 34

Global Denim........................................................................... 43

Basics Fashion Design 09: Designing Accessories...... 23

Dress, Law and the Naked Truth....................................... 15

Going Global............................................................................. 14

Basics Fashion Design 10: Jewellery Design................ 23

Dyeing and Screen-Printing on Textiles.......................... 42

González, Ana Marta............................................................ 58

Basics Fashion Management 02: Fashion Promotion.13

Dynamics of Fashion, The.......................................................5

Granger, Michele M. ........................................................ 6, 14

Basics Textile Design 01: Sourcing Ideas........................ 37

Ellinwood, Janice G............................................................... 20

Great Fashion Designers, The................................................7

Beaujot, Ariel........................................................................... 50

Emery, Joy................................................................................ 46

Guide to Fashion Sewing, A................................................. 30

Bell, Judith............................................................................... 12

Encyclopedia of Embroidery from the Arab World...... 64

Guide to Producing a Fashion Show................................. 13

Bennett, Andy......................................................................... 57

English, Bonnie...............................................................45, 48

Gwilt, Alison............................................................................. 36

Berg Companion to Fashion, The....................................... 65

Entwistle, Joanne...........................................................58, 66

Hand Stitch............................................................................... 44

Berg Fashion Library............................................................. 51

Eubank, Keith.......................................................................... 48

Handbook of Fashion Studies, The.................................... 66

Beyond Design......................................................................... 17

Everett, Judith C..................................................................... 13

Hansen, Karen Tranberg.................................................... 59

Black, Sandy.....................................................................66, 67

Faerm, Steven........................................................................ 26

Harper, Catherine...........................................................66, 68

Blanken, Christian ............................................................... 45

Faiers, Jonathan.................................................................... 69

Harris, Paul.............................................................................. 65

Bloomsbury Fashion Photography Archive.................... 52

Fairchild Books Dictionary of Fashion, The.................... 62

Hemmings, Jessica.......................................................39, 43

Body Style................................................................................. 56

Fairchild Books Dictionary of Textiles, The..................... 63

History of Sportswear, The.................................................. 45

Bovone, Laura......................................................................... 58

Fashion and Age..................................................................... 57

History of the Paper Pattern Industry, A......................... 46

Brannon, Evelyn L................................................................. 14

Fashion and Art....................................................................... 58

Hodkinson, Paul..................................................................... 57

Bryant, Nancy O. ......................................................................6

Fashion and Cultural Studies.............................................. 58

Holyoke, Julie.......................................................................... 41

Bubonia, Janace E. .......................................................16, 17

Fashion and Orientalism...................................................... 49

Hopkins, John..................................................................19, 21

Buckley, Claire........................................................................ 27

Fashion and Textiles.............................................................. 39

Howell, Geraldine.................................................................. 50

Burns-Tran, Shannon........................................................... 27

Fashion as Performance...................................................... 54

Hume, Lynne........................................................................... 61

Business of Fashion, The........................................................6

Fashion Buying........................................................................ 10

Hunt-Hurst, Patricia............................................................. 57

CAD for Fashion Design and Merchandising.................. 25

Fashion by Design.................................................................. 20

Identities Through Fashion.................................................. 58

Cadigan, Erin........................................................................... 40

Fashion Design: The Complete Guide............................... 19

In Fashion....................................................................................6

Campbell, J.R.......................................................................... 68

Fashion Designer’s Resource Book.....................................7

Islamic Fashion and Anti-Fashion..................................... 59

Chinese Fashion Industry, The............................................ 60

Fashion Entrepreneurship................................................... 14

J.J. Pizzuto’s Fabric Science............................................... 38

Clodfelter, Richard................................................................ 10

Fashion Forecasting ............................................................. 14

J.J. Pizzuto’s Fabric Science Swatch Kit......................... 38

Cohen, Allen C......................................................................... 38

Fashion Forward..................................................................... 14

Japanese Fashion Designers.............................................. 45

Cole, Julie................................................................................. 30

Fashion Law............................................................................. 15

Jennings, Tracy...................................................................... 20

index Jimenez, Guillermo C........................................................... 15

Partington, Matthew............................................................. 50

Sorger, Richard...................................................................... 19

Johnson, Ingrid...............................................................38, 63

Pattern Cutting Primer......................................................... 33

Sourcing and Selecting Textiles for Fashion.................. 40

Joseph-Armstrong, Helen................................................. 34

Pattern Cutting: The Architecture of Fashion................. 32

Steed, Josephine................................................................... 37

Journal of Textile Design Research and Practice, The.68

Patternmaking for Menswear............................................ 31

Steele, Valerie..................................................................65, 67

Kaiser, Susan B. .................................................................... 58

Patterson, Elizabeth............................................................. 54

Steen, Camille........................................................................ 24

Kane, Faith............................................................................... 68

Pegler, Martin M. .................................................................. 12

Sterling, Tina........................................................................... 14

Karaminas, Vicky............................................................56, 58

Petrizzi, Richard.................................................................... 12

Stevenson, Frances.............................................................. 37

Kaur, Jasbir............................................................................. 39

Photography and Culture..................................................... 69

Stone, Elaine.........................................................................5, 6

Kawamura, Yuniya................................................................ 60

Phu, Thy.................................................................................... 69

Story of Colour in Textiles, The........................................... 39

Kay-Williams, Susan............................................................ 39

Pizzuto, Joseph J................................................................... 38

Style Wise................................................................................. 27

Keiser, Sandra J..............................................................17, 62

Poiret, Dior and Schiaparelli............................................... 49

Survey of Historic Costume................................................. 48

Kershaw, Gareth.................................................................... 35

Polan, Brenda............................................................................7

Swanson, Kristen K.............................................................. 13

Kettle, Alice.............................................................................. 44

Poloian, Lynda Rose................................................................8

Swatch Reference Guide to Fashion Fabrics................. 37

Key Concepts for the Fashion Industry...............................7

Porn Chic................................................................................... 55

Swimsuit, The.......................................................................... 50

Kim, Injoo.................................................................................. 31

Portfolio Presentation for Fashion Designers .............. 26

Tain, Linda................................................................................ 26

Kim, Myoungok....................................................................... 31

Pottberg-Steineckert, Delia............................................... 33

Talbot, Stephanie ................................................................. 53

Kinnersly-Taylor, Joanna ................................................... 42

Powell, Nancy Boiter............................................................ 68

Tarlo, Emma.....................................................................59, 61

Kolson, Barbara..................................................................... 15

Practical Guide to Sustainable Fashion, A...................... 36

Technical Sourcebook for Designers................................ 24

Koumbis, Dimitri.................................................................... 10

Prendergast, Jennfier.......................................................... 29

Techno Fashion....................................................................... 18

Kubicki, Kathy......................................................................... 69

Price, Shannon Bell.............................................................. 69

Tepper, Bette K..........................................................................9

Kunz, Grace I........................................................................... 14

Professional Sewing Techniques for Designers........... 30

Ternus, Kate............................................................................ 12

Language of Fashion, The.................................................... 54

Punk Style................................................................................. 56

Textile......................................................................................... 68

Lau, John.................................................................................. 23

Queer Style............................................................................... 56

Textile Book, The..................................................................... 39

Lee, Jaeil................................................................................... 24

Quinn, Bradley.................................................................18, 42

Textile Futures......................................................................... 42

Liechty, Elizabeth.................................................................. 33

Rasband, Judith..................................................................... 33

Textile Reader, The................................................................. 39

Lillethun, Abby..........................................................................7

Rath, Patricia Mink............................................................... 12

Textiles: Critical and Primary Sources............................. 66

Lunning, Frenchy................................................................... 56

Reilly, Andrew.................................................................... 7, 57

Thomas, Helen....................................................................... 66

Luxury........................................................................................ 69

Religious Life of Dress, The................................................. 61

Tortora, Phyllis G.....................................................48, 62, 63

Luxury Fashion........................................................................ 47

Renfrew, Colin........................................................................ 21

Tredre, Roger.............................................................................7

Lynch, Annette....................................................................... 55

Renfrew, Ellen........................................................................ 21

Twigg, Julia.............................................................................. 57

Madison, D. Soyini................................................................. 59

Retail Buying............................................................................ 10

Udale, Jenny.....................................................................19, 21

Marketing Fashion.................................................................. 12

Retailing Principles...................................................................8

Vampire Culture...................................................................... 55

Martinson, Barbara.............................................................. 19

Richards, Andrew.................................................................. 33

Victorian Fashion Accessories........................................... 50

Mathematics for Retail Buying..............................................9

Riello, Giorgio.......................................................................... 47

Visibly Muslim......................................................................... 61

Matthews, Janette................................................................. 68

Rocamora, Agnès.................................................................. 66

Visual Dictionary of Fashion Design, The........................ 65

McAssey, Jacqueline............................................................ 27

Root, Regina............................................................................ 66

Visual Merchandising and Display.................................... 12

McKeating, Jane.................................................................... 44

Rosenau, Jeremy A............................................................... 16

Visual Merchandising for Fashion..................................... 11

McNeil, Peter....................................................................47, 66

Rousson, Chelsea.................................................................. 14

Vogelsang-Eastwood, Gillian............................................ 64

Meanings of Dress, The........................................................ 57

Russell, Alex............................................................................ 39

Warp and Weft......................................................................... 43

Mellins, Maria......................................................................... 55

Sandino, Linda........................................................................ 50

Wartime Fashion..................................................................... 50

Merchandise Buying and Management..............................9

Sari, The.................................................................................... 61

Watt, Gary................................................................................. 15

Miller, Daniel....................................................................43, 61

Schmidt, Christine ............................................................... 50

Welters, Linda............................................................................7

Miller-Spillman, Kimberly A.............................................. 57

Seivewright, Simon.............................................................. 21

Wilkinson-Weber, Clare....................................................... 60

Moore, Gwyneth..................................................................... 13

Sewing Techniques................................................................ 29

Williams, Val............................................................................ 69

Moors, Annelies..................................................................... 59

Shaw, David............................................................................. 10

Wilson, David L....................................................................... 16

Moriarty, Lauren.................................................................... 68

Shoes......................................................................................... 47

Winge, Therèsa M. ................................................................ 56

Mullet, Kathy K..........................................................................6

Silent Selling............................................................................ 12

Wissinger, Elizabeth............................................................. 58

Muño, Adriana ....................................................................... 29

Silver, Cameron...................................................................... 47

Woodward, Sophie................................................................ 43

New Fashion Designers’ Sketchbooks............................. 22

Silverman, Eric....................................................................... 49

World of Fashion, The...............................................................4

Nudelman, Zoya..................................................................... 28

Sissons, Juliana..................................................................... 21

Young, Deborah E. ................................................................ 27

Oral History in the Visual Arts............................................ 50

Sklar, Monica.......................................................................... 56

Zaman, Zarida........................................................................ 22

Parish, Pat................................................................................ 32

Slogan T-Shirts....................................................................... 53

Zhao, Jianhua......................................................................... 60

Parkins, Ilya............................................................................. 49

Smith, Stacy Stewart........................................................... 25

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