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1 Introduction -- 1.1 Why Should Philosophy Matter to Fashion -- 1.2 Why Does Fashion Matter to Philosophy -- 2 What Immanuel Kant Would Say about Fashion: Metaphysics of Pursuit of the Self by Way of Fashion -- 3 Fashion and Freedom: An Adornian Critique -- 4 In Search of Unintentional Truth: From Experience (Erfahrung) through Dialectics to Fashion -- 5 The Dialectical Image: The Redemption of Fashion -- 6 Universal Consciousness, Experience (Erfahrung), and Fashion -- 7 Fashion as A Utopian Impulse: The Inversion of Political Economy via the Consumption of Fashion -- 8 The Dialectical Sublation by the Consumption of Fashion -- 9 Fashion History in Light of the Philosophy of History.

Cover page -- Haftitle page -- Series page -- Title page -- Copyright page -- Dedication -- CONTENTS -- ILLUSTRATIONS -- ACKNOWLEDGMENTS -- INTRODUCTION NUANCING THE LIBERTINE -- 1 THE MERRY AND SCANDALOUS COURT OF KING CHARLES II -- The Fashion Choices of the Libertine King -- Libertine Women of the Court -- "Gentleman of the Bedchamber": John Wilmot, 2nd Earl of Rochester -- 2 THE DIVINE MARQUISAND THE GOLDEN AGE OF LIBERTINISM -- The Age of Dainty and Déshabille -- The Eighteenth- century France of Louis XV: The Belle Époque of Fêtes Galantes -- The Marquis de Sade and the Banishment of Beauty -- Crébillon and the Play of Appearances -- Casanova and His Clones -- Liberty on Display: The Directory Period -- 3 THE BYRONIC HERO -- The Fastidious and Fake: The Image of Byron and the Byronic Image -- Brooding, Gloomy, Itinerant, Malevolent -- The Queer Libertine Hero -- Later Years -- Byronic Legacies: Men and Women -- 4 DECADENTANDROGYNES AND MASCULINE IMPERSONATORS SAND, RACHILDE, AND COLETTE -- A Woman Called George -- Rachilde, "Queen of the Decadents" -- Colette: "Fin de Siècle, Fin de Sex"62 -- 5 BIZARRE DANDYISM AND DECADENCE: OSCAR WILDE -- Bizarre Dandyism -- The Philosophy of Dress -- 6 FROM HARLEM TO PIGALLE: JOSEPHINE BAKER -- Diva Worship and Transvestism -- Cross-dressing -- The Harlem Renaissance and All That Jazz -- The Flapper -- Negrophilia and Primitivism -- Harlem on the Seine -- 7 POSTMODERN LIBERTINISM DAVID BOWIE'S GLAM ROCK -- The Decadence and Travesty of Glam Rock -- The Making of David Bowie -- Mixing Genders -- The Alien Who Fell to Earth: Bowie's Otherworldliness -- 8 DISCIPLINARY REGIMES THE PROFANITY OF JEAN PAUL GAULTIER -- Disciplinary Acts -- Children of the Damned: Gaultier and Madonna -- Uniforms -- CONCLUSION "WE ARE ALL LIBERTINES NOW" -- Notes -- Bibliography -- Index.

This article examines the representations of fashion and clothing through the history of Copenhagen films and TV shows. Because a comprehensive study of Copenhagen media does not yet exist, we have reviewed, compiled and analysed many examples of historical and contemporary films and television shows that have a special relationship with the city and its fashion. We examine the ways in which the city is mediated, how various film genres (including social realism, historical costume dramas and contemporary lifestyle dramas) and TV shows (ranging from historical and political dramas to Nordic noir crime series) use the characters' clothing as signifiers and representations of class, careers, lifestyles and identities. The clothing and fashion in these works reveal many underlying cultural messages, motivations of the characters, as well as important social, cultural and political commentary on the city as a microcosm for society at large. Our methodology is grounded in cultural history, fashion history and media analysis, with a particular attention to the cultural, political and urban transformations in Copenhagen over the decades, and the role fashion plays in the city's cultural landscape.

"A celebration of fashion's most adventurous, outrageous moments. The modern history of fashion has always had significant turning points that altered everything that came afterwards -- from the first outing of Chanel's little black dress and the scandal of the first mini-skirt to Alexander McQueen's armadillo shoes and Jean Paul Gaultier's cone bra for Madonna. This book honours and celebrates these groundbreaking fashion moments. Each of the 100 fashion turning points is illustrated and put into its historical context -- how and why it was ahead of the curve. The emphasis is on the designer who created it, the celebrity or personality who wore it and why it was groundbreaking in terms of the social and cultural shift it created."--provided by publisher's website

AbstractPrevious research illustrates several attempts that consumers have made to create new markets when marketing organizations have not responded to their desires; however, individual efforts alone are insufficient to assure success in having voices heard. The effectiveness of these efforts heavily depends on the democratization of institutions. Discussions regarding the "democratization of fashion" have had some historical appeal in academia and popular media. However, an incomplete appraisal of democracy may have led to premature conclusions regarding fashion's democratization. Affirming that democracy requires acceptance of differences and empowerment of different groups as a principle, this study conceptually and critically examines the history of the outcomes of fashion consumers' attempts to have their voices heard and assesses the degree of democratization of the fashion market. Our research contributes to prior debates regarding the democratization of fashion by reviewing the pivotal chronological events in fashion history. Contrary to some previous views, it shows that diffusion of fashion to larger consumer segments across history does not automatically imply democratization of fashion, which has been greatly limited despite the potentials presented by the advents of sustainable fashion and digitalization in contemporary times. We conclude that the cycle of fashion becoming a principle of economic interest is largely the culprit for retarding democratization, and we offer reflections for key stakeholders in order to have a more democratic, sustainable, and inclusive fashion system.

This edited volume explores how fashion brands deal with legacy by looking at the preservation of heritage and knowledge and how this builds a bridge to the future. Bringing together different reflections from the world of fashion, from gloves to virtual jewels, from luxury brands digital narratives to historical contexts, each chapter offers a narrative that is contemporary, yet linked to historical contexts. With these narratives, the book reveals how innovation builds on heritage, and how locally rooted traditional techniques connect to contemporary global production. It illustrates how ancestral processes renew, encouraging us to produce and consume more responsibly. Split into three parts, the book firstly covers narrative and knowledge in different contexts before delving in to narrative, brand building and creativity with case studies. The final section centres on digital narratives with new consumers. Ultimately, this book demonstrates that multidisciplinary knowledge of the past is essential to the understanding of the contemporary. Isabel Cantista is Professor of Marketing and Innovation at Universidade Lusiada and at ISEM Fashion Business School University of Navarra. Isabel has published so far several books including Understanding Luxury Fashion (Palgrave Macmillan, 2020). Since 2008 she has promoted the Global Fashion Conference, which aims to bring together academia and industry favouring a sustainable model of development. Damien Delille is a Lecturer in Art History and teaches fashion history at the Universite Lyon 2, France. His publications focus on the arts, fashion and visual cultures at the turn of the 20th century and in contemporary areas. He holds a PhD from the Sorbonne Universite, published by Brepols Publishers (Turnhout, 2021). He co-edited the collective publication of an anthology of source and critical texts on fashion (INHA - MAD editions, 2020).

Introduction : Constructing tuberculosis ; The social context ; Scholarly construction of tuberculosis -- The approach to illness : Tuberculosis mortality ; Anatomico-pathological approach to disease -- The curious case of consumption: a family affair : Contagious? ; The constitution ; Palliate rather than cure -- Exciting consumption: the causes and culture of an illness : The personal environment: status symbol ; Ephemeral causes of consumption ; Nervous consumptives ; Civilizing consumption -- Morality, mortality, and romanticizing death : The consumptive performance: resignation in the face of death ; Romanticizing consumption ; The illness intelligence ; Consumptive Keats -- The angel of death in the household : That sentimental feeling: feminizing consumption ; Consumptive marriage ; The reproductive body ; Sensibility and feminine character -- Tragedy and tuberculosis: the Siddons story : A beautiful predisposition ; That lothario Lawrence ; The decline of Maria ; A beautiful ending? -- Dying to be beautiful: the consumptive chic : From corpulent to consumptive chic ; Fashionable illness ; Sentimental beauty -- The agony of conceit: clothing and consumption : Classical consumptive and the dangers of fashionable life ; Consumptive corsetry and romantic fashion ; Tubercular and tight the sentimental way -- Epilogue : The end of consumptive chic -- Concluding the fashion.

This paper seeks to contribute to the increasing body of fashion scholarship focussed on space. Along with a spatial turn in human and social sciences, it is increasingly recognised by fashion researchers that spaces and places of fashion matter – but it is less discussed how a theoretical framework could be created to explore these. I here consider a Lefebvrian spatial analysis. The approach suggested recognises that dress is fundamentally political, as is the space which it inhabits. Dressed bodies are subject to hegemonic ideologies, but individuals have the power to resist these, too. I consider some parameters of a spatialized fashion sociology and what benefits such an approach can bring for fashion scholarship more generally. I contend that dress should be understood as spatial practice, which in its turn it creates spaces and realities, too. Such a framing allows for analysis of various spaces dressed bodies move through, and of how garments operate in these. Furthermore, it allows for extending the analysis by following garments through their whole life cycle, exploring the different kinds of spaces they enter. Such an approach has the potential for overcoming some persistent biases inherent in fashion scholarship, which tends to focus more on the 'core' than the 'periphery' locations of fashion.

Since the 1980s, the figure of the 'girl' has become one of the most prominent subject positions offered up in British fashion magazines (Jobling 1999). This way of constructing femininity harks back to the observation made by Roland Barthes, in 1967, that the rhetoric of fashion 'reproduces, on the level of clothing, the mythic situation of Women in Western civilization, at once sublime and childlike' (1990: 242). This article argues that both facets – the sublime and the childlike – continue to inform constructions of femininity in contemporary fashion magazines, with the niche publication, Lula, girl of my dreams, being a particularly marked example. Methods of textual and discourse analysis are employed to make sense of written and visual excerpts, drawing from issues of Lula spanning 2006 to 2012. Discourses on Romantic childhood and discourses on 'high' fashion – both of which construct their objects as 'pure' – are shown to intersect on the pages of Lula thus producing the Lula girl as otherworldly creature, while disavowing the less palatable aspects of the fashion industry that bring her into being. Inviting nostalgic recollection of childhood, the Lula girl is shown not to recall childhood in any objective sense but rather to reconstruct childhood through the mythic tropes of Romantic innocence. The possible appeal of this vision of womanhood for both magazine producers and consumers is theorized through the concept of 'investment' as well as recent debates on pleasure and politics in feminist media studies. Ultimately, the Lula girl is shown to facilitate imaginary solutions for real-life frustrations by dissolving the contradictions of normative femininity as well as encompassing elements excluded from contemporary definitions of adulthood.

"Staging Fashion is the first collection of essays about the presentation and staging of fashion in runway shows in the period from the 1960s to the 2010s. It offers a fresh perspective on the many collaborations between artists, architects and interior designers to reinforce their interdisciplinary links. Fashion, architecture and interiors share many elements, including design, history, material culture, aesthetics and trends. The research and ideas underpinning Staging Fashion address how fashion and the spatial fields have collaborated in the creation of the space of the fashion show. The 15 essays are written by fashion, interior, architecture and design scholars focusing on the presentation of fashion within the runway space, from avant-garde practices and collaboration with artists, to the most spectacular and commercial shows of recent years, from Prada to Chanel"--