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"Dress Cultures in Zambia Drawing on half-a-century of research in Zambia and regional scholarship, Karen Tranberg Hansen offers a vibrant history of changing dress practices from the late-colonial period to the present day. Exploring how the dressed body serves as the point of contact between personal, local, and global experiences, she argues that dress is just as central to political power as it is to personal style. Questioning the idea that the West led fashion trends elsewhere, Hansen demonstrates how local dress conventions appropriated western dress influences as Zambian and shows how Zambia contributed to global fashions, such as the colourful Chitenge fabric that spread across colonial trading networks. Brought to life with colour illustrations and personal anecdotes, this book spotlights dress not only as an important medium through which Zambian identities are negotiated, but also as a key reflector and driver of history. Karen Tranberg Hansen is Professor Emerita at Northwestern University. Her research focuses on the informal economy, clothing, and consumption. Her previous publications include Distant Companions: Servants and Employers in Zambia, 1900-1985 (1989), African Encounters with Domesticity (1992), Keeping House in Lusaka (1997) and Salaula: The World of Secondhand Clothing and Zambia (2000), which was awarded the Anthony Leeds Prize in Urban Anthropology in 2001, and the Society of Economic Anthropology Book Award in 2003. She is the recipient of several book prizes and awards including the Conrad M. Arensberg Award from the Society for the Anthropology of Work in 1997"--

Drawing together well-known and less familiar works from English and German writers, and focusing on references to clothing, Dutton and Kirakosian argue for important connections between medieval visions and medieval plays. These connections may be, initially, surprising, given the social nature of theatre that contrasts with the intensely personal and subjective nature of the visionary experience. While an audience provides collective witness to a play, the visionary, almost by definition, sees something that others do not: the visionary makes an audience of one for a drama presented - at least according to the believer - by God. By contrast, in the visionary text the visionary seeks to re-present her vision, in literary form, for a wider audience of readers, and to stir their belief in it. Reading across genres and languages, with particular attention on writing by women and on the figure of Mary Magdalen, the authors explore the dynamic power of clothing as a catalyst for imaginative processes in writers, readers and spectators alike.

Aktuelle Fotografien von mehr als 60 queeren und schwulen internationalen FotografenDas neueste BOYS! BOYS! BOYS!-Buch präsentiert Arbeiten von rund 60 Fotografen aus rund 30 Ländern, darunter China, Indien, Iran, Polen und Russland, wo die Rechte Homosexueller heute noch unterdrückt werden und queere Menschen unter ständiger Bedrohung leben.BOYS! BOYS! BOYS!, ins Leben gerufen von The Little Black Gallery und kuratiert von Ghislain Pascal, widmet sich der Verbreitung von queerer und schwuler Fotografie. Der erste Band von BOYS! BOYS! BOYS! erschien 2019, der zweite folgte 2020, beide waren rasch vergriffen. Ein Teil des Verkaufserlöses dieses Bands geht an Organisationen, die die LGBTQ+ Community unterstützen und HIV / AIDS bekämpfen.Fotografen: AdeY, Johnny Abbate, Alex Avgud, Yves De Brabander, Domenico Cennamo, David Charles Collins, Alexander Courtman, David-Simon Dayan, Alejo Dillor, Ivan Donadio, Diogo Duarte, Michael Epps, Matthew Finley, Stéphane Gizard, Greg Gorman, Ashish Gupta, Jerome Haffner, Babak Haghi, Tim Hailand, Brice Hardelin, Florian Hetz, Serge Le Hidalgo, Raj Kamal, Matheus Katayama, Dmitry Komissarenko, Richard Kranzin, Leo Maki, Krzysztof Marchlak, Paul McDonald, JuanAntonio Papagni Meca, Charles Moriarty, Bert Van Pelt, Sebastian Perinotti, Alessandro Pollio, Xavier Samre, Michael Sondergaard, Tyler Udall, Ruben van Schalm, Luis Venegas, Gerardo Vizmanos, Shen Wei et al.

Though his life was relatively short, Christian Ernest Dior's seismic influence on the fashion world ensures his name lives on as one of the most successful and celebrated designers of all time. Using the rationing restrictions of wartime, he created designs that extenuated the female figure and released the women of the world from the restrictive, dull clothing that restricted rather than enhanced femininity.It was Dior's sudden prominence on the world stage that restored Paris' reputation as the epicentre of the fashion world. To wear a Dior item of clothing, was to wear the best of the best. His post-War collection was described as a completely 'new look' by the editor-in-chief of Harper's Bazaar, one of the world's most powerful style magazines. The description was adopted and quickly became a fashion movement, with Dior's 'New Look' leading the way and even stealing the limelight from compatriot Gabrielle 'Coco' Chanel.The Little Guide to Christian Dior shows how despite coming from a wealthy background with powerful allies, Christian Dior may not have had to scrap his way to the top as Coco Chanel did, but his talent is no less worthy and his legacy as one of the world's greatest designers is no less deserving.

The go-to fashion roadmap sharing the secrets to building a capsule wardrobe for all body shapes and personal styles.

In the iF ranking, Loewe is among the top 10 German companies awarded for exceptional design performances. This is a good reason to take a close look at the design history of the company on the occasion of its 100-year anniversary. The design historian Kilian Steiner distinguishes three historical phases: The first phase (1923 to 1945) marks the build-up and destruction of the Loewe brand. In the second phase (1945 to 1985), the focus was on the rebuilding of Loewe and overcoming numerous changes. The third period from 1985 onwards saw the rise of Loewe to an internationally renowned design brand. For the first time, the creative minds in product and communication design who contributed to the development of the brand are named and previously un-known details of the Loewe corporate history are revealed.From its foundation in 1923 to the invention of the electronic television in 1931, Loewe has evolved into a globally operating design brand. A unique combination of German engineering, excellence, exclusive design and sustainability have shaped the brand culture.

While French fashion has historically set the bar across the Western world, the cultural influences that inspired it are often obscured. Dressing à la Turque examines the theatrical depictions of Ottoman costumes, or Turkish dress, and demonstrates the French fascination for this foreign culture and its clothing. The impact, however, went far beyond costumes worn for art and theater, as Ottoman-inspired fashions became the most prominent and popular themes in French women's fashion throughout the 18th century. The newly invented fashion press used Ottoman-inspired styles to reconcile fashion consumption with Enlightenment dress reforms. At the same time, Turkish-inspired fashions were increasingly associated with long-criticized ideas about luxury, stereotypes about the connection between a woman's interest in fashion and "lascivious" behavior, and French perceptions of the Ottoman Empire. This backlash is epitomized by the public criticism of Queen Marie-Antoinette, who popularized Turkish-inspired fashion, embraced a lifestyle of excess, and is still remembered for her singular sense of style. Kendra Van Cleave includes numerous detailed images and dress patterns, enhancing her rich discussion of French styles during this important era.