"A tribute to a time when style -- and maybe even life -- felt more straightforward, and however arbitrary, there were definitive answers." -- Sadie Stein, Paris Review As a glance down any street in America quickly reveals, American women have forgotten how to dress. We lack the fashion know-how we need to dress professionally and beautifully. In The Lost Art of Dress, historian and dressmaker Linda Przybyszewski reveals that this wasn't always true. In the first half of the twentieth century, a remarkable group of women -- the so-called Dress Doctors -- taught American women that knowledge, not money, was key to a beautiful wardrobe. They empowered women to design, make, and choose clothing for both the workplace and the home. Armed with the Dress Doctors' simple design principles -- harmony, proportion, balance, rhythm, emphasis -- modern American women from all classes learned to dress for all occasions in ways that made them confident, engaged members of society. A captivating and beautifully illustrated look at the world of the Dress Doctors, The Lost Art of Dress introduces a new audience to their timeless rules of fashion and beauty -- rules which, with a little help, we can certainly learn again.

The clothes worn by our ancestors afford an invaluable insight into lifestyles that have disappeared. Choice of dress at any point in time is determined by a number of factors, such as social and economic pressures, moral codes, technical advances, influence of designers and artisitc movements, and the vagaries of individual taste.

Fashion reveals not only who we are, but whom we aspire to be. From 1775 to 1925, artists in Europe were especially attuned to the gaps between appearance and reality, participating in and often critiquing the making of the self and the image. Reading their portrayals of modern life with an eye to fashion and dress reveals a world of complex calculations and subtle signals. Extensively illustrated, Fashion in European Art explores the significance of historical dress over this period of upheaval, as well as the lived experience of dress and its representation. Drawing on visual sources that extend from paintings and photographs to fashion plates, caricatures and advertisements, the expert contributors consider how artists and their sitters engaged with the fashion and culture of their times. They explore the politics of dress, its inspirations and the reactions it provoked, as well as the many meanings of fashion in European art, revealing its importance in understanding modernity itself.

Relatively few garments survive from before the eighteenth century, and the history of costume in the preceding centuries must therefore rely to a great extent on literary and visual evidence. This book, the first of its kind, examines Stuart England through the mirror of dress. It argues that both artistic and literary sources can be read and decoded for important information on dress and the way it was perceived in a period of immense political, social, and cultural change. Focusing on the rich visual culture of the seventeenth century, including portraits, engravings, fashion plates, and sculpture, and on literary sources--poetry, drama, essays, sermons--the distinguished historian of dress Aileen Ribeiro creates a fascinating account of Stuart dress and how it both reflected and influenced society. Supported by a wealth of illustrative images, she explores such varied themes as court costumes, the masque, the ways in which political and religious ideologies could be expressed in dress, and the importance of London as a fashion center. This beautiful book is an indispensable and authoritative account of what people wore and how it related to Stuart England’s cultural climate.

The clothes worn by our ancestors afford an unparalleled insight into lifestyles that have disappeared forever.

Drawing examples from a wide range of African cultures, this ground-breaking book expands the continuing discourse on the aesthetic and cultural significance of cloth, body and dress in Africa and moves beyond contextual analysis to consider the broader application of cloth and dress to art forms in other media. In blending the concerns of Art History and Anthropology, the authors focus on the art patronage systems that stimulate production, consumption, commodification and cultural meaning, and emphasize the overriding importance of cloth to aesthetic and cultural expression in African societies. Through this approach they reveal complex processes that involve a series of actors, including textile artists, commissioning-patrons and consumer-patrons, all of whom shape cloth and dress traditions. These individuals not only influence production, but are a key to understanding the cultural meaning of cloth and dress and, by extension, the body in Africa.

Quigley Johnson has, reluctantly, given up the rest of her last year of high school to take part in her best friend Ann's Betterment Plan, which will turn them into the best-dressed, most sought-after, most admired girls at their senior formal. Because - hey - who doesn't want the perfect prom, complete with a dream dress and a devastatingly handsome date? But the prom costs money - lots of money - and even though the girls could easily have Ann's mom design their dresses (she's only Victoria Parisi, one of the most famous designers in the world), Ann insists that they pay their own way. And that's how Quigley gets stuck making artistic topping masterpieces on frozen pizzas canvases, before becoming a live model for Ms. Parisi's fashion design class, where she meets Zander. He's cute, and cool, and funny, with a killer design sensibility (even if he can't sketch). But is he too good to be true? And what about David, the hot, talented artist at school, who's also kind of a jerk, but won't leave Quigley alone? And Ann - she started the Betterment Plan to improve Quigley and herself, but it seems like it's ripping their friendship to shreds. This road to the prom dream may just end in disaster.