The Great Gatsby is that rare classic that inescapably defines the age from which it sprang: the Roaring '20s, an era of economic boom, stylish excess and above all an explosion of new and exciting fashions. This book chronicles the sparkling spectacle of Jazz Age fashion as it moves from the corseted world of the 1910s to flapper dresses, fedoras and bejeweled headbands. Illustrated with period photographs, designer sketches and key excerpts from The Great Gatsby novel, the book fully captures the style and glamour of the age of Jay Gatsby and Daisy Miller. It spans the entire wardrobe of both men and women, including day and evening wear, accessories, casual attire and “fads” like smoking jackets, tiaras and cigarette holders.

"A stunning piece of work. If Fitzgerald could have wished for one reader of The Great Gatsby, it would have been Ronald Berman. Berman's criticism creates an ideal companion piece to the novel--as brilliantly illuminating about America as it is about fiction, and composed with as much thought and style." -- Roger Rosenblatt "An impressive study that brilliantly highlights the oneness of Fitzgerald's art with the overall context of modernism." -- Milton R. Stern, author of The Golden Moment: The Novels of F. Scott Fitzgerald "Citing films, dates, places, schedules, Broadway newsstands, and the spoils of manufacture, the author, never lapsing into critical jargon, locates the characters in 'the moving present.' Gatsby, the first of the great novels to emerge from B movies, uses the language of commodities, advertisements, photography, cinematography, and Horatio Alger to present models of identity for characters absorbed in and by what is communicated. . . . Berman concludes that Gatsby 'reassembled' rather than 'invented' himself." -- A. Hirsh, Choice

This new edition of a bestselling 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. The new edition has been revised and expanded: there are new sections 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. There are twice as many illustrations. In its second edition, A Cultural History of Fashion in the 20th and 21st Centuries is the ideal introductory text for all students of fashion.

In Writing After War, John Limon develops a theory of the relationship of war in general to literature in general, in order to make sense of American literary history in particular. Applying the work of war theorists Carl von Clausewitz and Elaine Scarry, John Limon argues that The Iliad inaugurates Western literature on the failure of war to be duel-like, to have a beautiful form. War's failure is literature's justification. American literary history is demarcated by wars, as if literary epochs, like the history of literature itself, required bloodshed to commence. But in chapters on periods of literary history from realism, generally taken to be a product of the Civil War, through modernism, usually assumed to be a prediction or result of the Great War, up to postmodernism which followed World War II and spanned Vietnam, Limon argues that, despite the looming presence of war in American history, the techniques that define these periods are essentially ways of not writing war. From James and Twain, through Fitzgerald, Faulkner, and even Hemingway, to Pynchon, our national literary history is not hopelessly masculinist, Limon argues. Instead, it arrives naturally at Bobbie Ann Mason and Maxine Hong Kingston. Kingston brings the discussion full circle: The Woman Warrior, like The Iliad, appears to condemn the fall from duel to war that is literature's endless opening.

This book aims to explore various aspects of the use of moving images in fashion retail and fashion apparel companies in-store or online. The use of moving images is growing in numbers and in relevance for consumers. Films can be used in various forms by fashion businesses in traditional media like cinema or TV and in modern forms like in social media or moving images in high street stores. The book provides a data-oriented analysis of the state-of-the-art with certain future outlooks. Additional areas of covering fashion in moving images, such as ‘fashion company identity films’ or ‘fashion and music videos’ are covered in order to get a more complete analysis from a consumer influenced perspective.

Over the last century there has been a complete transformation of the fashion system. The unitary top-down fashion cycle has been replaced by the pulsations of multiple and simultaneous styles, while the speed of global production and circulation has become ever faster and more complex. Running in tandem, the development of artificial fibres has revolutionized the composition of clothing, and the increased focus on youth, sexuality, and the body has radically changed its design. From the 1920s flapper dress to debates over the burkini, fashion has continued to be deeply involved in society's larger issues. Drawing on a wealth of visual, textual and object sources and illustrated with 100 images, A Cultural History of Dress and Fashion in the Modern Age presents essays on textiles, production and distribution, the body, belief, gender and sexuality, status, ethnicity, and visual and literary representations to illustrate the diversity and cultural significance of dress and fashion in the period.

Revised editon of: Fashion: the industry and its careers / Michele M. Granger. 2012