This book presents, above all, a study of the establishment and development of the Soviet organization and system of fashion industry and design as it gradually evolved in the years after the Second World War in the Soviet Union, which was, in the understanding of its leaders, reaching the mature or last stage of socialism when the country was firmly set on the straight trajectory to its final goal, Communism. What was typical of this complex and extensive system of fashion was that it was always loyally subservient to the principles of the planned socialist economy. This did not by any means indicate that everything the designers and other fashion professionals did was dictated entirely from above by the central planning agencies. Neither did it mean that their professional judgment would have been only secondary to ideological and political standards set by the Communist Party and the government of the Soviet Union. On the contrary, as our study shows, the Soviet fashion professionals had a lot of autonomy. They were eager and willing to exercise their own judgment in matters of taste and to set the agenda of beauty and style for Soviet citizens. The present book is the first comprehensive and systematic history of the development of fashion and fashion institutions in the Soviet Union after the Second World War. Our study makes use of rich empirical and historical material that has been made available for the first time for scientific analysis and discussion. The main sources for our study came from the state, party and departmental archives of the former Soviet Union. We also make extensive use of oral history and the writings published in Soviet popular and professional press.

"This book presents, above all, a study of the establishment and development of the Soviet organization and system of fashion industry and design as it gradually evolved in the years after the Second World War in the Soviet Union, which was, in the understanding of its leaders, reaching the mature or last stage of socialism when the country was firmly set on the straight trajectory to its final goal, Communism. What was typical of this complex and extensive system of fashion was that it was always loyally subservient to the principles of the planned socialist economy. This did not by any means indicate that everything the designers and other fashion professionals did was dictated entirely from above by the central planning agencies. Neither did it mean that their professional judgment would have been only secondary to ideological and political standards set by the Communist Party and the government of the Soviet Union. On the contrary, as our study shows, the Soviet fashion professionals had a lot of autonomy. They were eager and willing to exercise their own judgment in matters of taste and to set the agenda of beauty and style for Soviet citizens. The present book is the first comprehensive and systematic history of the development of fashion and fashion institutions in the Soviet Union after the Second World War. Our study makes use of rich empirical and historical material that has been made available for the first time for scientific analysis and discussion. The main sources for our study came from the state, party and departmental archives of the former Soviet Union. We also make extensive use of oral history and the writings published in Soviet popular and professional press

"The search for the Promised Land took socialists in diverse directions: revolution, communes and kibbutzim, social democracy, communism, fascism, Third Worldism. But none of these paths led to the prophesied utopia. Nowhere did socialists succeed in creating societies of easy abundance or in midwifing the birth of a "New Man," as their theory promised. Some socialist governments abandoned their grandiose goals and satisfied themselves with making slight modifications to capitalism, while others plowed ahead doggedly, often inducing staggering human catastrophes. Then, after two hundred years of wishful thinking and fitful governance, socialism suddenly imploded in the 1990s in a fin du siecle drama of falling walls, collapsing regimes and frantic revisions of doctrine."--BOOK JACKET.

A chronicle of recent events that have shaken the world, from the author of Capital in the Twenty-First Century “What makes this manifesto noteworthy is that it comes from . . . an economist who gained his reputation as a researcher with vaguely left-of-center sensibilities but was far from a radical. Yet the times are such . . . that even honest moderates are driven to radical remedies.”—Robert Kuttner, New York Times As a correspondent for the French newspaper Le Monde, world-renowned economist Thomas Piketty has documented the rise and fall of Trump, the drama of Brexit, Emmanuel Macron’s ascendance to the French presidency, the unfolding of a global pandemic, and much else besides, always from the perspective of his fight for a more equitable world. This collection brings together those articles and is prefaced by an extended introductory essay, in which Piketty argues that the time has come to support an inclusive and expansive conception of socialism as a counterweight against the hypercapitalism that defines our current economic ideology. These essays offer a first draft of history from one of the world’s leading economists and public figures, detailing the struggle against inequalities and tax evasion, in favor of a federalist Europe and a globalization more respectful of work and the environment.

This fascinating book takes as its premise the notion that material culture can help explain the experience of state socialism as lived by ordinary people in Eastern Europe. It provides a revealing window through which to examine the interaction between official state rhetoric and state command on the one hand, and the popular applications of the state's material products on the other. From street fashion to modern art, from the design of state buildings to wallpaper, interconnections between politics and ideology, cultural policy formation and consumption are shown to be a matter of complex negotiation.

A richly illustrated, comprehensive study of fashion under socialism, from state-sponsored prototypes to unofficial imitations of Paris fashion. The idea of fashion under socialism conjures up images of babushka headscarves and black market blue jeans. And yet, as Djurdja Bartlett shows in this groundbreaking book, the socialist East had an intimate relationship with fashion. Official antagonism—which cast fashion as frivolous and anti-revolutionary—eventually gave way to grudging acceptance and creeping consumerism. Bartlett outlines three phases in socialist fashion, and illustrates them with abundant images from magazines of the period: postrevolutionary utopian dress, official state-sanctioned socialist fashion, and samizdat-style everyday fashion. Utopian dress, ranging from the geometric abstraction of the constructivists under Bolshevism in the Soviet Union to the no-frills desexualized uniform of a factory worker in Czechoslovakia, reflected the revolutionary urge for a clean break with the past. The highly centralized socialist fashion system, part of Stalinist industrialization, offered official prototypes of high fashion that were never available in stores—mythical images of smart and luxurious dresses that symbolized the economic progress that socialist regimes dreamed of. Everyday fashion, starting in the 1950s, was an unofficial, do-it-yourself enterprise: Western fashions obtained through semiclandestine channels or sewn at home. The state tolerated the demand for Western fashion, promising the burgeoning middle class consumer goods in exchange for political loyalty. Bartlett traces the progress of socialist fashion in the Soviet Union, Czechoslovakia, Hungary, East Germany, Poland, and Yugoslavia, drawing on state-sponsored socialist women's magazines, etiquette books, socialist manuals on dress, private archives, and her own interviews with designers, fashion editors, and other key figures. Fashion, she suggests, with all its ephemerality and dynamism, was in perpetual conflict with the socialist regimes' fear of change and need for control. It was, to echo the famous first sentence from the Communist Manifesto, the spectre that haunted socialism until the end.

Socialism: Past andFuture is prominent thinker Michael Harrington's final contribution. He composed a thoughtful, intelligent, and compassionate treatise on the role of socialism in modern...