Fifty-eight full color illustrations show evening gowns, tailored suits, walking and summer outfits, theater, ballroom and masquerade costumes with descriptive information on materials, design and ornamentation.

The Costume Designer's Handbook is the definitive guide for both aspiring and seasoned costume designers, blending the art and business of theatrical costume design since its inception in 1983. Rosemary Ingham and Liz Covey offer deep insights into play analysis, historical research, collaboration techniques, drafting, and setting up an effective workspace. The book addresses the practicalities of the industry, including job market navigation, freelancing, contracts, and taxes. With over 150 illustrations, an 8-page color insert, and a comprehensive reference section for resources, this handbook encapsulates the essence of costume design, making it an indispensable resource for professionals in the field.

Challenging the notion that fashion and furniture were or are separate enterprises and distinct material aesthetic traditions, this collection focuses on three material and conceptual links central to understanding the relationship between interior design and fashion-the body, fabric, and space. The volume considers the changing visual, material and spatial character, methodological challenges posed by, and formal, political and historiographical significance of, a wide range of British, European and North American case studies since the eighteenth century. The volume's eleven case studies allow the reader to understand connecting notions behind the formation of interiors and fashionable clothing. The essays combine a wide range of significant and challenging new examples alongside powerful reversionary analyses of the various periods, artists, designers, and their best and significant objects. Fashion, Interior Design and the Contours of Modern Identity is concerned not only with fabric, but also with the body and the implications of embodiment in the practices of both design domains which are equally invested in the comfort, aesthetic pleasure, extension and support of the body in different and yet seemingly identical ways.

This volume examines the ways in which an intellectual vogue for a mythic China was a constituent element of British modernism. Traditionally defined as a decorative style that conjured a fanciful and idealized notion of China, chinoiserie was revived in in London's avant-garde circles, the Bloomsbury group, the Vorticists and others, who like their eighteenth-century forebears, turned to China as a cultural and aesthetic utopia. As part of Modernism's challenge to the 'universality' of so-called Western values and aesthetics, the turn to China would contribute much more than has been acknowledged to Modernist thinking. As these 10 new chapters demonstrate, China as an intellectual and aesthetic utopia dazzled intellectuals and aesthetes, at the same time the consumption of Chinese exoticism became commercialized. The essays show that from cutting-edge Modernist chic to mass culture and consumer products, the vogue for chinoiserie style and motifs permeated the art and design of the period. --Provided by publisher.

Based on Les affiches illustrées, 1886-1895 / Ernest Maindron.