Barbie Magazine and the aesthetic commodification of girls' bodies (I.M. O'Sickey). This year's girl: a personal/critical history of Twiggy (L. B. DeLibero). A woman's two bodies: fashion magzines, consumerism and feminism (L.W. Rabine). No bumps, no excrescences: Amelia Earhart's failed flight into fashions (K. Jay). Sonia Rykiel in traslation (H. Cixous). From Celebration (S. Rykiel). Off the (W)rack: fashion and pain in the work of Diane Arbus (C. Shloss). An erotics of representation: fashioning the icon with Man Ray (M.A. Caws). Seduction and elegance: the new woman of fashion in silent cinema (M. Turim). Madonna, fashion and identity (D. Kellner). Fragments of a fashionable discourse (K. Silverman). Womenrecovering our clothes (I.M. Young). Fashion and the homospectatorial look (D. Fuss). Terrorist chic: style and domination in contemporary Ireland (C. Herr). Paris or perish : the plight of the latin american indian in a westernized world (B. Brodman). Tribalism in effect (A. Ross).

She was the first supermodel, a sixties icon, who went on to have a successful career as an actress and singer, most famously in The Boyfriend. Now she describes her relationship with her manager Justin de Villeneuve, her tragic marriage to actor Michael Witney and how she found happiness with actor Leigh Lawson. She talks of rubbing shoulders with the Hollywood elite, the heady days when she was the most famous face on the planet, and her fight to prove that she had other talents. Written with charm and wit, TWIGGY IN BLACK AND WHITE is a unique testimonial to a remarkable woman.

If Cleopatra's nose had been half an inch longer, neither Caesar nor Mark Antony would have fallen in love with her. It: A History of Human Beauty treats outstanding physical attractiveness as a quality or possession, comparable to power, intelligence, strength, wealth, education or family, that had a marked effect on history. Beauty in men and women opened opportunities to its possessors not available to the ordinary looking or ugly. While in the past women have had to use the lure of sex to achieve power or wealth, epitomised by royal mistresses or the Grandes Horizontales of the nineteenth century, modern film stars (male and female) can acquire great wealth simply by the use of their images, while attractiveness on television is an essential modern qualification for power, as shown by Ronald Reagan and Tony Blair.

If the World Wars defined the first half of the twentieth century, the sixties defined the second half, acting as the pivot on which modern times have turned. From popular music to individual liberties, the tastes and convictions of the Western world are indelibly stamped with the impact of this tumultuous decade. Framing the sixties as a period stretching from 1958 to 1974, Arthur Marwick argues that this long decade ushered in nothing less than a cultural revolution – one that raged most clearly in the United States, Britain, France, and Italy. Marwick recaptures the events and movements that shaped life as we know it: the rise of a youth subculture across the West; the sit-ins and marches of the civil rights movement; Britain's surprising rise to leadership in fashion and music; the emerging storm over Vietnam; the Paris student uprising of 1968; the growing force of feminism, and much more. For some, it was a golden age of liberation and political progress; for others, an era in which depravity was celebrated, and the secure moral and social framework subverted. The sixties was no short-term era of ecstasy and excess. On the contrary, the decade set the cultural and social agenda for the rest of the century, and left deep divisions still felt today.

A page-turning novel that is also an exploration of the great philosophical concepts of Western thought, Jostein Gaarder's Sophie's World has fired the imagination of readers all over the world, with more than twenty million copies in print. One day fourteen-year-old Sophie Amundsen comes home from school to find in her mailbox two notes, with one question on each: "Who are you?" and "Where does the world come from?" From that irresistible beginning, Sophie becomes obsessed with questions that take her far beyond what she knows of her Norwegian village. Through those letters, she enrolls in a kind of correspondence course, covering Socrates to Sartre, with a mysterious philosopher, while receiving letters addressed to another girl. Who is Hilde? And why does her mail keep turning up? To unravel this riddle, Sophie must use the philosophy she is learning—but the truth turns out to be far more complicated than she could have imagined.