| |
| |
| Series editor's preface | |
| |
| |
| Acknowledgements | |
| |
| |
| Introduction | |
| |
| |
| |
| |
| Fashion and fashion theories | |
| |
| |
| |
| Explaining it Away | |
| |
| |
| |
| |
| The Empire of Fashion: Introduction | |
| |
| |
| |
| |
| Fashion and history/fashion in history | |
| |
| |
| |
| Fashion | |
| |
| |
| |
| |
| Fashion Has Its Laws | |
| |
| |
| |
| |
| Peter Stallybrass | |
| |
| |
| |
| |
| A Century of Fashion | |
| |
| |
| |
| |
| What fashion is and is not | |
| |
| |
| |
| Antifashion: The Vicissitudes of Negation | |
| |
| |
| |
| |
| Is Fashion a True Art Form? | |
| |
| |
| |
| |
| What fashion and clothing do | |
| |
| |
| |
| Joanne Bubolz Eicher | |
| |
| |
| |
| |
| Why Do People Wear Clothes? | |
| |
| |
| |
| |
| Protection | |
| |
| |
| |
| |
| Fashion as communication | |
| |
| |
| |
| Social Life as a Sign System | |
| |
| |
| |
| |
| Do Clothes Speak? What Makes Them Fashion? | |
| |
| |
| |
| |
| When the Meaning is Not a Message: A Critique of the Consumption as Communication Thesis | |
| |
| |
| |
| |
| Fashion Statements: Communication and Culture | |
| |
| |
| |
| |
| Fashion: identity and difference | |
| |
| |
| Sex and gender | |
| |
| |
| |
| Express Yourself: The Politics of Dressing Up | |
| |
| |
| |
| |
| Objectifying Gender: The Stiletto Heel | |
| |
| |
| |
| |
| 'Power Dressing' and the Construction of the Career Woman | |
| |
| |
| |
| Social class | |
| |
| |
| |
| Popular Fashion and Working-Class Affluence | |
| |
| |
| |
| |
| Fashion: From Class Differentiation to Collective Selection | |
| |
| |
| |
| Ethnicity and race | |
| |
| |
| |
| Great Aspirations: Hip Hop and Fashion Dress for Excess and Success | |
| |
| |
| |
| |
| Oppositional Dress | |
| |
| |
| |
| Culture and subculture | |
| |
| |
| |
| Style | |
| |
| |
| |
| |
| Fashion, clothes and the body | |
| |
| |
| |
| Addressing the Body | |
| |
| |
| |
| |
| Anchoring the (Postmodern) Self? Body Modification, Fashion and Identity | |
| |
| |
| |
| |
| Lumbar Thought | |
| |
| |
| |
| |
| The Comfort of Identity | |
| |
| |
| |
| |
| Production and consumption | |
| |
| |
| |
| Dress as an Expression of the Pecuniary Culture | |
| |
| |
| |
| |
| The Fetishism of the Commodity and Its Secret | |
| |
| |
| |
| |
| Fashion: Unpacking a Cultural Production | |
| |
| |
| |
| |
| Consuming or Living with Things?/Wearing it Out | |
| |
| |
| |
| |
| Modern fashion | |
| |
| |
| |
| Adorned in Dreams: Introduction | |
| |
| |
| |
| |
| Modernism and Fashion: A Social Psychological Interpretation | |
| |
| |
| |
| |
| Public Roles/Personality in Public | |
| |
| |
| |
| |
| Benjamin and the Revolution of Fashion in Modernity | |
| |
| |
| |
| |
| Post-modern fashion | |
| |
| |
| |
| The Ideological Genesis of Needs/Fetishism and Ideology | |
| |
| |
| |
| |
| Fashion, or the Enchanting Spectacle of the Code | |
| |
| |
| |
| |
| A Tale of Inscription/Fashion Statements | |
| |
| |
| |
| |
| Deconstruction Fashion! The Making of Unfinished, Decomposing and Re-assembled Clothes | |
| |
| |
| |
| |
| Fashion and (the) image | |
| |
| |
| |
| Fashion Photography | |
| |
| |
| |
| |
| Fashion Photography. The Double-Page Spread: Helmut Newton, Guy Bourdin & Deborah Turbeville | |
| |
| |
| |
| |
| 'Doing Fashion Photographs' | |
| |
| |
| |
| |
| Fashion & Graphics: Introduction/Aboud Sodano and Paul Smith | |
| |
| |
| |
| |
| Fashion, fetish and the erotic | |
| |
| |
| |
| Fetishism | |
| |
| |
| |
| |
| The Special Historic and Psychological Role of Tight-Lacing | |
| |
| |
| |
| |
| Fashion and Fetishism | |
| |
| |
| |
| |
| Female Fetishism | |
| |
| |
| |
| |
| 'Where the Garment Gapes' | |
| |
| |
| |
| Index | |