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| acknowledgements | |
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| illustrations | |
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| introduction: why study fashion? | |
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| the purpose of this book | |
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| defining key terms | |
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| key approaches to studying fashion | |
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| how is this book organized? | |
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| the fashion impulse | |
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| investigating the fashion impulse | |
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| color and fashion through time | |
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| the color black in fashion | |
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| conclusion | |
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| the regulation of fashion | |
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| black mourning dress | |
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| fashions in new guinea headdresses | |
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| the sailor suit: from function to fashion | |
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| the eurocentric fashion system | |
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| consumer culture and fashion | |
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| paris fashion | |
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| the paris legacy | |
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| new fashion capitals | |
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| conclusion | |
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| beau brummell | |
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| the influence of coco chanel | |
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| yves saint laurent as style muse | |
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| daslu luxury retailing | |
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| fashion cycles, symbols, and flows | |
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| fashion cycles and structures | |
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| fashion symbols and codes | |
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| interdisciplinary fashion theory | |
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| fashion flows | |
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| conclusion | |
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| the meaning of men's ties | |
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| jeans as uber fashion | |
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| sexuality and stilettos | |
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| the magic of cosmetics | |
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| fashion, body techniques, and identity | |
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| fashion as a body technique | |
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| fashioning gender: femininity and masculinity | |
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| fashioning consumers | |
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| uniforms of identity | |
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| conclusion | |
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| fashion and identity in harajuku | |
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| acquiring the techniques of royalty | |
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| the metrosexual man | |
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| the cult of thinness | |
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| fashion, aesthetics, and art | |
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| aesthetics and fashion | |
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| spatial aesthetics and fashion | |
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| fashion as aesthetic regime | |
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| artistic fashion and cultural shifts | |
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| from aesthetic innovation to museum curation | |
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| conclusion | |
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| fashion photography and heroin chic | |
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| exhibiting vivienne westwood | |
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| wearable art | |
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| fashion and the wristwatch | |
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| fashion as a business and cultural industry | |
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| the structure of the fashion industry | |
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| fashion forecasting, marketing, and the fashion consumer | |
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| the changing role of the fashion designer | |
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| luxury brands and global marketing | |
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| conclusion | |
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| celebrity models | |
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| louis vuitton as luxury accessory | |
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| the gap as global fashion | |
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| secondhand clothing | |
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| popular culture and fashion | |
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| fashion and the rise of popular culture | |
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| representing fashion | |
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| fashion subcultures and popular music | |
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| fashion journalism, public relations, and stylists | |
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| conclusion | |
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| sports clothing for everyman | |
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| australian bush wear as urban chic | |
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| retailing erotic lingerie | |
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| oliviero toscani's advertisements for benetton | |
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| the politics of fashion | |
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| what are the politics of fashion? | |
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| endogenous and exogenous factors | |
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| fashion and colonialism | |
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| fashion and postcolonialism | |
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| conclusion: global fashion futures? | |
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| the politics of veiling | |
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| renegotiating chinese fashion | |
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| indian fashion: from diasporas to designers | |
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| burberry's brand of britishness | |
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| glossary | |
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| fashion milestones | |
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| questions for essays and class discussion | |
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| annotated guide for further reading | |
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| bibliography | |