Joanne Turney – författare

The 1970s is often considered the period that design forgot. In Private sets out to challenge this view, offering a cultural history of domestic interior design in Britain and America over the course of a decade that shaped the contemporary relationship between fashion and interiors. With each chapter dedicated to a different room in the house, this book explores style, design and socio-cultural influence from the sitting room to the sauna, and from the kitchen to the conservatory. Considering the key critical discourses which arise from the style and function of each space, In Private looks at how the public sphere informed the decorating styles, furniture and furnishing of the private home, from shag pile carpets to Swedish duvets.Demonstrating how the cultural environment of the 1970s sparked the ideas, styles and practices that have become common currency in today’s interior design, the book examines questions of sensuality, tactility, fashion, fantasy and gender. Illustrated throughout and packed with original research, it provides an insight into 1970s innovation and eclecticism in fashion, textiles and the domestic interior.

Fashion is widely recognised as a site for social acceptance and rejection, and as a signifier of personal identity. What happens when people stray from ‘appropriate’ dress codes or associate garments with ‘respectability’ or deviance? How does fashion relate to criminality? In this interdisciplinary volume, leading scholars propose new ways of seeing everyday dress and the body in public space. Garments and individual or group wearers are used as case studies to explore the codification of clothing as criminal – hoodies, trench-coats, Norwegian Lustkoffe sweaters, low-slung trousers and Hip Hop styling are all untangled as garments with criminal significance. The book questions the point at which morality as a form of social control meets criminality, and suggests ways to renegotiate established dress codes and terms such as ‘suitability’ and ‘glamour’ through the study of what people wear in response to notions of criminality.

The 1970s is often considered the period that design forgot. In Private sets out to challenge this view, offering a cultural history of domestic interior design in Britain and America over the course of a decade that shaped the contemporary relationship between fashion and interiors. With each chapter dedicated to a different room in the house, this book explores style, design and socio-cultural influence from the sitting room to the sauna, and from the kitchen to the conservatory. Considering the key critical discourses which arise from the style and function of each space, In Private looks at how the public sphere informed the decorating styles, furniture and furnishing of the private home, from shag pile carpets to Swedish duvets.Demonstrating how the cultural environment of the 1970s sparked the ideas, styles and practices that have become common currency in today’s interior design, the book examines questions of sensuality, tactility, fashion, fantasy and gender. Illustrated throughout and packed with original research, it provides an insight into 1970s innovation and eclecticism in fashion, textiles and the domestic interior.

Fashion is widely recognised as a site for social acceptance and rejection, and as a signifier of personal identity. What happens when people stray from ‘appropriate’ dress codes or associate garments with ‘respectability’ or deviance? How does fashion relate to criminality? In this interdisciplinary volume, leading scholars propose new ways of seeing everyday dress and the body in public space. Garments and individual or group wearers are used as case studies to explore the codification of clothing as criminal – hoodies, trench-coats, Norwegian Lustkoffe sweaters, low-slung trousers and Hip Hop styling are all untangled as garments with criminal significance. The book questions the point at which morality as a form of social control meets criminality, and suggests ways to renegotiate established dress codes and terms such as ‘suitability’ and ‘glamour’ through the study of what people wear in response to notions of criminality.

From booties and scarves to art and fashion, The Culture of Knitting addresses knitting as art, craft, design, fashion and performance, and as an aspect of the everyday. Drawing on a variety of sources, including interviews with knitters from different disciplines as well as amateurs, the text breaks down hierarchical boundaries and stereotypical assumptions that have previously negated the academic study of knitting. The book also highlights the diversity and complexity of knitting in all its guises. The Culture of Knitting investigates not merely why knitting is so popular now but also the reasons why knitting has such longevity. By assessing the literature of knitting, manuals, patterns, social and regional histories, alongside testimonial discussions with artists, designers, craftspeople and amateurs, the book offers new ways of seeing and new methods of critiquing knitting - without the constraints of disciplinary boundaries - in the hope of creating an environment in which knitting can be valued, recognized and discussed.