Juxtaposing the albums of Lady Brassey, an overlooked figure among Victorian women travelers, with Brassey's travel books, Nancy Micklewright takes advantage of a unique opportunity to examine the role of photography in the 1870s and 1880s in constructing ideas about place and empire. This study draws on a range of source material to investigate aspects of the Brassey collection. The book begins with an overview of Lady Brassey's life and projects, as well as an examination of issues relevant to subsequent discussions of the travel literature, the photographs, and the albums in which the photographs are assembled. Lady Brassey is next considered as a traveler and public figure, and the author gives an overview of Brassey's travel literature, placing her in her social and political context. Micklewright then considers the seventy volumes of photographs which comprise the Brassey album collection, taking an especially close look at the eight albums devoted to the Middle East. Analyzing the specific contents and structure of the albums, and the interplay of text and image within, she explores how the Brasseys constructed their presentation of the region. While confirming some earlier work about constructions of the Orient by the British during the time, this book offers a much more detailed and nuanced understanding of how photographic and literary constructions were related to individual experience and identity within a larger British identity. The first appendix explores the illustrative relationship between the photograph albums and Lady Brassey's travel books, yielding an understanding of the processes involved in transferring the photographic image to a printed one, at a particular moment in the development of book illustration. A second appendix lists the contents and named photographers of all seventy albums in the Brassey collection. All in all, Micklewright's study makes a significant contribution to our understanding of the complex and unstable social, political and imperialist discourses in the nineteenth century.

Juxtaposing the albums of Lady Brassey, an overlooked figure among Victorian women travelers, with Brassey's travel books, Nancy Micklewright takes advantage of a unique opportunity to examine the role of photography in the 1870s and 1880s in constructing ideas about place and empire. This study draws on a range of source material to investigate aspects of the Brassey collection. The book begins with an overview of Lady Brassey's life and projects, as well as an examination of issues relevant to subsequent discussions of the travel literature, the photographs, and the albums in which the photographs are assembled. Lady Brassey is next considered as a traveler and public figure, and the author gives an overview of Brassey's travel literature, placing her in her social and political context. Micklewright then considers the seventy volumes of photographs which comprise the Brassey album collection, taking an especially close look at the eight albums devoted to the Middle East. Analyzing the specific contents and structure of the albums, and the interplay of text and image within, she explores how the Brasseys constructed their presentation of the region. While confirming some earlier work about constructions of the Orient by the British during the time, this book offers a much more detailed and nuanced understanding of how photographic and literary constructions were related to individual experience and identity within a larger British identity. The first appendix explores the illustrative relationship between the photograph albums and Lady Brassey's travel books, yielding an understanding of the processes involved in transferring the photographic image to a printed one, at a particular moment in the development of book illustration. A second appendix lists the contents and named photographers of all seventy albums in the Brassey collection. All in all, Micklewright's study makes a significant contribution to our understanding of the complex and unstable social, political and imperialist discourses in the nineteenth century.

This dynamic exploration of two key modes of visual culture - fashion and photography - in 19th-century Istanbul contributes to an expanding body of research on fashion and the dressed body outside the Euro-American context. Based on meticulous analysis of visual, written and material objects, it focuses on women's lived experience during a time of dramatic change in the Ottoman Empire.Over the 19th century, the women of Istanbul gradually transformed their appearance, adopting European dress and new modes of self-fashioning, including photographs. The book reconstructs a complex fashion history, and the dramatic changes that took place in women’s lives in this period, and given the diverse population of Istanbul in terms of ethnicity, class, race and religion, attends to the differing clothing habits of the women of the city. The book focuses particularly on elite women as fashion tastemakers and on the dress of enslaved and working women.Appealing to scholars across a range of fields, including fashion history, Ottoman studies, women’s and gender history, visual culture and photography history, Fashion in Late Ottoman Istanbul provides a fascinating insight into women's histories, writing and dress practices in a rapidly changing Istanbul.

This dynamic exploration of two key modes of visual culture - fashion and photography - in 19th-century Istanbul contributes to an expanding body of research on fashion and the dressed body outside the Euro-American context. Based on meticulous analysis of visual, written and material objects, it focuses on women's lived experience during a time of dramatic change in the Ottoman Empire.Over the 19th century, the women of Istanbul gradually transformed their appearance, adopting European dress and new modes of self-fashioning, including photographs. The book reconstructs a complex fashion history, and the dramatic changes that took place in women’s lives in this period, and given the diverse population of Istanbul in terms of ethnicity, class, race and religion, attends to the differing clothing habits of the women of the city. The book focuses particularly on elite women as fashion tastemakers and on the dress of enslaved and working women.Appealing to scholars across a range of fields, including fashion history, Ottoman studies, women’s and gender history, visual culture and photography history, Fashion in Late Ottoman Istanbul provides a fascinating insight into women's histories, writing and dress practices in a rapidly changing Istanbul.

This dynamic exploration of two key modes of visual culture - fashion and photography - in 19th-century Istanbul contributes to an expanding body of research on fashion and the dressed body outside the Euro-American context. Based on meticulous analysis of visual, written and material objects, it focuses on women's lived experience during a time of dramatic change in the Ottoman Empire.Over the 19th century, the women of Istanbul gradually transformed their appearance, adopting European dress and new modes of self-fashioning, including photographs. The book reconstructs a complex fashion history, and the dramatic changes that took place in women's lives in this period, and given the diverse population of Istanbul in terms of ethnicity, class, race and religion, attends to the differing clothing habits of the women of the city. The book focuses particularly on elite women as fashion tastemakers and on the dress of enslaved and working women. Appealing to scholars across a range of fields, including fashion history, Ottoman studies, women's and gender history, visual culture and photography history, Fashion in Late Ottoman Istanbul provides a fascinating insight into women's histories, writing and dress practices in a rapidly changing Istanbul.

This dynamic exploration of two key modes of visual culture - fashion and photography - in 19th-century Istanbul contributes to an expanding body of research on fashion and the dressed body outside the Euro-American context. Based on meticulous analysis of visual, written and material objects, it focuses on women's lived experience during a time of dramatic change in the Ottoman Empire.Over the 19th century, the women of Istanbul gradually transformed their appearance, adopting European dress and new modes of self-fashioning, including photographs. The book reconstructs a complex fashion history, and the dramatic changes that took place in women's lives in this period, and given the diverse population of Istanbul in terms of ethnicity, class, race and religion, attends to the differing clothing habits of the women of the city. The book focuses particularly on elite women as fashion tastemakers and on the dress of enslaved and working women. Appealing to scholars across a range of fields, including fashion history, Ottoman studies, women's and gender history, visual culture and photography history, Fashion in Late Ottoman Istanbul provides a fascinating insight into women's histories, writing and dress practices in a rapidly changing Istanbul.

Juxtaposing the albums of Lady Brassey, an overlooked figure among Victorian women travelers, with Brassey's travel books, Nancy Micklewright takes advantage of a unique opportunity to examine the role of photography in the 1870s and 1880s in constructing ideas about place and empire. This study draws on a range of source material to investigate aspects of the Brassey collection. The book begins with an overview of Lady Brassey's life and projects, as well as an examination of issues relevant to subsequent discussions of the travel literature, the photographs, and the albums in which the photographs are assembled. Lady Brassey is next considered as a traveler and public figure, and the author gives an overview of Brassey's travel literature, placing her in her social and political context. Micklewright then considers the seventy volumes of photographs which comprise the Brassey album collection, taking an especially close look at the eight albums devoted to the Middle East. Analyzing the specific contents and structure of the albums, and the interplay of text and image within, she explores how the Brasseys constructed their presentation of the region. While confirming some earlier work about constructions of the Orient by the British during the time, this book offers a much more detailed and nuanced understanding of how photographic and literary constructions were related to individual experience and identity within a larger British identity. The first appendix explores the illustrative relationship between the photograph albums and Lady Brassey's travel books, yielding an understanding of the processes involved in transferring the photographic image to a printed one, at a particular moment in the development of book illustration. A second appendix lists the contents and named photographers of all seventy albums in the Brassey collection. All in all, Micklewright's study makes a significant contribution to our understanding of the complex and unstable social, political and imperialist discourses in the nineteenth century.

Juxtaposing the albums of Lady Brassey, an overlooked figure among Victorian women travelers, with Brassey's travel books, Nancy Micklewright takes advantage of a unique opportunity to examine the role of photography in the 1870s and 1880s in constructing ideas about place and empire. This study draws on a range of source material to investigate aspects of the Brassey collection. The book begins with an overview of Lady Brassey's life and projects, as well as an examination of issues relevant to subsequent discussions of the travel literature, the photographs, and the albums in which the photographs are assembled. Lady Brassey is next considered as a traveler and public figure, and the author gives an overview of Brassey's travel literature, placing her in her social and political context. Micklewright then considers the seventy volumes of photographs which comprise the Brassey album collection, taking an especially close look at the eight albums devoted to the Middle East. Analyzing the specific contents and structure of the albums, and the interplay of text and image within, she explores how the Brasseys constructed their presentation of the region. While confirming some earlier work about constructions of the Orient by the British during the time, this book offers a much more detailed and nuanced understanding of how photographic and literary constructions were related to individual experience and identity within a larger British identity. The first appendix explores the illustrative relationship between the photograph albums and Lady Brassey's travel books, yielding an understanding of the processes involved in transferring the photographic image to a printed one, at a particular moment in the development of book illustration. A second appendix lists the contents and named photographers of all seventy albums in the Brassey collection. All in all, Micklewright's study makes a significant contribution to our understanding of the complex and unstable social, political and imperialist discourses in the nineteenth century.

This dynamic exploration of two key modes of visual culture - fashion and photography - in 19th-century Istanbul contributes to an expanding body of research on fashion and the dressed body outside the Euro-American context. Based on meticulous analysis of visual, written and material objects, it focuses on women's lived experience during a time of dramatic change in the Ottoman Empire.Over the 19th century, the women of Istanbul gradually transformed their appearance, adopting European dress and new modes of self-fashioning, including photographs. The book reconstructs a complex fashion history, and the dramatic changes that took place in women’s lives in this period, and given the diverse population of Istanbul in terms of ethnicity, class, race and religion, attends to the differing clothing habits of the women of the city. The book focuses particularly on elite women as fashion tastemakers and on the dress of enslaved and working women.Appealing to scholars across a range of fields, including fashion history, Ottoman studies, women’s and gender history, visual culture and photography history, Fashion in Late Ottoman Istanbul provides a fascinating insight into women's histories, writing and dress practices in a rapidly changing Istanbul.

This dynamic exploration of two key modes of visual culture - fashion and photography - in 19th-century Istanbul contributes to an expanding body of research on fashion and the dressed body outside the Euro-American context. Based on meticulous analysis of visual, written and material objects, it focuses on women's lived experience during a time of dramatic change in the Ottoman Empire.Over the 19th century, the women of Istanbul gradually transformed their appearance, adopting European dress and new modes of self-fashioning, including photographs. The book reconstructs a complex fashion history, and the dramatic changes that took place in women’s lives in this period, and given the diverse population of Istanbul in terms of ethnicity, class, race and religion, attends to the differing clothing habits of the women of the city. The book focuses particularly on elite women as fashion tastemakers and on the dress of enslaved and working women.Appealing to scholars across a range of fields, including fashion history, Ottoman studies, women’s and gender history, visual culture and photography history, Fashion in Late Ottoman Istanbul provides a fascinating insight into women's histories, writing and dress practices in a rapidly changing Istanbul.

This dynamic exploration of two key modes of visual culture - fashion and photography - in 19th-century Istanbul contributes to an expanding body of research on fashion and the dressed body outside the Euro-American context. Based on meticulous analysis of visual, written and material objects, it focuses on women's lived experience during a time of dramatic change in the Ottoman Empire.Over the 19th century, the women of Istanbul gradually transformed their appearance, adopting European dress and new modes of self-fashioning, including photographs. The book reconstructs a complex fashion history, and the dramatic changes that took place in women's lives in this period, and given the diverse population of Istanbul in terms of ethnicity, class, race and religion, attends to the differing clothing habits of the women of the city. The book focuses particularly on elite women as fashion tastemakers and on the dress of enslaved and working women. Appealing to scholars across a range of fields, including fashion history, Ottoman studies, women's and gender history, visual culture and photography history, Fashion in Late Ottoman Istanbul provides a fascinating insight into women's histories, writing and dress practices in a rapidly changing Istanbul.

This dynamic exploration of two key modes of visual culture - fashion and photography - in 19th-century Istanbul contributes to an expanding body of research on fashion and the dressed body outside the Euro-American context. Based on meticulous analysis of visual, written and material objects, it focuses on women's lived experience during a time of dramatic change in the Ottoman Empire.Over the 19th century, the women of Istanbul gradually transformed their appearance, adopting European dress and new modes of self-fashioning, including photographs. The book reconstructs a complex fashion history, and the dramatic changes that took place in women's lives in this period, and given the diverse population of Istanbul in terms of ethnicity, class, race and religion, attends to the differing clothing habits of the women of the city. The book focuses particularly on elite women as fashion tastemakers and on the dress of enslaved and working women. Appealing to scholars across a range of fields, including fashion history, Ottoman studies, women's and gender history, visual culture and photography history, Fashion in Late Ottoman Istanbul provides a fascinating insight into women's histories, writing and dress practices in a rapidly changing Istanbul.