Dress Cultures – serie

Exploring the experience of Auschwitz prisoners through the lens of dress and clothing, Dress in Auschwitz examines clothing's profound importance to the inmates' physical, psychological, and spiritual survival.Drawing on a wide range of sources, including survivor memoirs, testimonies, personal interviews, surviving garments, and rare illustrations, Sofia Pantouvaki focuses on inmates' sartorial activities and the intimate psychological relationships that developed between prisoners and their clothes. In so doing, she highlights how clothing was vital in facilitating inmates' daily lives, improving their chances of survival in the camp, and supporting the desire for personal expression in a dehumanizing environment.Holocaust survivors' memoirs and interviews have increasingly evidenced that the infamous striped uniforms were not the standard clothing throughout the years of the Nazi concentration camp system. As the war continued and shortages intensified, prisoners were often given a wide range of garments, including uniforms of deceased Soviet prisoners-of-war and civilian garments from the piles of clothing of other incoming prisoners.Dress in Auschwitz allows us a glimpse of the persons' individual - and sometimes very private - experiences of concentration camp life and suggests that the notion of 'elegance' operated as a social construct and a motivating force even in such punishing conditions. The book proves that the multifaceted functions of dress can remain relevant - and vitally important - even in the most appalling and inhumane conditions and times.

Exploring the experience of Auschwitz prisoners through the lens of dress and clothing, Dress in Auschwitz examines clothing's profound importance to the inmates' physical, psychological, and spiritual survival.Drawing on a wide range of sources, including survivor memoirs, testimonies, personal interviews, surviving garments, and rare illustrations, Sofia Pantouvaki focuses on inmates' sartorial activities and the intimate psychological relationships that developed between prisoners and their clothes. In so doing, she highlights how clothing was vital in facilitating inmates' daily lives, improving their chances of survival in the camp, and supporting the desire for personal expression in a dehumanizing environment.Holocaust survivors' memoirs and interviews have increasingly evidenced that the infamous striped uniforms were not the standard clothing throughout the years of the Nazi concentration camp system. As the war continued and shortages intensified, prisoners were often given a wide range of garments, including uniforms of deceased Soviet prisoners-of-war and civilian garments from the piles of clothing of other incoming prisoners.Dress in Auschwitz allows us a glimpse of the persons' individual - and sometimes very private - experiences of concentration camp life and suggests that the notion of 'elegance' operated as a social construct and a motivating force even in such punishing conditions. The book proves that the multifaceted functions of dress can remain relevant - and vitally important - even in the most appalling and inhumane conditions and times.

Increasing numbers of women are engaging in the development and discussion of modest dressing; a movement matched by a growing media and popular demand for intelligent commentary about the topic. Modest Fashion sets out to meet that need. As a trend, modest dressing is spreading across the world, yet it is rarely viewed as 'fashion'. Studying consumers and producers, retailers and bloggers, Modest Fashion provides an up to the minute account of the art of dressing modestly - and fashionably. Leading scholars in the area, along with journalists, fashion designers, entrepreneurs and bloggers discuss the emergence of a niche market for modest fashion among and between Jewish, Christian and Muslim faith groups as well as secular dressers. Crossing creeds and cultures, analysing commentary alongside commerce, the book probes the personal and the political as well as religious, aesthetic and economic implications of contemporary dress practices and the debates that surround them.

Increasing numbers of women are engaging in the development and discussion of modest dressing; a movement matched by a growing media and popular demand for intelligent commentary about the topic. Modest Fashion sets out to meet that need.As a trend, modest dressing is spreading across the world, yet it is rarely viewed as 'fashion'. Studying consumers and producers, retailers and bloggers, Modest Fashion provides an up to the minute account of the art of dressing modestly - and fashionably.Leading scholars in the area, along with journalists, fashion designers, entrepreneurs and bloggers discuss the emergence of a niche market for modest fashion among and between Jewish, Christian and Muslim faith groups as well as secular dressers. Crossing creeds and cultures, analysing commentary alongside commerce, the book probes the personal and the political as well as religious, aesthetic and economic implications of contemporary dress practices and the debates that surround them.

Learning how to think through fashion is both exciting and challenging, being dependent on one's ability to critically engage with an array of theories and concepts. This is the first book designed to accompany readers through the process of thinking through fashion. It aims to help them grasp both the relevance of social and cultural theory to fashion, dress, and material culture and, conversely, the relevance of those fields to social and cultural theory. It does so by offering a guide through the work of selected major thinkers, introducing their concepts and ideas. Each chapter is written by an expert contributor and is devoted to a key thinker, capturing the significance of their thought to the understanding of the field of fashion, while also assessing the importance of this field for a critical engagement with these thinkers' ideas.This is a guide and reference for students and scholars in the fields of fashion, dress and material culture, the creative industries, sociology, cultural history, design and cultural studies.

In the first comprehensive study of the interactions between fashion, performance and performativity, a group of international experts explore fashion as the ideal ''complex space'' – or, in other words, the ideal space where performance and performativity come together, according to the works of seminal theorists Eve Kosofsky Sedgwick and Andrew Parker.Bringing together western and non-western, historical and contemporary case studies and theories, the book explores the magazines, photography, exhibitions, global colonial divides, digital media, and more, which have become key markers of the fashion industry as we know it today.Using existing literature as a springboard and incorporating perspectives from fashion studies, art history, media studies and gender studies, as well as from artists and practitioners, Fashion, Performance, and Performativity is an innovative and essential work for students, scholars and practitioners across multiple disciplines.

In the first comprehensive study of the interactions between fashion, performance and performativity, a group of international experts explore fashion as the ideal ‘complex space’ – or, in other words, the ideal space where performance and performativity come together, according to the works of seminal theorists Eve Kosofsky Sedgwick and Andrew Parker.Bringing together western and non-western, historical and contemporary case studies and theories, the book explores the magazines, photography, exhibitions, global colonial divides, digital media, and more, which have become key markers of the fashion industry as we know it today.Using existing literature as a springboard and incorporating perspectives from fashion studies, art history, media studies and gender studies, as well as from artists and practitioners, Fashion, Performance, and Performativity is an innovative and essential work for students, scholars and practitioners across multiple disciplines.

In the first comprehensive study of the interactions between fashion, performance and performativity, a group of international experts explore fashion as the ideal ''complex space'' – or, in other words, the ideal space where performance and performativity come together, according to the works of seminal theorists Eve Kosofsky Sedgwick and Andrew Parker.Bringing together western and non-western, historical and contemporary case studies and theories, the book explores the magazines, photography, exhibitions, global colonial divides, digital media, and more, which have become key markers of the fashion industry as we know it today.Using existing literature as a springboard and incorporating perspectives from fashion studies, art history, media studies and gender studies, as well as from artists and practitioners, Fashion, Performance, and Performativity is an innovative and essential work for students, scholars and practitioners across multiple disciplines.

Associations between the cheongsam dress and Chinese cultural identity are well known but what are the meanings of the cheongsam for members of the Chinese diaspora? In a study grounded in first-hand accounts of wearing, Cheryl Sim explores the practices and experiences of women in Canada, a major Chinese diaspora, and carries out the first in-depth study of the cheongsam from this critical point of view.Questions explored over the course of 20 interviews, as well as during personal reflections on the author''s own experiences of wearing, include: is there a desire to re-claim or appropriate the cheongsam? Does this desire risk perpetuating stereotypes of Asian women? Does it undermine one''s identification with one''s host country? Can erased heritage(s) be accessed through dress? And how does wearing the cheongsam interact with the male gaze? Revealing feelings of repulsion and attraction, Sim combines personal stories with an authoritative use of theoretical frameworks such as feminism, post-colonialism and autoethnography.Covering issues such as heritage, ethnic identity, authenticity, nationalism, patriarchy and assimilation, Sim demonstrates that the meanings of the cheongsam are multifarious. Readable but with strong academic underpinnings, this book is the entry point into discussions of Chinese dress and diaspora.

Associations between the cheongsam dress and Chinese cultural identity are well known but what are the meanings of the cheongsam for members of the Chinese diaspora? In a study grounded in first-hand accounts of wearing, Cheryl Sim explores the practices and experiences of women in Canada, a major Chinese diaspora, and carries out the first in-depth study of the cheongsam from this critical point of view.Questions explored over the course of 20 interviews, as well as during personal reflections on the author''s own experiences of wearing, include: is there a desire to re-claim or appropriate the cheongsam? Does this desire risk perpetuating stereotypes of Asian women? Does it undermine one''s identification with one''s host country? Can erased heritage(s) be accessed through dress? And how does wearing the cheongsam interact with the male gaze? Revealing feelings of repulsion and attraction, Sim combines personal stories with an authoritative use of theoretical frameworks such as feminism, post-colonialism and autoethnography.Covering issues such as heritage, ethnic identity, authenticity, nationalism, patriarchy and assimilation, Sim demonstrates that the meanings of the cheongsam are multifarious. Readable but with strong academic underpinnings, this book is the entry point into discussions of Chinese dress and diaspora.

The Lebanese photographer Marie al-Khazen seized every opportunity to use her camera during the years that she was active between 1920 and 1940. She not only documented her travels around tourist sites in Lebanon but also sought creative experimentation with her camera by staging scenes, manipulating shadows, and superimposing negatives to produce different effects in her prints. Within her photographs, bedouins and European friends, peasants and landlords, men and women comfortably share the same space. Her photographs include an intriguing collection portraying her family and friends living their everyday lives in 1920s and ''30s Zgharta, a village in the north of Lebanon.Yasmine Nachabe Taan explores these photographs, emphasizing the ways in which notions of gender and class are inscribed within them and revealing how they are charged with symbols of women''s emancipation to today''s viewers, through women''s presence as individuals, separate from family restrictions of that time. Images in which women are depicted smoking cigarettes, driving cars, riding horses, and accompanying men on hunting trips counteract the common ways in which women were portrayed in contemporary Lebanon.

The Lebanese photographer Marie al-Khazen seized every opportunity to use her camera during the years that she was active between 1920 and 1940. She not only documented her travels around tourist sites in Lebanon but also sought creative experimentation with her camera by staging scenes, manipulating shadows, and superimposing negatives to produce different effects in her prints. Within her photographs, bedouins and European friends, peasants and landlords, men and women comfortably share the same space. Her photographs include an intriguing collection portraying her family and friends living their everyday lives in 1920s and ''30s Zgharta, a village in the north of Lebanon.Yasmine Nachabe Taan explores these photographs, emphasizing the ways in which notions of gender and class are inscribed within them and revealing how they are charged with symbols of women''s emancipation to today''s viewers, through women''s presence as individuals, separate from family restrictions of that time. Images in which women are depicted smoking cigarettes, driving cars, riding horses, and accompanying men on hunting trips counteract the common ways in which women were portrayed in contemporary Lebanon.

In 2005, British supermodel Kate Moss went to Glastonbury with her then-boyfriend, indie rocker Pete Doherty. Their unwashed appearance captured widespread attention, propelling the British indie music scene and its signature look—slender bodies clad in skinny jeans—to the center of popular fashion.Using this fashionable watershed as a launching point, Fashioning Indie narrates indie’s evolution: from a 1980s British music subculture into a 21st-century international fashion phenomenon. It explores the lucrative transformation of indie style, first into high concept menswear and later into “festival fashion”—a womenswear phenomenon that remade what indie looked like and provided a launching point to reimagine who the ideal subject of indie could be.Fashioning Indie is essential reading for academic and popular audiences, offering an original account of what happens when a subculture is incorporated into the commercial fashion system. As the music and fashions of festivals face increasing scrutiny in debates about diversity and inclusion, and the transformations of indie style coincide with the global expansion of the second-hand retail sector, the book offers also essential insights into the broader culture of popular fashion in the 21st century and the values that inform it.

In 2005, British supermodel Kate Moss went to Glastonbury with her then-boyfriend, indie rocker Pete Doherty. Their unwashed appearance captured widespread attention, propelling the British indie music scene and its signature look-slender bodies clad in skinny jeans-to the center of popular fashion.Using this fashionable watershed as a launching point, Fashioning Indie narrates indie''s evolution: from a 1980s British music subculture into a 21st-century international fashion phenomenon. It explores the lucrative transformation of indie style, first into high concept menswear and later into “festival fashion”-a womenswear phenomenon that remade what indie looked like and provided a launching point to reimagine who the ideal subject of indie could be.Fashioning Indie is essential reading for academic and popular audiences, offering an original account of what happens when a subculture is incorporated into the commercial fashion system. As the music and fashions of festivals face increasing scrutiny in debates about diversity and inclusion, and the transformations of indie style coincide with the global expansion of the second-hand retail sector, the book offers also essential insights into the broader culture of popular fashion in the 21st century and the values that inform it.

In 2005, British supermodel Kate Moss went to Glastonbury with her then-boyfriend, indie rocker Pete Doherty. Their unwashed appearance captured widespread attention, propelling the British indie music scene and its signature look-slender bodies clad in skinny jeans-to the center of popular fashion.Using this fashionable watershed as a launching point, Fashioning Indie narrates indie''s evolution: from a 1980s British music subculture into a 21st-century international fashion phenomenon. It explores the lucrative transformation of indie style, first into high concept menswear and later into “festival fashion”-a womenswear phenomenon that remade what indie looked like and provided a launching point to reimagine who the ideal subject of indie could be.Fashioning Indie is essential reading for academic and popular audiences, offering an original account of what happens when a subculture is incorporated into the commercial fashion system. As the music and fashions of festivals face increasing scrutiny in debates about diversity and inclusion, and the transformations of indie style coincide with the global expansion of the second-hand retail sector, the book offers also essential insights into the broader culture of popular fashion in the 21st century and the values that inform it.

In the first book to address the critical role of the (un)dressed body in the formation of the modern Middle East, these essays unveil contemporary struggles over nation, gender, modernity and post-modernity. Contributions from leading interdisciplinary scholars, exploring gender representation, photography, dress and visual culture, recount the role of the visible elite body in campaigns for gender and social emancipation, dress histories concerning early nationalist women and men, and legal frameworks used by those who seek to control the movement of gendered bodies. The result is a rich picture of a historical period and cultural landscape which brings dress and visual culture back into historical narratives of the modern Middle East.Recognising multiple modernities, multiple imperialisms and diverse regional experiences of post-colonialism, Fashioning the Modern Middle East contains a range of theoretical frameworks invaluable to students of fashion studies, Middle Eastern studies, anthropology, photography and gender. Bringing forward new primary material and re-investigating extant sources from new perspectives, this is the essential introduction to the role of the dressed and undressed body in the formation of the modern Middle East.

In the first book to address the critical role of the (un)dressed body in the formation of the modern Middle East, these essays unveil contemporary struggles over nation, gender, modernity and post-modernity. Contributions from leading interdisciplinary scholars, exploring gender representation, photography, dress and visual culture, recount the role of the visible elite body in campaigns for gender and social emancipation, dress histories concerning early nationalist women and men, and legal frameworks used by those who seek to control the movement of gendered bodies. The result is a rich picture of a historical period and cultural landscape which brings dress and visual culture back into historical narratives of the modern Middle East.Recognising multiple modernities, multiple imperialisms and diverse regional experiences of post-colonialism, Fashioning the Modern Middle East contains a range of theoretical frameworks invaluable to students of fashion studies, Middle Eastern studies, anthropology, photography and gender. Bringing forward new primary material and re-investigating extant sources from new perspectives, this is the essential introduction to the role of the dressed and undressed body in the formation of the modern Middle East.

In the first book to address the critical role of the (un)dressed body in the formation of the modern Middle East, these essays unveil contemporary struggles over nation, gender, modernity and post-modernity. Contributions from leading interdisciplinary scholars, exploring gender representation, photography, dress and visual culture, recount the role of the visible elite body in campaigns for gender and social emancipation, dress histories concerning early nationalist women and men, and legal frameworks used by those who seek to control the movement of gendered bodies. The result is a rich picture of a historical period and cultural landscape which brings dress and visual culture back into historical narratives of the modern Middle East.Recognising multiple modernities, multiple imperialisms and diverse regional experiences of post-colonialism, Fashioning the Modern Middle East contains a range of theoretical frameworks invaluable to students of fashion studies, Middle Eastern studies, anthropology, photography and gender. Bringing forward new primary material and re-investigating extant sources from new perspectives, this is the essential introduction to the role of the dressed and undressed body in the formation of the modern Middle East.

The transformation of China from a major site for clothing manufacture to an intensely fashion consuming society has been widely documented. Less has been written about the making of Chinese fashion. In Fashion in Multiple Chinas, expert authors explore how a multitude of Chinese fashions operate across the widespread, fragmented and diffused Chinese diaspora. They challenge the idea of Chinese nationalism as 'one nation', as well as of China as a single reality, revealing the realities of Chinese fashion as diverse and comprising multiple practices. They also demonstrate how the making of Chinese fashion is composed of numerous layers, often involving a web of global entanglements between manufacturing and circulation, retailing and branding. Chapters cover the mechanics of the PRC fashion industry, the creative economy of Chinese fashion, its retail and branding, and the cultural identity of Chinese fashion from the diasporas comprising the transglobal landscape of fashion production.

For South Asia, fashion and consumption have come to play an increasingly important role in the lives of young people and in the formation of youth cultures. Afghanistan, Bangladesh, Bhutan, India, Maldives, Nepal, Pakistan and Sri Lanka have all, in related and distinctive ways, been producing confident young fashion consumers, who are proving to be an important market for fashion.This book explores South Asian youth cultures and fashion across the countries of this region and their diasporas from a transnational perspective. Through visual and textual analysis of film, photography and digital cultures, as well as ethnographic fieldwork, the expert contributors look at how gender, sexuality, class, the media and faith intersect with and style youth cultures. By establishing the heterogeneous nature of South Asia and its youth cultures, they also dismantle grand western narratives that tend to understand the region's diverse cultural modernity through the lens of homogeneity.

In 1975 Laura Mulvey published her seminal essay on the male gaze, ushering in a new era in understanding the politics and theory of looking at the female body. Since then, feminist thinking has expanded upon and revised Mulvey''s theory and much of the Western world has seen a resurgence in feminist activism as well as the rise of neoliberalism and shifts in digital culture and (self-)representation. For the first time, this book addresses what it means to look at the fashioned female body in this radical new landscape. In chapters exploring the fashioned body within contexts such as queerness, veiling, blackness, pregnancy, fatness, and criminality, Revisiting the Gaze addresses intersectional debates in feminism and re-evaluates the concept of the gaze in light of recent social and political changes. With an interdisciplinary approach, bridging fashion and fine art, this book opens the door to discussions about the male gaze and the fashioned body.

In 1975 Laura Mulvey published her seminal essay on the male gaze, ushering in a new era in understanding the politics and theory of looking at the female body. Since then, feminist thinking has expanded upon and revised Mulvey''s theory and much of the Western world has seen a resurgence in feminist activism as well as the rise of neoliberalism and shifts in digital culture and (self-)representation. For the first time, this book addresses what it means to look at the fashioned female body in this radical new landscape. In chapters exploring the fashioned body within contexts such as queerness, veiling, blackness, pregnancy, fatness, and criminality, Revisiting the Gaze addresses intersectional debates in feminism and re-evaluates the concept of the gaze in light of recent social and political changes. With an interdisciplinary approach, bridging fashion and fine art, this book opens the door to discussions about the male gaze and the fashioned body.

Bringing niqab wearers'' voices to the fore, discussing their narratives on religious agency, identity, social interaction, community, and urban spaces, Anna Piela situates women''s accounts firmly within UK and US socio-political contexts as well as within media discourses on Islam. The niqab has recently emerged as one of the most ubiquitous symbols of everything that is perceived to be wrong with Islam: barbarity, backwardness, exploitation of women, and political radicalization. Yet all these notions are assigned to women who wear the niqab without their consultation; “niqab debates” are held without their voices being heard, and, when they do speak, their views are dismissed.However, the picture painted by the stories told here demonstrates that, for these women, religious symbols such as the niqab are deeply personal, freely chosen, multilayered, and socially situated. Wearing the Niqab gives voice to these women and their stories, and sets the record straight, enhancing understanding of the complex picture around niqab and religious identity and agency.

Bringing niqab wearers'' voices to the fore, discussing their narratives on religious agency, identity, social interaction, community, and urban spaces, Anna Piela situates women''s accounts firmly within UK and US socio-political contexts as well as within media discourses on Islam. The niqab has recently emerged as one of the most ubiquitous symbols of everything that is perceived to be wrong with Islam: barbarity, backwardness, exploitation of women, and political radicalization. Yet all these notions are assigned to women who wear the niqab without their consultation; “niqab debates” are held without their voices being heard, and, when they do speak, their views are dismissed.However, the picture painted by the stories told here demonstrates that, for these women, religious symbols such as the niqab are deeply personal, freely chosen, multilayered, and socially situated. Wearing the Niqab gives voice to these women and their stories, and sets the record straight, enhancing understanding of the complex picture around niqab and religious identity and agency.

Shortlisted for the Association of Dress Historians Book of the Year Award, 2024In 2022, it was reported that plus-sizes accounted for nearly twenty percent of all women’s apparel sales in the United States and was one of the industry’s few growth sectors. For many, this news seemed to herald a remarkably inclusive turn for an industry that long bartered in exclusivity. Yet the recent success of plus-size fashion obscures a rather complicated history–one that can be traced back over a century, and which illuminates the fraught relationship between fashion, fat, and weight bias in American culture.Although many regard fat as a malady of the present, in the early twentieth century it was estimated that more than one-third of American women classified as “overweight.” While modern weight bias had yet to fully cement itself in the American imaginary, the limitations of mass garment manufacturing coupled with the ascendent slender beauty ideal had already relegated larger women to fashion’s peripheries. By 1915, however, fashion forecasters predicted that so-called “stoutwear” was well positioned to become one of the most lucrative subsectors of the burgeoning ready-to-wear trade. In the years that followed, stoutwear manufacturers set out to create more space for the fat woman in fashion but, in doing so, revealed an ancillary motivation: that of how to design fat out of existence altogether.Fashion Before Plus-Size considers what came “before” plus-size fashion while also shedding new light on the ways that the fashion industry not only perpetuates but produces weight bias. By situating stoutwear at the confluence of mass manufacturing, beauty ideals, standardized sizing, health discourse, and consumer culture, this book exposes the flawed foundations upon which the contemporary plus-size fashion industry has been built.

Shortlisted for the Association of Dress Historians Book of the Year Award, 2024In 2022, it was reported that plus-sizes accounted for nearly twenty percent of all women''s apparel sales in the United States and was one of the industry''s few growth sectors. For many, this news seemed to herald a remarkably inclusive turn for an industry that long bartered in exclusivity. Yet the recent success of plus-size fashion obscures a rather complicated history–one that can be traced back over a century, and which illuminates the fraught relationship between fashion, fat, and weight bias in American culture.Although many regard fat as a malady of the present, in the early twentieth century it was estimated that more than one-third of American women classified as “overweight.” While modern weight bias had yet to fully cement itself in the American imaginary, the limitations of mass garment manufacturing coupled with the ascendent slender beauty ideal had already relegated larger women to fashion''s peripheries. By 1915, however, fashion forecasters predicted that so-called “stoutwear” was well positioned to become one of the most lucrative subsectors of the burgeoning ready-to-wear trade. In the years that followed, stoutwear manufacturers set out to create more space for the fat woman in fashion but, in doing so, revealed an ancillary motivation: that of how to design fat out of existence altogether.Fashion Before Plus-Size considers what came “before” plus-size fashion while also shedding new light on the ways that the fashion industry not only perpetuates but produces weight bias. By situating stoutwear at the confluence of mass manufacturing, beauty ideals, standardized sizing, health discourse, and consumer culture, this book exposes the flawed foundations upon which the contemporary plus-size fashion industry has been built.

Shortlisted for the Association of Dress Historians Book of the Year Award, 2024In 2022, it was reported that plus-sizes accounted for nearly twenty percent of all women''s apparel sales in the United States and was one of the industry''s few growth sectors. For many, this news seemed to herald a remarkably inclusive turn for an industry that long bartered in exclusivity. Yet the recent success of plus-size fashion obscures a rather complicated history–one that can be traced back over a century, and which illuminates the fraught relationship between fashion, fat, and weight bias in American culture.Although many regard fat as a malady of the present, in the early twentieth century it was estimated that more than one-third of American women classified as “overweight.” While modern weight bias had yet to fully cement itself in the American imaginary, the limitations of mass garment manufacturing coupled with the ascendent slender beauty ideal had already relegated larger women to fashion''s peripheries. By 1915, however, fashion forecasters predicted that so-called “stoutwear” was well positioned to become one of the most lucrative subsectors of the burgeoning ready-to-wear trade. In the years that followed, stoutwear manufacturers set out to create more space for the fat woman in fashion but, in doing so, revealed an ancillary motivation: that of how to design fat out of existence altogether.Fashion Before Plus-Size considers what came “before” plus-size fashion while also shedding new light on the ways that the fashion industry not only perpetuates but produces weight bias. By situating stoutwear at the confluence of mass manufacturing, beauty ideals, standardized sizing, health discourse, and consumer culture, this book exposes the flawed foundations upon which the contemporary plus-size fashion industry has been built.

Veiling in Fashion enters the worlds of women who wear the hijab, both as an aspect of their religious observance and community belonging, and as a fashion statement, drawing upon global Islamic fashion history. The book uses rich ethnographic investigation of everyday veiling practices among Muslim women in the city of Helsinki as a lens through which to reflect on and advance understanding of matters concerning Muslim dress in international Muslim minority contexts.The book provides an innovative approach to studying veiling by connecting varied realms of practice, demonstrating how domains as apparently separate as fashion, materiality, city spaces, private life, religious beliefs, and cosmopolitan social conditions are all tightly bound up together in ways that only a sensitive multi-disciplinary approach can reveal. It will appeal to scholars and students in fashion, gender, religion, material cultures, and the construction of space.

“A revelation. Reclaiming fashion from its European history.” – Shane WhiteWith a focus on sub-Saharan Africa, Fashioning the Afropolis provides a range of innovative perspectives on global fashion, design, dress, photography, and the body in some of the major cities, with a focus on Lagos, Johannesburg, Dakar, and Douala. It contributes to the ongoing debates around the globalization of fashion and fashion theory by exploring fashion as a genuine urban phenomenon on the continent and among its diasporas. To date, “fashion” and “city” have not been systematically related to each other in the African context and, for too long, a western-centric gaze has dominated scholarship, resulting in the perception of Africa as provincial and its visual arts and textile cultures as static and folkloristic. This perspective is all the more distorted, given Africa''s rich sartorial past. With a huge number of tailors ready to adapt and renew clothing, reshaping garments into contemporary styles, and many cities in Africa becoming hot-spots for a steadily growing and well-connected scene of fashion designers in the past 20 years, the time is ripe for a reevaluation and reconsideration of the fashionscapes of Africa. Leading scholars offer an updated empirical and theoretical foundation on which to base new and exciting research on sub-Saharan fashion, challenging perceptions and offering new insights.