An illustrated view of 2,000 years of head coverings, this engaging and literate survey features over 800 drawings depicting the headgear of both genders, all classes, and many nationalities.
This stunningly comprehensive survey of hats and headgear from ancient Egypt to mid-20th century illustrates an astonishing range of styles — plumed turbans to modern homburgs, plus images of hairstyles, jewelry, and cosmetics.
This concise encyclopedia examines headwear around the world, from ancient times to the modern era, comprising entries that address cultural significance, religion, historical events, geography, demographic and ethnic issues, fashion, and contemporary trends. Are feathers from endangered bird species still commonly used on hats? Why do many Muslim women cover their heads? How has advancing technology influenced modern headwear? This concise encyclopedia provides the answers to these questions and many more regarding headwear and human culture in its examination of headwear around the world. It examines topics from ancient times to the modern era, providing not only detailed physical descriptions and historical facts but also information that addresses cultural significance, religion, historical events, geography, demographic and ethnic issues, fashion, and contemporary trends. The entries reveal fascinating insights into headwear as historical, aesthetic, fashion, utilitarian, mystical, and symbolic apparel, and supplies comprehensive analyses of hats across the globe unavailable in the existing literature.
For such simple garments, hats have had a devastating impact on wildlife throughout their long history. Made of wild-caught mammal furs, decorated with feathers or whole stuffed birds, historically they have driven many species to near extinction. By the turn of the twentieth century, egrets, shot for their exuberant white neck plumes, had been decimated; the wild ostrich, killed for its feathers until the early 1900s, was all but extirpated; and vast numbers of birds of paradise from New Guinea and hummingbirds from the Americas were just some of the other birds killed to decorate ladies’ hats. At its peak, the hat trade was estimated to be killing 200 million birds a year. At the end of the nineteenth century, it was a trade valued at £20 million (over $25 million) a year at the London feather auctions. Weight for weight, exotic feathers were more valuable than gold. Today, while no wild birds are captured for feather decoration, some wild animals are still trapped and killed for hatmaking. A fascinating read, Hats will have you questioning the history of your headwear.
It has long been said that clothes make the man (or woman), but is it still true today? If so, how has the information clothes convey changed over the years? Using a wide range of historical and contemporary materials, Diana Crane demonstrates how the social significance of clothing has been transformed. Crane compares nineteenth-century societies—France and the United States—where social class was the most salient aspect of social identity signified in clothing with late twentieth-century America, where lifestyle, gender, sexual orientation, age, and ethnicity are more meaningful to individuals in constructing their wardrobes. Today, clothes worn at work signify social class, but leisure clothes convey meanings ranging from trite to political. In today's multicode societies, clothes inhibit as well as facilitate communication between highly fragmented social groups. Crane extends her comparison by showing how nineteenth-century French designers created fashions that suited lifestyles of Paris elites but that were also widely adopted outside France. By contrast, today's designers operate in a global marketplace, shaped by television, film, and popular music. No longer confined to elites, trendsetters are drawn from many social groups, and most trends have short trajectories. To assess the impact of fashion on women, Crane uses voices of college-aged and middle-aged women who took part in focus groups. These discussions yield fascinating information about women's perceptions of female identity and sexuality in the fashion industry. An absorbing work, Fashion and Its Social Agendas stands out as a critical study of gender, fashion, and consumer culture. "Why do people dress the way they do? How does clothing contribute to a person's identity as a man or woman, as a white-collar professional or blue-collar worker, as a preppie, yuppie, or nerd? How is it that dress no longer denotes social class so much as lifestyle? . . . Intelligent and informative, [this] book proposes thoughtful answers to some of these questions."-Library Journal
This companion to Knoxville's McClung Museum exhibition contains detailed annotations about the history and use of the ninety objects exhibited. Works from the southern and eastern parts of the continent, as well as the more familiar West African forms, emphasize the active role of art in African culture and life. A wide variety of media and both ancient and contemporary pieces illustrate concepts of leadership and governance, geography, history, economics, and the interaction among Africans of different societies. Two chapters about African art and culture have been contributed by Dele Jegede, chair of the Art Department at Indiana State University, Terre Haute, and Rosalind I. J. Hackett of the Department of Religion at the University of Tennessee in Knoxville. The book includes appendices, bibliography, and a color map of the African continent. The Author: William J. Dewey is an assistant professor of art at the University of Tennessee.
The hat is one of our most beloved pieces of clothing, appearing in virtually every society. Through the centuries, hats have represented the most important structures of culture: governance (the crown), religion (the turban), tradition (the bonnet), and much more. Yet hats have also always allowed for the very personal expression of style and feeling. In this exquisitely illustrated celebration of the hat, Drake Stutesman uncovers the influence on our lives of this versatile headgear. Beginning in the Ice Age, the story of the hat is traced through its links with the origins of abstract thinking, through the complex evolution of the professions of millinery and hatting starting in the Middle Ages, through the rise of the superstar milliner in the twentieth century, and, finally, through the work of the ingenious hat makers of today who continue to dazzle us with their creations. For all those interested in the history of fashion and the history of culture--and couture--Hat offers new perspectives on this stylish, practical, and important accessory.
Since the recent royal wedding, couture hats and headpieces are gaining more attention than ever before. Featured on guests from Victoria Beckham to Sarah Ferguson’s daughter, Princess Beatrice, whimsical and sculptural hats are now splashed across the pages of fashion magazines, advertisements, and blogs. The trademark accessory of fashion muse Isabella Blow, couture hats were among the most talked about elements of the recent Alexander McQueen exhibit at the Met, and a Stephen Jones Couture Hats exhibition is running at Bard from September 2011 to April 2012. Couture Hats, a luscious gallery of modern fashion designs, will be unlike anything else on the market, artfully showcasing the most innovative work of master milliners around the world, including the likes of Stephen Jones, Philip Treacy, Anthony Peto, and Nasir Mazhar, designers who have all constructed numerous hats and headpieces for members and guests of the royal family, as well as celebrities like Lady Gaga, Katy Perry, and Daphne Guinness. Already endorsed by the creative director of Givenchy, each chapter of Couture Hats is devoted to a particular designer or design house, providing biographical information, professional philosophies, trade secrets, and intimate interviews. With hundreds of full-page, full-color photographs, these gorgeous modern hats include gravity-defying sculptural shapes to delight and inspire refined women, modern fashionistas, designers, students, aspiring milliners, and costume lovers. Even for those without the gall to wear such daring pieces, these hats will fascinate all creative minds. Among the designers included are: Philip Treacy for Alexander McQueen Philip Treacy Stephen Jones Noel Stewart House of Flora Heather Huey Tour de Force Àngel Coll Manuel Albarran Claudia Schulz Edwina Ibbotson Tolentino Haute Hats Charlie Le Mindu Simon Ekrelius Piers Atkinson Emma Yeo William Chambers Ellen Christine Anya Caliendo Dinu Bodiciu Gustavo Adolfo Tari Irene Bussemaker Dayna Pinkham