Italian 1001: Made-in-Italy: Identities, Cultures, and Globalization in Italian Fashion and Design

Fashion is both public and private, material and symbolic, always caught within the lived experience and providing an incredible tool to study culture and history. The Fabric of Cultures examines the impact of fashion as a manufacturing industry and as a culture industry that shapes the identities of nations and cities in a cross-cultural perspective, within a global framework.nbsp; The collected essays investigate local and global economies, cultures and identities and the book offers for the first time, a wide spectrum of case studies which focus on a diversity of geographical spaces and places, from global capitals of fashion such as New York, to countries less known or identifiable for fashion such as contemporary Greece and soviet Russia. Highly illustrated and including essays from all over the world, The Fabric of Cultures provides a comprehensive survey of the latest interdisciplinary scholarship on fashion, identity and globalisation.

Fashion History: A Global View proposes a new perspective on fashion history. Arguing that fashion has occurred in cultures beyond the West throughout history, this groundbreaking book explores the geographic places and historical spaces that have been largely neglected by contemporary fashion studies, bringing them together for the first time.Reversing the dominant narrative that privileges Western Europe in the history of dress, Welters and Lillethun adopt a cross-cultural approach to explore a vast array of cultures around the globe. They explore key issues affecting fashion systems, ranging from innovation, production and consumption to identity formation and the effects of colonization. Case studies include the cross-cultural trade of silk textiles in Central Asia, the indigenous dress of the Americas and of Hawai'i, the cosmetics of the Tang Dynasty in China, and stylistic innovation in sub-Saharan Africa. Examining the new lessons that can be deciphered from archaeological findings and theoretical advancements, the book shows that fashion history should be understood as a global phenomenon, originating well before and beyond the fourteenth century European court, which is continually, and erroneously, cited as fashion's birthplace. Providing a fresh framework for fashion history scholarship, Fashion History: A Global View will inspire inclusive dress narratives for students and scholars of fashion, anthropology, and cultural studies.

When we think of Italian fashion, Gucci, Max Mara and the meteoric rise of Prada immediately spring to mind. But Italian fashion has a dark history that has not previously been explored. The Fascism of 1930s Italy dominated more than just politics - it spilled over into modes of dress. Fashion under Fascism is the first book to consider this link in detail.Fashion often functions as a tacit means of making a social statement, but under Mussolini it vividly reflected political tyranny. Ones allegiance to the regime was choreographed by the dictatorship with the intent of creating a new national consciousness. Women in particular were manipulated through fashion ideals to create an authentic Italian femininity.

This rigorously compiled A-Z volume offers rich, readable coverage of the diverse forms of post-1945 Italian culture. With over 900 entries by international contributors, this volume is genuinely interdisciplinary in character, treating traditional political, economic, and legal concerns, with a particular emphasis on neglected areas of popular culture. Entries range from short definitions, histories or biographies to longer overviews covering themes, movements, institutions and personalities, from advertising to fascism, and Pirelli to Zeffirelli.

'Riello and McNeil's new collection of essays represents an immense and impressive project' ¿ Choice 'Now, the key contributions from nearly every expert in the field are assembled in one fascinating book. This kaleidoscopic and informative volume ranges impressively across conventional boundaries of chronology, geography, and discipline.' ¿ Glenn Adamson, Victoria and Albert Museum, London, UK 'This book is indispensable for anyone interested in fashion. History has never been more alive than in the pages of this Reader .' ¿ Patrizia Calefato, University of Bari, Italy The Fashion History Reader is an innovative work that provides a broad introduction to the complex literature in the fields of fashion studies, and dress and fashion history.

The stylish companion, the essential arm candy and the only accessory to be seen with when visiting this stunning V&A exhibition The Glamour of Italian Fashion Since 1945.

This lavish book provides a comprehensive look at Italian fashion from the end of the Second World War to the present day

In Italian Cultural Lineages, Jonathan White seeks answers to the elusive questions: what is Italian culture and what is the Italian identity?

The great march of Italian fashion, with the boom in ready-to-wear.

Salvatore Ferragamo returned to Italy in 1927 after twelve years in the United States. In 2017, to mark the ninetieth anniversary of his homecoming, the Museo Salvatore Ferragamo presents an exhibition offering an overview of the 1920s, a decade now recognized as an authentic forge of open-minded ideas and experimentation free of ideological constraints and prejudices. Ferragamo chose to settle in Florence in virtue of its acknowledged centrality in the geography of Italian taste and style at a time in which the word "return" was especially meaningful: the return to order in the arts, the return to professional skill and to the great national tradition.

Despite its long eclipse by Parisian couture, Italian fashion is now celebrated globally for the quality of its tailoring, fabric and design. But an Italian label was not always a yardstick for excellence. In the twenty years following the Second World War, a little known fact is that America played a key role in the development of Italy's fashion industry. More generally known is that the Marshall Plan had a formative influence on the financial and industrial reorganization of Italian postwar reconstruction.

Throughout his rags-to-riches career, Ferragamo was patronized by movie stars, socialites, diplomats, and royalty. Known in 1920s Hollywood as "shoemaker to the stars," he eventually returned to Italy to create shoes that were both comfortable and highly innovative. This gorgeous catalog, which accompanies a Los Angeles County Museum of Art exhibition, features over 200 examples of his work in full-color photographs so crisp that every stitch and crease is visible. Here are shoes as objets d'art. The wedge heels and platform soles popular in the 1940s were attributed to Ferragamo, whose response to wartime leather shortages was the imaginative use of fish skins, raffia, cork, and even mirrored glass.