| 000 | 01593nam a22002778i 4500 | ||
|---|---|---|---|
| 001 | 42925 | ||
| 008 | 140204s2014 en gW 0000 eng e | ||
| 040 | 0 | 0 | _aBDS |
| 050 | 0 | 0 | _aGT511 |
| 082 | _a391.009044 RAL | ||
| 245 | 3 | 0 |
_aFashion and war in popular culture _egeneral editor, Denise N. Rall |
| 260 | 0 | 0 |
_aBristol _bIntellect _c2014 |
| 299 | 0 | 0 | _aPP |
| 300 | 0 | 0 |
_a200 pages _c24 cm _epbk |
| 336 | 0 | 0 |
_atext _2rdacontent |
| 337 | 0 | 0 |
_aunmediated _2rdamedia |
| 338 | 0 | 0 |
_avolume _2rdacarrier |
| 358 | 0 | 0 |
_b20140315 _cNP |
| 365 | 0 | 0 | _a16.00 |
| 513 | 0 | 0 | _aAside from the occasional nod to epaulets or use of camouflage, war and fashion seem to be strange partners. Not so, argue the contributors to this book, who connect military industrial practices as well as military dress to textile and clothing in new ways. For instance, the book includes a series of commentaries on the impact of military dress in the airline industry, in illustrated wartime comics, and even considers today's muscled soldier's body as a new type of uniform. Elsewhere, the impacts of conquest introduce a new set of postcolonial aesthetics; this is because military and colonial regimes disrupted local textile production and garment making. It also argues that textiles and fashion are important because they reflect a core practice, one that bridges textile artists and designers in an expressive, creative, and deeply physical way to matters of cultural significance. |
| 650 | 0 | 0 | _aFashion |
| 650 | 0 | 0 | _aMilitary uniforms |
| 650 | 0 | 0 | _aPopular culture |
| 700 | 1 | 1 |
_aRall, Denise N. _yeditor |
| 942 | _n0 | ||
| 999 |
_c30335 _d30335 |
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