| 000 | 02857cam a2200409 a 4500 | ||
|---|---|---|---|
| 001 | 97026413 | ||
| 003 | AE-DuAU | ||
| 005 | 20241127164007.0 | ||
| 008 | 050915s1997 ctua b 001 0 eng | ||
| 010 | _a 97026413 | ||
| 020 |
_a0300071329 : _c45.00 |
||
| 040 |
_aDLC _cDLC _dDLC |
||
| 043 | _an-us--- | ||
| 050 | 0 | 0 |
_aGT615 _b.S74 1997 |
| 069 | _a01111647 | ||
| 090 | _aGT 615 .S74 1997 | ||
| 090 | _aGT 615 .S74 1997 | ||
| 100 | 1 |
_aSteele, Valerie. _967309 |
|
| 245 | 1 | 0 |
_aFifty years of fashion : _bnew look to now / _cValerie Steele ; photographs from the Museum at the Fashion Institute of Technology, New York, by Irving Solero. |
| 260 |
_aNew Haven : _bYale University Press, _cc1997. |
||
| 300 |
_avii, 167 p. : _bill. (some col.) ; _c29 cm. |
||
| 336 |
_2rdacontent _atext _btxt |
||
| 337 |
_2rdamedia _aunmediated _bn |
||
| 338 |
_2rdacarrier _avolume _bnc |
||
| 504 | _aIncludes bibliographical references (p. 163-164) and index. | ||
| 520 | 0 | _aValerie Steele begins by discussing the impact of the Second World War on the international fashion system, explaining, for example, how the success of Christian Dior's "New Look" was the result of sweeping social and economic changes that included a shift from the atelier to the global corporate conglomerate. In the 1950s, Steele argues, developments in the world of fashion were influenced by sexual politics and the anxieties associated with the Cold War: social conformity and gender stereotypes led to such phenomena as "wife dressing" and "the man in the gray flannel suit". Steele traces the fashion revolution of the 1960s, which smashed both social and sartorial rules as "swinging London" inaugurated its own new dictatorship of youth. She describes the rise of the women's movement and the hippies' anti-fashion sentiment, which ushered in a new freedom of choice in the 1970s, "the decade that taste forgot". She finds that the 1980s, often described as "the decade of greed", was actually a more complicated period, during which Calvin Klein jeans as well as suits by Armani became notorious yuppie status symbols. And she shows that the fashions of the 1990s, emphatically postmodernist, have repeatedly returned to the themes of retro, ethno, and techno styles. | |
| 650 | 0 |
_aCostume _zUnited States _xHistory _y20th century. _934940 |
|
| 650 | 0 |
_aFashion _zUnited States _xHistory _y20th century. _967310 |
|
| 710 | 2 |
_aFashion Institute of Technology (New York, N.Y.). _bMuseum. _921272 |
|
| 852 |
_9p45.00 _y01-31-1999 |
||
| 907 |
_a11457 _b08-06-10 _c08-06-10 |
||
| 942 |
_cBOOK _00 |
||
| 998 |
_aaudmc _b01-31-99 _cm _da _e- _feng _gctu _h0 |
||
| 935 | _a08/05/98 | ||
| 945 |
_g0 _i602409 _j0 _laudmc _nCopy Type:01 - Books _o- _p165.38 _q- _r- _s- _t1 _u0 _v0 _w0 _x0 _yi10165101 _z08-06-10 |
||
| 999 |
_c11457 _d11457 |
||