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Books on the topic 'Female costumes'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

Sheffield, Elisabeth. Joyce's abandoned female costumes, gratefully received. Fairleigh Dickinson University Press, 1998.

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2

Shigurova, Tat'yana. The costume of the Mordovian people in customs and rituals. INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1070628.

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The book is a historical and cultural study of the problems associated with understanding the iconic nature and functioning of the traditional female costume of Mordva. Attempts to create a holistic picture of the use of folk costumes in the Mordovian social and family customs and rituals. Particular emphasis is placed on its ethno-social functions. The reader has the opportunity to learn about new archival material, and field observations made by the author during expeditions in various regions of Mordovians. Fills some gaps in knowledge on issues of material and spiritual culture of the Mordovian people, presenting factual material for subsequent research in the field of ethnic mentality.  Intended for historians, culturologists, art historians, researchers, teachers, postgraduates and students.

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3

Corona, Vicki. Belly dance costume making: Introduction to costume construction for female belly dance students. Earth Dance Intl. Pub., 1989.

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4

Karageorghis, Vassos. Female costume in Cyprus from antiquity to the present day. A.G. Leventis Foundation, 1999.

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5

Lipman, Julia. Nellie's work-box, a parlor charade and Bluebeard, or, Female curiosity: An entertainment for the parlor, with full stage directions, and hints for costumes, and decorations, carefully prepared by an old stage manager, and suitable for town or country. McLoughlin Bros., 1987.

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6

Clothes make the man: Female cross dressing in medieval Europe. Garland, 1996.

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7

La femme du directoire au Ier Empire. Errance, 2010.

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8

Harran, Nathalie. La femme sous le Second Empire. Errance, 2011.

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9

Grand-Carteret, John. La femme en culotte: 1899. Côté-femmes, 1993.

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10

Colbert, Bernard. Getting into face: 52 Mondays featuring JoJo Baby and Sal-E. Schiffer Publishing Ltd., 2012.

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11

Munro, Alice. L' amour d'une honnête femme. Rivages, 2001.

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12

Cattrall, Kim. Sex and the city. Home Box Office, 2010.

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13

Gontier, Laure. L'armoire idéale des paresseuses. Marabout, 2006.

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14

Bryant, Michele Wesen. WWD illustrated: 1960s-1990s. Fairchild Publications, Inc., 2004.

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15

A, Hail Barbara, and Haffenreffer Museum of Anthropolgy, eds. Female costume of the Sarakatsani. Haffenreffer Museum of Anthropology, Brown University, 1985.

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16

Allen, Peter, Joyce R. Smith, and Joan Bouza Koster. Female Costume of Sarakatsani (Paper). Haffenreffer Museum of Anthropology Brown Uni, 1985.

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17

1946-, Gaines Jane, and Herzog Charlotte 1946-, eds. Fabrications: Costume and the female body. Routledge, 1990.

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18

Plock, Vike Martina. Conformity and Idiosyncrasy: Jean Rhys. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427418.003.0003.

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By looking at Jean Rhys’s ‘Left Bank’ fiction (Quartet, After Leaving Mr Mackenzie, Good Morning, Midnight, ‘Illusion’, ‘Mannequin’), this chapter investigates how new operational procedures such as Fordism and Taylorism, which were introduced into the French couture industry at the beginning of the twentieth century, affected constructions of modern femininity. Increasingly standardized images of feminine types were produced by Paris couturiers while the new look of the Flapper seemingly advertised women’s expanding social, political and professional mobility. Rhys, this chapter argues, noted fashion’s ability to provide resources for creative image construction but she simultaneously expressed criticism of its tendency to standardize female costumes and behaviour. Ultimately, Rhys demonstrates in her fiction that the radically modern couture of the early twentieth century was by no means the maker of social change and women’s political modernity. To offset the increased standardization of female images that she witnessed around her, Rhys created heroines and texts that relied on an overt display on difference.

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19

Gusic, Marijana. Traditional Female Headgear in Croatian Folk Costume. Legacy Books, 1986.

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20

Gaines, Jane. Fabrications: Costume and the Female Body (Thinking Gender). Routledge, 1990.

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21

Gaines, Jane M. Fabrications: Costume and the Female Body (Critical Social Thought). Routledge, 1990.

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22

Young, Serinity. Women Shamans: Fluctuations in Female Spiritual Power. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780195307887.003.0010.

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The Manchu folk epic known as the Tale of the Nišan Shaman introduces all of the elements of shamanism discussed in this chapter: how one becomes a shaman; shamanic flight; ritual dress; spirit animals; and gender. Transvestism and sex change are also an important part of the history of shamanism, given that over time, men in many places took on female roles to be become shamans, or had to wear remnants of female clothing during ceremonies in order to call upon the power of the earlier female shamans. Others were Two-Spirit people: biologically male Two-Spirits who dressed, acted, and lived as women. Some were considered powerful shamans. The shaman costume was very important; its fringe represented bird feathers, with birds painted on other parts of it. The shaman’s drum was believed to carry the shaman’s spirit on its flight.

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23

Bucher, Gina. Female Chic : Thema Selection: The Story of a Zu?rich Fashion Label. Frey Edition im Verlag der Alltag, Patrick, 2016.

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24

Clothes Make the Man: Female Cross Dressing in Medieval Europe (New Middle Ages, 1). Routledge, 1999.

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25

Smyth, J. E. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190840822.003.0001.

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Traditional histories of studio-era Hollywood contend that the film industry offered little more than acting and secretarial jobs to women; however, industry trade papers and syndicated press of the time reveal a different picture. Women worked as producers, executives, writers, script readers, production and costume designers, film and sound editors, set dressers, make-up artists, publicists, agents, researchers, actors, and directors. They worked for their unions and on industry committees. Although they didn’t always agree politically, Hollywood’s women shared a commitment to the Equal Rights Amendment and often helped each other’s careers. This chapter provides an overview of the diverse professions open to women in the Hollywood studio system and challenges the “great man” theories of authorship and female disempowerment that have driven conventional histories of old Hollywood.

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26

Smyth, J. E. Designing Women. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190840822.003.0007.

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During the early 1940s, journalists observed that after years of men controlling women’s fashion, Hollywood had become “a fashion center in which women designers are getting to be a big power.” In a town where “the working girl is queen,” it was women who really knew how to dress working women. Edith Head’s name dominates Hollywood costume design. Though a relatively poor sketch artist who refused to sew in public, Head understood what the average woman wanted to wear and knew better than anyone how to craft her image as the-one-and-only Edith Head. However, she was one of many women who designed Hollywood glamour in the studio era. This chapter juxtaposes Head’s career with that of a younger, fiercely independent designer who would quickly upstage Head as a creative force. In many senses, Dorothy Jeakins’s postwar career ascent indicated the waning of the Hollywood system and the powerful relationship between female designers, stars, and fans.

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27

Paszkiewicz, Katarzyna. Genre, Authorship and Contemporary Women Filmmakers. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474425261.001.0001.

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Genre, Authorship and Contemporary Women Filmmakers examines the significance of women’s contribution to genre cinema by highlighting the work of US filmmakers within and outside Hollywood – Kathryn Bigelow, Sofia Coppola, Nancy Meyers, Karyn Kusama and Kelly Reichardt, among others. Exploring genres as diverse as horror, the war movie, the Western, the costume biopic and the romantic comedy, Katarzyna Paszkiewicz interrogates questions of ‘genre’ authorship; the blurring of the borders between commercial and independent cinema and gendered discourses of (de)authorisation that operate within each sphere; ‘male’–‘female’ genre divisions; and the issue of authorial subversion in film and popular culture in a wider sense. With its focus on close analysis of the films themselves and the cultural and ideological meanings involved in the reception of genre texts authored by women, this book expands critical debates around women’s cinema and offers new perspectives on how contemporary filmmakers explore the aesthetic and imaginative power of genre.

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28

P. J. S. Fashion Books. Fashion Design Sketchbook: Design Book with Female Figure Model and Pattern and Swatch Details to Create Your Fashion and Costume Design Styles and Portfolio. Independently Published, 2020.

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29

La niña perdida. Lumen, 2015.

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30

Sundstrom, Ors. Composition Notebook: Female Calavera Sugar Skull Mono Line Sugar Skulls Coloring Tapestry Purse and Wallet Edible Costume Face Tattoo Notebook Journal Notebook Blank Lined Ruled 6x9 100 Pages. Independently Published, 2020.

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31

Munro, Alice. L'Amour d'une honnête femme. Rivages, 2003.

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32

McDonald, Nathan. Composition Notebook: La Femme French Costumes Georgia Cup Clips Bella and the Georgia Bulldog Mom Notebook Journal Notebook Blank Lined Ruled 6x9 100 Pages. Independently Published, 2020.

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33

Alsanea, Rajaa. Chicas de Riad. Rayo, 2008.

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34

Bryant, Michele Wesen. Wwd Illustrated: 1960S-1990s. Fairchild Books & Visuals, 2003.

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