The concluding chapter by Amy de la Haye, covering the second half of the twentieth century, has now been updated by Andrew Tucker. He discusses the reinvention in the 1990s of the luxury label Gucci, the rise of houses such as Prada and Tommy Hilfiger, and the appointments of relatively avant-garde British, American, and European designers to head classic French houses. All the late-twentieth-century and turn-of-the-century style innovations are included, such as the appropriation of utility clothing by designers like Helmut Lang—who spearheaded the predominantly unisex urban sportswear look—and the impact of workplace dressing down on masculine fashion. The phenomenon of the must-have accessory—the pashmina shawl and the Fendi baguette, for example—is also considered.

    A person's clothing, whether it's a sari, kimono, or business suit, is an essential key to his or her culture, class, personality, or even religion. The Kyoto Costume Institute recognizes the importance of understanding clothing sociologically, historically, and artistically. Founded in 1978, the KCI holds one of the world's most extensive clothing collections and has curated many exhibitions worldwide. With an emphasis on Western women's clothing, the KCI has amassed a wide range of historical garments, underwear, shoes, and fashion accessories dating from the 18th century to the present day. Showcasing a vast selection of skilled photographs from the Institute's archives, depicting the clothing expertly displayed and arranged on custom-made mannequins, Fashion is a fascinating excursion through the last three centuries of clothing trends.From a rare treasure such as a 17th century iron corset with embroidered bodice to modern-day outfits by such designers as Yves Saint Laurent and Calvin Klein, the collection provides an extensive overview of the evolution of women's fashion. The KCI believes that "clothing is an essential manifestation of our very being" and their passion and dedication positively radiate from every page of this book. It offers an opportunity to see how our ancestors dressed, to consider the amazing accomplishments of contemporary fashion, and to imagine how our descendants may dress in the distant future as clothing design continues on its tireless evolutionary path.

    For centuries, clothing has been a wearable status symbol; fashion, a weapon in struggles for social change; and dress codes, a way to maintain political control. Merchants dressing like princes and butchers’ wives wearing gem-encrusted crowns were public enemies in medieval societies structured by social hierarchy and defined by spectacle. In Tudor England, silk, velvet, and fur were reserved for the nobility, and ballooning pants called “trunk hose” could be considered a menace to good order. The Renaissance-era Florentine patriarch Cosimo de Medici captured the power of fashion and dress codes when he remarked, “One can make a gentleman from two yards of red cloth.” Dress codes evolved along with the social and political ideals of the day, but they always reflected struggles for power and status. In the 1700s, South Carolina’s “Negro Act” made it illegal for Black people to dress “above their condition.” In the 1920s, the bobbed hair and form-fitting dresses worn by free-spirited flappers were banned in workplaces throughout the United States, and in the 1940s, the baggy zoot suits favored by Black and Latino men caused riots in cities from coast to coast.Even in today’s more informal world, dress codes still determine what we wear, when we wear it—and what our clothing means. People lose their jobs for wearing braided hair, long fingernails, large earrings, beards, and tattoos or refusing to wear a suit and tie or make-up and high heels. In some cities, wearing sagging pants is a crime. And even when there are no written rules, implicit dress codes still influence opportunities and social mobility. Silicon Valley CEOs wear t-shirts and flip-flops, setting the tone for an entire industry: women wearing fashionable dresses or high heels face ridicule in the tech world, and some venture capitalists refuse to invest in any company run by someone wearing a suit.In Dress Codes, law professor and cultural critic Richard Thompson Ford presents a “deeply informative and entertaining” (The New York Times Book Review) history of the laws of fashion from the middle ages to the present day, a walk down history’s red carpet to uncover and examine the canons, mores, and customs of clothing—rules that we often take for granted. After reading Dress Codes, you’ll never think of fashion as superficial again—and getting dressed will never be the same.

    But this was far from the only difference between him and his predecessors. Neither of the previous Georges was faithful to his wife, nor to his mistresses. Both hated their own sons. And, overall, their children were angry, jealous, and disaffected schemers, whose palace shenanigans kick off Hadlow's juicy narrative and also made their lives unhappy ones.Pained by his childhood amid this cruel and feuding family, George came to the throne aspiring to be a new kind of king—a force for moral good. And to be that new kind of king, he had to be a new kind of man. Against his irresistibly awful family background—of brutal royal intrigue, infidelity, and betrayal—George fervently pursued a radical domestic dream: he would have a faithful marriage and raise loving, educated, and resilient children.The struggle of King George—along with his wife, Queen Charlotte, and their 15 children—to pursue a passion for family will surprise history buffs and delight a broad swath of biography readers and royal watchers.

    Fashion was as turbulent as the times. Throughout it all, Vogue magazine was there, as the leading visual filter.20th Century Fashion, published in association with Vogue magazine, is the definitive style bible for anyone interested in the past, present and future of fashion. It takes a fresh look at fashion history over the twentieth century and charts the evolution from corsets to Coco Chanel to punk.The book chronicles and explores one hundred years of developments and movements, including:20s flappers Christian Dior's New Look Swinging Sixties New Romanticism 90s Eclecticism Illustrated with eye-catching archive images, 20th Century Fashion also features the work of the photographers who helped immortalize seminal fashion images. An A-Z section profiles two hundred and fifty of the greatest fashion designers who inspired, created and altered the course of fashion -- from Azzedine Alaia to Zoran by way of Balenciaga and Yohji Yamamoto.20th Century Fashion is an informative and inspirational look at how fashion reflects and projects social mores and individual values.

    Now updated with new material that brings the killer's picture into clearer focus.In the fall of 1888, all of London was held in the grip of unspeakable terror.  An elusive madman calling himself Jack the Ripper was brutally butchering women in the slums of London’s East End.  Police seemed powerless to stop the killer, who delighted in taunting them and whose crimes were clearly escalating in violence from victim to victim.  And then the Ripper’s violent spree seemingly ended as abruptly as it had begun.  He had struck out of nowhere and then vanished from the scene.  Decades passed, then fifty years, then a hundred, and the Ripper’s bloody sexual crimes became anemic and impotent fodder for puzzles, mystery weekends, crime conventions, and so-called “Ripper Walks” that end with pints of ale in the pubs of Whitechapel.  But to number-one New York Times bestselling novelist Patricia Cornwell, the Ripper murders are not cute little mysteries to be transformed into parlor games or movies but rather a series of terrible crimes that no one should get away with, even after death.  Now Cornwell applies her trademark skills for meticulous research and scientific expertise to dig deeper into the Ripper case than any detective before her—and reveal the true identity of this fabled Victorian killer.In Portrait of a Killer: Jack the Ripper, Case Closed, Cornwell combines the rigorous discipline of twenty-first century police investigation with forensic techniques undreamed of during the late Victorian era to solve one of the most infamous and difficult serial murder cases in history.  Drawing on unparalleled access to original Ripper evidence, documents, and records, as well as archival, academic, and law-enforcement resources, FBI profilers, and top forensic scientists, Cornwell reveals that Jack the Ripper was none other than a respected painter of his day, an artist now collected by some of the world’s finest museums: Walter Richard Sickert.It has been said of Cornwell that no one depicts the human capability for evil better than she.   Adding layer after layer of circumstantial evidence to the physical evidence discovered by modern forensic science and expert minds, Cornwell shows that Sickert, who died peacefully in his bed in 1942, at the age of 81, was not only one of Great Britain’s greatest painters but also a serial killer, a damaged diabolical man driven by megalomania and hate.  She exposes Sickert as the author of the infamous Ripper letters that were written to the Metropolitan Police and the press.  Her detailed analysis of his paintings shows that his art continually depicted his horrific mutilation of his victims, and her examination of this man’s birth defects, the consequent genital surgical interventions, and their effects on his upbringing present a casebook example of how a psychopathic killer is created.New information and startling revelations detailed in Portrait of a Killer include:- How a year-long battery of more than 100 DNA tests—on samples drawn by Cornwell’s forensics team in September 2001 from original Ripper letters and Sickert documents—yielded the first shadows of the 75- to 114 year-old genetic evid...

    Includes genealogical tables, coats of arms, and royal heraldry.

    Not the British overall, not the Scots, not the Irish or Welsh, but the English. Why do they seem so unsure of who they are? Jeremy Paxman is to many the embodiment of Englishness yet even he is sometimes forced to ask: who or what exactly are the English? And in setting about addressing this most vexing of questions, Paxman discovers answers to a few others. Like: Why do the English actually enjoy feeling persecuted? What is behind the English obsession with games? How did they acquire their odd attitudes to sex and to food? Where did they get their extraordinary capacity for hypocrisy? Covering history, attitudes to foreigners, sport, stereotypyes, language and much, much more, The English brims over with stories and anecdotes that provide a fascinating portrait of a nation and its people. 'Intelligent, well-written, informative and funny...A book to chew on, dip into, quote from and exploit in arguments' Andrew Marr, Observer 'Bursting with good things' Daily Telegraph Jeremy Paxman is a journalist, best known for his work presenting Newsnight and University Challenge. His books include Empire, On Royalty, The English and The Political Animal. He lives in Oxfordshire.

    When Anna, Jane Austen's young niece, sent her a novel for ""literary comment," Jane loved everything about it, except its utter disregard for the manners of the day. The resulting and tender correspondence between the two serves as the foundation for this instructional book.Etiquette and social behavior of the early 1800s come to life in lovely chapters teaching one on how to pay and return formal "calls," how to properly refuse a proposal of marriage, who should lead off the dancing at a country-house ball, and what to wear for a morning walk. Jane Austen used these daily customs and niceties to brilliantly illuminate the cloistered world of high society women in her timeless novels. Now with this delightful handbook of correct social behavior, readers will learn just why Mrs. Bennet of Pride and Prejudice couldn't call alone on her new, rich, bachelor neighbor and had to force the reluctant Mr. Bennet to do so...even as he uttered "Tis an etiquette I despise."An indispensable gift for any Austen fan, this beautiful book will prove irresistible to anyone wishing to go back in time to the atmosphere of their favorite Austen novels.Henrietta Webb is the co-creator of Bad Hair. Josephine Ross has written a number of books including, most recently, Jane Austen: A Companion, published in England by Austen's original publisher John Murray.

    For the two decades following the death of her beloved sister, Jane, Cassandra Austen has lived alone, spending her days visiting friends and relations and quietly, purposefully working to preserve her sister’s reputation. Now in her sixties and increasingly frail, Cassandra goes to stay with the Fowles of Kintbury, family of her long-dead fiancé, in search of a trove of Jane’s letters. Dodging her hostess and a meddlesome housemaid, Cassandra eventually hunts down the letters and confronts the secrets they hold, secrets not only about Jane but about Cassandra herself. Will Cassandra bare the most private details of her life to the world, or commit her sister’s legacy to the flames?Moving back and forth between the vicarage and Cassandra’s vibrant memories of her years with Jane, interwoven with Jane’s brilliantly reimagined lost letters, Miss Austen is the untold story of the most important person in Jane’s life. With extraordinary empathy, emotional complexity, and wit, Gill Hornby finally gives Cassandra her due, bringing to life a woman as captivating as any Austen heroine.

    Written later, and probably abandoned after her father's death, The Watsons is a tantalizing and highly delightful story whose vitality and optimism centre on the marital prospects of the Watson sisters in a small provincial town. Sanditon, Jane Austen's last fiction, is set in a seaside town and its themes concern the new speculative consumer society and foreshadow the great social upheavals of the Industrial Revolution.

    On the Lower East Side, two boys playing at a pier discover a floating human torso wrapped tightly in oilcloth. Blueberry pickers near Harlem stumble upon neatly severed limbs in an overgrown ditch. Clues to a horrifying crime are turning up all over New York, but the police are baffled: There are no witnesses, no motives, no suspects.The grisly finds that began on the afternoon of June 26, 1897, plunged detectives headlong into the era's most baffling murder mystery. Seized upon by battling media moguls Joseph Pulitzer and William Randolph Hearst, the case became a publicity circus. Reenactments of the murder were staged in Times Square, armed reporters lurked in the streets of Hell's Kitchen in pursuit of suspects, and an unlikely trio — a hard-luck cop, a cub reporter, and an eccentric professor — all raced to solve the crime.What emerged was a sensational love triangle and an even more sensational trial: an unprecedented capital case hinging on circumstantial evidence around a victim whom the police couldn't identify with certainty, and who the defense claimed wasn't even dead. The Murder of the Century is a rollicking tale — a rich evocation of America during the Gilded Age and a colorful re-creation of the tabloid wars that have dominated media to this day.

    At the center of almost every social situation in her novels one finds tea. In Emma, does Miss Bates drink coffee? Of course not: "No coffee, I thank you, for me never take coffee. A little tea if you please." In Pride and Prejudice, what is one of the supreme honors Mr. Collins can envision Lady Catherine bestowing on Elizabeth Bennet and her friends? Why, drinking tea with her, naturally.Tea with Jane Austen begins with tea drinking in the morning and ends with tea in the evening, at balls and other gatherings. Each chapter includes a description of how tea was taken at a particular place or time of day, along with history, recipes, excerpts from Austen's novels and letters and illustrations from the time.

    Starting with easy, factual questions that test how well you remember a novel and its characters, the quiz progresses to a level of greater difficulty, demanding close reading and interpretative deduction. What really motivates the characters, and what is going on beneath the surface of the story? Designed to amuse and divert, the questions and answers take the reader on an imaginative journey into the world of Jane Austen, where hypothesis and speculation produce fascinating and unexpected insights. The questions are ingenious and fun, and the answers (located in the back of the book), in Sutherland's inimitable style, are fascinating. Completing the book guarantees a hugely improved knowledge and appreciation of Austen. Whether you are an expert or enthusiast, So You Think You Know Jane Austen? guarantees you will know her much better after reading it.

    Incorporating sources from history, literature, magazines, and cinema, as well as her own witty anecdotes, Smith has created an engaging, informative guide to modern style.