Dress

The Journal of the Costume Society of America

ISSN: 0361-2112 (Print) 2042-1729 (Online) Journal homepage: http://www.tandfonline.com/loi/ydre20

Reviews

To cite this article: (2015) Reviews, Dress, 41:2, 152-160

To link to this article: http://dx.doi.org/10.1080/03612112.2015.1130399

Published online: 20 Jan 2016.

Submit your article to this journal

Article views: 34

View related articles

View Crossmark data

Full Terms & Conditions of access and use can be found at

http://www.tandfonline.com/action/journalInformation?journalCode=ydre20

Download by: [University of Western Ontario] Date: 29 March 2016, At: 22:33
 152
Exhibiting Fashion:
Before and After 1971
Downloaded by [University of Western Ontario] at 22:33 29 March 2016
Judith Clark and Amy De La Haye
with Jeffrey Horsley
New Haven: Yale University Press, 2014
A quick browsing through the pages of
Exhibiting Fashion: Before and After 1971
will instantly capture anyone interested in
fashion and particularly those enamored by
the fascinating world of museum fashion
exhibitions. The book rightly reflects the
field of fashion curating as vibrant, visually
impactful, and thrilling. The text itself is rich
and offers the in-depth analysis that can be
expected from scholars of Amy de la Haye’s
and Judith Clark’s caliber. The book properly
acknowledges 1971 as a seminal year in
the history of fashion at museums marked
by Cecil Beaton’s famed exhibit Fashion: An
Anthology at the Victoria and Albert Museum
(V&A) in London, England. Fashion: An
Anthology heralded the rise of fashion and
dress as museum artifacts.
The authors explain that the book is
the result of years of conversation about
fashion curation while they were both pro-
fessors at the London College of Fashion.
Documenting and analyzing Beaton’s exhibit
from two somewhat different points of view
makes the final product richly engaging and
reflects the dialogue between the two schol-
ars. De la Haye reviews the exhibit following
traditional historiography and museology
approaches—examining documents, context,
objects, and so on—while Clark (known
for her experimental approach to fashion
curation) engages the exhibit by looking at
details that are usually ignored but become
in her analysis as relevant as some of the
most discussed aspects of the exhibit. The
book thus becomes a valuable document
© Costume Society of America 2015 DOI 10.1179/0361211215Z.00000000045
on how to approach the analysis of fashion
curatorial practices as well as a solid chron-
icle of a definitive moment when museums
began to fully embrace fashion as a worthy
museum object.
Exhibiting Fashion is divided into five
chapters, the first three by De La Haye.
In chapter 1, she covers the exhibition
of fashion in museums before 1971,
incorporating several case studies for
exhibitions and for curatorial practices.
Chapters 2 and 3 are devoted to Beaton’s
exhibit. In chapter 4, titled “28 Aspects,”
Judith Clark offers her analysis of Fashion:
An Anthology. The final chapter in the book
provides an inventory of fashion exhibitions
since 1971 as compiled by Jeffrey Horsley.
Reading the immensely informative and
entertaining chapters in the book, the reader
clearly understands the significance of
Beaton’s work on exhibit design, installation,
garment selection and presentation, and
several other aspects of fashion exhibition.
However, one is left thirsty for connections
that are more specific between Beaton’s
exhibit and the work that has followed.
In the first chapter, De la Haye
discusses the work of pioneer fashion
scholars and briefly traces the beginning
of the V&A’s fashion collection. Here the
reader realizes that the book’s title should
have mentioned—at least in the form of
a subtitle—that the discussion centers
almost exclusively on the development of
fashion exhibitions in England, with great
emphasis on the V&A’s impact on the field

and the perspectives provided by looking
in detail at Beaton’s 1971 exhibit. We find
little information about the development
of the fashion curation field in the rest of
Downloaded by [University of Western Ontario] at 22:33 29 March 2016
the world, with only sporadic mentions to
similar developments at Palais du Costume
in the Paris Exposition Universelle of 1900
and New York’s Metropolitan Museum of
Art.
The emphasis in chapter 1, then, is on
setting up the background for Beaton’s 1971
exhibit. We learn that the only previous
showcase of contemporary dress at the V&A
was the 1946 show Britain Can Make It.
We also learn that museum administrators
were hesitant about collecting contemporary
pieces or giving much importance to fashion,
and we are told about the appointment of
the V&A’s first dress curator—Madeleine
Ginsburg—in the 1950s. Four case studies
complete the chapter. The section on Britain
Can Make It includes a floor plan and black-
and-white photographs of the exhibition, a
significant contribution of primary sources
to the field. The second case study examines
the work of James Laver, a writer on the
history of dress particularly interested in
the social and cultural context of fashion.
Another case study focuses on Doris Langley
Moore, a collector who was instrumental
in establishing fashion collections in the
United Kingdom. The final case study is on
Anne Buck’s curatorial work, her writings,
and her work with the C. Willet Cunnington
collection of historic dress. These case
studies illustrate prevalent practices before
1971, including approaches to the use of
mannequins, the development of texts
associated with exhibits, and the way
artifacts were framed in historic and cultural
context with documentation emphasizing
chronology and archival information.
In chapter 2, De la Haye narrates Beaton’s
life, including childhood passions—the way
he presented himself as a dandy and an
Reviews 153
aesthete, as well as his professional career
as a costume designer for theater and film,
as a designer for fancy dress, and, more
importantly, as a professional photographer.
The assumption here is Beaton’s lifestyle and
interest as a collector of clothing pieces from
style leaders at least partially determined his
approach to curating the exhibit. The chapter
provides very detailed background infor-
mation about Beaton’s famous exhibit. It
describes the genesis of the concept and how
Beaton collected, installed, accessorized, and
displayed the objects. De La Haye explains
that the V&A’s administration insisted on
not emphasizing who wore the clothes and
wanted instead to highlight value in design
and materials for the garments on display.
This approach to fashion as a museum-
worthy artifact exclusively due to design ele-
ments has since dissipated into a myriad of
approaches to the significance and meaning
of fashion at museums, which often down-
play either provenance or design elements.
Chapter 3 provides a gratifyingly detailed
record of the exhibition with a number of
installation shots—many never published
before—that in themselves represent an
important resource for students of fashion,
fashion history, and fashion curation.
The photographs offer great detail on
Beaton’s exhibition themes such as the Dior
boutique, the display of Elsa Schiaparelli
and Surrealism in the 1930s, Space Age, and
sections on designers such as Mainbocher,
Givenchy, and Balenciaga.
The fourth chapter, titled “28 Aspects,”
is Judith Clark’s main contribution to
the book. She writes 28 concise sections
describing aspects of Beaton’s exhibit that
allow her to analyze the exhibit and show
how it became so influential and resonant.
These aspects range from curatorial practices
such as the work of Michael Haynes—a
well-known store window merchandiser
who designed most of the exhibit—to more
 154 Exhibiting Fashion
abstract notions, such as how time factors
into the exhibit’s nature as a temporary
event that also signals permanent ownership
of the objects by the museum. She shows
Downloaded by [University of Western Ontario] at 22:33 29 March 2016
that Beaton’s work, albeit usually interpreted
as an object-based approach, can easily be
considered as conceptual.
Clark’s work in this section is enriched
by her open dialogue with the exhibition via
interviews, letters, and any other primary
sources she could use to go beyond the
surface of Fashion: An Anthology. In that
sense, no “aspect” is too simple or small.
They all reveal some intriguing complexity:
the selection of wigs, the painted backdrops,
the props, the set design, the rotating
platforms. Take, for instance, Clark’s
discussion on the complexities of distance—
or perhaps, precisely, the proxemics—
between visitors and three-dimensional
garments on display. It is nuanced analysis;
archival research such as this makes the
book essential and a milestone in the
context of scholarship about the display of
fashion in museums and galleries.
It is unfortunate that the book is
designed to set off these pages from the
rest of the work. The pages are light pink
with hard-to-read pink lettering, as if Clark’s
novel approach to exhibit analysis needed
additional indications that it was different
from what De la Haye did in previous
chapters. There is no need for this and it
merely makes the pages hard to read.
Exhibiting Fashion: Before and After 1971
is a much-needed resource for students,
museum professionals, and curators, not
only those in the field of fashion curation,
but for anyone who wants to understand
the complexities of displaying clothes at a
museum. As fashion exhibitions proliferate,
curators explore new ways to attract visitors
and continue challenging notions of what
a fashion exhibit is supposed to be. This
book comes at the perfect time to remind
us that exhibiting fashion at museums was
from early on a very daring and experimen-
tal endeavor. While this contribution to the
field centers almost exclusively in England,
curatorial work of high quality is happen-
ing around the world. Another recently
published title, Fashion and Museums:
Theory and Practice, edited by Marie Riegels
Melchior and Birgitta Svensson (Bloomsbury,
2014) presents a number of important
case studies and theoretical documents
from Scandinavian countries, for instance.
Publications in this somewhat nascent
field of fashion museology are crucial to
advancing discussion on how meaning is
displayed and created through dress exhibi-
tions and their relevance in the creation and
renovation of museum spaces that are more
inclusive of diverse artifacts and diverse
populations.
José Blanco F.
Associate Professor, Dominican University
River Forest, IL, USA

Fashion Prints in the Age of
Louis XIV: Interpreting the
Art of Elegance
Downloaded by [University of Western Ontario] at 22:33 29 March 2016
Edited by Kathryn Norberg and Sandra L. Rosenbaum
Costume Society of America series, Lubbock: Texas Tech University Press, 2014
In 2002, the Doris Stein Research Center
in the department of costume and textiles
at the Los Angeles County Museum of Art
(LACMA) acquired an extraordinary group of
fashion plates dating from the latter part of
the seventeenth century. Bound into a single
volume in 1703–1704, the Recueil des modes
de la cour de France (a collection of fashions
at the French court), contains prints from
the ateliers of several engravers working
in Paris at the time. Its 190 hand-colored
prints—twenty-nine of which are illus-
trated in color in this publication—inspired
an exhibition, Images of Fashion from the
Court of Louis XIV, organized by the depart-
ment of costume and textiles at LACMA,
and two conferences.1 The first conference,
“Seventeenth-Century Textiles and Dress,”
was the subject of the LACMA triennial
R.L. Shep Symposium in April 2005. The
second, “Fashion in the Age of Louis XIV,”
co-sponsored by UCLA, was held in June
of the same year. As stated in the book’s
acknowledgements, the success of these
events inspired the publication.
And inspired it is. This volume seeks
to answer a multitude of questions
about seventeenth-century fashion
prints. Scholars have not agreed on their
function, interpretation, intended audience,
relationship to actual garments or to the
society that produced them. For the first
time, this book brings together historians
of early modern France, fashion theorists,
historic dress specialists, theater costumers,
Reviews 155
performers, curators, and conservators to 1 The entire collection is available on
the LACMA website: http://
examine the LACMA Recueil and related collections.lacma.org/search/site/Rec
prints from multiple perspectives. The book ueil%2520des%2520modes?f%5B0%5
D=bm_field_has_image%3Atrue.
is organized into three sections: “Part 1:
The Fashion Print” (chapters 1–4); “Part 2:
Contextualizing the Fashion Print” (chapters
5–8); and “Part 3: The Fashion Print as a
Historical Resource” (chapters 9–14).
In chapter 1, “The Fashion Print: An
Ambiguous Object,” Françoise Tétart-Vittu
delineates the background and multiva-
lent functions of late-seventeenth-century
French fashion plates. They glorified the
king; informed those among the wealthy
who wanted to be fashionable (but were not
in full-time attendance at the royal court);
generated business for many of the fashion
trades not permitted by the guilds to adver-
tise; circulated to other European cities, such
as Leipzig and Amsterdam, where relatives of
the Paris engravers made copies for the local
market; and even traveled to India and China
as embroidery and other design guides.
The remaining chapters in this section,
“Fashioning Fashionability” by Kathleen
Nicholson, “The Cris de Paris in the LACMA
Recueil des Modes” by Paula Rea Radisich, and
“Fashions in Prints: Considering the Recueil
des modes as an Album of Prints” by Marcia
Reed, are equally interesting, presenting
alternative interpretations and analyzing
the prints in relationship to similar plates in
other collections.
William Ray begins part 2 with chapter 5,
“Fashion as Concept and Ethic in
 156
2 The Siamese mission created a
sensation at court; everywhere they
went from their arrival at the port of
Brest to the palace at Versailles, they
drew huge crowds. Michael Gosling,
“The First Thai Ambassadors in Louis
XIV’s France,” mentions that the
Downloaded by [University of Western Ontario] at 22:33 29 March 2016
Mercure galant “published several
special volumes devoted to the
Siamese visitors.” http://www.ealrga.
org.au/newsletter1407/1407_gosling_
1.html, accessed January 12, 2015.
Fashion Prints in the Age of Louis XIV
Seventeenth-Century France.” It provides
a cogent argument for understanding the
prints collected in the Recueil as expres-
sions of the French obsession with fashion
(in everything and in its broadest meaning)
extending far beyond the court.
“The Fashion Run Seen from Backstage:
Saint-Simon’s Memoirs of Louis XIV’s Court”
by Malina Stefanovska, and “Louis XIV: King
of Fashion” by Kathryn Norberg, chapters 6
and 7, respectively, look critically at what
we know of actual fashions at the court of
Louis XIV and the king’s own attire. Norberg
defines the seventeenth-century notion of
fashion as “change for change’s sake,” extend-
ing far beyond clothing (157–159). The two
chapters show that the ruler’s fashion edicts
were often ignored and that he was some-
times quite “unfashionable” himself.
The final chapter in part 2, “Oriental
Connections: Merchant Adventurers and the
Transmission of Cultural Concepts” by Mary
Schoeser, discusses the internationalism of
seventeenth-century French (and European)
fashion as seen in the prints. Persia, Turkey,
Mughal India, and even Siam (as the
result of a diplomatic visit by the Siamese
ambassador Kosa Pan to the court of Louis
XIV from June 1686 to March 1687)2
were all sources of fashion inspiration and
adaptation.
Chapter 9, “The LACMA Recueil des
Modes,” authored by Sandra L. Rosenbaum,
begins part 3. She neatly summarizes the
fashionable information in the images for
both contemporary viewers and modern
historians. This is followed by chapter 10,
“Fashion Illustration from the Reign of
Louis XIV: A Technical Study of the Paper
and Colorants Used in the LACMA Recueil
des Modes,” by Soko Furuhata, which details
the analysis and discoveries that allowed
precise dating of the binding of the prints.
In chapter 11, “Performing Fashion,” Michael
Hackett suggests that the “cris de Paris”
(the tradesmen and women of the streets
of Paris who called out their wares) who
were depicted in the Recueil may in fact
be “members of the court playing them”
rather than literal representations of the
practitioners of those trades (218). Such
play acting was very popular at Versailles;
certainly, the “fashionable poses” of the
tradespersons in the Recueil were taken from
dance positions.
Emma Lewis Thomas in chapter 12,
“Recreating an Entrée, a Minuet, and a
Chanconne,” writes about Susan Gladstone
choreographing a performance of period
dance, which was so essential to the French
court and to an understanding of the fash-
ionable poses in the Recueil, at the second
symposium held at the William Andrews
Clark Library in Los Angeles. Maxwell Barr,
author of chapter 13, “Recreating a Grand
Habit,” details the challenges and rewards
of recreating a grand habit from the Recueil
as accurately as possible in the Costume
Shop at UCLA’s School of Theater, Film and
Television.
The fourteenth and final chapter, “A
Seventeenth-Century Gown Rediscovered:
Work in Progress,” by Catherine McLean,
Sandra L. Rosenbaum, and Susan Renate
Schmalz, describes the extensive analysis and
reconfiguration of a late-seventeenth-century
mantua over a ten-year period. The costume
and textile department of LACMA purchased
the stunning blue silk gown in 1988, but it
had been heavily altered in the 1840s.
A note about the illustrations: there
are a total of 32 color plates, 29 of which
are from the LACMA Recueil, as noted
above. The remaining three show one of
the authors wearing a recreation of a grand
habit, the layers of a grand habit, and an
installation of LACMA’s mantua. In addi-
tion, there are 88 black-and-white images of

other fashion prints of the period and a few
Recueil plates as comparative illustrations.
Unfortunately, no doubt to control costs
(the book is quite reasonably priced) the
Downloaded by [University of Western Ontario] at 22:33 29 March 2016
quality of the paper renders the black-and-
white images too muddy to see the kind
of detail certainly this reader would have
liked. The color plates, ganged together
(again to save cost) and on coated stock,
fair somewhat better—but still the reader
should also view them on LACMA’s website
to really appreciate them. One is also likely
to find many of the comparatives on the
websites of the repositories of the originals.
Fashion Prints in the Age of Louis XIV:
Interpreting the Art of Elegance is a “must-
read” for students, professional fashion
Reviews 157
historians and curators, designers, conser-
vators, historic interpreters, as well as for
those interested in fashion theory, social
history, visual history, French court culture,
or the history of popular printing in Europe.
In short, this is an important addition to
the literature. The book is essential reading
for anyone who has used a fashion plate to
understand virtually any aspect of European
history—fashion and otherwise—or is
thinking of doing so.
Dale Carolyn Gluckman
Independent Curator and Senior Consultant
Queen Sirikit Museum of Textiles, Bangkok,
Thailand
Los Angeles, CA, USA
 158 Wiener Chic
Wiener Chic: A Locational
History of Vienna Fashion
Downloaded by [University of Western Ontario] at 22:33 29 March 2016
Susan Ingram and Markus Reisenleitner
Chicago: University of Chicago Press, 2013
Wiener Chic: A Locational History of Vienna
Fashion is a multifaceted study that analyzes
the way Vienna’s urban imagery has taken
shape through discussions of indicative
cultural phenomena. In part 1, the authors
break down the urban image into four cat-
egories with chapters devoted to “Baroque
Chic,” “Ringstrasse Chic,” “Prolo Chic,” and
“Aüslander Chic.” Vienna’s historic identity
and global image evolved from a long his-
tory of imperialism losing out to moder-
nity, as demonstrated by the backstory of
Baroque and Ringstrasse chics. Prolo Chic
and Aüslander Chic both played a part in and
were the results of this change. Part 2 of the
book examines the impact fashion has had
on the city in creating and maintaining a
fashion system that includes Viennese fash-
ion designers and institutions that display
fashion and have fashion programming. Here
the reader is introduced to “Museum Chic”
and “Designer Chic.” Authors Susan Ingram
and Markus Reisenleitner use films from the
1990s to illustrate the ethos, architecture,
and history of Vienna fashion. As used by
the authors in the book, “fashion” does not
simply refer to dress or clothing, but is used
as a metonym for “modernity.”
The chapter on “Baroque Chic” discusses
how Vienna’s global imagery is shaped by
the aristocratic grandeur that is part of its
history. “The Hapsburgs legacy permeated
Viennese society through pomp and theat-
ricality of their absolute monarchy,” which
gave rise to the grandeur of its architecture
(31). The 1995 film Before Sunrise depicts
the artistry and focus of old baroque in
Vienna. In it, American director Richard
Linklater gives us a sample of ways in which
romantic Vienna is depicted in film. The
romanticism that the monarchy integrated
into the city gave way to an emerging class
of performing artists who along with mass
media brought new innovations to Vienna
and the beginning of modern fashion.
“Ringstrasse Chic” examines the change
of the city’s social landscape from the pomp
and circumstance of the aristocracy through
the growth of the emerging bourgeoisie. The
Viennese had a fanaticism for the art of the
theater and its artists became models of
social mobility in imperial Vienna. The new
culture of celebrity brought on by the status
of actors caused Vienna’s leaders to realize
they had to compete for the recognition that
they had taken for granted. The writers use
the 1999 film Eyes Wide Shut to demonstrate
how director Stanley Kubrick sees through
Vienna’s turn-of-the-century, high-culture,
celebrity-powered spectacle and shows what
its consequences were. The film also sheds
light on the forms that continue to emulate
that superficial imagery
The third chapter, “Prolo Chic,” discusses
the individuals who would rise up and
embrace the local struggle for the Viennese
working class. This is the only chapter
in part 1 where fashion or style in body
adornment is mentioned. Prolo Chic was
generated by a fictional character created
by playwright and novelist Gunter Brödl
and musician Willi Resetarits. Resetarits,
a member of the socio political band the
Smetterlinge, played a socio-political style of

music called “Favorit’n’Blues”—rock and roll
hits translated into the dialect of Favoriten, a
working-class neighborhood. In 1983, Brödl
created Ostbahn Kurti (who was portrayed
Downloaded by [University of Western Ontario] at 22:33 29 March 2016
by Resetartis) and his band, Chefpartie. With
“Resetarits in his Wayfarers, well-patinated
leather jacket, and slicked back hair acting
nonchalantly cool, the band created their
own scene” (69).
An updated Miami Vice-like version of
this style appears in the 1997 Ostbahn Kurti
film, Blutrausch or A Vienna Murder Mystery.
The film depicted Ostbahn Kurti as a
working-class Viennese detective and would
soon give way to a television police series
SOKO/Donau. The style of ratty leather
jackets, longish retro-styled hair, stubble, and
aviator sunglasses is an updated version of
Ostbahn Kurti adopted by the characters in
SOKO/Donau. The series depicts Vienna as
a city that “has successfully dispensed with
the nostalgic longing for a single simple past
while showing the resilience of a proletarian
ethos with a history of being able to deal
with the fallout of capitalism” (78).
“Aüslander Chic” is a nod to the history
and acclimation of Vienna’s migrant
population and its contribution to the
image of this city. After World War II,
Viennese immigration increased due to
displaced persons. When the Iron Curtain
was lifted, the toppling of the Ceausescu
regime in Romania and the Balkan wars
in the 1990s saw an even bigger surge of
immigrants, unfairly called refugees. Tereza
Barta, a Romanian, made a film about the
deplorable conditions of Traiskirchen refugee
camp located south of Vienna. The 1990s
documentary Mit Ihren Augen (Through Their/
Your Eyes) was made “to explain to Austrian
viewers how Austria appeared to someone
in her position and how dehumanizing
it was to be forced into the category of
refugee” (85). I Love Vienna (1991), a
film by Hoachang Allahyari, depicts with
Reviews 159
sensitivity to the shifting challenges that
people with migratory backgrounds face. The
first generation experienced exclusion and
isolation; the next would not be victimized.
They grew up in Vienna and realized their
contribution as a part of the urban city and
“they were able to establish themselves in it”
(88).
In part 2, the chapter called “Museum
Chic” examines three museums that
imprint fashion on the city’s image: the
Wein Museum, the Austrian Museum
of Applied Arts Vienna (MAK), and the
Museumquartiers (MQ). The writers show
how these institutions “have a history of
displaying fashion and include fashion
related activities in their programming”
(111). Vienna had one of the largest textile
industries in the nineteenth century. The
history and the missions of these museums
illustrate how the cultural infrastructure in
Vienna supports fashion and textile, and
how these museums have refocused and
embraced modernity not in an international
mode but a local one.
“Designer Chic” is dedicated to Viennese
fashion designers and their standard of
simplicity, timelessness, and good quality.
The Viennese fashion designers think about
the future and sustainability, refusing to
give in to corporations and mass production
that contribute to the waste of fast fashion.
Helmut Lang is Vienna’s greatest internation-
ally known fashion designer turned artist.
His “minimalist” fashions were a breath of
fresh air to the over-opulence of the 1980s
fashion design. Lang gave into the pressure
of corporatization and sold his label to Prada
in 2004, but he continued to show his dis-
satisfaction with corporate fashion through
art. He now resides in Long Island, and his
art exhibits utilize wood, screen-like reflec-
tive substances, and 6,000 of his garments
shredded and repurposed to make a sculp-
ture called “Make It Hard.” The authors state
 160 Wiener Chic
that internationally known designers Anna
Aichinger, Christiane Gruber, and Maria
Steiner contribute to the idea of elegant,
understated Viennese style in the spirit of
Downloaded by [University of Western Ontario] at 22:33 29 March 2016
Lang’s minimalism. These designers also
“renounce a global fashion system that has
increasingly become dominated by a handful
of corporate players. …The new millennium
of fashion designers embrace local arts and
crafts traditions, the collective ethos of the
proletariat outskirts—no longer unruly but
definitely very specific in both its aesthetics
and its aspirations” (171).
In their conclusion, the authors remark
that “what became apparent in our investi-
gations is that Vienna’s urban imaginary is
so intimately linked to its historical legacy
that its fashion system’s inherently modern,
change-oriented dynamic is constantly forced
to define itself in relation to its past” (175).
The book is not addressed solely to fash-
ion as related to clothing; it also discusses
the structures, both physical and social,
that make up Vienna’s local and historical
image. These topics are examined at length
as an explanation of why fashion in Vienna
deserves to be recognized, compete globally,
and be examined. Anyone who is interested
in Viennese culture and design will benefit
from the history of the city that the book
introduces. The book adds to a growing
number of books that discuss fashion sys-
tems in other cities besides, Paris, London,
New York. It is a look at another city that
has fashion system and internationally
known fashion designers who embrace parts
of the ethoses of the chics as explained by
the authors.
K.J. Gilmer
Costume Design Lecturer, University of
Pittsburgh
Pittsburgh, PA, USA