Dressing Global Bodies addresses the complex politics of dress and fashion from a global perspective spanning four centuries, tying the early global to more contemporary times, to reveal clothing practice as a key cultural phenomenon and mechanism of defining one’s identity. This collection of essays explores how garments reflect the hierarchies of value, collective and personal inclinations, religious norms and conversions. Apparel is now recognized for its seminal role in global, colonial and post-colonial engagements and for its role in personal and collective expression. Patterns of exchange and commerce are discussed by contributing authors to analyse powerful and diverse colonial and postcolonial practices. This volume rejects assumptions surrounding a purportedly all-powerful Western metropolitan fashion system and instead aims to emphasize how diverse populations seized agency through the fashioning of dress. Dressing Global Bodies contributes to a growing scholarship considering gender and race, place and politics through the close critical analysis of dress and fashion; it is an indispensable volume for students of history and especially those interested in fashion, textiles, material culture and the body across a wide time frame.

An Su is the noble daughter of the Lord Protector. When the country was in a dangerous position, she stepped out to protect her country. She toke 'An so' as her fake name then she attended the army. By virtue of the outstanding military skill, she always won when leading the army. On the war zone,she met Xiao Ye. She was attracted by Xiao Ye's performance on the battlefield. They made an appointment that she is going to let her "sister" An Su marry him. At the end of the war, An Su pretended to die and left the battlefield so that she could go back to the city and marry Xiao Ye. However, what's unexpected, her legs were cut off and her face was peeled off by Xiao Ye's subordinate on the way back to the city. What's even worse, she got the message that her whole family were killed. Out of desperation, she committed suicide.In the next life, she is going to make him pay for his life.☆About the Author☆Feng Qing is a famous female online novelist. She is good at writing revenge novels and she has written three works. She is a creative novelist and her works are amazing. Her writing is mature, especially for Red Dresses Overwhelming the World,what makes her famous and popular.

Everything around us is designed and the word 'design' has become part of our everyday experience. But how much do we know about it? Fifty Dresses That Changed the World imparts that knowledge listing the top 50 dresses that have made a substantial impact in the world of British design today. From the 1915 Delphos Pleated dress to Hussein Chalayan's 2007 LED dress, each entry offers a short appraisal to explore what has made their iconic status and the designers that give them a special place in design history.

This book seeks to address and fill a puzzling omission in contemporary critical IR scholarship. Following on from the aesthetic turn in IR, critical and ‘postmodern’ IR has produced an impressive array of studies into movies, literature, music and art and the way these media produce, mediate, and represent international politics. By contrast, the proponents of the aesthetic turn have overlooked fashion as a source of knowledge about global politics. Yet stories about the political role of fashion abound in the news media. Margaret Thatcher used dress to define her political image, and more recently the fascination with Michelle Obama, Carla Bruni and other women in similar positions, and the discussions about the appropriateness of their wardrobes, regularly makes the news. In Sudan, a female writer and activist successfully challenged the government over her right to wear trousers in public and in Europe, the debate on women’s headscarves has politicised a garment item and turned it into a symbol of fundamentalism and oppression. In response, the contributors to this book investigate the politics of fashion from a variety of perspectives, addressing theoretical as well as empirical issues, establishing the critical study of fashion and its protagonists as a central contribution to the aesthetic turn in international politics. The politics of fashion go beyond these examples of the uses and abuses of textiles and fabrics for political purposes, extending into its very ‘grammar’ and vocabulary. This book will be a unique contribution to the field and will be of interest to students and scholars of international relations, critical IR theory and popular culture and world politics.

A new look for Austerity...The coldest winter on record, rationing, successive economic crises, bombed out towns and cities; with some justification 'Austerity Britain' in the late 1940s is coloured in the popular imagination in tones of drab. Dressing for Austerity shines a light on alternative visions of post-war optimism and aspiration. It traces how, set against the Labour government's philosophy of 'Austerity by design' in a climate of post-war idealism, the desire for affordable fashionable clothing, access to leisure, and the health, time and money to enjoy them became totemic symbols of post-war ambition that impelled new strategies of state control and consumer agency. The book examines the immediate post-war period - its politics, its fashions and its people - in new ways and on its own terms as a critical tipping point in the making of modern Britain.

This ambitious work is a multimedia, interdisciplinary study of Chinese modernity in the context of globalization from the late nineteenth century to the present. Sheldon Lu draws on Chinese literature, film, art, photography, and video to broadly map the emergence of modern China in relation to the capitalist world-system in the economic, social, and political realms. Central to his study is the investigation of biopower and body politics, namely, the experience of globalization on a personal level. Lu first outlines the trajectory of the body in modern Chinese literature by focusing on the adventures, pleasures, and sufferings of the male (and female) body in the writings of selected authors. He then turns to avant-garde and performance art, tackling the physical self more directly through a consideration of work that takes the body as its very theme, material, and medium. In an exploration of mass visual culture, Lu analyzes artistic reactions to the multiple, uneven effects of globalization and modernization on both the physical landscape of China and the interior psyche of its citizens. This is followed by an inquiry into contemporary Chinese urban space in popular cinema and experimental photography and art. Examples are offered that capture the daily lives of contemporary Chinese as they struggle to make the transition from the vanishing space of the socialist lifestyle to the new capitalist economy of commodities. Lu reexamines the history and implications of China’s belated integration into the capitalist world system before closing with a postscript that traces the genealogy of the term "postsocialism" and points to the real relevance of the idea for the investigation of everyday life in China in the twenty-first century.