Эйда Кэлхун - Библия моды
Steele, Valerie, ed. The Berg Companion to Fashion. Oxford: Berg, 2010.
__________. Encyclopedia of Clothing and Fashion. Vol. 2: Fads to Nylon. Farmington Hills, MI: Thompson Gale, 2005.
__________. Fifty Years of Fashion: New Look to Now. New Haven: Yale University Press, 1997.
__________. The Impossible Collection of Fashion. New York: Assouline, 2011.
Stegemeyer, Anne. Who’s Who in Fashion. New York: Fairchild Publications, 1988.
Sullivan, James. Jeans: A Cultural History of an American Icon. New York: Gotham Books, 2006.
Tatar, Steven, with Denise Grollmus. The Ohio Knitting Mills Knitting Book: 26 Patterns Celebrating Four Decades of American Sweater Style. New York: Artisan, 2010.
Tétart-Vittu, Françoise. Auguste Racinet: The Complete Costume History. Cologne: Taschen, 2006.
Theaker, Julie. “History 101.” Knitty.com (Spring 2006), http://knitty.com/ISSUEspring06/FEAThistory101.html.
Thesander, Marianne. The Feminine Ideal. Translated by Nicholas Hills. London: Reaktion Books, 1997.
Thomas, Inigo. “Just Dandy: The Enduring Mystique of the White Suit.” Slate.com (May 25, 2005), http://img.slate.com/id/2119498/.
Thompson, Gladys. Patterns for Guernseys, Jerseys, and Arans: Fishermen’s Sweaters from the British Isles. New York: Dover, 1979.
Thurman, Judith. “Closet Encounters: Charting the Rise of the Fashionable American Woman.” The New Yorker (May 10, 2010), www.newyorker.com/arts/critics/artworld/2010/05/10/100510craw_artworld_thurman.
Time. “Fashion: The American Look.” Time (May 2, 1955).
Tonello, Michael. Bringing Home the Birkin: My Life in Hot Pursuit of the World’s Most Coveted Handbag. New York: William Morrow, 2008.
Tortora, Phyllis G., and Robert S. Merkel, eds. Fairchild’s Dictionary of Textiles, 7th ed. New York: Fairchild Publications, 1996.
Tosa, Marco. Evening Dresses 1900–1940. Translated by Carolyn Cotchett. The Twentieth Century: Histories of Fashion. Modena, Italy: Zanfi Editori, 1988.
Trebay, Guy. “American Fashion’s Coming-Out in Paris.” The New York Times: Thursday Styles (January 12, 2011), www.nytimes.com/2011/01/13/fashion/13Costume.html?src=twt&twt=nytimesstyle.
Vaughan, Hal. Sleeping with the Enemy: Coco Chanel’s Secret War. New York: Knopf, 2011.
Vinken, Barbara. Fashion Zeitgeist: Trends and Cycles in the Fashion System. Translated by Mark Hewson. Oxford: Berg, 2005.
Vreeland, Diana. D.V. Edited by George Plimpton and Christopher Hemphil. 1984. Reprinted with a new foreword by Mary Louise Wilson. New York: Da Capo Press, 1997.
Weibel, Adèle Coulin. Two Thousand Years of Textiles: The Figured Textiles of Europe and the Near East. New York: Pantheon Books, 1952.
Weldon Owen. Style Yourself: Inspired Advice from the World’s Top Fashion Bloggers. Foreword by Jane Aldridge. San Francisco: Weldon Owen, 2011.
Welters, Linda, and Patricia A. Cunningham, eds. Twentieth-Century American Fashion. Oxford: Berg, 2005.
Werle, Simone. 50 Fashion Designers You Should Know. Munich: Prestel, 2010.
Willett, C., and Phillis Cunnington. The History of Underclothes. 1951. Reprinted with revisions by A. D. Mansfield and Valerie Mansfield. London: Faber and Faber, 1981.
Williams, Beryl. Fashion Is Our Business. Philadelphia: J. B. Lippincott, 1945.
__________ . Young Faces in Fashion. Philadelphia: J. B. Lippincott, 1956.
Yohannan, Kohle, and Nancy Nolf. Claire McCardell: Redefining Modernism. Foreword by Dorothy Twining Globus. Introduction by Valerie Steele. New York: Harry N. Abrams, 1998.
We love museums, and went to several fashion exhibits that were especially inspiring:
American Woman: Fashioning a National Identity. New York: Metropolitan Museum of Art. Visited August 2010.
Cleopatra: The Search for the Last Queen of Egypt. Philadelphia: Franklin Institute. Visited December 2010.
Illuminating Fashion. New York: Pierpont Morgan Library. Visited June 2011.
The Master of Blue Jeans. New York: Didier Aaron Gallery. Visited January 2011.
Savage Beauty: Alexander McQueen. New York: Metropolitan Museum of Art. Visited July 2011.
Sporting Life. New York: the Museum at FIT. Visited August 2011.
Благодарности
За профессиональную помощь и за то, что вы такие замечательные: Питеру Стейнбергу, Марше Тонкинс и Джонатану Суодену. За то, что превратили процесс издания в радость: всем в «Гэллери Букс», включая Луиз Берк; Йену Бергстрому; Йену Робинсону; Джин Энн Роуз; Алексу Льюису; Лизе Литуок; Крису Серджио; Джейме Путорти; Крису Тобиассену; и в особенности нашему великолепному редактору Тришну Бочковскому; а также Грегу Кирмсеру за безупречный поиск фотоматериалов. За интенсивный курс по истории моды: всем в Нью-Йоркской публичной библиотеке, в особенности Клейтону Киркингу и Джею Барксдейлу. В Вертхаймском зале библиотеки было очень приятно работать, даже когда на меня шикали за то, что шептался. Особую благодарность я хочу выразить всем специалистам по части моды и авторам, с которыми мы советовались лично или чьи работы читали.
Иллюстрации
Marie Antoinette by Elisabeth Vigee-Lebrun (1779)/Palace of Versailles; Apeda Studio, NYPL, isadora_0011vb; Everett Collection; PP238.11.007, courtesy of the Maryland Historical Society; Everett Collection; Mary Evans/National Magazine Company/Everett Collection; Mary Evans Picture Library/Everett Collection; Advertising Archive/Everett Collection; Everett Collection; Michael Cali/Rex Features/Everett Collection; Everett Collection; Eliot Elisofon/Time & Life Pictures/Getty Images; Everett Collection; © Universal/Everett Collection; Jason Smith/Everett Collection; Matthew Diffee/The New Yorker/Conde Nast; Frank Micelotta/Getty Images Entertainment/Getty Images; Everett Collection; Advertising Archive/Everett Collection; Walker Evans/E verett Collection; Everett Collection; Advertising Archive/Everett Collection; Bain Collection, Library of Congress; “Grandma + My Dad” © sflovestory/CC-BY-SA-2.0; Albert Edwin Roberts, Queensland Museum; Everett Collection; © Miramax/Everett Collection; Mary Evans/Peter & Dawn Cope Collection/Everett Collection; Mary Evans Picture Library/Everett Collection; Brooklyn Museum Costume Collection/The Metropolitan Museum of Art/Gift of Diana S. Field; JACQUES DEMARTHON/AFP/Getty Images; Mary Evans/National Magazines/Everett Collection; Mirrowpix/Everett Collection; Everett Collection; © The Metropolitan Museum/Art Resource; © The Metropolitan Museum/Art Resource; Mary Evans/National Magazines/Everett Collection; David Longendyke/Everett Collection; Tim Boxer/Hulton Archive/Getty Images; CSU Archives/Everett Collection. Mirek Towski/DMI/Time Life Pictures/Getty Images; © 20th Century Fox/Everett Collection; © The Metropolitan Museum/Art Resource; Gianni Dagli Orti/The Art Archive at Art Resource; Mary Evans Picture Library/Everett Collection; AISA/Everett Collection; Marcus Gheeraerts, National Portrait Gallery; Mary Evans Picture Library/Everett Collection; (внизу) Los Angeles County Museum of Art; Royal Collection, Belgium; Prints & Photographs Division, Library of Congress, LC-USZ62–72813; Images of Empire/Universal Images Group via Getty Images; The National Archives; Mary Evans Picture Library/Everett Collection; Everett Collection; © The Metropolitan Museum/Art Resource; Brooklyn Museum Costume Collection/Metropolitan Museum/Gift of Mrs. Emmet Whitlock; Everett Collection; © The Metropolitan Museum/Art Resource; Brooklyn Museum Costume Collection/Metropolitan Museum/Diana S. Field; The Philadelphia Museum of Art/Art Resourceс. Everett Collection; Richard Young/Rex USA/Everett Collection; Everett Collection; © Aaron Spelling Prod./Everett Collection; © Paramount/Everett Collection; Jon Kopaloff/FilmMagic/Getty Images; Everett Collection; (вверху) Curt Gunther/Hulton Archive/Getty Images; (внизу) Mirrorpix/Everett Collection; Warner Bros./Everett Collection; Mary Evans Picture Library/Everett Collection; Everett Collection; Advertising Archive/Everett Collection; 20th Century Fox/Everett Collection; Mirrorpix/Everett Collection; Everett Collection; Josiah Wedgwood and Sons Ltd., 18th century/Indianapolis Museum of Art; Horatio Hale, Musee de Seminaire, Quebec; Uranometria (1661), Courtesy of the United States Naval Observatory Library; Superstock/Everett Collection; Everett Collection; Dee Cercone/Everett Collection; Jean-Marc Nattier, Former Crown Collection; Brooklyn Museum Costume Collection/Metropolitan Museum/Gift of Arturo and Paul Peralta-Ramos; Higgins Armory Museum; Mary Evans Picture Library/Everett Collection; Superstock/Everett Collection; Advertising Archive/Everett Collection; Salome Receives the Head of John the Baptist by Caravaggio, National Gallery, London; Mary Evans Picture Library/Everett Collection; Advertising Archive/Everett Collection; Mary Evans Picture Library/Everett Collection; Jeff Vespa/WireImage/Getty Images; Print by Robert Dighton, 1805; Mary Evans/APL/Everett Collection; Everett Collection; CSU Archives/Everett Collection; Everett Collection; Advertising Archive/Everett Collection; © Universal Television/Everett Collection; Mary Evans/APL/Everett Collection; Liu Weibing/© Xinhua/Photoshot/Everett Collection; Everett Collection; © Illustrated London News Ltd/Everett Collection; Advertising Archive/Everett Collection; Everett Collection; David Jackson, V&A Museum; © Warner Bros./Everett Collection; Jean-Etienne Liotard, Musee d’Art et d’Histoire; © The Metropolitan Museum/Art Resource; S Gaboury/DMI/Rex Features/Everett Collection; BATA Shoe Museum; manuscript of Renaud de Montauban, 15th century; Museum fur Angewandte Kunst; “Flip-Flops Between Baltimore and Washington” © 2006 Betsy/CC-BY-SA-2.0; Everett Collection; “Spanish Oldtimers” © 2006 David/CC-BY-SA-2.0; Advertising Archive/Everett Collection; Everett Collection; “A Guy on a Bike Wearing Spandex” © 2009 Ed Yourdon/CC-BY-SA-2.0; Everett Collection; Maximillion/Everett Collection; Harper’s magazine, 1858; Everett Collection; Bain Collection, Library of Congress, LC-B2-2801–11; Everett Collection; Keystone/Hulton Archive/Getty Images; Advertising Archive/Everett Collection; Mary Evans/Amblin/Univeral/Ronald Grant/Everett Collection; © 20th Century Fox/Everett Collection; Bertram von Minden/Buxtehude Altar, 1400–1410; Robert Doisneau/Gamma-Rapho/Getty Images; Fox Photos/Hulton Archive/Getty Images; Everett Collection; David Fenton/Archive Photos/Getty Images; Everett Collection; © Carsey-Werner/Everett Collection; Stephen Boitano/Everett Collection; Roger Sargent/Rex Features/Everett Collection; Everett Collection; Portrait of Sir Walter Raleigh (1554–1618) 1588 (oil on panel), English school (16th century)/private collection/The Bridgeman Art Library; Richard Young/Rex USA/Everett Collection; John Pellino, U.S. Army; Rex USA/Everett Collection; Everett Collection; Advertising Archive/Everett Collection; Photoshot/Everett Collection; Gregorio T. Binuya/Everett Collection; Everett Collection; Brian Rasic/Rex USA/Everett Collection; U.S. Federal Government; David F. Barry, Library of Congress, LC-USZ62–21207; Everett Collection; Charles L. Johnson, Queen of Fashion Waltzes. Kansas City, MO: Johnson Pub. Co., 1911; Fresco by Ambrogio Lorenzetti, Palazzo Pubblico; John Oxley Library, State Library of Queensland; CSU Archives/Everett Collection; U.S. Federal Government; © Universal Pictures/Everett Collection; Archduke Ferdinand II by Francesco Terzio, Kunsthistorisches Museum; Howard Sochurek/Time & Life Pictures/Getty Images; Monika Graff/Getty Images News/Getty Images; American Folk Art Museum; courtesy of the Ladybug Collection; Frank Masi/© Warner Bros./Everett Collection; Pascal Le Segretain/Getty Images Entertainment/Getty Images; Mary Evans/MGM/BRIDGE/Ronald Grant/Everett Collection; Everett Collection; Brooklyn Museum Costume Collection/Metropolitan Museum of Art/Joel Productions and Paramount Pictures
Сноски
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The world owes you… nothing.
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Что переводится как «жгут». (Прим. пер.)
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В русском переводе фильм известен также под названием «Берега». (Прим. пер.)
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Wallace Reyburn. Rust-Up: The Uplifting Tale of Otto Titzling and the Development of the Bra.
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Вот так сюрприз! (фр.) (Прим. пер.)
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Tommy Hilfinger. All-American.
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Bruno Collin. The T-Shirt Book.
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1 ярд = 91,44 см. (Прим. пер.)
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James Sullivan. A Cultural History of an American Icon.
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Walker Evans. Let Us Now Praise Famus Men.
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Claire McCardell. What Shall I Wear?
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Имеется в виду американский футбол. (Прим. пер.)
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Elizabeth Hawes. Why Women Cry, or Wenches with Wrenches.
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Из произведения Фредерика Конера, на основе которого позже было снято несколько кино– и телефильмов, а также телесериалов. (Прим. пер.)
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Phillip Stubbes. The Anatomie of Abuses.
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Перевод Е.Д. Калашниковой.
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Там же.
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Амиши – американская протестантская секта, проповедующая изоляционистское развитие, выступающая за запрет на участие в военных действиях. Живут замкнутыми общинами, занимаются земледелием и обходятся без многих современных технических изобретений, таких как телефон или трактор. (Прим. пер.)
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