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The history of the fashion industry has been well written as it relates to people who conform to certain physical norms and cultural stereotypes, whereas the inequality in access to the world of fashion has been largely ignored. Despite this lack of coverage, much work has taken place over the centuries to enable people who live with disability to participate in fashionable culture. This book tells that story via perspectives of notable historical figures, events and movements, and continues the discourse with a look at some of the contemporary developments in clothing and fashion.

The Intersection of Fashion and Disability takes the long view, from early attempts to conceal 'unsightly' bodies of royalty and nobility via creative innovation through growing contemporary awareness of inclusive fashion and how future work can be driven by technology and cultural acceptance.

Tabla de contenidos provista por Syndetics

• List of Illustrations(x)
• Foreword(xiv)
• About the Author(xvii)
• Preface(xviii)
• Acknowledgments(xix)
• Abbreviations(xxi)
• Glossary(xxii)
• 1 Establishing Significance(1)
• Introduction(1)
• 1.1 Purpose of the Book: Its a Fashion Story!(1)
• 1.2 Medical and Social Models of Disability(9)
• 1.3 Framing of Disability Fashion History(12)
• Summary(16)
• Notes(18)
• 2 Underpinnings: Events Prior to 1800(21)
• Introduction(21)
• 2.1 Setting the Stage for the Historical Discussion(21)
• 2.2 Pre-Eighteenth Century(27)
• 2.3 Impact of the Age of Enlightenment: 1740-1800(39)
• Summary(44)
• Profiles: Mrs. Morrell and Miss Hawtin(45)
• Notes(46)
• 3 Improvisation and Innovation: 1800-1920(49)
• Introduction(49)
• 3.1 Early to Mid-Nineteenth Century(50)
• 3.2 Late Nineteenth Century: Effects of War(64)
• 3.3 Early Twentieth Century: War, Therapy, and Industry(71)
• Summary(73)
• Profile: Lavinia Warren(76)
• Notes(79)
• 4 Rehabilitation, Independence, and finally Fashion: 1930s to early 1970s(83)
• Introduction(83)
• 4.1 Impact of Work, World War Two, and Rehabilitation: 1925-1950(84)
• 4.2 Academic and Government-Funded Research: 1950-1973(88)
• 4.3 Independent Designers-Research and Practice: 1950-1960(92)
• 4.4 Connecting Research, Outreach, and Small Business Through Independence and Civil Rights Movements: 1960-1973(96)
• 4.5 Other Activist Efforts and Government Initiatives(107)
• Summary(111)
• Profile: Frida Kahlo(113)
• Notes(118)
• 5 Individual Appearance Management between Two Acts: 1973-1990(121)
• Introduction(121)
• 5.1 Impact of the 1973 Rehabilitation Act(123)
• 5.2 Centers and Workshops(128)
• 5.3 Other Relevant Publications(134)
• 5.4 The Beginning Role of Retail(136)
• Summary(138)
• Conversation with Sunae Park Evans, Senior Costume Conservator, Smithsonian Institution(138)
• Notes(142)
• 6 Contemporary Design and Technology(145)
• Introduction(145)
• 6.1 The Americans with Disabilities Act(146)
• 6.2 Fashion Design Developments in Context(148)
• 6.3 Design Interviews(157)
• 6.4 Do We Have a Disability Design Process?(163)
• 6.5 Harnessing Technological Developments(167)
• Summary(168)
• Notes(170)
• 7 A Story of Disabled Makers(173)
• Introduction(173)
• 7.1 Disabled Makers in History(173)
• 7.2 The Legacy of Disabled Makers(192)
• Summary(198)
• Notes(199)
• 8 Tying it all Together(201)
• Introduction(201)
• 8.1 Patterns of Success(202)
• 8.2 Tying it All Together(209)
• 8.3 Where we could be Heading(211)
• 8.4 Disability Fashion History Timeline(212)
• Notes(215)
• Appendix A Resources(216)
• Index(218)

Reseñas proporcionadas por Syndetics

CHOICE Review

Annett-Hitchcock (Wilson College of Textiles, North Carolina State Univ.) presents a history of fashion and adaptive clothing design for people with disabilities, starting in the mid-16th century with designs for European noblemen, and continuing to both very recent and first appearances of people with disabilities at events like Fashion Week. Though the growing market for commercially made, accessible clothing and the rise of makers from disability communities are important, potential critiques of the fashion industry and the legacy of discrimination, particularly based on appearances, against people with physical differences and impairments are elided. She treads very lightly on the controversy of normalization and disguise, "supercrips" and displays of virtuous achievement, and the politics of "cure," and so misses the problems of the aesthetic/eugenic connections and "freakery" that haunt public representations of people with differences. Those critiques notwithstanding, the book presents a straightforward, specific historical argument that clothing design for people with disabilities is important. The intersection of the fashion and disability worlds represents a new zone of inclusion, because people with physical differences have the right to self-expression through functional and aesthetically meaningful clothing options and their own design activities. The book is motivational, clear, accessible, and insightful. Summing Up: Recommended. Lower- and upper-division undergraduates; general readers; professionals. --Jennifer L. Croissant, University of Arizona

Notas de autor provistas por Syndetics

Kate Annett-Hitchcock is a professor in the Wilson College of Textiles at North Carolina State University, USA. Prior to this, she was on the faculty at East Carolina University, Virginia Tech and the Savannah College of Art and Design. Her research focuses on clothing for health and well-being; fashion entrepreneurship, and historical and cross-cultural inspirations in fashion.