5 comments about Jacqueline Kennedy : The White House Years: Selections from the John F. Kennedy Library and Museum.

1. Beautiful photographs of the dresses, suits, coats, hats and gowns worn by Jackie before and during the White House years. Descriptions of the fabrics and the construction of each garment reveal the thought and attention to detail that this most stylish of our first ladies gave to her clothing. No fashion victim was she. It is clear from the narrative that Jackie had a perfect sense of who she was and a definite idea of how she wanted to look. Amazing when one considers she was only 31 when she entered the White House. Truly deserving of her iconic status.



2. Presented as a fashion journal, this book is surprisingly insightful of Jackie's personality, charisma and intelligence. It is a presentation of her poise and strength as an influence on the nation (and the world,) both politically and artistically. Personally, looking back on those years, I am able to see and understand the changes within our society based on the Kennedys aesthetic. I highly recommend this book as a review of the times when we as a nation were in Camelot.



3. A refreshing look at Jackie Kennedy through the White House years when her unique style mesmerized a nation. Oleg Cassini may have helped create the distinctive looks but Jackie did have a knack of making herself her very own style masterpiece. A collage of images that celebrate the colors and clothes of Camelot.



4. Excellent EVERYTHING!!!
   A must for jackie AND caroline fans...i figure she did a lot for this and chose some GREAT photos...esp. the last one, in my humble opinion.
   THE BEST PHOTOGRAPHY!!!
   I LOVE IT!!! and was shocked when i actually saw it after the few not-so appreciative reviews.
   TOP SHELF BOOK/TOMB.
   THANKS to everyone who was behind putting this out. As my grandmother would say about such a great book, "It lifts you up." (she said that about the Sotheby's Auction catalog of JBKO's Estate.
   THANKS and LOVE TO ALL!!!



5. Caution: If you like looking at lots of photographs of early 1960s designer dresses, you will probably like this book. Otherwise, this is probably not the right book for you.

   During the presidential election of 1960, Ms. Jacqueline Bouvier Kennedy made an immense impression on American society. At 31, she was a dramatic contrast with the vice president's wife, Ms. Patricia Nixon, and recent first ladies (Ms. Mame Eisenhower, Ms. Bess Truman, and Ms. Eleanor Roosevelt). She was much younger than these women, was pregnant with her son, John, and seemed like someone who came from another world. Ms. Kennedy was highly cultured, interested in the fine arts, attractive in a way that showed up well in photographs and on television, and wore gorgeous clothes of the sort usually only seen in the best fashion magazines.

   Once in the White House, her differences from other first ladies became more apparent. A major effort to redecorate the White House with authentic pieces ensued, Lafayette Square's appearance was conserved, entertaining began to feature people from the world of fine arts, the Rose Garden was redesigned, and the clothes she wore became even more magnificent. A great deal of the sense of Camelot certainly came from Ms. Kennedy.

   I was disappointed in the book. For someone who had such a wide and important influence on America, the book barely seemed to scratch the surface. It is almost as though a decision had been made to create a book about her dresses on state occasions, and to mention and show all of the other influences she had as little as possible.

   This book minimally and partially captures the impact she had on our national consciousness. The best essay is found in the foreword by Arthur M. Schlesinger, Jr. who provides a good overview of the influence of Ms. Kennedy (as described above) and her husband, the president, more broadly on the arts (including efforts that helped lead to the National Endowment for the Arts and Humanities, the Kennedy Center in Washington, D.C., and providing a temple from Egypt to the Metropolitan Museum in New York). Most of the book is visually devoted to her clothing during state occasions, with notes about those who created the clothes. A typical section has color photographs of the clothing on mannequins, Ms. Kennedy wearing the clothes at an event, and a black-and-white image of how she appeared in the context of the whole event.

   The clothing captures what was called at the time, the Jackie look. Most of the dresses are by Oleg Cassini, Givenchy, Chez Ninon, and Gustave Tassell. There are also lots of examples of her hats (often pillboxes by Halston). The outfits are usually as simple and conservative as possible in solid colors, made special by perhaps one elegant bow or sash. Unfortunately, these sections have little material about Ms. Kennedy's views on these apparel, designs for the clothing, or thoughts about how to coordinate them with shoes and accessories.

   What was most impressive to me was the success with which she selected outfits that fit in with the nations she was visiting. In France, the elegance of Givenchy enveloped her. In India, bright pastel shades made her look like part of the jungle flora. I'm sure the host nations were delighted to see their specialness magnified in her efforts to be an attractively dressed guest.

   But these clothes are unremarkable without Ms. Kennedy. Like a well-known fashion model, she enhanced the clothes enormously with her youth, vitality, personality, and trim figure. So, for me, the book's real value was in seeing the many photographs of Ms. Kennedy. I especially liked the candid photographs, either talking with guests or playing with her children.

   How can we recapture a sense of uniquely American style and good taste in ways that will bring approval?

   What are the ways that the president and first spouse should set a good example for the rest of us?

3 comments about 1920s Fashions from B. Altman & Company.

1. This is yet another book that has wonderful illustrations and information about 1920s fashion. I recommend it to anyone who is interested in this pivotal decade in fashion.



2. "1920s Fashions from B. Altman & Company" provides over 700 black & white illustrations, detailed descriptions, and prices for clothing for the upper class of the Jazz Age. The focus is primarily on women's clothing and accessories, with everything from sophisticated evening wear to bathing suits, but you will also find a complete array of clothing for men and children as well. Please remember, because they buy directly from the manufacturer, "thus eliminating the no inconsiderable profits of the middleman," B. Altman & Company are able to offer patrons the benefit of the savings. This is a superb record of the styles worn by flappers in the Roaring Twenties; note than this is not simply the reproduction of a catalog from a particular year, but has fashion culled from the B. Altman catalogs of the entire decade. Interesting Footnote: The B. Altman & Company Department Store is now the New York Public Library Science, Industry & Business Library. Dover also has a reprint edition of "Altman's Spring and Summer Fashions Catalog, 1915," which records the fashions worn in the United States in the years before the First World War. This volume will be of interest to the fashion historian and of great use to costume designers working with this period of American History.



3. This is a lovely book of a wide variety of catalog drawings and photos from the B. Altman Company which carried higher quality items as compared to the Sears catalog books. There are men's and women's clothes and childrens clothes, hats, undergarments, stockings, shoes...A real treat if you are interested in what the upper middle class might have worn. And everything progresses by the year, so you can see how the fashions developed.

5 comments about Diane: A Signature Life.

1. Yes, she came from a privileged background, and had many doors opened for her as a result, but definitely deserves all credit for what she made of those opportunities. She plays down the business side of herself, preferring to highlight the creative aspects of her personality, but underneath it all, she does seem to possess a sharp business sense and an intuition for how to best position and market her products. Also, the ability to constantly reinvent herself, and seek out new ideas comes through in the book. Her success story is inspiring.
   
   On the negative side, there was too much name-dropping. Some parts were annoyingly elitist - I think she must have said at least half a dozen times in the book (or at least it seems that way) that her ex-husband was a prince whose bloodline descends from the roman empire (or some other empire, don't remember). Connections to royalty are mentioned in awestruck tones, which is grating on the nerve. There is also a lot of touting of her own achievements - admittedly the pride is well deserved, but some subtlety in talking about it would have been classier.



2. This book is very interesting. YOu get to learn about the fashion industry and what to expect. Since I myself am interested in entering the fashion world as a career this book helped me understand that at times buisness may be stressful but always worthwhile. Diane von Furstenberg is a women that went through many hardships but was dedicated to her work, and someday i hope to do my work as succesfully as she did.
   -amanda, Grayslake



3. This has to be one of the most insipid tales yet told. It's promoted as "she didn't have to work - but she did". She did? When? Where? Look - don't promote an idea and then tell the story that completely contrasts it. This person has yet to understand what "work" is. This book is a story of a rich person who uses connections to get richer. Wow! - what a story!
   Now if it was about a person who worked from nothing - and built a brand like the rest of us schleps would have to, then I'd say she did something - "she worked"! But not the case here, even though she portrays it that way. Unconvincing and boring.



4. Diane lets us inside her very glamourous life. she takes us from the 60's to the 90's. her life is full of fashion, family, friends and love. i really enjoyed this book and have a new admiration for diane.



5. Diane gives us a facinating glimpse into her world of the fast lane of the 70s and the glamous life which she led. But a glimpse is all we really get and Diane spares us many details which she must have felt would offend the people still important in her life. Further, while she ostensibly takes responsibility for how her businesses went horribly wrong, we somehow get the feeling that everyone else was to blame. Hey, the next time you license your products to Sears, please take a step inside. You will see that it's not Saks! In sum, a fun read but it not a revealing biography or any kind of a business book.

5 comments about Women's Wardrobe (Chic Simple) (Chic Simple).

1. The headless, bodiless photos with waists unrealically nipped are less offensive than the usual fashion pages in the newspapers and magazines. The photos provide an idea on proportions, classic, expensive looks, what to approximate, not emulate.
   
   A weak point is most American people are not thin and most of the outfits would not work.
   
   This book is not exhaustive but goes well with Dress for Success (Molloy) and Pocket Stylist (Farr) neither of which provide photos of what they discuss.



2. I really enjoyed this book even though I first hesitated at the price. Building and maintaining an up-to-date wardrobe is really a lifestyle that needs regular fine tuning. In this book, you are looking at your personal needs, understanding the elements of your own style and learning to choose what is right for you. You spend a alot of money on your clothes so choosing wisely is important. I also bought "Men's Wardrobe" as a gift.



3. I thought that the photos were great. I thought the text was very odd. The font sizes jumped all around and seemed to consume a page that could have been half used to illustrate the point instead of +20 font size. Artsy is fine. But if I want to get the simple idea, I want it simple -- not 'dressed' up.

   When I think of a wardrobe, I think of work. So I didn't want to go into jeans too much. But I will check out Dress Smart and see if that complements this book well.

   I did find the 'where' list in the back very helpful. I can visit the places and see what quality is and then shop around to find the best price.




4. This Chic Simple book is written for those who have a closetful of clothes but nothing ever to wear. It helps women pull together a total wardrobe and focuses on such key elements as:

   *style
   *elements of clothing (color, fabric, texture)
   *clothes (underwear,outerwear,suits etc)
   *care of clothes
   *definitions/glossary of fashion jargon

   The book is very well illustrated with full color pictures and drawing. It does not give specific advice and seems to be written more for those in the clothing business/fashion designers. But overall, i enjoyed this book.




5. I bought Chic Simple Women's Wardrobe when it first came out, and had reason to pull it out again when my wardrobe needed a complete overhaul due to weight loss. To my delight, the advice and the styles contained within are as fresh now as they were eight years ago. If you're looking for good, basic advice on how to build a classic wardrobe, you won't go wrong with the Chic Simple philosophy, and this book is a wonderful embodiment of it.

No comments about From Image to Stitch.

2 comments about Dress at the Court of King Henry VIII.

1. I just recently got this book, and am just loving it. Much Like Elizabeth I's Wardrobe Un'locked, it drips with all the information I love to read. As a Costumer, it gives deeper insight into creating accurate costumes. When I first fell in Love with the Tudor Era, I didnt realize just how little REAL information there was to the construction, fabrics, the real names of pieces of clothing and such. This really lays out the details of who, what and where. I will be able to use this resource for many years to come.



2. This book has a lot of information covering the age of Henry VIII, the Tudor King of England in the early part of the 16th century. There is information regarding the fashion styles of his wives, sisters, and children. I would suggest this book for those who are into researching this time period for costuming, and who can form their own conclusions on the research provided. I would not suggest this book for those looking for a how-to on costume creation.
   
   I looked forward to this book for over a year, and ... was a little frustrated when I was able to read some of the sections. There is a lot of info waiting for the reader, from the written inventories that survive that is given in the appendix. There are a number of images of interest, most of which I have seen in other books I've collected, but here they are available in one book, some of which are in color (most are in b&w).
   
   One of my frustrations dealt with three images that provide a front, side and back view of a man's extant short gown; the kind of gown Henry is commonly seen wearing. But there is only a one sentence mention (that I've found so far) of these photos of this surviving garment, and that one sentence says very little. If these are of a surviving garment, and the garment is still available to look at, then it would have been a lot more help to people to actually provide info on the inside view, or how the pleats are attached, or something more than the one little sentence and three photos. I do appreciate those three photos, tho. I've not seen them anywhere else, and I can't even find them online at the museum they are in (but that server connection keeps dying, so I can't explore for long).
   
   Another area I had issues with covered fur collars and capes, and the author cited another author's article on this. I've had the pleasure of meeting Prof. Tawny Sherrill ("Fleas, Fur, and Fashion: Zibellini as Luxury Accessories of the Renaissance"). Ms Sherrill in her scholarly article proved the term of "flea furs" as being a Victorian term, not a word that's really appropriate to the use or wearing of furs (especially zibellini - the point of Sherrill's article), but Ms. Howard not only cites Sherrill's article, but continues to use the "flea fur" term, perpetuating this costuming myth to her readers.
   
   Another area; Ms Hayward goes into commentary of later women's dress... and suggests a new masculine style of bodice, possibly a doublet with what is modernly called a "Medici collar", although she admits that none of the records has any entries for women's doublets. I've done Tudor costume and research for awhile. To me the two images she offers appear to be the standard gown with a high necked partlet of black that is a different material than the gown. The third portrait appears to be a long loose gown. The only thing all three have in common is the style of their collars. If there is possible support for a doublet style, she should have provided some more info to prove this, especially since she does cover partlets as a garment item, so she is aware of them.
   
   These items have cast a shadow of doubt over the rest of Ms. Howard's conclusions in her book.
   
   On the good side so far (as I am still reading this book... it is pretty extensive). There are aspects that I've not seen elsewhere, like the original transcriptions for the Wardrobe accounts from different time periods of Henry's reign. There are a few images I've not seen elsewhere, either, including the extant garment images I've mentioned. I really like the inventory listing in the back. This is nice, and similar to the inventory listing in QEWU. I can't wait to get into reading this further.
   
   Maria's conclusions at a few points are a bit... stretched, as I've already mentioned. But the amount of info included, including a break down of different garments by name vs the years they are worn, and a color chart and fabric chart that is similar. The new images, some other quotes and comments found from other original sources, and more, are things that are not found in other books I've read.
   
   The book author states this book was done in the style of Janet Arnold's "Queen Elizabeth Wardrobe Unlock'd". There are a lot of good and well researched information from various written texts, surviving textiles, and the inventory transcripts... but there are aspects that have left me a bit frustrated considering the updated research that is available today.

5 comments about A Passion for Purses, 1600-2005.

1. Accessories, even more than complete costumes, rarely get scholarly attention. This book is one of the few to address the subject in a systematic, historical way. Much needed.



2. This book has helped me immensely to make smarter additions to my own purse collection because there are so many clear examples of each genre. As a reference book, this is the go-to volume when you need to be SURE of a time period, the correct name for a style, etc... Yet it is such a beautiful book, my mother purchased one for her bookshelf and she has no interest in purses!



3. What a wonderful accomplishment for Paula and Lori! The information pertaining to early purses such as misers, pockets, chatelaines, textiles and needlework purses! I especially enjoyed the chapter on purse restoration. The photos of the figural & scenic purses are absolutely amazing. The celluloid and compact purse examples were also a delight.
   For everyone who knows these two lovely ladies, they know that they truly have a passion for purses. Many times I have heard of Paula donating her time to deliver public presentations, printing and passing out breakthrough information on early purses and donating them to interested parties, as well as contributing to other books including mine. If anyone deserves a pat on the back for this groundbreaking book, it is these two ladies, Paula Higgins and Lori Blaser. Congratulations ladies! Well done!



4. What a beautiful book; filled with glorious bags of the past, historical information and current values. There are hundreds of bags, created using techniqes such as beading, embroidery, tapestry, netting, crochet, knitting, tambour, loom, petit point and various stitchery. Gorgeous bags are displayed - eye-smacking delicious- that I have not seen in other collectible publications; a real plus for collectors. There is a chapter dedicated to restoration of vintage bags, with instructions for repair and cleaning, plus photos; tips when purchasing bags; and choosing the right purse frames. At the back of the book, page 256, I was delighted to see the two contemporary bags by Katerina Musetti, an artist and established opera singler; the bags are exquisite. It is obvious this book is a culmination of Paula and Lori's purse obsession, historical studies and labor. I highly recommend this inspiring book for collectors, as well as, bag enthusiasts; a book not to be missed. Review by Lydia F. Borin, The Beadwrangler



5. 'Passion for Purses' is a beautiful, quality reference book for all purse lovers & collectors; from novice to the serious collector. The book has special emphasis on very early antique purses by one of the most knowledgeable persons around today. Contains previously unseen purses from private collections that have never before been published. Hundreds of pictures on quality paper, excellent information on the many catagories of purses that are included. I highly recommend this book to anyone who has a passion for purses. Great book for study or pleasure.A Passion for Purses, 1600-2005

1 comments about Why the French Don't Like Headscarves: Islam, the State, and Public Space.

1. Three years after the facts, is it still worthwhile to revisit the French government's decision to ban Islamic headscarves and other religious signs from public schools? Should we not rather just let go, have time heal whatever wounds may have been caused, and move on to something else? If John Bower chose to dedicate a book to that decision and to the deliberations that led to it, it is not just because the law seems strange to outsiders and cannot be easily interpreted starting from a liberal viewpoint. It is, above all, because he felt that "its passage was one of those key moments in a country's life at which certain anxieties and assumptions come to the surface, when people take stock of who they are and of what kind of social life they wish to have."
   
   To be true, the French are adept at staging such debates about themselves. The nation that invented the salons philosophiques and the art of conversation has a passion for probing into its own identity and entertains the belief that all social ills may be amenable to abstract reasoning and enlightened lawmaking. This is not only a matter of belief, but of social organization: the author finds that "French politicians, writers about public affairs, television 'talking heads', and philosophers are much more likely to read one another's work, be related to one another, or indeed be the same person than is the case in most other countries." These literati tend to base their opinion about social trends on anecdotes and media commentary, not hard data or sociological evidence. In a strange twist of cartesian thinking, they believe that if a theory is refuted by facts, then you have to change the facts, not the theory.
   
   The theory here is that schools are a sanctuary of republican values, a sacred institution whose mission is to create a universal social morality in the minds of French pupils and to mold them into autonomous, rational and public-minded citizen. Philosophically, this conception is rooted in a certain brand of political philosophy originating with Jean-Jacques Rousseau, one that emphasizes general interests and shared values over individual interests and pluralism. Historically, it is associated with the figure of the hussard noir de la Republique, the schoolteacher in rural districts who was the designated agent to turn "peasants into Frenchmen" and have the Catholic church abdicate its control over the minds of primary school pupils. The reality is that state schools in contemporary France have to integrate an increasingly diverse population, notably the children of immigrants from North Africa, and that they cannot really cope with all the social requests that are imposed upon them.
   
   It is in this context that wearing headscarves in state schools came to be seen as a threat to the central values of the Republic and a challenge to three hard-won battles: the fight to keep religion from controlling young minds, the struggle to forge a common French identity, and the promotion of gender equality in public and private life. The law banning headscarves in schools can therefore be seen as a product of a historical trajectory as well as a political response to the perceived threats of Islamism, communalism and sexism. Explaining that law, as the author does, "requires unpacking a great deal about France, including France's very particular history of religion and the state, the great hopes placed in the public schools, ideas about citizens and integration (and the challenges posed by Muslims and by Islam to those ideas), the continued weight of the colonial past, the role of television in shaping opinion, and the tendency to think that passing a law will resolve a social problem." That the author does so without losing a sense of sympathy and understanding for the young girls most directly affected by this measure is a testimony to his humanity and to his skills as a storyteller.

5 comments about Charmed Bracelets.

1. This is a nice picture book and fun to look through but when it comes to putting together charm bracelets the suggestion is to take it to a jeweler. Charm bracelet collectors, buy this book. Charm bracelet makers, look elsewhere.



2. Yes, this book about charms is, well, charming! If you like jewelry, themed or not, you'll like this book. I was smiling as i looked through it, and I make themed charm bracelets myself, so it was fun to see what other people have done over the years. So many charms, so little time!



3. If you have ever had a charm bracelet, currently collect charms, or have ever wanted to start a collection - this book is for you! The ideas, history, and photos of the bracelets are all wonderful. It inspired me to clean up my old charm bracelets and, along with my current one, put them on display. They are works of art that tell a story. This book is also a great gift. It has inspired those I've given it to as it inspired me.



4. I was browsing one day at the Gardner in Berkeley, CA and saw this book. I bought it for a friend and it was so fun that we decided to start charm bracelets of our own. The fever caught on and now there is a group of us that are trading and swapping stories. My bracelet is becoming my history and its great to watch it evolve.
   
   The book is beautifully designed and written.



5. Having recently inherited my Mother's charm bracelet, I have a new appreciation for the "charmed" beauty of it. Each charm meant something special to her and I want to continue that legacy by adding to it for my daughter. Loved the book and reading about the history of charms. The pictures are great too.

5 comments about Where'd You Get Those?.

1. If you are at all into the sneaker culture get this book. It brought back such great memories. I thought that a few of my friends and myself were the only ones who flipped over kicks back in the day. Bobito puts out quality material. I have some of his videos as well.



2. Yes, Yes Y'all,
   
   I'm not a sneaker fiend (not that it is a negative term), but this book is "DOPE"! If you are a sneaker addict, then this book is for you. Buy this joint NOW!
   
   Peeese!
   
   Mr. J.



3. I got this book as a gift for my son and he loves it! Definitely a must have for any avid sneaker collector!



4. Bobbito's little tour of the history and evolution of the sneaker culture gives us a personal look into what made the sneaker game what it is today. Although Bobbito should be well respected for his knowledge and contribution to the sneaker culture his elitist attitude towards shoes made post 1980s is somewhat off-putting to the generation that came after his.



5. Reading this book is like travelling in a time machine with an expert guide by your side. Bobbito has done an incredible service to those of us who stepped through our New York childhood and adolescence in the 70s and 80s fixated on our sneakers, especially our basketball sneakers. My wife gave me this book for Christmas and I spent much of the day poring through it, absorbing the photos and reliving experiences I had in many of the sneakers Bobbito included in the book. She didn't understand it, but she appreciated my rapture. It was like seeing pictures of dream images--looking at things I never thought I'd see again, as if they had never existed, with memories of games played in particular sneakers, in particular leagues, in particular gyms and parks, with and against particular players in their particular sneakers, flooding back to me. It also brought back memories of the sneakers that I wanted--the Wilson Batas that my cousin had, the $100 red-on-white Indiana addidas Top Tens, the yellow-on-blue Nike Waffles--and the pain of not having them. If any of this sounds strange, or even pathetic, this book may not be for you, but it will thrill the sneakerholic in your life.

   But the fun isn't just in the pictures--Bobbito has assembled a crew of not-so-famous commentators on sneaker and basketball culture in New York City. To his credit, Bobbito has arranged their funny, opinionated observations in a way that makes it seem like you're reading the transcript of a barbershop conversation. This "dialogue" makes up the bulk of the text and is as engaging as the photos.

   Lastly, Bobbito's introductions to each section of the book are also valuable for their personal honesty and dead-on social observations. Where'd You Get Those? is no exercise in nostalgia. Instead, Bobbito strikes a perfect balance between testimony and critique, which makes the book a valuable piece of cultural history.