5 comments about Always in Style : The Revised Edition of the Acclaimed Classic on Creating Your Personal Style : Style, Bodyline, Wardrobe, Color, Hair, Make-Up.

1. Based on her experience as a Color Me Beautiful consultant in Asia, Doris Pooser observed that everybody didn't fall neatly into the four-season color palettes her bosses were pushing. So, with their blessings, she expanded the system to six palettes (based on the terrific concept of common colors that established a "color flow" between the seasons), and thus the first serviceable (but hardly perfect) version of this book was born.
   
   Sadly, this updated edition is more confusing while somehow managing to be less flexible. None of the information is specific enough, the color swatches are flat and ugly (the ones they sell on the website are horrible: all printed together on a cheesy, flimsy card in 3/8" stripes that aren't big enough to be useful), and the palettes only have a few suggested colors.
   
   The sparkly, new website that goes with it is even worse. Still can't decide which colors and body line are "you" after reading this latest edition of "Always In Style"? Don't turn to the website: It doesn't know either. It offers choices instead of pinning things down.
   
   I wasted a lot of money following the recommendations both in this book and on the website as a "member". First, I was told to use the Muted palette. The latest iteration of the website now says that my colors are either Bright (for those with high-contrast, vivid coloring) or Light (for those with pastel, low-contrast coloring.) Go ahead, it says, just pick which one you like best (Already did that in the website survey, but even though I listed the Cool palette as the colors I wear most often, the folks at Always In Style insist that I have to choose between two palettes that I know aren't perfect for me.)
   
   I finally gave up on Pooser's system, and tried the expanded seasonal palettes (12 in all) from "Color Me Beautiful's Looking Your Best," by Mary Spillane and Christine Sherlock. I discovered that I was a Cool Summer, and used that knowledge to search the Net for swatch packets. I found a vendor, got a packet of 48 gorgeous, real fabric swatches in cool, rosy, rich, blended, minimal contrast tones -- just right with my medium ash brown hair, blue green eyes, and pale, rosy skin tone.
   
   I suggest you follow the same steps.



2. This book was very disappointing. The advice is ridged and out dated. I found much better advice in a few magazines rather than this supposed "expert' expressed. If you want to find up to date and cutting edge fashion advice read a magazine and save your money on this.



3. Earlier editions of this book were published in the 1980s. I had that and a 1990s edition. The advice has changed very little over the years. I give this book credit for fine-tuning my knowledge of color theory beyond Carol Jackson's warm vs. cool concepts, and teaching me how to dress in scale with my body shape and features. I recommend starting with this book to get the basics, then follow it with a more current book like Kendall Farr's "Pocket Stylist" for a modern interpretation of body shapes. A big drawback to Always In Style is that the wardrobe suggestions are a bit out of date, as is the author's appearance. She has had a bad facelift. Visit your local library and compare her picture to the previous editions of this book, and you'll see what I mean.



4. This book seems to have people looking for themselves specifically, when basically you need to look for your where your body type fits into the spectrum.
   I too was confused, until I read that Grace Kelley was a soft straight until she was overweight then she moved to the right on the spectrum to the curvy. The movement on the spectrum moves to the right if you gain weight, and to the left if you lose weight, some may never be all the way to the left and the same goes to the right. When an individual is overweight it add roundness to the face that may not be there when slimmer, and that can throw you off your placement on the spectrum. A "straight" body type that is overweight may need to look at the "soft straight" body type for clothing line suggestions, not curvy.
   I don't believe that Doris explains that well enough. On the whole I believe the book shows how to be aware, of what can make us attractive, and to look at the whole picture, and pay attention to the details. Remember - Line, scale, and color.
   Overall this is a good book that trys to cover too many details without thorough explanations, but brings us to thinking.



5. The first time I reviewed this book, I only gave it 2 stars because I couldn't figure out where I fit on her body line chart. After careful study of the wardrobe plans in the back of the book (which are really helpful; perhaps the best part of the book!) however, I finally got it and it became useful again! Although the color palettes were a good idea, she only included 8 colors for each one, not hardly enough to build a wardrobe on, and not really any advice as to how to use the colors in your wardrobe. Also, she identified secondary and tertiery palettes, but gave no actual colors to go with them (or how to combine the 2-3 palettes). Identifying my color palette was also difficult according to her classifications and I don't know if I've got it right yet. A much better book to do your own color analysis is "The Triumph of Individual Style" by Carla Mathis and Helen Villa Conner. All in all, I believe there is some good advice in this book, but it takes a lot of work and study to figure out what she is trying to tell you--you really have to read between the lines here. Another thing that irks me is that she said in her book we can get updated wardrobe plans and view the Always in Style Portfolio on the web, and get a free analysis at the QVC site, and now I can't find the first (I get a weird login screen at her website) and the second is no longer in service.

No comments about Chic Knits: Stylish Designs from Knitport.

1 comments about The Corset and the Crinoline: An Illustrated History.

1. Since there were no reviews for this book, and not much of a description, I took a chance on buying it. It wasn't quite what I'd expected, but it was enjoyable and educational.
   
   Rather than focusing on the Victorian era of corsets and crinolines, it goes back through history to show the complete evolution of these types of garments. There are a lot of quotes and letters to support the text, and you learn a surprising amount. I was pleased to note that it did not portray corsets as the evil death-traps that some books do, but presented both sides of the story, and even pointed out the ludicrousness of some of the 19th century claims against corseting.
   
   The illustrations are lovely line drawings, pretty enough to frame. My only complaint is that for "an Illustrated History" it didn't have nearly enough of them. Some chapters had none at all, and in one place I counted more than 30 pages with no illustrations to break up the text. For that I subtract a star from my rating. Otherwise, if you enjoy the history of fashion at all, you'll probably like this book.

5 comments about Exposure.

1. It's difficult to describe why Bruno Bisang's images are so exciting when many similar books are dull and repetitious. I suspect that the photographer has a really deep sensual appreciation of beautiful women, and the results show on every page.



2. I like this book because you can see really nice shots, technically and artistically marvellous, but you can see others in wich you just see a really pretty girl.
   
   I think is a book of nude and glamour photography, and I prefer just the nude. If someone likes glamour pictures, this is his book



3. ...haven't seen a good book like this for long long time..!! As a freelance photographer, I'm truly impressed by Bruno's artworks, whatever from light setting to posing or from color to techniques, I am so impressed. However, I have fewer opportunities to take pics of nude models. Personally, I really like those B&W pics on this book and you won't be disappointed with it at book..!! Well, sorry I want to know when the second book comes out coz' I am looking forward to it..!!



4. This is my first Bisang Book, and I must say that I'm definitely impressed. I would recommend for anyone's collection who is looking for tasteful nude photography that can be left on your coffee table and not be ashamed for anyone to look through...



5. I've got an entire shelf of books on nude photography, but this is certainly one of the best. No "average people are beautiful too" here -- all the models are gorgeous and well developed. The pics are in both color and black & white, and usually take up the full page. Heavy paper, large size, tasteful clear photos, and gorgeous women. Fantastic.

5 comments about Snap Fashion Sketchbook, The (2nd Edition).

1. This was a great book, I have learned so much from it. At the present time, I am a student at a community college that offers a full Fashion Design program. This book is actually used by the instructor and she recommened it as an addition to the book that we were required to buy. I am glad I did! This book teaches you the basics of drawing a flat and a croquis (a body form). This is not a fashion illustration book so don't get it confused with that. In fashion design one of the things you NEED to learn is how to draw a flat (it's what is used to make a pattern of the design you create) and this book is excellent for it. I am very glad I bought it.



2. What self-taught fashion illustrators/designers probably do not understand is that the fashion flat illustration is ESSENTIAL to the fashion industry! You can render the most beautiful fashion figures, but they won't tell manufacturers a damn thing about how to produce the actual garment - the fashion flat with all of the appropriate details (stitch lines, pocket and button placement, etc) is how we as designers communicate with the actual people producing the garment.
   
   This book is a great tool for beginning designers! Learning to design with fashion flats will not only make you a better and more efficient designer, but also help you to communicate your ideas, and give you a better understanding of how garments are actually constructed.
   
   Do not be swayed by those who believe that fashion is all about pretty drawings.



3. i had to buy this book for a class in my fashion design program. i thought it was a huge ... when i bought it. it's an absorbitant amount of money for pages that look like they have been photocopied and put together cheaply with one of those flimsy plastic book binding things. i suppose that it was a bit helpful in understanding how to produce sketches for the industry. but, think i agree with the person who suggested the barbie sketching thing. just use a little imagination to picture your design drawn out like that.



4. I am an architecture student who was very interested in entering the design world. I picked up this book on a lark and found that without a teacher I was able to master the art of fashion design. It also proved valuable in teaching me the proper names of specific details and silhouettes. As far as I am concerned it is one of the best books out there for understanding the specifics of fashion design while at the same time being entertaining. I give it a high 5.



5. The authors of this book are pulling a huge scam on people who are interested in learning and/or enhancing their design skills. The information provided isn't even useful for a beginning designer.

   My entire take on this book is "we're big shot designers and your NOT. So, you'll be happy to spend $54 plus dollars just to have a book we've taken the time to write." Who are these people, I've never heard of them! I have gotten better and more useful information from books that cost less. Well over half the book is filled with cheap looking line drawings of their designs, which the reader is to copy by tracing. If these were people with a good design sense, I wouldn't be so upset- but they aren't. If a person is looking to learn design in the method the authors "write" about,one would be better served to get a Fashion Trace Barbie Set for $15 bucks. It's the same thing, only Barbie doll designers have better sense of style. I know Amazon is looking to sell books. but this one is taking advantage of people.

2 comments about Fashioning Fabrics: Contemporary Textiles in Fashion.

1. The book itself contains nice layouts, plenty of accompanying text to reflect the designers it features, and nice to impressive photography that also reflects the designers' points of view. Most of the photos' visual impact comes from the (edgy) color and textile combinations used (including make-up affects); however, I wished it would've contained bolder layouts, but I guess this is what's to be expected of a paperback, slightly smaller footprint fashion book as I'm partial to the larger size books that can really wow you with one page full of vibrant color topped with a micro or macro aspect. The models were high fashion, runway model types wearing very creative pieces throughout the book but also expect lots of contextural writing. Note that I didn't actually read the book but scanned through the pics and some representative writings only for a minute because I was buying it as a gift for my high school grad niece who's interested in art school. I was more interested in how the visual impression of the photos would appeal to her. I was excited and thought it'd be good to excellent for her EXCEPT and unfortunately for one darn little but questionable photo! It was a frontal photo of a group of runway models wearing one featured designer's fashion (statement) in which one model was completely nude from the neck down and the other was nude from the waiste down (they were wearing "designer-modified" middle eastern type traditional women's clothing). I'm not a prude, and I probably should've known better via the fashion world perspective on the human body as art, but I certainly don't want my niece's parents to remember me as the aunt who unwittingly gave their daughter a book containing this particular photo. Had it not been a gift and for myself, I probably would've been fine with the book. So I'm returning it and felt the need to FYI other potential buyers. There was another tiny photo of a model's "behind" dressed in ethereal textile but it was done nicely and that I could've lived with.



2. This book shows us how to take a simple fabric and turn it into something more by manipulating or embellishing it into something else. We see the work of skilled designers who specialise in making something more out of a flat piece of material then transform it into something wearable.

1 comments about Children's Fashions 1900-1950 As Pictured in Sears Catalogs.

1. I've truly enjoyed this book as I'm in the process of writing my own novel and needed a good source for period clothing. This book gave me some great ideas on how styles were designed for one of America's most famous catalogs, Sears. Also has great pictures of hats/bonnets. What's even more fun is how much stylish clothing cost in those days! A definite recommendation!

2 comments about Aprons of the Mid-20th Century: To Serve and Protect (A Schiffer Book for Designers and Collectors).

1. This is a lovely and well set out publication. The photos are good quality and there are a heap of good ideas (not patterns) for apron making. Some lovely old worlde charm type illustrations are included and that is why this is a feel good, warm and fuzzy type of book....you will not be disappointed with it.



2. Judy Florence's Aprons Of The Mid-20th Century is a dazzling, informative, and versatile book; every page features gorgeous color photographs of countless different types of aprons, as well as concise information about their creation and patterns. Intended to benefit both apron designers and apron collectors, Aprons Of The Mid-20th Century also features a price guide and a brief, historical overview of the garment's role at the time. Aprons Of The Mid-20th Century is an invaluable reference guide for collectors, as well as being enthusiastically recommended for everyone with an interest in the story of aprons as popular culture symbols of housekeeping and domestic bliss.

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 Fashion in Costume 1200-2000, Revised.

1. Es un libro de mucha ayuda para consultar sobre los diseños de los diferentes períodos de la historia, lo mejor es que no sólo tiene dibujos de la vestimenta de hombres y mujeres , sino que incluye además la de los niños en varias época, lo que es muy educativo.



2. While the text and drawings are separately very detailed and fairly descriptive, there is very little correlation between the text and drawings. At times it is unclear as to what kind of dress the author is talking about, making it useful that the picture of the dress should be right next to the text. The short descriptions of the costumes included with the drawings are also difficult to read due to the text they're written in. I also found that the sections for clothes from about 1930-2000 did not really cover the full scope of styles and fashions worn in that period of time.
   
   However, despite these small difficulties, this is a great book, with abundant information and fairly detailed drawings. I've only had the book a week, and it has already been immensely helpful to me. :)



3. Throughout history, clothes have been worn not only for warmth but also, with constant variety and innovation, to convey status, wealth, occupation, personality and social and more values. Joan Nunn's detailed survey of costume in the western world over the past eight centuries not only gives the reader a vivid visual impression of the clothes themselves, but also out lines the historical and social background and the changes in manufacturing techniques the way costume has developed and the manner in which it has been worn. Each of the nine chapters covers a certain period, with an introductory section followed by descriptions of the underwear, outer garments, hats, footwear, hairstyles, accessories, jewelry, fabrics and colours worn by men, women and children. There are over 800 line drawings, specially made by the author from contemporary sources (carvings, paintings, portraits, fashion plates and photographs). This is an invaluable, copiously illustrated reference book for students of costume, social history and the visual arts and for those concerned with designing costumes for the theatre. It is also a fascinating book for general reader interested in fashion and the art of dress.



4. Fashion in Costume 1200-2000 is an old classic catalog of western costume updated to 2000 in this paperback second edition. This detailed fashion survey contains a wealth of information valuable to costume researchers and designers and illustrators, and theatre workers and fashion historians. Over 800 line drawings illustrate the nine chapters which each cover a historical period. Incredible detailed information about underwear, accessories, jewelry, shoes, and hairstyles is included. An example of the 1980's-90's fashion era is a series of sketches of Diana, Princess of Wales in several outfits (p. 249). As in the previous edition, all is meticulously researched and presented. This reviewer has made good use of the previous edition in a second career as community theatre costume designer. I look forward to using this valuable and much needed updating of a classic costume reference.

   Nancy Lorraine Reviewer




5. This book covers the largest time period in fashion history available today. Although the author limited herself to one book, the amount of information that is packed into this book is absolutely wonderful for anyone interested in costuming. Not only is politcal history covered, trival facts and those who influenced fashion are described in concise detail. Most helpful are the sketches on nearly every other page, which show details of full outfits and variations of certain garments. Diagrams of how to tie men's ties and special period collars are extremely useful. Men, women, children, underwear, shoes, accessories - this book covers it all.