Wife Dressing: The Fine Art of Being a Well-Dressed Wife
(Wife Dressing: The Fine Art of Being a Well-Dressed Wife ...)
Wife Dressing: The Fine Art of Being a Well-Dressed Wife is a republishing of a fashion classic, with an updated introduction from fashion commentator Rosemary Feitelberg. Fashion icon Anne Fogarty's advice for the style-conscious woman is every bit as witty today as it was when it was originally published in 1959. Feitelberg's additional text contextualizes Fogarty's original concepts, underscoring how Fogarty's observations and expertise still hold true.
Bloomsday 100: Essays on Ulysses (Florida James Joyce)
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"Ulysses is always lauded as one of western culture's m...)
"Ulysses is always lauded as one of western culture's most important books. This collection of essays re-asserts the worth and vitality of Joyce's monumental text, not because it is challenging but because it speaks so powerfully to significant present-day issues: anti-Semitism, film, melodrama, fashion, photography, silenced women, advertising, and more."--Jennifer Fraser, author of Rite of Passage in the Narratives of Dante and Joyce
June 16, 2004, was the one hundredth anniversary of Bloomsday, the day that James Joyce's novel Ulysses takes place. To celebrate the occasion, thousands took to the streets in Dublin, following in the footsteps of protagonist Leopold Bloom. The event also was marked by the Bloomsday 100 Symposium, where world-renowned scholars discussed Joyce's seminal work. This volume contains the best, most provocative readings of Ulysses presented at the conference.
The contributors to this volume urge a close engagement with the novel. They offer readings that focus variously on the materialist, historical, and political dimensions of Ulysses. The diversity of topics covered include nineteenth-century psychology, military history, Catholic theology, the influence of early film and music hall songs on Joyce, the post-Ulysses evolution of the one-day novel, and the challenge of discussing such a complex work amongst the sea of extant criticism.
(Gathers together interpretations of Joyce's work by schol...)
Gathers together interpretations of Joyce's work by scholars in a wide span of disciplines: music, history, literature, philosophy, sport, geography, modern languages, economics, theatre studies, and law. The depth and range of James Joyce's relationship with key historical, intellectual, and cultural issues in the early twentieth century are explored. The twenty essays in this collection draw out the openness and pluralism of Joyce's writing and underscore the need for readings of his work from a large variety of diverging perspectives.
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This collection of fourteen essays explores Joyce’s wor...)
This collection of fourteen essays explores Joyce’s work in relation to the theme of liminality, the tendency of Joyce’s writing to straddle borders and explore the margins of sexuality, genre, nationality, and language. The four sections of the book consider, in turn, the unusual power of peripheral or marginal elements in Joyce’s writing; Joyce’s liminal identity as an Irish writer, working from a position of exile and in uncertain relation to the English literary tradition; his engagement with developments that define the transition to modernity and modernism; and the special importance in Joyce studies of questions traditionally regarded as marginal in relation to the critic’s main task.
The collective emphasis on liminality captures an important aspect of Joyce’s artistic signature, the dialectic between the center and the margins that is either explored by or embodied in Joyce’s writing, while the methodology of individual essays is diverse, drawing upon such theorists as Bakhtin, Foucault, de Certeau, and Benjamin and bringing critical tools like “transtextuality” and the “pendant-text” to Joyce studies for the first time. The collection is particularly strong in its use of historical and other contextual material to challenge established points of view.
Reading Eilean Ni Chuilleanain, a Contemporary Irish Poet: The Element of the Spiritual
(This is the first full-length study of Eilean Ni Chuillea...)
This is the first full-length study of Eilean Ni Chuilleanain. The work, using as its starting point the ideas of theorists such as Emmanuel Levinas and Jacques Derrida in relation to the unspeakable other, demonstrates how poety can give voice to the existential experience of being.
Anne Fogarty was an American fashion designer, active 1940–80, who was noted for her understated, ladylike designs that were accessible to American women on a limited income.
Background
She was born in Pittsburgh, Pennsylvania, one of four children of Robert Whitney, an artist, and Marion Bosoranoff. At the age of five she shocked her mother by choosing a red hair ribbon to contrast with a pink organdy party dress.
he color combination, unacceptable in the 1920's, later became one of Fogarty's favorite and most popular color schemes. When she was thirteen, she made what she later described as a "real, traditional garden-party dress long, floating and elaborate. " Because such dresses were not fashionable at the time, Fogarty wished to become a stage actress, so that she would wear her "dream dresses" in period plays.
While living at home, Fogarty wore many hand-me-down clothes from her three older sisters. She altered these dresses in various ways. Proud of a tiny waist--it was no larger than eighteen inches in adulthood--she cinched her sisters' clothes with boys' belts and otherwise completely redesigned them. She did not consider that what came so easily to her could someday develop into a career.
Education
After graduating from high school in 1936, Fogarty attended Allegheny College in Meadville, Pa.
In 1937 she transferred to the Carnegie Institute of Technology in Pittsburgh as a drama major. Two years later she enrolled in the East Hartman School of Design.
Career
To pursue an interest in acting, Fogarty moved to New York City, where a sister (cookbook author Poppy Cannon) already resided. She worked as a model to support herself as she waited for acting parts.
While modeling for designer Harvey Berin, she made incisive comments and suggestions about the clothes that revealed her natural talent in fashion. A year later she moved to Dorland International, which offered her a chance to help design.
Not until 1947, after working as fashion publicist and stylist for Dorland, did Fogarty become assistant designer. That year Christian Dior introduced his "New Look, " a radical change from the broad-shouldered, slim-hipped women's clothing of the war years. Cinched waists, tight bodices with rounded, natural shoulders, and full, calf-length skirts coincided perfectly with Fogarty's fantasy dresses.
By 1948 she was designing for Youth Guild, a New York manufacturer of dresses for teens. Her cotton skirts with layers of bouffant petticoats were featured in Harper's Bazaar.
In 1950, Fogarty was hired by Margot Dresses, a producer of junior clothing. The combination of extreme femininity with simplicity of designs and fabrics made these moderately priced (well under $100 per dress) clothes in junior sizes 5-15 attractive to girls and women with "youthful figures. "
In 1951, Mademoiselle magazine gave Fogarty its Merit Award, and Bonwit Teller department store gave her its fashion award. Also in 1951, Fogarty was selected for the prestigious Coty American Fashion Critics Award, for her "paperdoll" silhouette.
On June 2, 1952, the New York Times offered two Anne Fogarty dress patterns for home sewers.
In 1958, Fogarty moved to Saks Fifth Avenue to design moderately priced misses' dresses. At Saks she produced new silhouettes, including an empire-waisted "camise" and a slim "relaxed sheath. " Her designs for a round-the-clock wardrobe included lingerie, shoes, dresses, hats, and jewelry. Fogarty also found time to write. Wife-Dressing, advice for wives on how to dress to please husbands, was published in 1959.
Pants, blouses, long evening dresses, and lounging jumpsuits, often in silk, cotton, or acetate, some trimmed in paillettes, were added to Fogarty's design repertoire.
Fogarty's company, located on Seventh Avenue in New York City, thrived, with reported annual sales of $7 million in 1968. Its divisions included Collector's Items (which was one of the first to use polyester double knits), Clothes Circuit, and A. F. Boutique. Fogarty was one of the first American companies to produce feminine, ruffled bikini bathing suits. The Fogartys were divorced in the mid-1960's.
By 1975, Fogarty had sold her company and was working from a studio in her townhouse at 45 East Sixty-eighth Street in Manhattan.
Under the "Leisure-Pleasure" label she designed casual, functional clothes.
Fogarty continued to free-lance. For Shariella Fashions, she completed a springinto-summer sportswear collection just before her death in New York City.
also in that year she received the first American Express Annual Fashion Award.
Fogarty received the Neiman-Marcus fashion award in 1952 and the 20th Century World of Fashion Award from the Philadelphia Fashion Group in 1953.
Two years later she was the recipient of the International Silk Association Award. At Margot Dresses, Fogarty also designed coats, suits, hats, costume jewelry, shoes, and lingerie. In 1957, her last year with Margot, she received the Cotton Fashion Award.
Fogarty received the Sports Illustrated Magazine Designer of the Year Award in 1960.
Her tenure with Saks Fifth Avenue ended in 1962, when she became president of Anne Fogarty, Inc., with Leonard Sunshine as her partner
Fogarty received the Neiman-Marcus fashion award in 1952 and the 20th Century World of Fashion Award from the Philadelphia Fashion Group in 1953.
Two years later she was the recipient of the International Silk Association Award. At Margot Dresses, Fogarty also designed coats, suits, hats, costume jewelry, shoes, and lingerie. In 1957, her last year with Margot, she received the Cotton Fashion Award.
Fogarty received the Sports Illustrated Magazine Designer of the Year Award in 1960.
Her tenure with Saks Fifth Avenue ended in 1962, when she became president of Anne Fogarty, Inc., with Leonard Sunshine as her partner