Fashion is widely recognised as a site for social acceptance and rejection, and as a signifier of personal identity. What happens when people stray from 'appropriate' dress codes or associate garments with 'respectability' or deviance? How does fashion relate to criminality? In this interdisciplinary volume, leading scholars propose new ways of seeing everyday dress and the body in public space. Garments and individual or group wearers are used as case studies to explore the codification of clothing as criminal – hoodies, trench-coats, Norwegian Lustkoffe sweaters, low-slung trousers and Hip Hop styling are all untangled as garments with criminal significance. The book questions the point at which morality as a form of social control meets criminality, and suggests ways to renegotiate established dress codes and terms such as 'suitability' and 'glamour' through the study of what people wear in response to notions of criminality.

OUTRAGEOUS CRIMES OF FASHION is a hilarious and authentic rags-to-riches memoir set in the crime-ridden streets of New York City in the late 1970s. It follows a naïve and penniless young woman as she hysterically navigates through a cast of unsavory characters, meeting every disaster imaginable with guts, determination, wit, and ultimately, incredible success. This story resonates with readers of all generations as an encouraging tale for the aspiring entrepreneur. It is a bible for survival in a man’s world and a must read for absolutely anyone who wears clothing. “In difficult times, fashion is always outrageous.” Elsa Schiaparelli

A law professor and cultural critic offers an eye-opening exploration of the laws of fashion throughout history, from the middle ages to the present day, examining the canons, mores and customs of clothing rules that we often take for granted

To stripe a surface serves to distinguish it, to point it out, to oppose it or associate it with another surface, and thus to classify it, to keep an eye on it, to verify it, even to censor it. Throughout the ages, the stripe has made its mark in mysterious ways. From prisoners' uniforms to tailored suits, a street sign to a set of sheets, Pablo Picasso to Saint Joseph, stripes have always made a bold statement. But the boundary that separates the good stripe from the bad is often blurred. Why, for instance, were stripes associated with the devil during the Middle Ages? How did stripes come to symbolize freedom and unity after the American and French revolutions? When did the stripe become a standard in men's fashion? "In the stripe," writes author Michel Pastoureau, "there is something that resists enclosure within systems." So before putting on that necktie or waving your country's flag, look to The Devil's Cloth for a colorful history of the stripe in all its variety, controversy, and connotation.

As makeover madness sweeps the nation's capital, reporter Lacey Smithsonian interviews TV show makeover success story Amanda Manville. But with Amanda's beauty comes a beast in the form of a stalker with vicious intentions—and Lacey may be the only one who can stop him.

"Crimes of Fashion" columnist Lacey Smithsonian delves into her latest mystery when hot new stylist Angie Woods supposedly commits suicide, but Lacey believes otherwise and teams up with a gorgeous ex-cop to find the truth, an investigation that leads her to a congressional staffer. Original.

Fashion is widely recognised as a site for social acceptance and rejection, and as a signifier of personal identity. What happens when people stray from 'appropriate' dress codes or associate garments with 'respectability' or deviance? How does fashion relate to criminality? In this interdisciplinary volume, leading scholars propose new ways of seeing everyday dress and the body in public space. Garments and individual or group wearers are used as case studies to explore the codification of clothing as criminal – hoodies, trench-coats, Norwegian Lustkoffe sweaters, low-slung trousers and Hip Hop styling are all untangled as garments with criminal significance. The book questions the point at which morality as a form of social control meets criminality, and suggests ways to renegotiate established dress codes and terms such as 'suitability' and 'glamour' through the study of what people wear in response to notions of criminality.