Orange Prize winner and shortlisted for the Man Booker Prize 2008, Linda Grant has created an enchanting portrait of a woman who, having endured unbearable loss, finds solace in the family secrets her estranged uncle reveals. In vivid and supple prose, Grant subtly constructs a powerful story of family, love, and the hold the past has on the present. Vivien Kovacs, a sensitive, bookish girl grows up sealed off from the world by her timid Hungarian refugee parents, who conceal the details of their history and shy away from any encounter with the outside world. She learns how to navigate British society from an eccentric cast of neighbors -- including a fading ballerina, a cartoonist, and a sad woman who wanders the city and teaches Vivien to be beautiful. She loses herself in books and reinvents herself according to her favorite characters, but it is through clothes that she ultimately defines herself. Against her father's wishes, she forges a relationship with her uncle, a notorious criminal and slum landlord, who, in his old age, wants to share his life story. As he exposes the truth about her family's past Vivien learns how to be comfortable in her own skin and how to be alive in the world. Grant is a spectacularly humanizing writer whose morally complex characters explore the line between selfishness and self-preservation.

Only the Clothes on Her Back illuminates the ways in which women, men of color, and poor people used textiles as a form of property that enabled them to gain access to the legal system and to exercise political power.

Jews had long been active in the clothing trade in Europe, developing new production and retail methods and excelling as designers. However, in the UK clothes production was mostly conservative and design was not a concept. What happened to these Jews in the clothing industry after the Nazis came to power in 1933, bent on ridding Germany of Jews? Many found asylum in Britain, where soon the refugee owners of Kangol and other firms were employing thousands of British workers at a time of dreadfully high unemployment. And when war broke out, it was Kangol who made the berets for the British army and other forces. British companies started to recognise what the refugees could offer: Pringle of Scotland for one could see the benefits of hiring an Austrian refugee designer, their first. It was he who thought up the twinset which became a huge commercial success. The refugees brought new technology, new display methods, a different attitude to export and much more. It was no wonder then that by the end of the war the refugee clothiers were recognised as having made a disproportionate contribution to the economy Just one who was honoured was Miki Sekers, who was made an MBE in 1955 for services to the fashion industry. Additionally, to show their gratitude to the land that had saved their lives and given them hope, several became major patrons to the British arts scene. Harry Djanogly, supplier of clothing to M &S and a major donor to medical and educational projects also, was knighted for his services to philanthropy in 1993. Here Anna Nyburg tells their stories.

Style is not just the clothes on our backs—it is self-expression, representation, and transformation. As a fashion-obsessed Ojibwe teen, Christian Allaire rarely saw anyone that looked like him in the magazines or movies he sought out for inspiration. Now the Fashion and Style Writer for Vogue, he is working to change that—because clothes are never just clothes. Men’s heels are a statement of pride in the face of LGTBQ+ discrimination, while ribbon shirts honor Indigenous ancestors and keep culture alive. Allaire takes the reader through boldly designed chapters to discuss additional topics like cosplay, make up, hijabs, and hair, probing the connections between fashion and history, culture, politics, and social justice. *A Junior Library Guild Gold Standard Selection

Revealing the workings and dangers of freight shipping, the author sails from Rotterdam to Suez to Singapore to present an eye-opening glimpse into an overlooked world filled with suspect practices, dubious operators, and pirates.

An investigation into the damage wrought by the colossal clothing industry--and the grassroots, high-tech, international movement fighting to reform it from a bestselling journalist who has traveled the globe to discover the visionary designers and companies who are propelling the industry toward that more positive future.ture.

A NEW YORKER BEST BOOK OF THE YEAR • A sweeping and captivatingly told history of clothing and the stuff it is made of—an unparalleled deep-dive into how everyday garments have transformed our lives, our societies, and our planet. “We learn that, if we were a bit more curious about our clothes, they would offer us rich, interesting and often surprising insights into human history...a deep and sustained inquiry into the origins of what we wear, and what we have worn for the past 500 years." —The Washington Post In this panoramic social history, Sofi Thanhauser brilliantly tells five stories—Linen, Cotton, Silk, Synthetics, Wool—about the clothes we wear and where they come from, illuminating our world in unexpected ways. She takes us from the opulent court of Louis XIV to the labor camps in modern-day Chinese-occupied Xinjiang. We see how textiles were once dyed with lichen, shells, bark, saffron, and beetles, displaying distinctive regional weaves and knits, and how the modern Western garment industry has refashioned our attire into the homogenous and disposable uniforms popularized by fast-fashion brands. Thanhauser makes clear how the clothing industry has become one of the planet’s worst polluters and how it relies on chronically underpaid and exploited laborers. But she also shows us how micro-communities, textile companies, and clothing makers in every corner of the world are rediscovering ancestral and ethical methods for making what we wear. Drawn from years of intensive research and reporting from around the world, and brimming with fascinating stories, Worn reveals to us that our clothing comes not just from the countries listed on the tags or ready-made from our factories. It comes, as well, from deep in our histories.