Here are 100 books that Worn fans have personally recommended if you like
Worn.
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I have sewn since I was a child, taught by my mother to keep me out of mischief. From having the best-dressed dolls in the neighbourhood I graduated to making my own, sometimes outlandish, forms of fashion and then became a banner maker and community textile artist. Sewing is in my DNA and I love the tactile, rhythmic soothe of it. But I have long been curious about how, in the many books are published about needlework, very few ever mention why people sew. This is what fascinates me, the stories of sewing, because it is through its purpose that we discover the spirit that lies within it.
This is a rare and poignant insight into a man’s needlecraft and it was a delight to read. Julia Blackburn sets out on a mission to rediscover the neglected embroideries and forgotten story of the Norfolk fisherman, John Craske, (1881-1943). Her research leads her to many dead ends and unexpected encounters and, along the way, she experiences and shares her own story of loss. I love this book because it takes me into the world of the sea captured in the fishing folk Blackburn meets and introduces me to Craske’s mesmerising embroideries made under tragic circumstances.
John Craske, a Norfok fisherman, was born in 1881 and in 1917, when he had just turned thirty-six, he fell seriously ill. For the rest of his life he kept moving in and out of what was described as 'a stuporous state'. In 1923 he started making paintings of the sea and boats and the coastline seen from the sea, and later, when he was too ill to stand and paint, he turned to embroidery, which he could do lying in bed. His embroideries were also the sea, including his…
I have sewn since I was a child, taught by my mother to keep me out of mischief. From having the best-dressed dolls in the neighbourhood I graduated to making my own, sometimes outlandish, forms of fashion and then became a banner maker and community textile artist. Sewing is in my DNA and I love the tactile, rhythmic soothe of it. But I have long been curious about how, in the many books are published about needlework, very few ever mention why people sew. This is what fascinates me, the stories of sewing, because it is through its purpose that we discover the spirit that lies within it.
This is a surprisingly gentle memoir by the curator of fashion at the V & A Museum in London. She uses her own wardrobe to unfold the story of her own life. In exquisite prose she traces how, whether homemade or haute couture, what we wear catches significant moments in our lives and archives personal memories. It made me think of my own clothes in a different way and understand why I couldn’t throw out those that remind me of people I love and my own joyful or sad events.
'I am overwhelmed by this book. It is an absolute masterpiece. A book of such beauty and profundity, of such poetry in its emotion and observation ... I found my sense of life transformed by her writing as I often find it transformed after the exhibition of a great artist' LAURA CUMMING
Claire Wilcox has been a curator of fashion at the Victoria and Albert Museum for most of her working life. In Patch Work, she steps into the archive of memory, deftly stitching together her dedicated study of fashion with the story of…
I have sewn since I was a child, taught by my mother to keep me out of mischief. From having the best-dressed dolls in the neighbourhood I graduated to making my own, sometimes outlandish, forms of fashion and then became a banner maker and community textile artist. Sewing is in my DNA and I love the tactile, rhythmic soothe of it. But I have long been curious about how, in the many books are published about needlework, very few ever mention why people sew. This is what fascinates me, the stories of sewing, because it is through its purpose that we discover the spirit that lies within it.
I read this book in the early 1980s when it was first published and it changed my view of sewing and made me understand its cultural importance and how its value has been diminished over the centuries. It is a seminal landmark feminist book, the first to ever explore why sewing is perceived as just women’s work. Parker debates the nature of women’s embroidery through time, the dutiful and the radical, the artistic and the unacknowledged and if it hadn’t been for this book I would never have become fascinated about people who sew not simply to decorate clothes or their homes but to campaign, celebrate, conserve their stories and make their mark.
Rozsika Parker's re-evaluation of the reciprocal relationship between women and embroidery has brought stitchery out from the private world of female domesticity into the fine arts, created a major breakthrough in art history and criticism, and fostered the emergence of today's dynamic and expanding crafts movements.
The Subversive Stitch is now available again with a new Introduction that brings the book up to date with exploration of the stitched art of Louise Bourgeois and Tracey Emin, as well as the work of new young female and male embroiderers. Rozsika Parker uses household accounts, women's magazines, letters, novels and the works…
I have sewn since I was a child, taught by my mother to keep me out of mischief. From having the best-dressed dolls in the neighbourhood I graduated to making my own, sometimes outlandish, forms of fashion and then became a banner maker and community textile artist. Sewing is in my DNA and I love the tactile, rhythmic soothe of it. But I have long been curious about how, in the many books are published about needlework, very few ever mention why people sew. This is what fascinates me, the stories of sewing, because it is through its purpose that we discover the spirit that lies within it.
I am a very poor knitter and admire those who can knit up a jumper that is not embarrassing to wear. Esther Rutter is an expert and enthusiastic knitter and, in this book, she travels through Britain setting up her own challenges to knit something that echoes the traditions of the places she visits. There is a jumper from Fife in Scotland and a crocheted bikini its borders, Viking socks, and a Welsh cap: each one requiring hours of toil, each one accompanied by frustration and setbacks as stitches are dropped, the yarn snags and patterns are misread. As she journeys and knits, Rutter reveals the history of knitting, wool, and patterns place by place. I loved her perseverance, I relished her discoveries and I learnt enough about the knitter’s craft through time and today to make me want to get out my own knitting needs.
Over the course of a year, Esther Rutter - who grew up on a sheep farm in Suffolk, and learned to spin, weave and knit as a child - travels the length of the British Isles, to tell the story of wool's long history here.
She unearths fascinating histories of communities whose lives were shaped by wool, from the mill workers of the Border countries, to the English market towns built on profits of the wool trade, and the Highland communities cleared for sheep farming; and finds tradition and innovation intermingling in today's knitwear industries. Along the way, she explores…
I published the novel Ehrenfried & Cohn in 2016 about the decimation of the Jewish fashion industry in Berlin by the Nazis. I studied at the University of Arts in Berlin and became a fashion reporter for newspapers. Later I worked as a producer and journalist for German Public Broadcasting, the BBC in London, and PBS and CBS in New York City. I currently share my time between London and Berlin writing fact books on Jewish fashion and as a lecturer on fashion history in the US.
What connects the most important fashion styles over the last 80 years? The answer: the stories of those who made these clothing items fashion and trends, often globally. Lauren Cochrane illustrates lavishly this with a wealth of exactly these stories and plenty of pictures. These 10 classic fashion items are part of the universal language of style we all somehow know but not too much about them: The White T-shirt, Miniskirt, Hoodie, Jeans, Ballet flat, Breton top, Biker jacket, Little black dress, Stiletto, Trench.
Familiar, commonplace, ubiquitous - each piece has become an emblem of a certain style, carrying its own connotations and historical significance. They aren't just clothes - our social history is contained within these perfect 10 pieces. They're vessels that hold the history of style, politics, and identity: while trends may come and go, these are here to stay.
'Amazing - what perfect timing for fashion's new wave' Barbara Hulanicki, Founder of BIBA
These 10 classic fashion items are part of the universal language of style: the White T-shirt, Miniskirt, Hoodie, Jeans, Ballet flat, Breton top, Biker jacket, Little black dress, Stiletto, Trench.
While trends may come and go, they remain symbols of perennial cool, part of a capsule collection of chic emblems that represent who we are, who we want to be and how we want to be seen.
The Ten tells the story of each item's creation, its journey to popularity, and why it matters today. These…
Fashion has been the love of my life since I was a little kid pouring over magazines and watching shows on fashion TV in the middle of the night. But I’ve always known fashion is not about clothing, its about feeling and it’s about people. That’s why I love to read the stories about people who work in fashion, who have been impacted by fashion and those who love it just as much as I do.
If you prefer something more visual when it comes to books about style, Worn in New York is certainly that.
It’s a fun look at specific pieces of clothing that were, well, worn in New York by influential people. Each one is a first-person account of a specific item and it corresponds to a photo of the piece. One of my favorites is the story and image of actress Aubrey Plaza’s page uniform that she apparently stole when she worked at NBC.
The boots a passenger had on when his plane landed on the Hudson River. The tank top Andy Warhol's assistant wore to one of their nightclub outings together. The jacket a taxi driver put on to feel safe as he worked the night shift.
These and over sixty other clothing-inspired narratives make up Worn in New York, the latest volume from New York Times bestselling author Emily Spivack. In these first-person accounts, contributors in and out of the public eye share surprising, personal, wild, poignant, and funny stories behind a piece of clothing that reminds them of a significant moment…
Fashion has been the love of my life since I was a little kid pouring over magazines and watching shows on fashion TV in the middle of the night. But I’ve always known fashion is not about clothing, its about feeling and it’s about people. That’s why I love to read the stories about people who work in fashion, who have been impacted by fashion and those who love it just as much as I do.
In Dress Code, fashion director Veronique Hyland makes the connection between clothing and our culture.
She argues that fashion is an integral part of all of our lives and explains the ways that it means so much more than the outfit hanging in our closets. The essays are great at helping the reader contextualize clothing in a world where social media and politics, inform the way we shop and style ourselves.
A New Yorker Magazine Best Book of 2022 * An Esquire Best Nonfiction Book of 2022 * A Town & Country Must-Read Book of 2022 * A Fashionista Summer Read
"Smart, funny, and impressively thorough."-The Cut
In the spirit of works by Jia Tolentino and Anne Helen Peterson, a smart and incisive essay collection centered on the fashion industry-its history, its importance, why we wear what we wear, and why it matters-from Elle Magazine's fashion features director.
Why does fashion hold so much power over us? Most of us care about how we dress and how we present ourselves. Style…
Cynthia Harrod-Eagles is the author of the internationally acclaimed Morland Dynasty books. Five volumes of this comprehensive historical series focus on WW1, covering the military campaigns and the politics behind them. With the approach of the WW1 centennials, she was asked to write about the period again, this time from the point of view of the people who stayed at home. The result was the six-volume series, War At Home, which views the war from a more personal perspective, through the eyes of the fictional Hunter family, their servants, and friends.
On a lighter note, this book is a wonderful journey through what everyone wore, not just the fashions but the uniforms, the make-do-and-mend, maternity wear, underclothes, knitting for the soldiers, wartime washing-day, trousers for women (shock! horror!), a kit for lady footballers and lady drivers, and how the war changed women’s clothing along with their lives. Full of illustrations, delicious cartoons, and WW1 advertisements, this book is quite simply a wonderful read, as well as wonderfully informative.
Imagine 'stepping into someone else's shoes'. Walking back in time a century ago, which shoes would they be? A pair of silk sensations costing thousands of pounds designed by Yantonnay of Paris or wooden clogs with metal cleats that spark on the cobbles of a factory yard? Will your shoes be heavy with mud from trudging along duckboards between the tents of a frontline hospital... or stuck with tufts of turf from a football pitch? Will you be cloaked in green and purple, brandishing a 'Votes for Women' banner or will you be the height of respectability, restricted by your…
As a child (and budding feminist), I inhaled historical fiction about queens and other formidable women. This led to my scholarly interest in female power and authority. Aristocratic women had meaningful political influence in Old Regime France through family networks and proximity to power. However, with the French Revolution of 1789, women’s exclusion from political power (and the vote) was made explicit. This led me to examine the tools women had to accumulate political and social capital, including beauty and the control of fashion. We need to take the intersection of beauty, fashion, and politics seriously to understand the operation of power in both history and the modern world. The books I chose privilege my own interest in eighteenth-century France, but have a broader significance. And they are all really fun to read!
A major divergence in the nature of elite men's and women’s clothing styles took place in the eighteenth century that symbolized a new understanding of both femininity and French national identity. The fancy dress men wore at court transformed into the sober black suit of the male professional, while women’s clothing became increasingly ornate, fussy, and “feminine” in the modern understanding of the term. Jones links fashion and gender systems to social, cultural, and economic practices—including the rise of consumer culture—and demonstrates why the study of fashion and sexuality are far from frivolous.
The connection between fashion, femininity, frivolity and Frenchness has become a cliche. Yet, relegating fashion to the realm of frivolity and femininity is a distinctly modern belief that developed along with the urban culture of the Enlightenment. In eighteenth-century France, a commercial culture filled with shop girls, fashion magazines and window displays began to supplant a court-based fashion culture based on rank and distinction, stimulating debates over the proper relationship between women and commercial culture, public and private spheres, and morality and taste. Mary Wollstonecraft was one of those particularly critical of this 'vulgar' obsession with 'tawdry finery', declaring it…
Clothing is one of the most important aspects of our humanity, of the things which make us who we are. We use fashion to identify allies and enemies. To express our interests, politics, and belief systems. To make a statement about who we are to the outside world. To show our identity or ethnicity. Or to indicate our affiliation with certain groups. Fashion is everywhere, but compared to other disciplines, is very rarely talked about. Though I'm a lingerie expert, fashion in its totality interests me. I’m excited every time I learn something new, not just because I enjoy pretty garments, but because I also learn something about the nature of who we are.
Like my previous recommendation, How to Read a Dress is heavy on the visuals, but unlike my previous recommendation, this book gives you the language to describe and talk about what you’re seeing. If you’re ready to move beyond the basics and get a little more detailed in your study of fashion, How to Read a Dress is the perfect next step.
Fashion is ever-changing, and while some styles mark a dramatic departure from the past, many exhibit subtle differences from year to year that are not always easily identifiable. With overviews of each key period and detailed illustrations for each new style, How to Read a Dress is an authoritative visual guide to women's fashion across five centuries.
Each entry includes annotated color images of historical garments, outlining important features and highlighting how styles have developed over time, whether in shape, fabric choice, trimming, or undergarments. Readers will learn how garments were constructed and where their inspiration stemmed from at key…
