What do you think?
Rate this book
Gothic: Dark Glamour
From its origins in the eighteenth-century literature of terror to its contemporary manifestations in vampire fiction, cinema, and art, the gothic has embraced the powers of horror and the erotic macabre. “Gothic” is an epithet with a strange history – evoking images of death, destruction, and decay. Ironically, its negative connotations have made the gothic an ideal symbol of rebellion for a wide range of cultural outsiders.
Popularly associated with black-clad teenagers and rock musicians, gothic fashion encompasses not only subcultural styles (from old-school goth to cyber-goth and beyond) but also high fashion by such designers as Alexander McQueen, John Galliano of Christian Dior, Rick Owens, Olivier Theyskens, and Yohji Yamamoto. Fashion photographers, such as Sean Ellis and Eugenio Recuenco, have also drawn on the visual vocabulary of the gothic to convey narratives of dark glamour. As the text and lavish illustrations in this book suggest, gothic fashion has deep cultural roots that give it an enduring potency.
Popularly associated with black-clad teenagers and rock musicians, gothic fashion encompasses not only subcultural styles (from old-school goth to cyber-goth and beyond) but also high fashion by such designers as Alexander McQueen, John Galliano of Christian Dior, Rick Owens, Olivier Theyskens, and Yohji Yamamoto. Fashion photographers, such as Sean Ellis and Eugenio Recuenco, have also drawn on the visual vocabulary of the gothic to convey narratives of dark glamour. As the text and lavish illustrations in this book suggest, gothic fashion has deep cultural roots that give it an enduring potency.
180 pages, Hardcover
First published August 15, 2008
9 people are currently reading
777 people want to read
About the author
Valerie Steele
144 books146 followersValerie Steele is director and chief curator and Melissa Marra is associate curator of education and public programs, both at the Museum at the Fashion Institute of Technology, New York.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 16 of 16 reviews
November 10, 2011
3.5 stars - warning: meandering review
I enjoyed the photographs and the descriptions of those photographs in the Steele part of the book. They made sense and flowed well. Unfortunately, the bulk of the text seriously confused me at times, despite (because of?) the fact that I am somewhat familiar with this subculture. I think this would be fabulous as an exhibit and I'm sorry I missed seeing it when it was an exhibit, but in book form I had a really hard time following the thesis; it seemed to change at will. I needed more explanatory section breaks and better flow from the words and concepts than what I got from this. That said, the photographs and overall concept were really engaging and I did learn some things.
The second part of the book, specifically about goth music and written by Jennifer Park, had much tighter writing. I enjoyed learning about how influential bands like The Velvet Underground were on glam and punk rock, which lead to the development of the goth genre (as much as bands described as goth might not like the term). I was disturbed to learn about the ties between goth culture and neo-nazism -- it was mentioned only briefly, so I'm not sure if it was just the anti-establishment use of swastikas and borrowing of other imagery that created those perceived ties or if there were actual ideological ties between the groups, but... not cool, people.
Anyway, it was an overall enjoyable exploration of the goth movement, particularly in terms of fashion and music. I have no particular desire to re-read it, so hurray for libraries, but I'm glad I had the opportunity to look through it.
I enjoyed the photographs and the descriptions of those photographs in the Steele part of the book. They made sense and flowed well. Unfortunately, the bulk of the text seriously confused me at times, despite (because of?) the fact that I am somewhat familiar with this subculture. I think this would be fabulous as an exhibit and I'm sorry I missed seeing it when it was an exhibit, but in book form I had a really hard time following the thesis; it seemed to change at will. I needed more explanatory section breaks and better flow from the words and concepts than what I got from this. That said, the photographs and overall concept were really engaging and I did learn some things.
The second part of the book, specifically about goth music and written by Jennifer Park, had much tighter writing. I enjoyed learning about how influential bands like The Velvet Underground were on glam and punk rock, which lead to the development of the goth genre (as much as bands described as goth might not like the term). I was disturbed to learn about the ties between goth culture and neo-nazism -- it was mentioned only briefly, so I'm not sure if it was just the anti-establishment use of swastikas and borrowing of other imagery that created those perceived ties or if there were actual ideological ties between the groups, but... not cool, people.
Anyway, it was an overall enjoyable exploration of the goth movement, particularly in terms of fashion and music. I have no particular desire to re-read it, so hurray for libraries, but I'm glad I had the opportunity to look through it.
October 10, 2008
Awesome book!
It covers history, lit and music. (and everything inbetween)
Nothing is left out, very well researched!
And I am in it : page 56 :)
It covers history, lit and music. (and everything inbetween)
Nothing is left out, very well researched!
And I am in it : page 56 :)
April 2, 2012
Although there are many books about gothic literature and goth rock, and even interesting sociological studies of the late 20th-century and early 21st-century goth subculture, there are few studies about gothic fashion and the influece of "goth" in the fashion world. Gothic: Dark Glamour -essentially, a coffee-table book ment as a companion to a major exhibiton- makes a rather good job filling this vaccum. The book consists essentially of two well-written essays and a careful selection of (mainstrean and underground) fashion photos, record covers, and other gothic-relevant images. The main articles deals with both the changing styles of the goth subculture, as well as how well-known designers have made use of gothic motifs, even if they try hard not to use the term "goth" itself. Ranging from Medieval to Victorian, to late 20th century and beyond , gothic elements are seen as a major (or at least recurrent) element in fashion. The second essay summarizes the history of the forerunners and the "Golden Age" of goth rock, mostly focusing on the major names (Bauhaus, Siouxsie and the Banshees, The Cure, Sisters of Mercy etc.), but also including less-known bands (Danse Society, March Violets, Sex Gang Children, etc.)... hardcore goths would and should certainly complain about a lack of depth regarding the current goth scene, but the essay serves the purpose of this book. Of course, this book's visual side is essential and photographs and other illustrations were carefully chosen and represent the wide range of goth aesthetics (not everything is black on black).
July 5, 2021
(The English review is placed beneath the Russian one)
Великолепная книга. Но только первая её половина, т.е. та часть, что была написана Валери Стил. Я не знаю автора второй части и не берусь утверждать что она никому не понравится, но лично меня она совершенно не заинтересовала. Проблема в том, что если Валери Стил пишет об одежде готов, то второй автор полностью посвящает свой текст музыкальным группам. Так как я совершенно в этих музыкальных группах не разбираюсь и никогда не слышал их музыку, мне быстро наскучило чтения.
Однако, учитывая, что книга издана в серии «Теория моды», меня главным образом интересовало влияние субкультуры готов, готической культуры на моду как таковую. И вот с этой целью книга великолепно справляется. Автор не только очень понятно и просто объясняет этот феномен, но и сама книга предлагает очень качественные, глянцевые фотографии, рассмотрение которых доставляет огромное наслаждение. Всё же эта тема не настолько популярна, чтобы можно было отделаться несколькими фотографиями, в основном сосредоточившись на тексте. В этой книге всё как раз наоборот: 65-70% занимают фотографии и лишь 30-35%, сам текст. Я нахожу это особо удачным решением в связи с такой специфической темой как субкультура готов. Это не тема корсетов, о которых Валери Стил также написала великолепную книгу и в которой так же было много иллюстраций. Ибо что может предложить корсет? Корсет есть корсет и он не сильно и не так часто менялся (относительно). А вот готический стиль предлагает нам множество, совершенно разнообразных, образов. Особенно стоит подчеркнуть, что мужское и женское одеяние или лучше сказать стиль, могут кардинально отличаться.
Сам готический стиль берёт начало не в конце XX века, как многие полагают, т.е. в субкультуре готов которых мы все прекрасно знаем (молодые люди, одетые во всё чёрное, с чёрными волосами и пр.) Да, Валери Стил пишет и о таких группах людей, однако возникает этот стиль в тот момент, когда стали появляться первые готические романы.
Следующий этап – появление художественной литературы о вампирах.
Третий этап или третье идейное определение этого стиля, это смерть & секс. Вот об этом и какое отражение это находило в модной индустрии и пишет Валери Стил. И именно для иллюстрации этого положения в книге так много фотографий.
Хоть я и не являюсь поклонником этого стиля, но это не помешало мне наслаждаться книгой. Я давно заметил, что Валери Стил удаётся писать книги так, чтобы они полностью увлекали читателей мало знакомых с этой темой. Она пишет без премудростей, без пустословия, без ненужного повтора, т.е. всё по делу и всё просто, доходчиво и систематизировано.
Эта книга является отличным дополнением к тем книгам, которые посвящены истории моды, а также книгам, посвящённым разным стилям, включая нынешние тенденции в современной моде. Да, самого текста Валери Стил тут меньше 100 страниц и мы не можем назвать это полноценным исследованием этого вопроса, каким было её исследование корсета. Но возможно сама тема не подразумевает широкого анализа? Всё же готический стиль никогда не был в почёте у широкой публики, а увлечение подростков, часто было лишь скоротечным увлечением.
Одно ясно: книга коротко и ёмко объясняет суть этого стиль и как это выглядело в жизни. Ну, и кем были его яркие представители.
Great book, but only the first half of it, i.e., the part that was written by Valerie Steele. I don't know the author of the second half, and I don't pretend that no one will like it, but personally, I wasn't interested in it at all. The problem is that while Valerie Steele writes about the clothes of the goths, the second author devotes his text entirely to musical bands. Since I am completely unaware of these musical groups and have never heard their music, I was quickly bored with reading.
However, given that the book is published in the "Theory of Fashion" series, I was mainly interested in the influence of the goth subculture, the goth culture on fashion as such. And with this purpose, the book deals superbly. Not only does the author explain this phenomenon very clearly and simply, but the book itself offers very high quality, glossy photographs, the examination of which is a great pleasure. Still, this topic is not so popular that you can get away with just a few pictures, mostly focusing on the text. In this book, it's just the opposite: 65-70% are photos, and only 30-35%, the text itself. I find this a particularly good solution in relation to such a specific topic as the goth subculture. This is not the subject of corsets, about which Valerie Steele also wrote an excellent book and which also had many illustrations. After all, what does a corset have to offer? A corset is a corset, and it hasn't changed much in a long time (relatively). But the gothic style offers us a variety of different images. It is especially worth emphasizing that men's and women's attire, or should I say style, can be radically different.
The gothic style itself does not originate at the end of the twentieth century as many believe, i.e. in the subculture of goths we all know well (young people dressed all in black, with black hair, etc.) Yes, Valerie Steele writes about such groups of people too, but the style emerges, at the moment, when the first Gothic novels began to appear.
The next stage is the emergence of fiction about vampires.
The third stage, or the third conceptual definition of this style, is death & sex. This is what Valerie Steele writes about and how it was reflected in the fashion industry. To illustrate this point, there are so many photographs in the book.
Although I am not a fan of this style, that did not stop me from enjoying the book. I have noticed for a long time that Valerie Steele writes books in such a way that they completely captivate readers unfamiliar with the subject. She writes with no gibberish, no verbiage, no unnecessary repetition, i.e. everything is to the point, and everything is simple, understandable, and systematic.
This book is a great addition to those books that deal with fashion history and those that deal with different styles, including current trends in contemporary fashion. Yes, Valerie Steele's text itself is less than 100 pages long, and we can't call it a full study of the subject as her study of the corset was. But perhaps the topic itself does not imply a broad analysis? After all, the gothic style has never been in vogue with the general public, and the fascination of teenagers often was only a fleeting fad.
Великолепная книга. Но только первая её половина, т.е. та часть, что была написана Валери Стил. Я не знаю автора второй части и не берусь утверждать что она никому не понравится, но лично меня она совершенно не заинтересовала. Проблема в том, что если Валери Стил пишет об одежде готов, то второй автор полностью посвящает свой текст музыкальным группам. Так как я совершенно в этих музыкальных группах не разбираюсь и никогда не слышал их музыку, мне быстро наскучило чтения.
Однако, учитывая, что книга издана в серии «Теория моды», меня главным образом интересовало влияние субкультуры готов, готической культуры на моду как таковую. И вот с этой целью книга великолепно справляется. Автор не только очень понятно и просто объясняет этот феномен, но и сама книга предлагает очень качественные, глянцевые фотографии, рассмотрение которых доставляет огромное наслаждение. Всё же эта тема не настолько популярна, чтобы можно было отделаться несколькими фотографиями, в основном сосредоточившись на тексте. В этой книге всё как раз наоборот: 65-70% занимают фотографии и лишь 30-35%, сам текст. Я нахожу это особо удачным решением в связи с такой специфической темой как субкультура готов. Это не тема корсетов, о которых Валери Стил также написала великолепную книгу и в которой так же было много иллюстраций. Ибо что может предложить корсет? Корсет есть корсет и он не сильно и не так часто менялся (относительно). А вот готический стиль предлагает нам множество, совершенно разнообразных, образов. Особенно стоит подчеркнуть, что мужское и женское одеяние или лучше сказать стиль, могут кардинально отличаться.
Сам готический стиль берёт начало не в конце XX века, как многие полагают, т.е. в субкультуре готов которых мы все прекрасно знаем (молодые люди, одетые во всё чёрное, с чёрными волосами и пр.) Да, Валери Стил пишет и о таких группах людей, однако возникает этот стиль в тот момент, когда стали появляться первые готические романы.
Следующий этап – появление художественной литературы о вампирах.
Третий этап или третье идейное определение этого стиля, это смерть & секс. Вот об этом и какое отражение это находило в модной индустрии и пишет Валери Стил. И именно для иллюстрации этого положения в книге так много фотографий.
Хоть я и не являюсь поклонником этого стиля, но это не помешало мне наслаждаться книгой. Я давно заметил, что Валери Стил удаётся писать книги так, чтобы они полностью увлекали читателей мало знакомых с этой темой. Она пишет без премудростей, без пустословия, без ненужного повтора, т.е. всё по делу и всё просто, доходчиво и систематизировано.
Эта книга является отличным дополнением к тем книгам, которые посвящены истории моды, а также книгам, посвящённым разным стилям, включая нынешние тенденции в современной моде. Да, самого текста Валери Стил тут меньше 100 страниц и мы не можем назвать это полноценным исследованием этого вопроса, каким было её исследование корсета. Но возможно сама тема не подразумевает широкого анализа? Всё же готический стиль никогда не был в почёте у широкой публики, а увлечение подростков, часто было лишь скоротечным увлечением.
Одно ясно: книга коротко и ёмко объясняет суть этого стиль и как это выглядело в жизни. Ну, и кем были его яркие представители.
Great book, but only the first half of it, i.e., the part that was written by Valerie Steele. I don't know the author of the second half, and I don't pretend that no one will like it, but personally, I wasn't interested in it at all. The problem is that while Valerie Steele writes about the clothes of the goths, the second author devotes his text entirely to musical bands. Since I am completely unaware of these musical groups and have never heard their music, I was quickly bored with reading.
However, given that the book is published in the "Theory of Fashion" series, I was mainly interested in the influence of the goth subculture, the goth culture on fashion as such. And with this purpose, the book deals superbly. Not only does the author explain this phenomenon very clearly and simply, but the book itself offers very high quality, glossy photographs, the examination of which is a great pleasure. Still, this topic is not so popular that you can get away with just a few pictures, mostly focusing on the text. In this book, it's just the opposite: 65-70% are photos, and only 30-35%, the text itself. I find this a particularly good solution in relation to such a specific topic as the goth subculture. This is not the subject of corsets, about which Valerie Steele also wrote an excellent book and which also had many illustrations. After all, what does a corset have to offer? A corset is a corset, and it hasn't changed much in a long time (relatively). But the gothic style offers us a variety of different images. It is especially worth emphasizing that men's and women's attire, or should I say style, can be radically different.
The gothic style itself does not originate at the end of the twentieth century as many believe, i.e. in the subculture of goths we all know well (young people dressed all in black, with black hair, etc.) Yes, Valerie Steele writes about such groups of people too, but the style emerges, at the moment, when the first Gothic novels began to appear.
The next stage is the emergence of fiction about vampires.
The third stage, or the third conceptual definition of this style, is death & sex. This is what Valerie Steele writes about and how it was reflected in the fashion industry. To illustrate this point, there are so many photographs in the book.
Although I am not a fan of this style, that did not stop me from enjoying the book. I have noticed for a long time that Valerie Steele writes books in such a way that they completely captivate readers unfamiliar with the subject. She writes with no gibberish, no verbiage, no unnecessary repetition, i.e. everything is to the point, and everything is simple, understandable, and systematic.
This book is a great addition to those books that deal with fashion history and those that deal with different styles, including current trends in contemporary fashion. Yes, Valerie Steele's text itself is less than 100 pages long, and we can't call it a full study of the subject as her study of the corset was. But perhaps the topic itself does not imply a broad analysis? After all, the gothic style has never been in vogue with the general public, and the fascination of teenagers often was only a fleeting fad.
August 15, 2011
I own several of Valerie Steele's books and they never disappoint. This one is no different. Reading like a coffee table book, it provides an extensive history on Gothic literature, architecture, art, etc. and how it inspired fashion, from Victorian mourning dresses to the raw, experimental clothing of the first Gothic scene sprung out of the punk movement in the late 70's, the New Romantics, and the more recent Cybergoth and "Graver" trends. The book is filled with gorgeous photography, from street fashion shots of DIY outfits, to club kid photos, to high-fashion and couture runway and editorial shoots, featuring such designers as John Galliano, Hussein Chalayan, Rodarte, Elsa Schiaparelli, Thierry Mugler, Alexander McQueen, Comme de Garcons, and Yohji Yamamoto. There are also some beautiful drawings and paintings included. There is also a music section, entitled "Melancholy and the Macabre: Gothic Rock and Fashion" by Jennifer Park, which explores such artists as Bauhaus, Siouxsie and the Banshees, Joy Division, The Cure, Nick Cave, The Sisters of Mercy, etc. and their fashion, both onstage and off.
April 8, 2022
The Goth fashion in this book was meh.
But!
Oh My Goth! The Victorian mourning dress is gorgeous. It would be a beautiful wedding dress or a dress for the Opera.
But!
Oh My Goth! The Victorian mourning dress is gorgeous. It would be a beautiful wedding dress or a dress for the Opera.
December 31, 2020
By first glance I can tell that this would be a keeper. It covers about the culture, the fashion and subcultures. You want to know your community's history, roots, origins? Read this book. If you want to get an idea what Goth is, you'll definetelly need to read this book and then go asks more questions.
March 19, 2019
Meh...
February 6, 2009
This book is deliciously thick with lustrous photographic illustrations and visual references that are gilded frame-worthy (and if it weren’t such blasphemy to pull it apart, I’d do just that...I want some of these images on my walls, dammit). Not surprisingly, it often reads more like an academic textbook than a style guide, and thank heaven and hell below it for that. There are far too many "Like, OMG, Cheerleader-to-Gothgirl" how-to manuals out there already. The primary author of this book, Valerie Steele, has written numerous fashion-related books, many of which deal with how popular, as well not-so-mainstream and otherwise underground fashion, relate to both individual and cultural identity. She also happens to have her Ph.D. from Yale University and is currently Director and Chief Curator at The Museum at The Fashion Institute of Technology. In other words, she understands not only the Art of Fashion but the Theory behind it.
Steele references everything from the etymology of the word "gothic" to the early, cultural influences (everything from art, music, theatre and film to literature and architecture) that have shaped what we consider Gothic today. I’d like to think I’m an unofficial expert on this subculture (or, at the very least, an Old-School Goth turned Glamourous Eccentric...who also happens to be a costume history & fashion nerd), but Steele cites so many obscure and influences that I started to question whether or not I was a novice myself. Or a clueless, like, OMG!...cheerleader. I never would have considered, for example, Horace Walpole’s part—which pre-dates Byron, The Shelleys, Poe, Stoker, Wilde and Baudelaire—as being so significant in the influence of literature on the Gothic aesthetic. Nor did I really think about how the collaborations between photographer Sean Ellis, and the incomparable stylist, Isabella Blow, in the mid-90s (who were both inspired by the disturbingly beautiful collections of Alexander McQueen & Hussein Chalayan) helped spark yet another Gothic Revival in the world of fashion in years to come. Remember when Gucci did Goth?
In addition to sourcing some of the more obvious figures in fashion, the book takes an in-depth look at many of the important underground and independent players who have been responsible for molding and shaping Gothic Fashion over the years. If you don’t already know who Kambriel, Lip Service and Plastik Wrap were before, or if you’ve never heard of The Batcave, the Gothic & Lolita Bibles or Propaganda Magazine, you will by the time you finish this book. However, it should go without saying that about Gothic Fashion would hardly be complete (or valid, for that matter) without giving some serious attention to its inseparable partner, Gothic Music. Steele does indeed write in some length about the role of music in gothic subculture, but it’s the latter part of the book which pays serious tribute to the subject.
“Melancholy and The Macabre: Gothic Rock and Fashion,” by Jennifer Park, is really a little book within a book. It is essentially a short history of Gothic Rock. From its early, pre-punk influences, such as Velvet Underground and Bowie, to its post-punk revolutionaries, like Joy Division, Siouxsie and The Banshees, The Smiths, Bauhaus and The Cure (still four of my favorite bands), who paved the way for the uber-goth bands of the late 1980s and ’90s. While I do think this serves as only a primer on what can be broadly defined as “Gothic Rock”, the featured album covers and select discography made me nostalgic for my cape-wearing, gother-than-thou days of olde.
In any case, it is certain that Valerie Steele’s expertise and passion for subculture and lesser-known fashion makes for an extensively researched, incredibly thorough read on the subject, appropriate for fashion enthusiasts, costume historians and more erudite goths, alike. Nevertheless, anyone looking for pseudo-morbid, pre-fab, darkity-dark fashion fluff should stick to the plethora of glossy goth-mags (no offense, Gothic Beauty) and cheesy goth-sites and clubs (we know you are…alas, you do not). You could always look at the pretty pictures, though.
Steele references everything from the etymology of the word "gothic" to the early, cultural influences (everything from art, music, theatre and film to literature and architecture) that have shaped what we consider Gothic today. I’d like to think I’m an unofficial expert on this subculture (or, at the very least, an Old-School Goth turned Glamourous Eccentric...who also happens to be a costume history & fashion nerd), but Steele cites so many obscure and influences that I started to question whether or not I was a novice myself. Or a clueless, like, OMG!...cheerleader. I never would have considered, for example, Horace Walpole’s part—which pre-dates Byron, The Shelleys, Poe, Stoker, Wilde and Baudelaire—as being so significant in the influence of literature on the Gothic aesthetic. Nor did I really think about how the collaborations between photographer Sean Ellis, and the incomparable stylist, Isabella Blow, in the mid-90s (who were both inspired by the disturbingly beautiful collections of Alexander McQueen & Hussein Chalayan) helped spark yet another Gothic Revival in the world of fashion in years to come. Remember when Gucci did Goth?
In addition to sourcing some of the more obvious figures in fashion, the book takes an in-depth look at many of the important underground and independent players who have been responsible for molding and shaping Gothic Fashion over the years. If you don’t already know who Kambriel, Lip Service and Plastik Wrap were before, or if you’ve never heard of The Batcave, the Gothic & Lolita Bibles or Propaganda Magazine, you will by the time you finish this book. However, it should go without saying that about Gothic Fashion would hardly be complete (or valid, for that matter) without giving some serious attention to its inseparable partner, Gothic Music. Steele does indeed write in some length about the role of music in gothic subculture, but it’s the latter part of the book which pays serious tribute to the subject.
“Melancholy and The Macabre: Gothic Rock and Fashion,” by Jennifer Park, is really a little book within a book. It is essentially a short history of Gothic Rock. From its early, pre-punk influences, such as Velvet Underground and Bowie, to its post-punk revolutionaries, like Joy Division, Siouxsie and The Banshees, The Smiths, Bauhaus and The Cure (still four of my favorite bands), who paved the way for the uber-goth bands of the late 1980s and ’90s. While I do think this serves as only a primer on what can be broadly defined as “Gothic Rock”, the featured album covers and select discography made me nostalgic for my cape-wearing, gother-than-thou days of olde.
In any case, it is certain that Valerie Steele’s expertise and passion for subculture and lesser-known fashion makes for an extensively researched, incredibly thorough read on the subject, appropriate for fashion enthusiasts, costume historians and more erudite goths, alike. Nevertheless, anyone looking for pseudo-morbid, pre-fab, darkity-dark fashion fluff should stick to the plethora of glossy goth-mags (no offense, Gothic Beauty) and cheesy goth-sites and clubs (we know you are…alas, you do not). You could always look at the pretty pictures, though.
January 7, 2014
(Clearly i'm doing a lot of academic reading on the gothic subculture these days, as i think this is like the fifth such book i've read and reviewed.)
Really well-done look at two aspects of the scene. The first half is specifically fashion, the origins of the aesthetic/artistic concept, and how the concept of "dark glamour" has surfaced and resurfaced both in the goth subculture/scene and in haute couture, with some interesting forays into stuff like Victorian mourning attire.
The second half focuses on the music of the goth genre from the post-punk era to the present, also really well-done. You read enough of these books and you get the litany down on the origins, "yeah yeah, Siouxsie, bauhaus, Sisters of Mercy, Specimen, Batcave, yeah, yeah etc." but this one managed to dig up some interesting corroborative quotes and sources that don't appear in the more pop-cultural fannish overviews out there.
Makes me wish--too late--that i could see the FIT exhibit that accompanied it.
Really well-done look at two aspects of the scene. The first half is specifically fashion, the origins of the aesthetic/artistic concept, and how the concept of "dark glamour" has surfaced and resurfaced both in the goth subculture/scene and in haute couture, with some interesting forays into stuff like Victorian mourning attire.
The second half focuses on the music of the goth genre from the post-punk era to the present, also really well-done. You read enough of these books and you get the litany down on the origins, "yeah yeah, Siouxsie, bauhaus, Sisters of Mercy, Specimen, Batcave, yeah, yeah etc." but this one managed to dig up some interesting corroborative quotes and sources that don't appear in the more pop-cultural fannish overviews out there.
Makes me wish--too late--that i could see the FIT exhibit that accompanied it.
November 4, 2016
I naturally always been attracted to what some might consider a spoOky atmosphere but i find most comfortable and have a great love for This book covers everything from early influences of band members & inspired fashion that's also popular today to the development of the goth subculture movement i really enjoy watching reading talking about this dark delicious topic & could go on forever so if you're passionate about the lifestyle as i am this is a beautifully well put together of AWESOME
February 20, 2020
Brought this book as I needed to find quotes for my fashion degree and this book was perfect. It held so much information and covered quite a broad range of the whole goth scene. I found this book not only helpful but also extremely interesting.
December 8, 2009
Gorgeous coffee-table book, based on a stunning show at the FIT museum.
March 18, 2010
Beautiful photography and fairly accurate music history as well - the author examined a spectrum of "gothic".
March 24, 2011
Loved the history, but honestly where would you wear some of this stuff
August 7, 2015
Great investigation, it's very complete and well written. And the images selected are a total eye-candy.
Displaying 1 - 16 of 16 reviews