References
- Ahr, Katharina, Susanne Holschbach and Antje Krause-Wahl (eds). 2006. Erblätterte Identitäten. Mode—Kunst—Zeitschrift, Marburg: Jonas.
- Alberoni, Francesco. 1974. “Ritorno al conservatorismo?” L'Uomo Vogue February/March: 122–7.
- American Vogue. 1945. “Unclutter.” American Vogue January 1: 42–7.
- Ballaster, Ros. 1991. Women's World: Ideology, Femininity and the Woman's Magazine. London: Macmillan.
- Barthes, Roland. 1990. Die Sprache der Mode. Frankfurt am Main: Suhrkamp.
- Bergstein, Mary. 1995. “The Artist in his Studio: Photography, Art, and the Masculine Mystique.” Oxford Art Journal 18(2): 45–58.
- Bernier, Rosamond. 1949. “Matisse Designs a New Church.” American Vogue February 15: 68–71, 100.
- Bostnar, Nils. 2002. Männlichkeit und Werbung: Inszenierung, Bedeutung, Typologie. Kiel: Ludwig.
- Breward, Christopher. 2003. Fashion. Oxford: Oxford University Press.
- British Vogue. 1929. “Picasso as Decorator.” British Vogue April 17: 41.
- British Vogue. 1950. “Elegance.” British Vogue January: 36–45.
- Cattelan, Maurizio and Jens Hoffmann. 2001. 6th International Caribbean Biennial. Dijon: Presses du Réel.
- Casadio, Mariuccia. 2000. “Artists: On Location.” L'Uomo Vogue May/June: 104–9.
- Craik, Jennifer. 1994. The Face of Fashion: Cultural Studies in Fashion. London: Routledge.
- Crewe, Ben. 2003. Representing Men. Oxford: Berg.
- Evans, Caroline and Minna Thornton. 1989. Women and Fashion: A New Look. London: Quartet.
- Follin, Frances. 2004. Embodied Visions: Bridget Riley, Op Art and the Sixties. London: Thames & Hudson.
- Graw, Isabelle. 2004. “Der letzte Schrei: Über modefÖrmige Kunst und kunstförmige Mode.” Texte zur Kunst 56: 80–95.
- Hainley, Bruce. 1997. “Model.” In Mark Francis (ed.) The Warhol Look—Glamour Style Fashion, pp. 39–44. Mönchen: Schirmer und Mosel.
- Harper's Bazaar. 1954. Harper's Bazaar May: 120–5.
- Harper's Bazaar. 1963a. “Good Theatre: The Man to Watch, and the Clothes to Wear.” Harper's Bazaar October: 176–9.
- Harper's Bazaar. 1963b. Harper's Bazaar October: 198–201.
- Harper's Bazaar. 1964a. Harper's Bazaar February: 124–7.
- Harper's Bazaar. 1964b. Harper's Bazaar January: 152–5.
- Harper's Bazaar. 1964c. Harper's Bazaar December: 128–31.
- Harper's Bazaar. 1994. “The Fashionable Barbara Kruger.” Harper's Bazaar February: 148–53.
- Holschbach, Susanne. 2006. Vom Ausdruck zur Pose: Theatralität und Weiblichkeit in der Fotografie des 19. Jahrhunderts. Berlin: Reimer.
- Holschbach, Susanne and Antje Krause-Wahl. 2006. “Mode und Avantgarde im Medienverbund Zeitschrift.” In Katharina Ahr, Susanne Holschbach and Antje Krause-Wahl (eds) Erblätterte Identitäten, pp. 67–72. Mode—Kunst—Zeitschrift. Marburg: Jonas.
- Jobling, Paul. 2006. Fashion Spreads: Word and Image in Fashion Photography since 1980. Oxford: Berg.
- Jones, Amelia. 1995. “‘Clothes Make the Man’: The Male Artist as a Performative Function.” Oxford Art Journal 18(2): 18–32.
- Jones, Caroline. 1996. Machine in the Studio, Constructing the Postwar Artist. Chicago, IL: University of Chicago Press.
- Lehmann, Ulrich. 2002. “The Trademark Tracey Emin.” In Mandy Merck and Chris Townsend (eds) The Art of Tracey Emin, pp. 60–78. London: Thames & Hudson.
- Lewis, Jim. 1993. “The New Cindy Sherman Collection.” Harper's Bazaar May: 144–9, 183.
- Lewis, Reina. 1997. “Looking Good: The Lesbian Gaze and Fashion Imagery in Lifestyle Magazines.” In Feminist Review 55: 92–109.
- Liberman, Alexander. 1960. The Artist in His Studio. New York: Viking.
- Loreck, Hanne. 2002. “De/constructing Fashion/Fashions of Decon- struction: Cindy Sherman's Fashion Photographs.” Fashion Theory 6(3): 255–75.
- L'Uomo Vogue. 1969. L'Uomo Vogue no. 6.
- L'Uomo Vogue. 1972. “Andy Warhol & amici nella sua new factory.” L'Uomo Vogue April/May: 162–3.
- L'Uomo Vogue. 1974. “Da parigi: Yves Saint Laurent, perché il classico?” L'Uomo Vogue February/March: 152–5.
- L'Uomo Vogue. 1975. “Andy Warhol (Dressed by Yves Saint Laurent).” L'Uomo Vogue January: 148.
- McNeil, Peter. 1994. “Designing Women: Gender, Sexuality and the Interior Decorator, c. 1890–1940.” Art History 17(4): 631–57.
- Meyers Enzyklopädisches Lexikon. 1976. Meyers Enzyklopädisches Lexikon in 25 Bänden, vol. 16, p. 364. Mannheim: Bibliografisches Institut.
- Molloy, John T. 1975. Dress for Success. New York: Warner.
- Monopol. 2005. “For Beuys and Girls.” Monopol no. 2, April/May: 84–9.
- Muir, Robin (ed.). 1996. Clifford Coffin. Photographs from Vogue 1945 to 1955. Mönchen: Schirmer/Mosel.
- O'Brian, John. 1999. Ruthless Hedonism: The American Reception of Matisse. Chicago, IL: University of Chicago Press.
- Picardie, Justine. 2001. “Indecent Exposure.” British Vogue April: 254–61.
- Purple Fashion 2004-5. “Elizabeth Peyton: Portraits by Annette Au- rell.” Purple Fashion no. 2, Autumn/Winter: 114–23.
- Rabine, Leslie. 1994. “A Woman's Two Bodies: Fashion Magazines, Consumerism, and Feminism.” In Shari Benstock and Suzanne Ferriss (eds) On Fashion. New Brunswick, NJ: Rutgers University Press.
- Rose, Barbara. 1972. “American Great: Lee Krasner.” American Vogue June: 118–20, 154.
- Röser, Jutta. 1992. Frauenzeitschriften und weiblicher Lebenszusammenhang: Themen, Konzepte und Leitbilder im sozialen Wandel. Opladen: Westdeutscher Verlag.
- Silverman, Kaja. 1996. The Threshold of the Visible World. New York: Routledge.
- Sykora, Katharina. 2005. “Auf den zweiten Blick. Henri Matisse und die Fotografie.” In Pia Möller-Tamm (ed.) Henri Matisse, Figur, Farbe, Raum, pp. 330–42. Ostfilder-Ruit: Hatje Cantz.
- Troy, Nancy. 2002. Couture Culture: A Study in Modern Art and Fashion. Cambridge, MA: MIT Press.
- Whiting, Cécile. 1997. A Taste for Pop: Pop Art, Gender, and Consumer Culture. Cambridge: Cambridge University Press.