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From McRobbie’s (1978) cultural studies work on the oppositional use of make up and fashion by working-class girls, to the recent emphasis Tiffany Bracelets on Sale film studies on the relationship between cinema, consumption and the female spectator (see for instance Doane, 1987 and Stacey, 1994).
Critical work emerging in the later stages of second-wave feminism has shown a marked attention to the consideration and re-evaluation of fashion and femininity. This work has frequently been a site in which the exclusions of second-wave feminism in relation to race, ethnicity Paloma’s Tenderness Heart ring, sexuality, class and culture have been significantly challenged (See Gaines and Herzog, 1990; Ash and Wilson, 1992; Bruzzi, 1998; Bruzzi and Church-Gibson, 2000; Guy and Banim, 2000).
Published in 1990, Fabrications: Costume and the Female Body (Gaines and Herzog) signalled Paloma’s Twist necklace the importance of a critical approach to clothes and the body as part of a wider concern to deconstruct the female image, and in Chic Thrills (Ash and Wilson, 1992).
