The English middle class in the late nineteenth century enjoyed an increase in the availability and variety of material goods. With that, the visual markers of class membership and manly behavior underwent a radical change. In The Cut of His Coat: Men, Dress, and Consumer Culture in Britain, 1860–1914, Brent Shannon examines familiar novels by authors such as George Eliot, Anthony Trollope, Thomas Hughes, and H. G. Wells, as well as previously unexamined etiquette manuals, period advertisements, and fashion monthlies, to trace how new ideologies emerged as mass-produced clothes, sartorial markers, and consumer culture began to change.

While Victorian literature traditionally portrayed women as having sole control of class representations through dress and manners, Shannon argues that middle-class men participated vigorously in fashion. Public displays of their newly acquired mannerisms, hairstyles, clothing, and consumer goods redefined masculinity and class status for the Victorian era and beyond.

The Cut of His Coat probes the Victorian disavowal of men’s interest in fashion and shopping to recover men’s significant role in the representation of class through self-presentation and consumer practices.

Fashionable Masculinities explores the expression of masculinities through constructions of fashion, identity, style and appearance as the third decade of the new millennium begins: a contradictory and precarious moment when masculinities are defined by protests and pandemics whilst being problematized across class, ethnicity, race, gender and sexuality. Whilst a majority of men might still define themselves as ‘traditional,’ post-millennials are now talking about how they envision a future without gender boundaries and borders. Rather than being defined as a gender, masculinity has now become a style that can be worn and performed as traditional and normative codes of masculinity are modulated and manipulated. This volume includes original essays on musical pop sensation Harry Styles, rapper and producer “Puff Daddy” Sean Combs, lumbersexuals, spornosexuals, sexy daddies, and aging cool black daddies. Bringing together contributions from leading scholars, this book interrogates and challenges the meaning of masculinities and the ways that they are experienced and lived. 

Ready-Made Democracy explores the history of men's dress in America to consider how capitalism and democracy emerged at the center of American life during the century between the Revolution and the Civil War. Michael Zakim demonstrates how clothing initially attained a significant place in the American political imagination on the eve of Independence. At a time when household production was a popular expression of civic virtue, homespun clothing was widely regarded as a reflection of America's most cherished republican values: simplicity, industriousness, frugality, and independence.

By the early nineteenth century, homespun began to disappear from the American material landscape. Exhortations of industry and modesty, however, remained a common fixture of public life. In fact, they found expression in the form of the business suit. Here, Zakim traces the evolution of homespun clothing into its ostensible opposite—the woolen coats, vests, and pantaloons that were "ready-made" for sale and wear across the country. In doing so, he demonstrates how traditional notions of work and property actually helped give birth to the modern industrial order. For Zakim, the history of men's dress in America mirrored this transformation of the nation's social and material landscape: profit-seeking in newly expanded markets, organizing a waged labor system in the city, shopping at "single-prices," and standardizing a business persona.

In illuminating the critical links between politics, economics, and fashion in antebellum America, Ready-Made Democracy will prove essential to anyone interested in the history of the United States and in the creation of modern culture in general.