It's no longer universally acknowledged that "a single man in possession of a good fortune must be in want of a wife", but many of Jane Austen's thoughts on love, relationships, class, clothes and even the joys of nature are amazingly relevant to modern life.
It's up to you -- tank tops together, long sleeved shirts together and pants together and then hang them from light to dark or hang them based on occasion -- dressier party outfit to casual class clothes.
The focus is on two male performers, one in working-class clothes, the other in office attire, each representing aspects of Cairo's social history.
Its eight characters, also dressed by in working-class clothes (here, by Elizabeth Kurtzman) but with a greater informality and personal variety, are a minority who share a world, a movement language full of speaking gestures, acting detail and folklike patterns, and a set of values.
Through the 1980's, the market was fueled by sales of 50's bowling shirts, 40's floral housewife dresses and jackets once worn by gas-station attendants -- working-class clothes from which college students could forge ironic wardrobes for very little money.
While athletic wear dominates the majority of class-clothes, we do know the time and place to don our more refined closet pieces.
It falls down towards the end by bringing into the social and moral equation that familiar Hollywood character, the self-effacing, unprepossessing millionaire who travels economy class, buys clothes off the peg and is waiting to reward true love.
It is also touching to hear these waste-pickers comment on what "art" is ("I must feel something inside") as they wander through a Rio museum exhibit of their work, all dressed elegantly in middle class fashionable clothes -- one elderly poor woman noting she never imagined entering a museum in her lifetime.
During the 19th century they rose with the Romantic movement, then sank to the status of low-class work clothes.
She arrives for work and puts her upper-class designer clothes in a cupboard until she resumes that role.
Even if they do not resort to plastic surgery, Iranian women often invest heavily in hairdressers, aerobics classes, makeup, clothes and lingerie.
