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While biographical profiles of authors are usually unnecessary for literary analysis, in this book, crucial information about Blanca Valmont is wanting. The majority of The Latest Style focuses on the columns of this “important” and “longest-running voice” in the world of Spanish fashion and readers would benefit from knowing the basic contours of her identity. Given that Davis was unable to uncover any information about her, this reader wonders whether or not Blanca Valmont existed as a historical person or only as a periodical personality. Did her profile encompass several ghost writers and ideologies? Whatever her historical identity, it would be useful to know who paid for her promotion of the fashion industry and what bearing they might have had on the course of the commercial outlet for which she wrote. Was she backed by any specific French designers? Are there extant records from the magazine or notarial archives in Paris, where Valmont resided? The Latest Style is well written and a pleasure to read. Ten pages of illustrations complement Davis’ text. However, there were a few surprising repetitions of quoted material; moreover, the very brief conclusion opens with a paragraph that reproduces exactly a passage from Chapter 2. Her conclusion would have been an excellent place to summarize the related topics that Davis uncovers in this book but leaves to future researchers. Her highly suggestive book invites scholars to ponder the role of fashion in economic and cultural imperialism, as readers outside of Madrid were guided by Valmont to use French fashion to remove all markers of their provincialism and pass for urban and consequently, international citizens. Similarly, Valmont’s lessons to her readers on the economics of imperialism that underwrote the development of haute couture anticipate current discussions of the authenticity of “national culture” and globalization (35-36).

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