Dress-The Journal of the Costume Society of America最新文献

{"title":"CSA Scholars’ Roundtable Presentation","authors":"L. Welters, Abby Lillethun, L. Whitley","doi":"10.1080/03612112.2023.2170098","DOIUrl":"https://doi.org/10.1080/03612112.2023.2170098","url":null,"abstract":"The 2022 CSA Scholars’ Roundtable considered the teaching of fashion history in an era of globalization, increased awareness of social justice, and amplified understanding of the effects of colonization. This report documents the authors’ panel presentation and summarizes the audience’s comments and discussion.","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"49 1","pages":"1 - 15"},"PeriodicalIF":0.4,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42024795","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Earth Logic Fashion Action Research Plan","authors":"Jordon G. Masters","doi":"10.1080/03612112.2022.2152979","DOIUrl":"https://doi.org/10.1080/03612112.2022.2152979","url":null,"abstract":"Earth Logic Fashion Research Action Plan by Kate Fletcher and Mathilda Tham presents an alternative way of researching, buying, and governing sustainable fashion. Fletcher, professor at the Center for Sustainable Fashion, University of the Arts London, UK, and Tham, professor in design at Linnaeus University, Sweden, propose a new paradigm that rejects the fashion industry’s current dependency on growth. The idea to publish Earth Logic was a response to a 2018 report by the Intergovernmental Panel on Climate Change that stated that humans had only a decade to change their actions to avert catastrophic climate change. In the Earth Logic plan, Earth is placed first before everything else, including and especially profit. Earth Logic is a brief, seventy-three page, open-source book (available from earthlogic.info). It begins with an introduction that provides valuable context to the following sections and serves as a helpful glossary to some terms the authors employ. The introduction is followed by three main sections: part 1, “Values-Explicit Context”; part 2, “Earth Logic Research Implications”; and part 3, “Holistic Earth Logic Landscapes for Fashion Action Research.” Part 1 describes eight core values of the Earth Logic research plan. They include multiple centers, interdependency, diverse ways of knowing, co-creation, action research, grounded imagination, care of world, and care of self. The values are linked. Multiple centers involve acknowledging everything that has a stake on Earth, including non-human species, nature, users, community, and non-western perspectives. By bringing in other centers, researchers can begin to see how all things, ideas, and relationships are interdependent and how diverse ways of thinking can evolve from this interdependency. Cocreation with a diverse set of knowledge brings in new skills, ideas, and actions. Once one has considered the interrelation of these values, action research begins. This type of research involves the steps of exploration, practice, and","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"49 1","pages":"95 - 97"},"PeriodicalIF":0.4,"publicationDate":"2022-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47961318","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Clothed in Meaning: Literature, Labor, and Cotton in Nineteenth-Century America","authors":"S. Fu","doi":"10.1080/03612112.2022.2152975","DOIUrl":"https://doi.org/10.1080/03612112.2022.2152975","url":null,"abstract":"As one of the very few items that “ascend to metaphorical stature,” cotton has attracted great academic attention. Lively interest has been growing in the investigation of the cotton trade, its material culture, and its complicated nexus with the global economy. Sylvia Jenkins Cook’s Clothed in Meaning: Literature, Labor, and Cotton in Nineteenth-Century America stands out as the first attempt to exhaustively excavate the reciprocal relationships between cotton, chattel, cloth, and clothing in nineteenth-century American literature. Cook asserts that “the fashion revolution driven by cotton promised the nonelite the elegance, variety, and joy in the sumptuary projections of selfhood that were formerly the exclusive preserve of the elite” (149). She focuses her study on laboring people in the cotton industry, deftly weaving personal stories and tactile sensation into the readers’ understanding of cotton history and American economy. The book consists of an introduction, eight chapters, and a conclusion. The introduction describes the subject and structure of the research, starting with the claim that clothing is important because it “registers palpably on the body and cognitively in the mind in a symbiotic connection” (1). Such a connection is fully shown in the cotton experience and clothing awareness of enslaved people and other laborers involved in the nineteenth-century cotton industry in the United States. Cook argues that an exploration into these groups’ oral discourse and writing articulates their subjectivity, their indispensable role in the constitution of the “empire of cotton” and “empire of fashion,” and their importance to the development of American literature, especially the burgeoning African American literature. The first chapter concentrates on the writing of women factory workers in the mid-1840s that appeared in the Lowell Work on this review was financially supported by Jiangsu Office of Philosophy and Social Sciences under Grant (No. 20WWB002).","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"49 1","pages":"99 - 101"},"PeriodicalIF":0.4,"publicationDate":"2022-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43561310","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Lee Alexander McQueen: Mind, Mythos, Muse","authors":"Brenna A. Barks","doi":"10.1080/03612112.2022.2146334","DOIUrl":"https://doi.org/10.1080/03612112.2022.2146334","url":null,"abstract":"It began with the end. The first garment encountered in the exhibition Lee Alexander McQueen: Mind, Mythos, Muse at the Los Angeles County Museum of Art (LACMA) was a gold-brocaded, belted jacket from the designer’s final, unfinished collection Untitled (Fall/Winter 2010–11) that was suspended from the ceiling with an invisible mount (FIGURE 1). Underneath, a separate vitrine displayed a pair of “Angel Heels” from the same collection. And on either side, vitrines contained small marble sculptures known as Fragment[s] with Two Seraphim, ca. 1460, that depicted angelic beings. By opening with the jacket, the Angel Heels, and the seraphim, even those who are unaware that Untitled was popularly dubbed Angels and Demons after McQueen’s 2010 suicide could see the conversation between religious art and iconography and the jacket inspired by it. In the years since McQueen’s death in 2010, his life and work have been the subject of two blockbuster museum exhibitions, a documentary film, and several books. Seeking to place McQueen’s canon within both art historical and dress historical contexts, this exhibition, Lee Alexander McQueen: Mind, Mythos, Muse, at LACMA set itself apart with a FIGURE 1 Alexander McQueen, Woman’s jacket (detail) from the Untitled (Angels and Demons) collection, Fall/Winter 2010–11. Los Angeles County Museum of Art, gift from the Collection of Regina J. Drucket. Photograph © Museum Associates/LACMA.","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"49 1","pages":"81 - 84"},"PeriodicalIF":0.4,"publicationDate":"2022-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49023046","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Garmenting: Costume as Contemporary Art","authors":"Stephanie Sporn","doi":"10.1080/03612112.2022.2139917","DOIUrl":"https://doi.org/10.1080/03612112.2022.2139917","url":null,"abstract":"As museums increasingly stage costume exhibitions, the relationship between dress and art has been brought to the fore more than ever before. This connection is commonly explored in three exhibition formats: monolithic or multidesigner shows in which the maker’s creative genius and craft is likened to fine art; a show spotlighting designers or houses who are inspired by and directly collaborate with artists, whether for mass consumption or for art’s sake; or a show examining the dress in fine art. With its 2022 exhibition, Garmenting: Costume as Contemporary Art, the Museum of Arts and Design (MAD) in New York City entered uncharted territory as the first global survey exhibition dedicated to the use of clothing as a medium of visual art. Curated by Alexandra Schwartz, a New York-based art historian, curator, and adjunct professor in the School of Graduate Studies at SUNY j Fashion Institute of Technology, the exhibition presented works by thirty-five established and emerging international artists, including Louise Bourgeois (1911–2010), Nick Cave, Yinka Shonibare, and Zo€e Buckman. In an interview with Women’s Wear Daily, Schwartz shared that the exhibition’s use of “garmenting” as a descriptor for the phenomenon of clothing as a visual arts medium derived from multimedia artist Saya Woolfalk who used the term when discussing her own work. Schwartz previously had curated a solo show for Woolfalk, who also was featured in Garmenting in 2012–13. To theorize and historicize the notion of garmenting, which emerged during the 1960s and 1970s, the 2022 exhibition was organized around five interrelated themes: Functionality, Cultural Difference, Gender, Activism, and Performance. On the top floor of the exhibition were the Functionality and 1 For example, Christian Dior: Designer of Dreams, 2017–22, multiple museums.","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"49 1","pages":"75 - 80"},"PeriodicalIF":0.4,"publicationDate":"2022-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44379419","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Dressing Up: The Women Who Influenced French Fashion","authors":"D. Baxter","doi":"10.29411/ncaw.2022.21.3.15","DOIUrl":"https://doi.org/10.29411/ncaw.2022.21.3.15","url":null,"abstract":"As Elizabeth L. Block argues in Dressing Up: The Women Who Influenced French Fashion, later nineteenth-century French fashion often is understood through the lens of its designer or fashion house. Overwhelmingly, but not exclusively, this is the House of Worth, as in publications by Diana de Marly, JoAnne Olian, Elizabeth A. Coleman, or Amy de la Haye and Valerie D. Mendes, with Block herself having previously turned this lens towards Maison F elix. Alternatively, some studies approach the subject through representations of garments in visual media such as paintings and fashion plates, in the writing by Justine De Young or literary and cultural studies, or through a consideration of the makers themselves, as in works by Susan Hiner. In Dressing Up, Block claims for herself a different approach, one focused on the wealthy US women who were significant consumers. Hence the book’s subtitle: The Women Who Influenced French Fashion. Given this focus, the reader might anticipate chapters organized around specific women as case studies. And Brock does indeed inform the reader about the lived experiences, consumer knowledge, and choices of women such as Caroline Astor or Cornelia Bradley-Martin. Yet the book itself is not solely concerned with designer houses or retailers, garments, or consumers but instead with the circulation patterns in which all of these participated. While the volume’s title appears to promise details of women’s lives, the lives of garments are its focus, in fact. Indeed, in the introduction and conclusion to the volume, Block charges both the reader and seemingly herself to “follow the dresses” (4, 211). Thankfully, Block answers the call and in so doing presents the reader with a different, more complex, and ultimately more satisfying story. The narrative begins with an introduction to its players, the “Midcentury Tastemakers.” Again, by title, one might assume these to include figures such as an Emily Thorn Vanderbilt Sloane. Instead, the stage is set with milliners, dressmakers, various other classes of artisans, fashion publications, importers, and dry goods and department stores. Through these agents, US women 2 See Justine De Young, Fashion in European Art: Dress and Identity, Politics and the Body, 1775–1925 (London: I.B. Tauris, 2017); Susan Hiner in Accessories to Modernity: Fashion and the Feminine in Nineteenth-Century France (Philadelphia: University of Pennsylvania Press, 2010) and her forthcoming, Behind the Seams: Women, Fashion, and Work in Nineteenth-Century France (London: Bloomsbury). 1 Diana de Marly, Worth: Father of Haute Couture (New York: Holmes & Meier, 1980); JoAnne Olian, The House of Worth: The Gilded Age (New York: Museum of the City of New York, 1982); Elizabeth A. Coleman, The Opulent Era: Fashions of Worth, Doucet, and Pingat (New York: Thames and Hudson (Brooklyn Museum of Art), 1989); Amy de la Haye and Valerie D. Mendes, The House of Worth, 1890–1914: Portrait of an Archive (London: V&A Publishing","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"49 1","pages":"93 - 94"},"PeriodicalIF":0.4,"publicationDate":"2022-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47439998","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"More than Fashion","authors":"Małgorzata Możdżyńska-Nawotka","doi":"10.1080/03612112.2022.2106689","DOIUrl":"https://doi.org/10.1080/03612112.2022.2106689","url":null,"abstract":"This article is concerned with identification and interpretation of the costumes featured in two portraits of Polish aristocratic women by Franz Xaver Winterhalter: Katarzyna Potocka née Branicka in Oriental Costume, 1854 (National Museum in Warsaw) and Wieńczysława Barczewska, Madame de Jurjewicz, 1860 (Museum of Fine Arts in Boston). The former outfit, brought by the wearer from her journey to the Near East, references dress worn by Greek women in the Ottoman Empire. The latter is fancy dress featuring the jacket called polka, harking back to the overcoat called kontusz, iconic of the Orient-inspired historical Polish national dress. Winterhalter’s painterly treatment showcases the wearers’ agenda for selecting the ensembles that reflected their personal circumstances and also conveyed patriotic allusions in the context of Poland’s current status as a partitioned nation. The meanings of the “oriental” elements in both costumes extend beyond the note of exoticism to which they have been hitherto reduced.","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"49 1","pages":"55 - 73"},"PeriodicalIF":0.4,"publicationDate":"2022-09-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47052995","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"In America: A Lexicon of Fashion & An Anthology of Fashion","authors":"Brian Centrone","doi":"10.1080/03612112.2022.2089480","DOIUrl":"https://doi.org/10.1080/03612112.2022.2089480","url":null,"abstract":"In America is a two-part exploration of American fashion celebrating the Metropolitan Museum of Art Costume Institute’s seventy-fifth anniversary. The first part, A Lexicon of Fashion, which opened in September 2021 and was refreshed in March 2022, seeks to establish a new vocabulary for American fashion. The second part, An Anthology of Fashion, which opened in May 2022, presents historical costumes displayed in the American Wing period rooms framing “sartorial narratives that relate to the complex and layered histories of those rooms” (exhibition press release). While it is unusual for the Costume Institute to link the fall/winter exhibition and the spring exhibition together and rotate out almost the entirety of the fashions on display halfway through a show’s run, the theme of American fashion has been a recurring focus for the Costume Institute over its seventy-fiveyear history. In this two-part exhibition, Head Curator Andrew Bolton and his team present their most unique, ambitious, and diverse exploration of this subject to date. In America is a culmination of all that has come before in exploring elements of craft, style, and design while addressing issues of identity, culture, society, race, and politics in American fashion. This is accomplished in two ways. First, the team worked to create a broader vocabulary for American fashion that extends beyond sport and ready-to-wear to generate a kind of emotional language long associated with the European haute couture; over 100 words are curated, defined, contextualized, and allocated to the garments on display via text panels described in the introductory wall text as “word-bubble headpieces.” Second, and perhaps more importantly, the exhibition seeks to tell the hidden histories of some of America’s lessknown designers. A Lexicon of Fashion is arranged in twelve sections described as the 1 Previous exhibitions such as American Creations and Sources from Which They Have Been Derived (1940), American Fashions and Fabrics (1945), American Women of Style (1975), American Ingenuity (1998), Adrian: American Glamour (2002), and American Woman: Fashioning a National Identity (2010) have explored the designing, collecting, and shaping of American fashion.","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"48 1","pages":"187 - 194"},"PeriodicalIF":0.4,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46121275","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Welcome to Vol. 48, No. 2","authors":"Tina Bates","doi":"10.1080/03612112.2022.2090109","DOIUrl":"https://doi.org/10.1080/03612112.2022.2090109","url":null,"abstract":"In an interview quoted above, Marisa J. Fuentes explained her concept of “reading along the bias grain” that she used in her seminal study, Dispossessed Lives: Enslaved Women, Violence, and the Archive. Her book is a call to rethink how historians can approach the absence of archival evidence to examine the lives of people in the past who left little or no written or material testimony. In Fuentes case, she explores women’s lives in eighteenth-century Barbados by “stretching the bias” of fragmentary sources, at the same time exposing how colonial attitudes silenced women’s voices in the archive. Another similar bias reading is Tiya Miles, All That She Carried: The Journey of Ashley’s Sack, a Family Keepsake, a history of three generations of women from slavery to the early twentieth century through the analysis of a material object, a cotton bag embroidered with a few words denoting its family background. This analogy of “bias grain,” of course, has resonance for dress and textile scholars. Many authors for Dress have read between the lines to recover hidden stories of marginal or oppressed people. But not all evidence is “hidden.” There is still much work to be done with archival material that either has not been exploited or examined from the point of view of dress. Two articles in this issue draw on new and unexplored evidence. Elaine Farrell and Eliza McKee, in their article “Captured in the Clothing: Ireland, 1850s–1890s,” examined an Irish police gazette, the Hue and Cry. They collected data on descriptions of clothing from the 4,083 wanted notices to identify suspected criminals or missing persons. Clothing was important (of course!) in that identification. The data reveal much about what common people wore in Ireland. Thus, the authors have relied on an accessible Schomburg Center for Research in Black Culture, Photographs and Prints Division, The New York Public Library. “Sleeping [Nideri]” New York Public Library Digital Collections.","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":" ","pages":"i - ii"},"PeriodicalIF":0.4,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47459727","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"“Functional Fashions for the Physically Handicapped”: Disability and Dress in Postwar America","authors":"Natalie Wright","doi":"10.1080/03612112.2022.2090724","DOIUrl":"https://doi.org/10.1080/03612112.2022.2090724","url":null,"abstract":"In this essay, I argue that clothing played an important role in the establishment and maintenance of the postwar American project of independence and “normalcy.” Using previously unpublished sources, I trace the history of Functional Fashions, a clothing line of accessible garments for disabled persons in the United States that existed from 1958 to 1976. Designer Helen Cookman created the line as well as the associated non-profit Clothing Research and Development Foundation (CRDF). This essay establishes a history of both the Functional Fashions line and the CRDF, including Cookman’s design methodology behind the garments, how CRDF partnered with other important sportswear designers, and how they created the ideal Functional Fashions user. I ultimately show that the goal of the line was for Functional Fashions users to participate in the postwar American culture of bodily autonomy and that CRDF leadership framed this participation as a form of psychological rehabilitation.","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"48 1","pages":"143 - 162"},"PeriodicalIF":0.4,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42219920","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}