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

{"title":"Costume Society of America Fellow 2022 Sheryl Farnan Leipzig","authors":"Sara B. Marcketti","doi":"10.1080/03612112.2022.2090107","DOIUrl":"https://doi.org/10.1080/03612112.2022.2090107","url":null,"abstract":"","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"48 1","pages":"217 - 218"},"PeriodicalIF":0.4,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47255376","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":"The Origins of the New Half Sizes in the 1920s","authors":"L. Mally, C. Keist","doi":"10.1080/03612112.2022.2101235","DOIUrl":"https://doi.org/10.1080/03612112.2022.2101235","url":null,"abstract":"In the mid-1920s, American clothing manufacturers introduced a new size range they called the “new half sizes.” It was in response to emerging biometric data showing that women were not as tall as the standard sizes designers had assumed. In addition, the new sizes added extra room at the waist and hip, intended to accommodate those who had abandoned corsets. Initially, manufacturers claimed that this new size range would fit the majority of American women better than existing sizes, making ready-to-wear clothes available without costly alterations. However, even as the industry sought to expand its market share, retailers and advertisers did so in ways that limited potential customers. Half sizes quickly gained a reputation of being intended for the stout and old in an era that glorified the slim and young.","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"48 1","pages":"163 - 174"},"PeriodicalIF":0.4,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48212666","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":"Costume Society of America Fellow 2022 Mary Gibson","authors":"Judi Dawainis","doi":"10.1080/03612112.2022.2089481","DOIUrl":"https://doi.org/10.1080/03612112.2022.2089481","url":null,"abstract":"","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"48 1","pages":"215 - 216"},"PeriodicalIF":0.4,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48194064","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":"Christian Dior: Designer of Dreams","authors":"Jaclyn Marcus","doi":"10.1080/03612112.2022.2078566","DOIUrl":"https://doi.org/10.1080/03612112.2022.2078566","url":null,"abstract":"Fashion is about so much more than just clothes; it is an environment, cultivated through labor and the material in the form of text, images, video, objects, and of course, the garment itself. As a designer, Christian Dior understood this, and his quote “From the shoes to the hat, the silhouette must be viewed as a whole” was included in the very first panel the visitor encountered when entering the Brooklyn Museum. As the exhibition Christian Dior: Designer of Dreams explained, only a few years after founding the House of Dior in 1947, Christian Dior licensed accessories including jewelry and perfume to extend the brand’s reach. The dreamscape crafted by Dior was accomplished through press, marketing, and multisensory engagement as much as it was by beautiful clothing designs. This strategy was evident in the exhibition itself, with garments on display placed in conversation with film, art, photographs, and press excerpts, allowing for an innovative and visually stunning retrospective of the House of Dior legacy. Curated by the Denver Art Museum’s Avenir Foundation Curator of Textile Art and Fashion Florence M€ uller and the Brooklyn Museum’s Senior Curator of Fashion and Material Culture Matthew Yokobosky with exhibition design by Nathalie Crini ere, Christian Dior: Designer of Dreams builds on past exhibitions held at the Mus ee des Arts D ecoratifs in Paris, also curated by M€ uller, the Victoria and Albert Museum in London, the Long Museum West Bund in Shanghai, China, and elsewhere. Fittingly, this exhibition was displayed in the Brooklyn Museum’s Beaux-Arts Court, which was designed in the late nineteenth century. Visitors traveled through alternating darkened pathways and brightly lit spaces, as well as a vast, fourteen-meter-high atrium labeled the “The Enchanted Garden,” where Dior’s fascination with the natural world was placed on display (FIGURE 1). The prolonged conversations and mask-wearing selfies of avid exhibition visitors demonstrated the sustained desire and interest in fashion in the museum as a form of escape, even as the unrelenting impacts of the COVID19 pandemic continue to be felt. I would like to thank Dr. Ingrid Mida, Katie Johnson, and the Dress editorial and reviews team for their insightful editing and guidance. I would also like to thank Dr. Alison Matthews David for her thoughtful suggestions and insights. Finally, I would like to thank the Brooklyn Museum for providing access to the images included in this article. Jaclyn Marcus is supported in part by funding from the Social Sciences and Humanities Research Council.","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"48 1","pages":"175 - 179"},"PeriodicalIF":0.4,"publicationDate":"2022-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44254072","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":"A History of Fashion, Collecting & Exhibiting at the Palais Galliera","authors":"Sandra Mathey García-Rada","doi":"10.1080/03612112.2022.2081387","DOIUrl":"https://doi.org/10.1080/03612112.2022.2081387","url":null,"abstract":"In October 2020, the Palais Galliera in Paris, the only permanent fashion museum in France, reopened its doors after a two-year renovation designed by architect Dominique Brard. The new Salles Gabrielle Chanel added 7,535 square feet to the basement, doubling the exhibition space of the museum and allowing for the creation of galleries that will display objects from the permanent collection. The exhibition A History of Fashion, Collecting & Exhibiting at the Palais Galliera opened in October 2021 and was the second exhibition presented in the new space. The aim of the exhibit was to introduce visitors to the history of French fashion and to the role of the Palais Galliera in the construction of the history of Paris. The exhibition featured a selection of about 350 objects from the museum’s permanent collection of more than 200,000 pieces that date from the eighteenth century to the present day. Due to the fragility of some of the pieces, the display will be changed approximately every six months. The first objects displayed in the hall of the Salle Gabrielle Chanel were an eighteenth-century robe volante, made of pale yellow and silver silk brocade lampas, and a 2019 black satin coat and rose-patterned dress in blush and black with red accents by Comme des Garçons. The juxtaposed pieces, although centuries apart, shared a similar silhouette with volume added to the hips, creating an immediate visual connection between a historical garment and a contemporary design. This idea of fashion being born again was one that the visitor could explore throughout the exhibition. As well, the introductory","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"48 1","pages":"181 - 185"},"PeriodicalIF":0.4,"publicationDate":"2022-06-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45645063","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":"The Fabric of Civilization: How Textiles Made the World","authors":"R. Carufel","doi":"10.1080/03612112.2022.2074102","DOIUrl":"https://doi.org/10.1080/03612112.2022.2074102","url":null,"abstract":"Virginia Postrel’s The Fabric of Civilization: How Textiles Made the World deftly showcases the pivotal role textiles played across time and diverse cultures in crafting world economies and revolutionary technologies. Postrel is an independent scholar, authoring two previous books, The Substance of Style (2003) and The Power of Glamour (2013), plus penning columns for Bloomberg Opinion, the Wall Street Journal, and the New York Times. In The Fabric of Civilization, Postrel blends findings from groundbreaking scientific research to chronicle textiles’ profound, yet taken-for-granted history. The book has seven chapters, plus a preface, afterword, and sections for acknowledgements, glossary, notes, and index. The chapters begin with production (chapters 1–4: fiber, thread, cloth, dye), move to trade (chapters 5–6: traders, consumers), and conclude with research (chapter 7: innovators). The preface sets the tone for the book, highlighting the sustained impact textiles played throughout human history, laying out the main argument, and orienting the reader towards chapter topics. The","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"48 1","pages":"211 - 213"},"PeriodicalIF":0.4,"publicationDate":"2022-06-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48478567","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":"Object Lives and Global Histories in Northern North America: Material Culture in Motion, c. 1780–1980","authors":"Karen Duffek","doi":"10.1080/03612112.2022.2071033","DOIUrl":"https://doi.org/10.1080/03612112.2022.2071033","url":null,"abstract":"The idea of motion and movement— across time, space, geo-political borders and borderlands, Indigenous and imperial networks, and knowledge systems—is at the center of this important, timely volume. Analyzing material culture as integral to, and expressive of, the dynamics of cross-cultural exchange and relations means that each object presented in its multiple case studies may be understood as verb rather than only as noun. Through close, careful looking and listening, a collaborative group of scholars and knowledge-holders, including the individuals contributing to this volume, began working together with northern North American museum collections in 2015. The goal of their four-year, Edmonton-based “Object Lives” project was to develop and practice a methodology for material and decolonial analysis, where attention to the object and its materiality also encompasses regional, Indigenous, settler, and broad global processes of historical change and exchange. Objects defined by their making, reworking, interacting, circulating, functioning, and acting therefore are considered inseparable from the complex cross-cultural relationships and diverse community histories they manifest. The case studies presented here by twelve contributors identify textiles and fashion, among other mediums, as active agents of culture change. They are offered to readers “as a tool for future endeavours” (49) whereby more scholarship might be guided by these deeply researched examples of bringing objects, people, and global histories together. Throughout, the authors’ aim is clear:","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"48 1","pages":"203 - 206"},"PeriodicalIF":0.4,"publicationDate":"2022-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49454263","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":"The Iconic Jersey: Baseball X Fashion","authors":"Andrea Melvin","doi":"10.1080/03612112.2022.2071031","DOIUrl":"https://doi.org/10.1080/03612112.2022.2071031","url":null,"abstract":"The Iconic Jersey: Baseball X Fashion examines the design and aesthetics of the baseball jersey through brief essays, colorful photographs, and a wide variety of primary sources including jerseys themselves. The book’s author, Erin Corrales-Diaz, was curator for the accompanying exhibition at Worcester Art Museum in Worcester, Massachusetts, which ran from June 12–September 12, 2021. The catalog begins with the section “Rooting for Laundry,” a title referencing the famous comedy skit by comedian and noted New York Met’s fan Jerry Seinfeld, who exclaimed that fans are not really rooting for players (as the rosters tend to change), they are rooting for the uniforms. It features quotes about the baseball jersey from curators, researchers, baseball officials, players, and academics arranged alongside touching and playful baseball cartoons by award-winning illustrator Anika Orrock. Capturing the nostalgia surrounding baseball, the first cartoon shows a father and son walking and holding hands in their Chicago Cubs jackets with the father clearly cherishing the moment with his son. In the next drawing, the same father and son are in their Cubs jackets holding hands, but both men are much older, and this time it is the son gazing at his elderly father, cherishing the moment. These quotes and images are a strong introduction to the catalog as they demonstrate the extent to which the baseball jersey has resonated with our society, moving beyond the purpose of play and into the world of fashion and everyday clothing. This exhibition and accompanying catalog came together during the height of the COVID-19 global pandemic, and one cannot help but appreciate the commitment necessary to see this in-depth project through. It involved accessing (and borrowing for the exhibit) many actual baseball jerseys and archival materials as well as compiling images from a host of museums, archives, designers, and artists. As one would expect, much of the research used the Baseball Hall of Fame collections.","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"48 1","pages":"199 - 201"},"PeriodicalIF":0.4,"publicationDate":"2022-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45202530","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":"Fat Fashion: The Thin Ideal and the Segregation of Plus-Size Bodies","authors":"C. Keist","doi":"10.1080/03612112.2022.2071378","DOIUrl":"https://doi.org/10.1080/03612112.2022.2071378","url":null,"abstract":"Paolo Volonte, associate professor of Cultural Sociology at Politecnico di Milano in Italy, hits the nail on the head when he states that “As long as plus-size clothing is sealed off into containers that are separate from regular fashion, such as the Full Figured Fashion Week, its marginal position within the fashion system is consolidated rather than called into question” (1). Being fat, or “plus-sized”—if you are more comfortable with that term, I have always felt left out of fashion. Fat Fashion: The Thin Ideal and the Segregation of Plus-Size Bodies views fat fashion through a sociological perspective that is “only marginally based on independent empirical research” (viii). It explores the fashion system (emphasis in original) of the western world, which the author defines as creating, manufacturing, retailing, and communicating clothing. Volonte provides an academic-focused look into the segregation of plus-sized bodies and the plus-size clothing industry. He draws on research from many different academic fields, and the book is rich in information. It examines the paradox of nonexistent fat fashion, the tyranny of slenderness, the persistence of the thin ideal, the sizing of clothing, the segregation of non-thin bodies, and prospects for change. Volante focuses on western womenswear and does not cover children’s, men’s, nor non-western","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"48 1","pages":"207 - 209"},"PeriodicalIF":0.4,"publicationDate":"2022-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48876457","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":"The Dressmakers of Auschwitz: The True Story of the Women Who Sewed to Survive","authors":"Laura L. Camerlengo","doi":"10.1080/03612112.2022.2071030","DOIUrl":"https://doi.org/10.1080/03612112.2022.2071030","url":null,"abstract":"This question is posed to the reader at the outset of Lucy Adlington’s The Dressmakers of Auschwitz: The True Story of the Women Who Sewed to Survive. It echoes the first words said to Adlington by Berta Berkovich Koh ut, who, until her passing last year at age 99, was the last of a group of Jewish women who survived Auschwitz—perhaps the most infamous of all World War II death camps—by making high-fashion ball gowns and cocktail dresses for the wives of Nazi officers. Indeed, the idea that a fashion salon could be operating in the same facility where more than one million people were killed systematically is almost unbelievable. But, as Adlington’s well-studied yet poignant book reveals, the story is entirely true. By weaving together extensive archival research, including contemporary fashion press and advertisements, the harrowing personal accounts of the dressmakers, and diverse black-and-white illustrations ranging from fashion sketches and magazine spreads to personal photographs, Adlington illuminates a muchunderstudied area of history and pays tribute to the remarkable women who survived the Holocaust by their needles and thread. The text is one of several publications about women’s clothing during World War II by Adlington, a British novelist and costume historian. Her prior work on similar subjects includes The Red Ribbon (Candlewick Press, 2018), a fictionalized account of the dressmakers of Auschwitz, and Women’s Lives and Clothes in WW2: Ready for Action (Pen and Sword History, 2020), the latter reviewed by Nan Turner in Dress (vol. 47, no. 2 [2021]). The subject of women’s fashion during World War II has benefitted from an abundance of fresh","PeriodicalId":42364,"journal":{"name":"Dress-The Journal of the Costume Society of America","volume":"48 1","pages":"195 - 197"},"PeriodicalIF":0.4,"publicationDate":"2022-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59433915","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}