TEXTILE HISTORY最新文献

{"title":"Woven Tapestry: Guidelines for Conservation","authors":"Kathrin Colburn","doi":"10.1080/00404969.2022.2193080","DOIUrl":"https://doi.org/10.1080/00404969.2022.2193080","url":null,"abstract":"images are offered as decoration rather than evidence, having little to do with the people and events discussed in the book. Meanwhile, other images referenced in the text are not included at all. Yet Block should be commended for producing a tome that is as readable as it is scholarly. She avoids excessive jargon and manages to make detailed discussions of tariffs and bankruptcies interesting, if not exciting. Though the book is densely researched—piecing together clues gleaned from advertisements, directories, fashion plates, invoices and diaries—it is accessible due to its tight structure and clear argumentation, only occasionally lapsing into pedantic laundry lists of names and addresses. Above all, Dressing Up makes the remote, rarefied world of the Gilded Age immediately relevant and relatable in a way that HBO’s prestige period drama of the same name never managed to do. Alva Vanderbilt’s excitement over the twiceyearly arrival of shipments of French clothing would be right at home in the age of YouTube ‘unboxing’ videos. The mobile studios’ society photographers set up to capture the elaborate costumes worn at masked balls were an early iteration of Instagram. And leading hairdresser Lenth eric’s temporary summer outposts in Aix-les-Bains and Monte Carlo were, essentially, pop-up shops. In capitalism as in fashion, everything old is new again.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49419871","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Pasold Research Fund/Taylor & Francis Textile History Open Access First Publication Award","authors":"","doi":"10.1080/00404969.2022.2221145","DOIUrl":"https://doi.org/10.1080/00404969.2022.2221145","url":null,"abstract":"","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47183199","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘Be sure to incorporate a little history’: Nostalgia and Stories of Place in Cape Breton Overshot Weaving","authors":"Hilary Doda","doi":"10.1080/00404969.2023.2189442","DOIUrl":"https://doi.org/10.1080/00404969.2023.2189442","url":null,"abstract":"For generations, weavers in the Scottish Highland diaspora communities in Cape Breton have passed down pattern drafts for ‘overshot’ designs embedded in folklore of migration from the Highlands and Islands. This traditional style of weaving is understood by practitioners to be a direct connection to Scotland and the weaving traditions there. This article looks at overshot textiles woven in Cape Breton, and their use as a form of place attachment for a diaspora community. The embedded history in the designs and their display in public areas of the home invited storytelling, reinforcing notions of respectability, community membership and identity.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42562298","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Fashioning Spain: From Mantillas to Rosalía","authors":"A. Balda","doi":"10.1080/00404969.2022.2194132","DOIUrl":"https://doi.org/10.1080/00404969.2022.2194132","url":null,"abstract":"The history of Spanish fashion, especially between the sixteenth and nineteenth centuries, has been studied in relative depth. However, Spanish fashion of the twentieth and twenty-first centuries has not received the same attention and still needs to be developed as a field of research. Fashioning Spain: From Mantillas to Rosal ıa approaches this period in Spanish fashion not just from fashion history, but from a broad and heterogeneous perspective including fields spanning cinema, photography, music, underground movements and museography. This edited volume of eight articles is divided into four parts. The first, ‘Identity: Politics and Futures’, comprises two texts: ‘Accessorizing the Nation: Mantillas, Cultural Identity, and Modern Spain’ by In es Corujo-Mart ın and ‘Bodies of the Future: Comics, Fashion and 1980s Movida’ by Alberto Villamandos. Both authors explore Spanish fashion of this period through objects and media, using the mantilla and comics to show how these mediums expressed prevailing ideologies in recent history. The second part, ‘Picturing Femininity: Film and Photography’, consists of the papers ‘Women, Fashion and the Spanish Civil War: From the Fashion Parade to the Victory Parade’ by Kathleen M. Vernon and ‘From Market to Feminism: Fashion Photography during the Franco Dictatorship’ by Olga Sendra Ferrer. Both texts address the use of fashion as a tool to project different images of women in Spain in the 1940s, ’50s and ’60s. The third section, ‘Designing Fashion Stars: Film and Music’, comprises the articles ‘Fashioning Spanish Film Stars: Balenciaga and Conchita Montenegro’ and ‘Rosal ıa and the Rise of Poligonera Chic’. In the first, author Jorge P erez explains how the renowned actress Conchita Montenegro had to soften the image of femme fatale she had cultivated in Hollywood in the 1930s, to become a star of the Spanish screen in the 1940s, and how the wardrobe of her films, partly created by Balenciaga, was a key element in this process. Mary Kate Donovan explains in the second paper how the success of the singer Rosal ıa has contributed to popularising the poligono aesthetic, and the ways in which Rosal ıa has consolidated herself as a representative of another regional fashion of Spanish culture. The last section, entitled ‘Museums: From Closets to the Cloud’, consists of the articles ‘The Museo del Traje’s Research on Spanish Prêta-Porter’ by Juan Guti errez and ‘Curating Catalan Cultural Identity through Dress in the Virtual Fashion Museum of Catalonia’ by Nicholas Wolters. Through very different case studies, both authors explain the work on Spanish fashion that has been carried out in the museum sphere in recent decades, and highlight the research, conservation and dissemination challenges still pending in this field. The book is a good point of departure for the study of contemporary Spanish fashion, but the contributors faced an ambitious and complex task given the labyrinth of political, economic and social c","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45602639","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Women’s Ready-to-Wear Multiple Retailers 1860–1914: H. J. Nicoll and Alfred Stedall","authors":"Clare Rose","doi":"10.1080/00404969.2023.2189446","DOIUrl":"https://doi.org/10.1080/00404969.2023.2189446","url":null,"abstract":"This paper offers a case study of two London firms active in the production and distribution of women’s ready-to-wear clothing before 1900, H. J. Nicoll and Alfred Stedall. The sources used are registered advertising images from the Records of the Copyright Office, Stationers’ Company at The National Archives; Companies House records (also at The National Archives); and newspaper advertisements sourced from the British Newspaper Archive. These three archives have allowed me to evaluate the uses made of advertising images, and to relate this to the companies’ development, reflecting on the gaps and omissions between the three sources. This research has uncovered a nationwide chain of women’s ready-to-wear retailers, an unexpected development that may require some rethinking of current historiography. It also throws light on the locations and practices of London-based clothing workshops, which have proven resistant to study.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45522812","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Fibershed: Growing a Movement of Farmers, Fashion Activists, and Makers for a New Textile Economy","authors":"K. Pogson","doi":"10.1080/00404969.2022.2193086","DOIUrl":"https://doi.org/10.1080/00404969.2022.2193086","url":null,"abstract":"and petticoat. Tudor Textiles is to be recommended as an enjoyable introduction to the sumptuousness of elite furnishings and fabrics in the sixteenth century at a very reasonable price. It is especially helpful in connecting important events, famous faces and individual artefacts (some still available to view and many sadly lost), with further detailed sources from specialists, which might otherwise not come to a reader’s attention.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46682248","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘Fashioning Masculinities: The Art of Menswear’. Victoria and Albert Museum, London, UK, 19 March 2022–6 November 2022","authors":"Rachel Neal","doi":"10.1080/00404969.2022.2200288","DOIUrl":"https://doi.org/10.1080/00404969.2022.2200288","url":null,"abstract":"In a refreshing and visionary approach the Victoria and Albert Museum exhibition, ‘Fashioning Masculinities: The Art of Menswear’, provided a timely exploration of menswear through a lens of masculinity just when its construct is being broken down and redefined through contemporary reflections on gender identity. This major exhibition, the first by the museum to focus on the topic of menswear and masculinity on this scale, unpacked the sartorial hierarchies, symbolisms, meanings and the social and cultural influences that have, for centuries, shaped definitions of masculinity. The underlying concept that threaded throughout the three themes of Undressed, Overdressed and Redressed was, in the words of Gucci’s Creative Director, Alessandro Michele, ‘deconstructing the idea of masculinity’. The first theme, Undressed, did this to great effect by stripping it down to the naked body. Here, through a rich combination of fashion, sculpture, photography, film and material objects, the exhibition led a curatorial inquiry into the cultural ideals that have long shaped anatomical and behavioural masculine gender norms. The statuesque figures of Apollo, Hermes and the Borghese Gladiator signified the influence of Roman sculpture in shaping eighteenthcentury masculine archetypes as the source of inspiration for a culture of male beauty based on athleticism, power and virility. Underpinning each theme in the exhibition was the imaginative juxtaposition of past and present. Throughout, thoughtprovoking parallels were drawn between current topics and historical context, tracing the genesis of contemporary design through historical fashion. For the theme Undressed, the classical masculine ideals embodied by Roman sculpture were reflected back in the display of an Action Man figure, its structure artfully disassembled into its component parts and displayed like Da Vinci’s Vitruvian Man. Photographs of Calvin Klein underwear models illustrated the legacy of classical male beauty as the epitome of masculinity and in turn prompted a poignant moment of reflection on issues of body ideals that saturate social media today. Building on the underpinnings of masculinity, the second theme, Overdressed, explored a world of masculine sartorial artistry and flamboyancy. Sixteenth-, seventeenthand eighteenth-century portraiture provided a window into the role of clothing in the performance of masculinity, which demonstrated how, historically, it has been encoded in sartorial symbols signifying wealth, power and social status. The display of portraiture and fashion showed how flamboyancy has, indeed, a long history in menswear. The use of intricate lace, opulent embroidery, ribbons, tassels, bows, jewellery and, of course, colour were all part of a complex sartorial hierarchy. At the heart of the exhibition was The Spectrum (Fig. 1), providing a vivid display of colour through an eclectic mix of garments ranging from the seventeenth to the twenty-first century. A scarlet red dou","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47699170","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Editorial Note","authors":"Marina Moskowitz, Vivienne Richmond","doi":"10.1080/00404969.2022.2219550","DOIUrl":"https://doi.org/10.1080/00404969.2022.2219550","url":null,"abstract":"","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44208022","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘150 Years of the Royal School of Needlework: Crown to Catwalk’. Fashion and Textile Museum, London, UK, 1 April 2022–4 September 2022","authors":"Catarina Ferreira","doi":"10.1080/00404969.2022.2200286","DOIUrl":"https://doi.org/10.1080/00404969.2022.2200286","url":null,"abstract":"Centred on the work of the Royal School of Needlework (RSN), this exhibition showcased the diversity and versatility of technical hand embroidery over the last 150 years (Fig. 1). The RSN is well known amongst craftspeople and needlework enthusiasts, as well as scholarly and professional audiences, but this exhibition sought to re-introduce the non-profit organisation to the wider public by displaying material culture of its history, body of work and achievements. The exhibition was spread across an introductory room on the ground floor, a wider open gallery and upper floor displays. Across these spaces, the objects and accompanying text and multimedia displays were organised clearly into sections, which roughly followed the chronological development of the RSN. The first two areas tracked the historical founding of the School and its first few decades, as well as the purpose of the School and the nature of the work. The next four spaces tracked some of the School’s work, mostly over the twentieth century, which included two royal showpieces, ecclesiastic work, the connection between embroidery and the military, and the ‘In the Boudoir’ section, which addressed the use of embroidery in intimate items. The last four sections took the exhibition to contemporary times, explaining the School’s modern educational role, as well as artistic collaborations and current offered learning opportunities. The first room firmly established that the School’s founder, Lady Victoria Welby, intended the School to ‘revive a beautiful art which had fallen into disuse and, through its revival, to provide employment for educated women who, without a suitable livelihood, would otherwise find themselves compelled to live in poverty’. Using her position within the aristocracy and her economic power, Lady Welby was able to found a School that, through effective marketing such as publishing in Victorian women’s magazines, and royal endorsement, was able to provide education and employment for women for over 150 years. Many displays included work of embroiderers who were trained and stayed in the School for all of their working life, including the original diploma of Ruby Essam, who trained in 1915 and remained in the School for over sixty years. After a brief introduction to the history of the School, the exhibition moves towards its two showpieces, the mantle or pallium for King Edward VII from 1902 and the robe of estate of Queen Elizabeth (Queen Consort of King George VI) from 1937 (Fig. 2). These two pieces exhibited extraordinary embroidery work due to the intricacy of the design, their status as the highest of court wear, and the large amounts of fabric embroidered. They were displayed in a central case with glass windows so that the garments could be viewed from 360 degrees. The positioning of the mantle was particularly striking and displayed its length to the best advantage. It also positioned the shoulder-to-floor","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47541221","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Tudor Textiles","authors":"J. Malcolm-Davies","doi":"10.1080/00404969.2022.2193085","DOIUrl":"https://doi.org/10.1080/00404969.2022.2193085","url":null,"abstract":"This well-written, very readable overview of Tudor textiles provides good illustrations and information about specific items that have survived from the period, or are well attested in the documentary record, together with others illustrated in contemporary artworks. The book’s strength lies in drawing clear links between extant textiles and other sources of information about them. Here Lynn’s experience as a former curator of furniture at the V&A Museum and familiarity with royal palace interiors shines through. There is no new research here for specialist readers, but it offers a good introduction to Tudor textiles with a heavy reliance on secondary sources—some of which are essential reading for understanding the fabrics of the era. The book does a good job of signposting newcomers to important texts such as Thomas Campbell on tapestries, Maria Hayward on inventories of royal possessions and Lisa Monnas on velvets and other silks. Some relevant research is not referenced: for example, West Dean Tapestry Studios’ reconstruction work for Stirling Castle has been documented by Caron Penney in Rediscovering the Unicorn Tapestries (2014); and Susan North has taken a long overdue in-depth look at linens (Sweet and Clean, 2020). This last would have been helpful in explaining that holland was not only an ‘exceptionally fine linen worn by the nobility’ but that it came in different qualities and was often listed in the wills and inventories of ordinary people. The Act of Apparel which came into force in 1534 (and was reiterated in ten subsequent regulations up to 1597) specifically permitted imported linen such as holland to ‘any person’. John Munro’s invaluable research on scarlets (‘The Medieval Scarlet and the Economics of Sartorial Splendour’, 1983) is also overlooked, which leads to a misunderstanding about its continued use for clothing throughout the sixteenth century. Lena Dahr en’s work on the production of gold and silver lace for clothing and furnishings (2010 and 2013) is another oversight. The chapter on ‘Materials and Techniques’ over-simplifies some key textile processes, but it is bolstered with high-quality illustrations, including close-up photographs of the Bacton altar cloth, which are a welcome addition to the evidence available for materials, fabrics and embellishments of the era. Personal contacts rather than peerreviewed sources or published craft experts are cited formany of the explanations of textile production, which is disappointing in what is one of the longest sections of the book. The distinction between woollen and worsted fabrics so pertinent to textiles of the era is not explained, although there is a reference to the ‘new draperies’ in chapter 1. The book avoids reliance on Kerridge (Textile Manufactures in Early Modern England, 1985), which is to be welcomed since his dense endnotes often obscure the irrelevance of the sources quoted for the sixteenth century. Many of the endnotes directly refer to original sources","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43723881","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}