TEXTILE HISTORY最新文献

{"title":"Women’s Dress and the Demise of the Tailoring Monopoly: Farthingale-Makers, Body-Makers and the Changing Textile Marketplace of Seventeenth-Century London","authors":"S. Bendall","doi":"10.1080/00404969.2021.1913470","DOIUrl":"https://doi.org/10.1080/00404969.2021.1913470","url":null,"abstract":"By 1700 tailors no longer dominated England’s garment marketplace, as stay-makers, mantua-makers and seamstresses now produced key items of female dress. The demise of the tailoring monopoly was a complex process involving many factors. This article examines an aspect of this transition that has been previously overlooked in histories of garment production: farthingale-makers and body-makers. These trades emerged at the start of the seventeenth century to make foundation garments that shaped the fashionable silhouettes of England’s women. This article presents a case study of the number, location, reputation and eventual demise of farthingale-makers and body-makers in the Drapers’ and Clothworkers’ Companies of London from 1600 to 1700. The story of these trades shows a growing diversification within garment-making during the seventeenth century, where both demand and opportunity allowed entrepreneurial tradesmen to break away from traditional systems of production, ultimately paving the way for the diverse textile marketplace of the eighteenth century.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2021-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00404969.2021.1913470","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45431996","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":"‘The Georgian Edit’, Fairfax House, York, UK, 23 August– 31 December 2019","authors":"H. Day","doi":"10.1080/00404969.2020.1835241","DOIUrl":"https://doi.org/10.1080/00404969.2020.1835241","url":null,"abstract":"","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2020-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00404969.2020.1835241","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46290992","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":"Late Medieval English Embroidered Conventional Flowers","authors":"F. Rhodes, P. Rhodes","doi":"10.1080/00404969.2020.1767438","DOIUrl":"https://doi.org/10.1080/00404969.2020.1767438","url":null,"abstract":"This article concerns surviving examples of late medieval embroidered conventional flowers. The flowers are classified in terms of their structure. Photographs of typical examples are included. The count of surviving examples shows that four of the surviving types occur more frequently than the others. Of these four, two have clear Christian iconography, while the other two derive from classical devices. The distribution of variations within the types raises questions about how the variation in the designs arose, and how the embroidered flowers were traded.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2020-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00404969.2020.1767438","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42457914","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":"‘Unbound: Visionary Women Collecting Textiles’, Two Temple Place, London, UK, 25 January–19 April 2020","authors":"Vanessa Jones","doi":"10.1080/00404969.2020.1841432","DOIUrl":"https://doi.org/10.1080/00404969.2020.1841432","url":null,"abstract":"tradition and resists Western notions of fast fashion, while simultaneously being entirely modern (Fig. 4). ‘Kimono: Kyoto to Catwalk’ made clear how much depth and richness there is to be found in the study of kimono. While it is often understood as a traditional garment, frozen in time, the exhibition presented kimono as simultaneously traditional and entirely relevant to contemporary Japanese society. While the basic construction of kimono has remained unchanged over centuries, the exhibition demonstrated that styles, trends, the way they have been worn and what they signify have changed enormously. A kimono’s decorative motifs might reference poetry or literature or might feature visual puns or word play. These were, and continue to be, a demonstration of the taste and discernment of the wearer, a way of alluding to cultural reference points beyond mere decorative surface, while at the same time allowing for the enjoyment of that surface in its own right. In a similar way, visitors to this exhibition were able to enjoy the sheer visual beauty of the many wonderful objects but could also, if they chose, use them as a starting point for further exploration into Japanese culture, both past and present.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00404969.2020.1841432","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49621240","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":"‘Kimono: Kyoto to Catwalk’, Victoria and Albert Museum, London, UK, 29 February–18 March and 27 August–25 October 2020","authors":"Z. Hendon","doi":"10.1080/00404969.2020.1835242","DOIUrl":"https://doi.org/10.1080/00404969.2020.1835242","url":null,"abstract":"explored within the artificiality of the exhibition space. In the exhibition space, the theatricality of fashion came to the fore, particularly in the exaggerated features of Georgian court dress on display. The lavish examples of a white silk sack-back dress and a gentleman’s court suit, both c. 1775, were paired and set in front of a mock Palladian entrance that encased angled mirrors, emphasising the performativity of high society. The caricatures of James Gillray were another key feature of the exhibition, with a large selection of prints assembled from the Donald Coverdale Collection. These provided our main insight into the world of Georgian celebrity and the dual role of women such as Lady Sarah Archer and the Duchess of Rutland as both trendsetters and targets of satire. Gillray’s 1810 set of three images, Progress of the Toilet (The Stays, The Wig and Dress Completed), which satirises the lengthy and unnatural stages of women getting ready for the evening, were the first items on display in the house and set the tone for the rest of the exhibition: fashion, in all its layers and excess, was on show to be marvelled at and ridiculed in equal measure. By stressing the artificiality of fashion, however, the exhibition allowed the social satires of Gillray and of contemporary commentators in newspapers and periodicals to provide the main framing of our interpretation. As such, it did little to counter well-worn narratives that treat eighteenth-century consumers, particularly women, as a part of a hopelessly ‘fashion-addicted society’. We gained only rare glimpses of the very real emotional connections such material culture can reflect and forge. A stay busk from the 1790s, for example, was intriguingly inscribed with the unattributed initials ‘E.P.’ and a heart-shaped plaque, suggestive of its potential role as a love token. A pair of brown brocade latchet shoes, meanwhile, with golden guineas attached to the soles to bring luck and prosperity as she walked into marriage, were worn by a Miss Thorpe in the 1740s for her wedding day. These tantalising moments of personal connection helped to breathe life into the exhibition, in which the fantasy of fashion was often abstracted from the reality of the people who consumed it. As a showcase of the dramatic developments in style across the Georgian era, the exhibition was an undeniable success. It brought together a sumptuous range of clothing that provided a feast for fashionlovers and lived up to its tag line of ‘extravagant, excessive, often extreme but always exciting’.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2020-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00404969.2020.1835242","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43142209","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":"‘An English Lady’s Wardrobe’, Walker Art Gallery, Liverpool, UK, 25 October 2019–1 March 2020","authors":"E. Bastin","doi":"10.1080/00404969.2020.1835240","DOIUrl":"https://doi.org/10.1080/00404969.2020.1835240","url":null,"abstract":"Mrs Emily Margaret Tinne was a hoarder, collector and keeper of clothes. At her death in 1966, some sixty-two tea chests containing decades of clothes and accessories were donated to Liverpool Museums, with further items added by her daughter in the early 2000s. The resulting 750 items comprise the largest collection in the United Kingdom of clothing belonging to one individual, and ‘An English Lady’s Wardrobe’ was the largest exhibition of these items to date. The exhibition mainly reflected the clothing worn by Mrs Tinne in the years 1910 to 1939, but it also included some items belonging to her children and their servants. Set in the glorious high-ceilinged rooms of the Walker Art Gallery, the exhibition was airy, bright and spacious. Period films were projected onto the walls, which not only gave a glimpse into contemporary leisure activities, but also provided a demonstration of how clothing was worn and moved on real bodies. Panels of text and photographs introduced the Tinne family at the start of the exhibition, along with a video of Mrs Tinne’s granddaughter talking about her recollections of her grandmother. This was a reminder that these clothes are from the recent past, and that her descendants still have an interest in the collection. It was immediately apparent from this first room that this exhibition was as much an exploration of social history as it was about textiles. This aspect was immeasurably enhanced by some 1,300 letters from members of the Tinne family dating from 1923 to 1951, on loan to the Gallery. Excerpts from the letters decorated the walls, and added a personal slant to the items on display. For example, in 1937 Philip Tinne wrote to his son, ‘[Emily] has got a fierce new hat with purple and crimson rosettes in front. I can’t stand it ...’. Mrs Tinne frequently bought items and never wore them. Indeed, many of the items still have the shop tags, allowing a fascinating insight into where she shopped and how much items cost. Panels of illustrations, photographs and text depict the individual stores where Mrs Tinne shopped, ranging from the exclusive to department stores in the city (Fig.1). By examining the retail environment Mrs Tinne would have known, the exhibition had a very real sense of the local and, in many cases where buildings are still extant, the recognisable. The clothing has been extremely carefully conserved and the seventy-three outfits were displayed on mannequins custom-built for each item. As the collection ranges across nearly forty years, even the casual observer could see the way in which Mrs Tinne’s body changed with age and over the course of seven pregnancies. The garments shifted from the slim proportions of her youth, to the more robust sizes of her older age. As the exhibition was arranged by type of clothing, rather than chronologically, the various sizes in close proximity to each other were a pertinent reminder that not all clothing was created for fashion models and the very slim. Arra","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2020-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00404969.2020.1835240","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48063041","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":"‘Madge Gill: Myrninerest’, William Morris Gallery, Walthamstow, UK, 22 June–22 September 2019","authors":"H. Murray","doi":"10.1080/00404969.2020.1835243","DOIUrl":"https://doi.org/10.1080/00404969.2020.1835243","url":null,"abstract":"","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2020-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00404969.2020.1835243","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46201954","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":"‘Dressed to the Nines’, Birmingham Museum and Art Gallery, 7 December 2019–4 September 2020","authors":"C. Ness","doi":"10.1080/00404969.2020.1835247","DOIUrl":"https://doi.org/10.1080/00404969.2020.1835247","url":null,"abstract":"This small but engaging exhibition presented dressing for occasions in and around Birmingham from 1850 to the present day. It was one of a series of displays created recently by Birmingham Museum and Art Gallery with the intention of inviting the public to help shape the displays of the future after planned renovations. A typical Victorian-era museum, it has at its core the social history of the city, its people and industries, but has become tired and outdated. It is hoped that visitor experience and feedback will prove valuable in helping shape the design and content of future new gallery spaces and exhibitions. As dress and textiles had not previously been privileged here as the basis of an exhibition, this clothing-based exploration of local history and culture was trialled with a view to expanding the idea in the future. The size and fairly simple design of the displays reflected the experimental nature of the enterprise. Most of the objects of dress and accessories had never been out of storage. In common with many social history museums, the dress collection had previously been used simply as support for their exhibitions. Problematically, and often typically for regional museums, dress and textiles at Birmingham were collected as decorative art rather than for their own social history. Sadly, this means that there is most often little or no information to accompany the garments, making it difficult to achieve local context when planning exhibitions. Nevertheless, curator Rebecca Unsworth achieved a fair amount with the limited contextual evidence to hand, supplementing often meagre information with local research to present relevant, contextual storytelling. Using as a basis for the displays garments with some local provenance, the colourful exhibition explored the different ways local residents, officials and business people presented themselves for formal functions, parties and nights out on the town from 1850 to the present day. Twelve carefully chosen outfits covered some of the ways shopping choices and habits have changed over the years, along with social and cultural changes in Birmingham. A demure 1860s silk evening dress made a small display with a glamorous 1930s beaded evening dress worn to a banquet by a lady mayoress (Fig. 1). A larger display opposite aimed to illustrate a broader retrospective of the types and styles of occasion wear from the collection, representing different areas of the local community over the decades. A spectacular gold embroidered 1930s court dress uniform, worn by Prime Minister Neville Chamberlain, was presented in conjunction with a 1940s Norman Hartnell cocktail dress worn by Hartnell’s sister, who co-founded a dance school in Birmingham (Fig. 2). A 1959 party dress was sadly the only representation of children’s clothing. However, as it was made from nylon it represented the new synthetic fabrics bursting onto the market of the period that made dressing-up more affordable. A bright gold brocade e","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2020-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00404969.2020.1835247","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45232667","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":"Alit Djajasoebrata, Flowers from Universe: Textiles of Java","authors":"R. Barnes","doi":"10.1080/00404969.2020.1835248","DOIUrl":"https://doi.org/10.1080/00404969.2020.1835248","url":null,"abstract":"","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2020-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00404969.2020.1835248","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48112652","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":"BuYun Chen, Empire of Style: Silk and Fashion in Tang China","authors":"A. Sheng","doi":"10.1080/00404969.2020.1835256","DOIUrl":"https://doi.org/10.1080/00404969.2020.1835256","url":null,"abstract":"substantial income. The third chapter considers the sixteenth century, when the exaggerated court dress characteristic of the European early baroque was informed by Ottoman traditions of layering shirts, coats and sleeves. Highly particularised headgear makes for satisfying visual comparisons. In this chapter and the following, Jirousek shows the impact of entertainment; costumes from operas set in the Islamic world helped spread ideas about dress, whether based in reality or imagination. The fourth chapter focuses on changes in the seventeenth century, especially the shift from tightly corseted silhouettes to more relaxed and less formal modes of dress — many of their elements kaftan-like. It also points out the role of the Ottoman army; even some women’s garments incorporated the more picturesque elements of Ottoman uniforms as depicted in prints and paintings. The eighteenth century brought a wealth of oil paintings depicting Ottoman costume in Istanbul itself, some worn by locals and some by visitors to the Empire, the subject of the fifth chapter. Women’s headgear remains a salient borrowed feature, but at this point, too, Ottomania was being overtaken by chinoiserie and an equal fascination with South Asia. Exoticisms competed. The last chapter and postscript consider the nineteenth and twentieth centuries. The industrial revolution, the advent of mass production and mass fashion, and the availability of ready-made garments all helped spur a sea change in dress. Ottoman elements, like fezzes, were all the more valued for their picturesquerie. By this point, too, earlier European styles were being revived and, with them, the Ottoman elements they had already incorporated. The confections of L eon Bakst and early Hollywood costume design emphasise again the role of performance. The book is lavishly illustrated in colour; many images have lengthy and helpful captions. A brief glossary is also useful, as is a more comprehensive index. The illustrations include only a very few of the surviving garments from the periods and categories in question — dress survives poorly. For this reason, Jirousek relies on prints, paintings, the odd sculpture and photography and film for the later period — these are the best and sometimes only sources. Their limitations as evidence, and their dissemination, might be an area for further research: how did women in sixteenth-century Brittany, for instance, come to wear hats resembling the borks worn by janissaries (the Sultan’s cadre of elite soldiers)? Could a print communicate colour, material and texture, as well as form? These questions remain open, though perhaps impossible to answer. The tricky-to-define relationship between the Ottomans and Europe, in geography and historiography, also highlights further questions. Should Ottoman dress be considered a subcategory of European dress, and therefore written back into European histories? Or is it more useful to see exchange between two (or more) somewhat distinct ","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2020-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00404969.2020.1835256","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44043518","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}