TEXTILE HISTORY最新文献

{"title":"‘Hand in Hand: The Artistic and Spiritual Life of Dame Werburg Welch’, William Allen Gallery, Ushaw College, Durham, UK, 6 April–29 June 2019","authors":"Caroline Rendell","doi":"10.1080/00404969.2020.1741274","DOIUrl":"https://doi.org/10.1080/00404969.2020.1741274","url":null,"abstract":"The celebrants stand as an assembled congregation in the William Allen Gallery, Ushaw College, facing silently towards you as you enter the exhibition and encouraging you to wander amongst them. Each figure is simply presented on a small raised plinth, each with an unobtrusive text panel. There are no barriers to impede your enjoyment of the textiles, the construction of the embroidery or the woven decoration. Each figure is dressed in an example of the designs of Dame Werburg Welch (1894–1990), skilfully worked by the hands of her fellow sisters of Stanbrook Abbey. Eighteen copes, chasubles and dalmatics are displayed. In the colours of the liturgy, they are adorned with striking orphreys and hoods. The designs are treated with restraint, blending images that are both powerful and tender. They do not overwhelm the vestments, nor would they have been a distraction to the congregation when they were in use. Instead, the messages they convey are reverential, and they are executed with radical simplicity. In 1915 Eileen Grace Welch entered the novitiate at Stanbrook Abbey, taking on the name ‘Werburg’ after the seventhcentury Anglo Saxon saint, and was given the honorary title of ‘Dame’ in line with Benedictine tradition. Art was her passion. Welch had studied art at Bournemouth and later Bristol art schools, where she excelled in life drawing. On entering Stanbrook Abbey she had expected to give up art in this contemplative and","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":"51 1","pages":"89 - 92"},"PeriodicalIF":1.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00404969.2020.1741274","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44494430","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":"From Kings to Kids: Refashioning Akan Adinkra Symbols as ‘African’ Motifs in a Nineteenth-Century British Cloth Design","authors":"Alison Martino","doi":"10.1080/00404969.2020.1762149","DOIUrl":"https://doi.org/10.1080/00404969.2020.1762149","url":null,"abstract":"In the nineteenth century, British textile companies began making factory-printed cloth with adinkra motifs for African consumers. These symbolic designs were previously reserved for hand-stamped cloths among Akans of present-day Ghana. Such textiles illustrate the complexities of re-presenting history and shaping cultural knowledge through cloth and colonial exchanges. This article focuses on the design and circulation of one specific British textile design with adinkra symbols made during the 1890s to 1930s, the earliest recorded evidence I have found of adinkra in factory-printed cloths. This textile pattern reveals how merchants, designers and printers historically transformed adinkra symbols from Akan society to become global markers of Africa.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":"51 1","pages":"29 - 59"},"PeriodicalIF":1.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00404969.2020.1762149","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49600303","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":"Kyunghee Pyun and Aida Yuen Wong, eds, Fashion, Identity and Power in Modern Asia","authors":"W. Bamber","doi":"10.1080/00404969.2020.1741206","DOIUrl":"https://doi.org/10.1080/00404969.2020.1741206","url":null,"abstract":"In an era of rapid social transformation, technological change and imperialism, choices of dress and consumption took on deeply political significance. The political dimensions of clothing, deployed in the service of authoritarian nation-building, defiance, emancipatory movements and the navigation of changing social norms, are at the heart of this volume on East Asian fashion history. Seeking to go beyond objectifying, museum-centric approaches, its essays highlight the intersections of dress history with ‘issues of gender and the body, power and control, commerce and manufacturing and art and popular culture’ (p. 1). As such, it is a welcome addition to the growing literature that takes seriously the diversity and agency of modernising consumption patterns in regions other than the West. Comprising fourteen essays on Japanese, Chinese, Korean, Taiwanese and Hong Kong dress history over c. 1880–1960, the project collectively aspires to present a ‘broader transcultural perspective’ (p. 3), highlighting elements of common experience and interconnection across the region. While many individual contributions do remain limited to national frameworks and courtly or elite subjects, the editors have ordered the chapters carefully so as to bring them into productive dialogue with one another and generate a genuine sense of development across the region as a whole. The best essays are those that deploy histories of particular objects, movements or styles to complicate teleologies of national modernisation, highlighting the alternate visions of social order and modernity that became expressed through dress, and the localised ambivalence often generated by the new possibilities of globalised consumption. The volume is further enriched by a wide, often creative array of sources and approaches. This is exemplified by Rachel Silberstein and Seiko Sugimoto in Chapters 10 and 11, which combine statistical, historical and even popular literary sources with visual analysis of pictures and dress to construct a compelling picture of woollen cloths’ historical importance in China and Japan. The best sections of the book in fact might offer useful methodological inspiration for further studies in this field. The book is divided into four thematic sections. The first, ‘Garments and Uniform’, considers state impositions of modernised official costume. The three essays by Yoshinori Osakebe, Kyungmee Lee and Aida Yuen Wong, which focus on official dress reforms in Japan, Korea and China respectively, work particularly well together, showing both the common kinds of opposition these measures encountered and the degree to which these three countries were a constant reference point to each other as they sought to reinvent themselves. Osakebe shows how Westernising Meiji dress codes, far from finding easy acceptance, became an emotive proxy for the competing political visions of factions of old nobility and a rising bureaucratic cadre. Lee and Wong meanwhile highlight the cha","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":"51 1","pages":"100 - 101"},"PeriodicalIF":1.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00404969.2020.1741206","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46822050","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":"Paul David Blanc, Fake Silk: The Lethal History of Viscose Rayon","authors":"Mary Schoeser","doi":"10.1080/00404969.2020.1741215","DOIUrl":"https://doi.org/10.1080/00404969.2020.1741215","url":null,"abstract":"As its title implies, this volume has been marketed as an expose, trumpeted by its publisher as addressing the question: ‘When a new technology makes people ill, how high does the body count have t...","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":"51 1","pages":"109 - 110"},"PeriodicalIF":1.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00404969.2020.1741215","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41559306","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":"Thomas Murray, with Virginia Soenksen and Anna Jackson, Textiles of Japan","authors":"L. Millar","doi":"10.1080/00404969.2020.1741214","DOIUrl":"https://doi.org/10.1080/00404969.2020.1741214","url":null,"abstract":"emerges of Alexandra’s agency and talent for choosing garments both appropriate for the occasion and individual in taste. Chapter 2 examines Alexandra’s engagement and marriage, where the frugality of her Danish childhood was evident in the assembling of clothes for the wedding and trousseau. Here close object study demonstrates its rewards: while outwardly conforming to the need to wear clothing of British manufacture, Alexandra also inserted a personal good luck charm — some gifted lace of European manufacture — inside the dress. Chapter 3 analyses Alexandra’s evening and court dresses, showing how, both in colour and decoration, their evolution mirrored changes in her personal life; for example, the change from bright to muted colours following the death of her eldest son, Albert Victor. Chapter 4 explores Alexandra’s travel outfits, highlighting the hybrid outfits that incorporated elements of local clothing traditions into her own clothing, sometimes for comfort and practicality, sometimes for diplomacy; for example, when Alexandra visited Ireland she wore dresses made from green fabric and decorated with shamrocks. The theme of dressing for effect recurs in Chapter 5, which addresses Alexandra’s fancy-dress clothing. Strasdin suggests that her propensity to appear as a queen — Mary Queen of Scots for the 1871 Waverley Ball and Marguerite Valois for the 1897 Devonshire Ball — demonstrates a subversive streak, playing at queen while still a queen-in-waiting. Equally fascinating is the exploration of what Strasdin terms ‘like dressing’, adopted by Alexandra and her sister Dagmar for the latter’s visit in 1873, when the two chose a series of identical garments to highlight their sisterly affection and offer a performance of kinship and imperial ties. Chapter 6 considers Alexandra’s contributions to fashion through her collaborations with tailors, including her role in the rising fortunes of Isle of Wight tailor John Redfern. Queen Victoria is the first royal to spring to mind when thinking of mourning dress, but Chapter 7’s discussion of Alexandra’s mourning clothing reminds us that Queen Victoria was not setting a trend but rather amplifying and personifying a well-established tradition. The distinction between the clothes worn by Victoria, queen in her own right, and Alexandra as a queen consort, recurs in Chapter 8’s analysis of coronation robes. The chapter also demonstrates Alexandra’s involvement in design choices, such as the mantle’s all-over embroidery, which followed Danish, rather than British, tradition. The book contains a good mixture of coloured plates, many of which illustrate surviving garments, and black and white images, although, as with other books in the Bloomsbury Dress and Fashion Research Series, they leave the reader desiring more. The index contains some oddities that might hinder a reader searching for particular references (‘sumptuous lace’ under ‘s’, rather than ‘lace’ under ‘l’; ‘woven plaid shawl’ under ‘w’, rath","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":"51 1","pages":"105 - 109"},"PeriodicalIF":1.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00404969.2020.1741214","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42194928","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":"Kate Strasdin, Inside the Royal Wardrobe: A Dress History of Queen Alexandra","authors":"Alexandra Kim","doi":"10.1080/00404969.2020.1741213","DOIUrl":"https://doi.org/10.1080/00404969.2020.1741213","url":null,"abstract":"","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":"51 1","pages":"104 - 105"},"PeriodicalIF":1.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00404969.2020.1741213","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49056227","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":"‘Gentleman Jack Costumes’, Bankfield Museum, Halifax, UK, 12 July–26 October 2019","authors":"Lucy McConnell","doi":"10.1080/00404969.2020.1741272","DOIUrl":"https://doi.org/10.1080/00404969.2020.1741272","url":null,"abstract":"The life of Anne Lister (1791–1840), a landowner, businesswoman, intellectual, traveller and lesbian, inspired the recent BBC and HBO series Gentleman Jack. Written by Sally Wainwright, the series ...","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":"51 1","pages":"92 - 96"},"PeriodicalIF":1.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00404969.2020.1741272","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43922031","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":"Karolina Hutková, The English East India Company’s Silk Enterprise in Bengal, 1750–1850: Economy, Empire and Business","authors":"Tabitha Baker","doi":"10.1080/00404969.2020.1741203","DOIUrl":"https://doi.org/10.1080/00404969.2020.1741203","url":null,"abstract":"credit in providing necessary working capital. A fortunate few merchants were granted the office of receiver-general of the land tax in Devon and so could dip into public funds to stay afloat. Others had to rely on borrowing from customers, particularly the Dutch, or from the cloth-makers, cloth-finishers and woolmen who supplied them. In 1717, a merchant, Robert Burridge, died owing his creditors £16,425, nearly three times the value of his stock. The growing sophistication of financial markets, particularly in the Low Countries, is reflected in the use of bills of exchange as a means of paying for cloth. Such credit mechanisms were essential to business, but, if and when things went wrong, could spread the consequences of a merchant’s financial ruin to the wider cloth-making community. This reviewer does hold some reservations. The index is largely limited to places and people, so the reader will search in vain for references to kersey and serge. A few names are surprisingly absent from the bibliography, notably those of the eminent textile historians David Jenkins and John Munro. Maunder’s work would have possessed wider significance had he devoted more time to exploring why the cloth trade flourished in Tiverton to such an extent that the town grew from a small and relatively poor inland community, far from London, to become, by 1700, one of the biggest manufacturing centres in England, with a population of 8,000, 60 per cent of whom were engaged in the industry. Finally, it is tempting but misguided to include every detail that has been lovingly extracted from the archives. Had the author better resisted such temptation his book would have been more concise and engaging. Despite these caveats, this volume remains an inspiration for anyone embarking on a similar project in future. NICHOLAS R. AMOR University of East Anglia","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":"51 1","pages":"100 - 98"},"PeriodicalIF":1.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00404969.2020.1741203","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44484776","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":"Barbara Burman and Ariane Fennetaux, The Pocket: A Hidden History of Women’s Lives, 1660–1900","authors":"Rebecca Unsworth","doi":"10.1080/00404969.2020.1741216","DOIUrl":"https://doi.org/10.1080/00404969.2020.1741216","url":null,"abstract":"This book examines an aspect of dress that has received relatively little scholarly attention: the pocket. It is particularly concerned with tie-on pockets, the large pocket bags that were separate...","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":"51 1","pages":"111 - 112"},"PeriodicalIF":1.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00404969.2020.1741216","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44353749","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":"Reinterpreting Adire Cloth in Northern Nigeria","authors":"E. Renne","doi":"10.1080/00404969.2020.1747372","DOIUrl":"https://doi.org/10.1080/00404969.2020.1747372","url":null,"abstract":"In the 1930s, the demand for adire cloth led to its subsequent production in northern Nigeria. Yoruba adire cloths were reinterpreted by Hausa adire makers who developed their own attractive, named patterns. When the Nigerian economy improved and industrially-printed cotton textiles became more accessible in the 1970s, Hausa women largely abandoned adire cloths for manufactured cotton prints. However, tourist demand for adire cloths and changing fashion tastes for newer adire styles have supported their continued creation, particularly in Kano. While political and economic circumstances have reduced adire production, these textiles continue to have sociocultural significance in twenty-first-century northern Nigeria.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":"51 1","pages":"60 - 85"},"PeriodicalIF":1.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00404969.2020.1747372","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42588404","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}