Africa Fashion Africa Fashion, Victoria & Albert Museum , London, July 2, 2022–April 16, 2023 Brooklyn Museum , New York, June 23, 2023–October 22, 2023

IF 0.7 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Fashion Theory-The Journal of Dress Body & Culture Pub Date : 2023-09-28 DOI:10.1080/1362704x.2023.2261337
Rachel Lifter
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Abstract

Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 Nationalities and birth and death dates are included within the opening text for each designer at the Brooklyn Museum.2 The wall text and object captions for Africa Fashion often differed between the V&A and the Brooklyn Museum: sometimes just small edits and other times large conceptual changes. Within this review, I will indicate these differences through citations. If I do not cite a museum when referring to written materials, it is because the text was the same.3 I was first introduced to the term “hair portraits” through an August 26, 2014 feature on Vogue.com. The feature was called “Forces of Nature: 28 Afropunk Hair Portraits by Artist Awol Eriku” and it was edited by Marjon Carlos.4 In contrast, White-Mifetu and Malvoisin change the opening lines to “During the mid-twentieth century, a new wave of creative expression swept across Africa as much of the continent began to gain independence from European colonial powers—largely the United Kingdom, France, Germany, Belgium, Spain, Portugal, and Italy.”Additional informationNotes on contributorsRachel LifterRachel Lifter is Clinical Assistant Professor and Director of NYU’s master’s program in Costume Studies. Her current research focuses on New York City in the 1980s, the people who worked in the fashion industry at that time, and the impact of the AIDS epidemic on this workforce. rachel.lifter@nyu.edu
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非洲时尚,维多利亚;伦敦阿尔伯特博物馆,2022年7月2日—2023年4月16日布鲁克林博物馆,纽约,2023年6月23日—2023年10月22日
点击放大图片点击缩小图片披露声明作者未发现潜在的利益冲突。注1:在布鲁克林博物馆,每个设计师的国籍和出生和死亡日期都包含在开幕文字中。2在V&A博物馆和布鲁克林博物馆之间,非洲时尚的墙壁文字和物品说明经常不同:有时只是小的编辑,而其他时候则是大的概念变化。在这篇综述中,我将通过引用来指出这些差异。如果我在提到书面材料时没有引用博物馆,那是因为文本是一样的我是通过2014年8月26日Vogue.com上的一篇专题文章第一次接触到“头发肖像”这个词的。这篇专题文章名叫《自然的力量:艺术家阿沃·埃里库的28幅非洲朋克发型肖像》,由马尔乔·卡洛斯编辑。4相反,怀特·米费图和马尔瓦辛把开头的几句改为:“在20世纪中叶,随着非洲大陆的大部分地区开始从欧洲殖民列强——主要是英国、法国、德国、比利时、西班牙、葡萄牙和意大利——手中获得独立,一股新的创意表达浪潮席卷了非洲。”作者简介rachel Lifter是纽约大学服装研究硕士项目的临床助理教授和主任。她目前的研究重点是20世纪80年代的纽约市,当时在时尚界工作的人,以及艾滋病流行对这一劳动力的影响。rachel.lifter@nyu.edu
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来源期刊
CiteScore
2.10
自引率
10.00%
发文量
41
期刊介绍: The importance of studying the body as a site for the deployment of discourses is well-established in a number of disciplines. By contrast, the study of fashion has, until recently, suffered from a lack of critical analysis. Increasingly, however, scholars have recognized the cultural significance of self-fashioning, including not only clothing but also such body alterations as tattooing and piercing. Fashion Theory takes as its starting point a definition of “fashion” as the cultural construction of the embodied identity. It provides an interdisciplinary forum for the rigorous analysis of cultural phenomena ranging from footbinding to fashion advertising.
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